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Lloyd EVENTS & Mellen Events presents


9 nov

16 & 17 nov




30 nov & 1 DEC


14 & 15 mar







IN BRIEF The 14th annual Perth Dance Music Awards will be held Sunday 2 December at The Court Hotel.

IN THE SUMMA SUN The New Year just got a little more hectic with the announcement of Summadayze 2013, hitting a brand spankin’ new venue in Patersons Stadium and its surrounding parks Sunday 6 January. Galvanise yourselves for Brit big-beat pioneers The Chemical Brothers; hip hop’s coolest lady M.I.A; Dutch master Fedde Le Grand; production prince Mark Ronson (DJ Set); pop princess Kimbra; German wonders Booka Shade (Live); trance superstar Eddie Halliwell; People Of The Night AN21 & Max Vangeli; Detroit techno lord Carl Craig 69 Live; Maya Jane Cole; buzz duo Disclosure (Live); Adrian Lux; Erol Alkan; Breakbot (Live); Fake Blood; Hudson Mohawke; Araabmusik; Icona Pop; Scuba; Aeroplane; Jesse Rose; Danny Daze; AC Slater; Stafford Brothers & Timmy Trumpet; and Bombs Away, with more TBA. They’ve also enlisted LA-based pop culture photographer guru Mark “The Cobrasnake” Hunter to tackle art direction and creative concepts. Tickets via Ticketmaster from September 20.

Beach Fossils (originally playing This Is Nowhere, October 14), Far East Movement (Eve, September 28) and Newton Faulkner (Fly By Night, September 22) have cancelled their upcoming shows, while Hot Chelle Rae have changed venues from Challenge Stadium to Astor Theatre (still November 1). 720 ABC Perth has launched band competition Exhumed, open to bands of all shapes and sizes (though slightly older ages) – with finalists performing live Wednesday 17 October at the Fly By Night. Entries close September 23: Alternative rock outfit Indiago is the ninth webcast winner for Red Bull Bedroom Jam 2012. The comp is still running - head to


HIGH FIVE Led by its namesake frontman, Ben Folds Five have added a couple of sideshows when they’re in the country for the upcoming Harvest Festival, including Fremantle Arts Centre Wednesday 14 November. 12 years since they split up at a peak in September 2000, the band return this year with the release of their brand new album The Sound Of The Life Of The Mind, and in true gentlemanly style are giving fans from east to west the opportunity to see the band go nuts live on their first Aus’ tour in more than a decade. Tickets via Oztix from September 14.

Paul Kelly, The Bamboos with Tim Rogers, Hermitude, Lanie Lane and Loon Lake will perform at this year’s Jagermeister Independent Music Awards. For more info on the Awards, Charts and Independent music check Revered American singer-songwriter Joe South has died of heart failure at the age of 72. Dirty Projectors have just released a new short film online. Hi Custodian is a 20-minute narrative about spiritual death and rebirth, starring the band’s David Longstreth, Amber Coffman, Haley Dekle, Nat Baldwin, and Mike Johnson playing various characters.







HEART BREAKER For the first time in more than seven years Norah Jones will return to Australia, in support of her Danger Mouse-produced and critically adored album Little Broken Hearts. There is little doubt that Jones has grown and diversified since her last tour of our shores in early 2005, and since then the 33 year-old has worked with a diverse range of artists, including Ryan Adams, Willie Nelson, Outkast, Herbie Hancock and Foo Fighters. She plays the Riverside Theatre, Sunday 24 February. Tickets via Ticketek from Tuesday 18 September.







Sarah Blasko is set to make her long-awaited return with her fourth album I, Awake, to be released through Dew Process on Friday 26 October. Ben Gillies, drummer of the now defunct Silverchair, has announced the debut album from his new project, Bento. It will be called Diamond Days, its title track will be the first single and released on Monday 17 September, with the album due on Friday 26 October. Adelaide dubstep DJ Leah Mencell has been dubbed winner of this year’s EMI She Can DJ competition.



One of the most down-to-earth artists you’ll meet in the industry today, Canadian house don Luke Fair is anchored by classic house roots, always staying true to his style of groovy house and techno-to-funky progressive and electro. He brings those styles to Geisha Saturday 22 September for a three-hour set, supported by Marko Deric, Rob Sharp, Luke P and Carl Drake. $15 via, $20 door charge.

The WAM Song Of The Year 2012 nominees list has been announced check for info. The awards are announced Thursday 11 October at Fly By Night.





A KNIGHT OF SOUL Renowned “Empress Of Soul” and Grammy legend Gladys Knight brings a catalogue of hits spanning 50 years and multiple genres to Kings Park & Botanic Garden Sunday 10 February, joined by the WASO, her band and special guest Marcia Hines. Few singers have matched the unassailable artistry of Knight, who began her illustrious career in the ‘60s as the lead vocalist of the pop, R&B and soul ensemble Gladys Knight & The Pips, releasing a string of chart-busting singles, including Midnight Train To Georgia and I Heard It Through The Grapevine. Tickets via Ticketmaster from September 19.

Nick Cave and Kylie Minogue have teamed up to re-record a version of Where The Wild Roses Grow for Minogue’s forthcoming The Abbey Road Sessions album. The song originally appeared on Cave’s 1996 album Murder Ballads.


BLESSED RELEASE Bless This Mess, a reference to life and all its chaos and colour, is both the title track of Lisa Mitchell’s new album due October 12 and her new single. As is customary with any new release, particularly one we’ve been waiting three years for (since her AMPwinning album Wonder in 2009), Mitchell is taking it around the country, supported by Alpine and Danco. Friday 26 October they play The Astor Theatre (allages, licensed) and Saturday 27, Prince Of Wales, Bunbury. $40 plus BF/$25 plus BF respectively via Show Ticketing, Heatseeker and Oztix.

ARTFUL PANTHERS Sydney’s The Art caught the attention of LA booker and ex-Guns N’ Roses manager Vicky Hamilton and since then they’ve supported the likes of Marilyn Manson and The Pixies. Their good run continues with the news they will be support Steel Panther nationally, playing Metro City Thursday 11 October. Tickets via Oztix.


NORTHEAST WEST Melbourne outfit Northeast Party House return with their new single Stand Tall and a national single launch tour that reaches Speakeasy at Villa, Friday 28 September. Featuring aggressive drums bursts and distorted guitar tones, Stand Tall shows a new, slightly more serious side to the five-piece garage dance band. The group have built a solid live fanbase thanks to their high energy shows, and are supported here by Tim & Jean (DJ Set), Funilingus and the Metric Allstars. $20 door from 10pm.


SNAP! PANTS PARTY There’s been some pretty epic ‘90s parties in 2012 already, and Villa plays host to another when Snap! rolls in for a special show Saturday 3 November. Snap!’s international mega hit The Power is one of the world’s most played dance tracks, likewise Rhythm Is A Dancer. So make sure you bust out your best ‘90s attire (Air Jordans, Reebok Pumps, backwards baseball caps) and boogie down to Snap! plus supports Karl Blue, Royce, Charlie Bucket and Klean Kicks. Earlybirds $35 plus BF via Moshtix from September 18.

SPACE MIST After a run of midweek nights at The Elephant & Wheelbarrow, Wednesdays present a series of one-off performances in conjunction with +*+, kicking off Wednesday 3 October with Cleveland duo Mist at the North Perth Bowling Club. Their widescreen synthscapes, rhythmic drive and visceral live show put them at the forefront of the American experimental scene. John Elliott also presents his Outer Space project, plus Basic Mind (Tim Loughman from Astral Travel) and DJs Brett Murray and Oliver Laing support. Tickets via Oztix.

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FOREWORD LINE MARTEA PARTY Following a successful Australian and Canadian tour with The Tea Party, Jeff Martin will top the year off by touring solo. The group’s Australian tour in July had the fans out in droves to capture the magic that once was, and still remains. A live double album was recorded and will be released in September, with a live concert DVD to follow in November. Martin plays Friends Restaurant Thursday 22 November, before coming back to WA Friday 21 December to play Clancy’s Dunsborough; Saturday 22 Mojo’s; and Sunday 23 Indi Bar.

FOUR BY FOUR Northern NSW-based rootsy troubadour Loren is joining forces with his Melbourne-based sister Freya Hanly to form What Four, a one-off collaboration also featuring Murray Kyle (NSW) and Charlie Mgee (WA). Combining roots, folk and reggae, laden with harmony, humour and rhythm, see What Four at Prince Of Wales, Bunbury Friday 12 October; Settlers Tavern, Margaret River Saturday 13; Clancy’s Dunsborough Sunday 14; Indi Bar Wednesday 17; The Paddo Thursday 18; Clancy’s Fremantle Friday 19; and Redcliffe On The Murray, Pinjarra Sunday 21.

ROGERS FOOTY It is with both melancholy and excitement that Tim Rogers has postponed his upcoming shows at the end of the month due to his just-announced appearance at the AFL Grand Final. Rogers now plays (with original support Catherine Britt still joining him) Clancy’s Dunsborough Thursday 11 October; Fly By Night Friday 12; and Rosemount Hotel Saturday 13. Original tickets still valid, Heatseeker and the usuals for those yet to purchase.



September at The Beat Nightclub, supported by Foxes, Only Hope and Celebrator. $15 with EP.

There’s some mighty fine happenings soon going down in WA, and we don’t just mean crossing our fingers and toes for more good form finals-shredding footy performances... Having just released their Drum Album Of The Week approval-sealed Summertime Heavy album, Sugar Army take it on the road, kicking off Friday 5 October at the Rosemount Hotel. Red Jezebel, Usurper Of Modern Medicine and Leure support. Tickets via Heatseeker and The Regal Theatre is opening its upstairs Attic Bar to VJZoo, who will host different era dance-themed sets from 1.30 til 5pm for three consecutive Saturdays, kicking off September 15. In the lead-up to their debut album due for release in November, Daramad perform for the first time at The Ellington Jazz Club Wednesday 19 September. In honour of the 2012 International Day Of Peace, James Teague, Thee Gold Blooms, Lucy Peach and Lillium Stargazer play ‘Peace Support: Raising Hope for Ba Futuru’ at the Civic Hotel Friday 21 September. All money raised goes to the Ba Futuru Youth Empowerment and Peace Building Project in Timor-Leste.

The Queen’s B’day Sunday 30 September sees the return of Nirvanarama (feat. members of Gyroscope, Karnivool and Jebediah) tributing the band whose name they mimic. Kill Teen Angst, Chainsaw Hookers, Mezzanine and DJ Brett Rowe support. $15 from 8pm. Fremantle boy-come international troubadour Carus Thompson celebrates his new Acoustic At The Norfolk CD Friday 2 November at Indi Bar and Saturday 3 back at Norfolk Basement. Leena supports. Touring nationally throughout October/November to celebrate their new album A History Of Houses, The Siren Tower return to play Amplifier Friday 9 November and Prince Of Wales Hotel, Bunbury Saturday 10. Recently launching new album You’ll Turn Into Me, Split Seconds have more killer slots coming up – opening for Stephen Malkmus & The Jicks Friday 28 September at The Rosemount Hotel; playing Wave Rock Weekender Saturday 29; and supporting Oh Mercy with Millions Friday 5 October at the Norfolk Basement and The Bakery Saturday 6.


SPOOKY TUNES The critical acclaim has been coming for years, but Fred Smith’s 2011 release Dust Of Uruzgan was a watershed moment. Written while working an 18-month stint in southern Afghanistan, the album earned him comparisons with Bogle, Schumann and Don Walker. Fred Smith & The Spooky Men Of The West will present songs from the CD and more at Kulcha, Saturday 6 October.

DROPPING BOMBS Perth duo and Aussie hit-makers Bombs Away will bring their chart-topping tunes and party boy antics to Eve Nightclub Friday 12 October. They’ll be rocking plenty of the hits, including breakout single Big Booty Bitches and more recent bangathons Supersoaker and Get Stoopid. Get a bit silly yourself from 9pm with tickets on the door for $20.

LAZY SUNDAYS Fremantle Art Centre’s Courtyard Music returns to Sundays from 2pm next month with a stellar line-up of free music starting with Simone & Girlfunkle and Patient Little Sister (October 7); Don Walker and Lucky Strikes (October 14); Ruby Boots (October 21); The Cat Empire’s Harry James Angus (October 28); WA Youth Jazz Orchestra (November 4); New Zealand’s Swamp Thing (November 11); The Pigram Brothers (November 18); Ensemble Formidable (November 25); The Seals (December 16); Matt Styles Quartet (December 23); and finally Davey Craddock & The Spectacles (December 30). Check for all the details. The series runs until March with more line-ups to come. 8 • THE DRUM MEDIA


The sounds of Nick Thayer are set to fall into your mind on Saturday 20 October at Ambar’s Japan 4, Saturday 20 October. Thayer’s been a busy dude of late – DJing across the world, releasing a track with AC Slater (Night Owl) and prepping for another tour of the US with Zedd and Porter Robinson, Ambar have kidnapped him for an intimate club show. Supported by Dead Easy, Bezwun, Ben Mac and Mr Ed. $15 door from 10pm.



SAVE THE DATE Lock in Saturday 9 February 2013 for the Perth leg of St Jerome’s Laneway Festival - rumour is it’s going to be even bigger than ever before!

Resulting Ramifications For High Density Housing” was difficult in all that cold, and all that darkness. They survived though, and have decided to try and ease the plight of equally suffering students, as the Winter Of Discotheque Tour has been announced to hit Frat House Fridays at Metropolis Fremantle Friday 5 October and Studio 146, Albany Saturday 6. Tickets via Oztix, Heatseeker and Moshtix. Of course the guys are still bringin’ the ruckus ‘juice to the all-ages Hyperfest at Midland Oval on Sunday 7 October as well. MIA DYSON



Winter at university was never a good time for the members of Bluejuice. Concentrating on “Oedipal Complexes Of The Leopard Slug And


With recent album By The Horns enchanting masses of eager ears, Julia Stone brings the magic to The Astor Theatre Friday 28 September, proudly presented by Street Press Australia. The album features a stellar line-up of guest musicians such as Rob Moose (Bon Iver, My Brightest Diamond, Antony & The Johnsons) and Thomas Bartlett & Bryan Devendorf (The National), so you can be assured her band on the night will be similarly stocked with talent. To win one of THREE PACKS,


Funk-psychedelic lady duo THEESatisfaction have announced a WA show to follow their appearance at Melbourne Festival, playing The Bakery Saturday 20 October. Seattle, Washington’s Stasia Irons and Cat Harris-White are a pair of friends and lovers that have been making music together for half a decade, and their funkadelic show is equal parts the afro-uturism of Sun Ra and the soulful jazz of Dorothy Ashby with more than a hint of Erykah Badu. Savoir, Raaghe, Ben Taaffe & Ben Mifflin and Caude Mono support. $20 plus BF via Now Baking.


BIG SPLASH Prepare yourselves for a night of colourful debauchery at Coloursplash Paint Party – The Nightmare Before Halloween, Saturday 27 October at The Overflow, rear of Court Hotel. Dress in white and prepare for plenty of pretty colours to be thrown upon you to the tunes of party lord Ajax, plus Sydney’s Starfuckers and Royalston (Hospital/Bad Taste Records) and locals Invictus and Travis LeBrun. Tickets via Moshtix, more info at


Concertmaster of the Vancouver Symphony Orchestra, Dale Barltrop will lead the Australian Youth Orchestra Chamber Players in their first visit to Perth since 2007, through an exploration of Beethoven’s early ensemble compositions. Barltrop will direct six string quartets and three piano trios from the AYO in the performance of Beethoven’s Opus 18 String Quartets. It all happens Friday 28 (7.30pm) and Saturday 29 (2.30pm) September at The Ballroom, Government House.

Moving beyond his previous project with his band Hang On St Christopher, Sean O’Neill launches his debut EP Moving In Time Thursday 27 September at The Bird. $10 from 8pm. Melding together elements from a ‘80s post-punk right through to modern day hardcore, Spilt Cities launch their debut EP build/rebuild Friday 28



each containing a double pass to the show and a copy of the new album, email giveaways@drumperth. with the subject line “BY THE JULIA”. JULIA STONE

Celebrating the success of her album The Moment and the release of the album’s second single Pistol, Mia Dyson is hitting the road for a massive national tour that winds up Thursday 8 November at Mojo’s and Friday 9 at Blues At Bridgetown. The Moment, recorded in the US after three years of trials and tribulations, is Dyson’s highest charting album to date and has been universally acclaimed; one of our sister mags Inpress said: “…Every track on The Moment demands attention.”

SOMETHING MORE In their first national tour dates in over five years, Something For Kate have clearly lit a spark of excitement with their fans. With tickets for the band’s Melbourne, Brisbane and Freo (Saturday 27 October, Fly By Night) shows selling out immediately, a Sunday 28 October show has been added at The Fly By. Ben Salter supports.

CONTRIBUTORS Scott Aitken, Marisa Aveling, Paul Barbieri, Zoe Barron, Steve Bell, Jackson Best, Tom Birts, Mike Bowring, Tom Bragg, Tristan Broomhall, Rob Browne, Rick Bryant, Michael Caves, Cyclone, Marcia Czerniak, Sebastian DíAlonzo, Kitt Di Camillo, Daniel Cribb, Kosta Lucas, 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, Lynn Mc Donnell, Mac McNaughton, Tom OíDonovan, Nic Owen, Simon Rundin, Michael Smith, Andy Snelling, Aimee Somerville, Callum Twigger, Anthony Williams


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

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

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Streaming an album prior to release has become the standard in a day and age where CDs are used as coasters more than anything else. It’s got to the point where there’s so many new streams hitting the internet each week that some get lost, or end up at the bottom of to-do lists. Leading up to the release of their sophomore album, The xx realised this, and set out to separate Coexist’s debut into fans ears by collaborating with the masterminds at Internet Explorer and developing a new streaming experience. Like every other band, they uploaded the album’s 11 tracks to their website, but here’s where things get interesting. Whenever a user hopped onto the streaming page - which featured the tracklisting beside a world map - and a song started playing, the map would come to life and a beam of light would fly out of the The xx’s hometown, London, and land on the area of the streamer - it would also show the locations of everyone else listening to that song at the same time. Then, if someone shared the stream – via Twitter, Facebook, whatever - and someone else picked it up from that, the beam would connect those two users. It would have been interesting sitting on their site the minute it launched to watch the record slowly leak out into the world in a colourful and erratic lightshow.

Three people in one recording bunker for a full year – that’s how The xx laid down the follow-up to their hugely successful debut album. Guitarist/vocalist Oliver Sim explains why to Anthony Carew. Cover and feature photos by Kane Hibberd.


liver Sim is fresh off the plane having arrived in Melbourne after 42 hours of flying from Finland. It’s part of a surreal stretch in the The xx’s schedule, when the band, in advance of their second LP, Coexist, will couple performances with press duties; lurching about the planet, answering endless promotional duties and playing shows amidst the mayhem. This not of the same repetitious familiarity as touring, but something beyond. It’s an itinerary befitting the young London outfit’s unlikely rise to stardom, with a run of instantlysold-out Australian shows just the latest landmarks in a career that’s growing increasingly surreal. “I have even less idea than you,” says Sim, 23, jetlagged yet affable, an imposing figure both tall (6’2-ish) and in boots of sizeable heel, wearing, of course, all black. He’s attempting to answer the unanswerable: just how it is that The xx – Sim, the band’s vocalist and bassist, guitarist/vocalist Romy Madley-Croft and beatmaker Jamie Smith – have achieved such straight-up popularity with music that is minimalist, half-whispered and almost never attention-seeking. “I’m in it, so I have absolutely no perspective on it,” Sim admits. “I don’t know. All I can say is that I’m thankful. I’ve always loved what we do. But it is — and still is — surreal to me. It never ceases to surprise me. It wasn’t just the first time I went to Australia it felt surreal, it feels that way now.” The first time The xx came to Australia was early in 2010, when the band were booked to play the touring Laneway Festival and found themselves playing their hushed, nocturnal music - “I do a lot of my writing very late at night when I’m half-asleep,” Sim says. “It’s when we work, so it’s only natural that it seeps into what


you do” – in the heat of the Australian summer, in the blazing afternoon sun. It seemed a strange setting to see them in, and it was a shock for the band themselves. “We were really used to dingy clubs, to the safety of hiding behind darkness, coloured lights, smoke. Not having any of that, it makes you approach performing in a different way; makes you think of really having to perform, which we’d never really been forced to do. We’d never intended our music to be heard in a setting like that. So it was good to be thrown into that setting. It helped us grow a lot.” At their return shows in July this year, Sim proved the one who’d taken those lessons in performing to heart, coming as close to a prancing showpony as any member of a band so bashful, moody, and meticulous could be. It’s the audience’s – and, in many ways, the world’s – first taste of the material from Coexist, the much-anticipated follow-up to 2009’s xx. The success of the band’s debut – it won the Mercury Music Prize, went platinum in the UK, soundtracked endless adverts and the Euro 2012 soccer tournament – took everyone involved by surprise; even Young Turks, the XL-affiliated label that signed them as diffident teenagers. XL has had a run of ridiculous successes on their books – Adele, Dizzee Rascal, MIA, Vampire Weekend, The White Stripes et al – but The xx hardly thought they were next. “I can’t work out what I was expecting when we made the first thing, but it certainly wasn’t this,” Sim admits. “It came as a shock to everyone. It would’ve been really unrealistic of me – or of any of us – to expect anything on the scale of this.” The xx were formed as a high school outfit, the product of the life-long friendship between Sim and Madley-

Croft. With Smith, a DJ from his early teenage years, invited to improve the rudimentary drum machine tracks that back the spartan deployment of guitar, bass and voice, it was, from the beginning, a study in minimalism. “In the beginning it wasn’t really thought out. Me and Romy don’t have very loud voices, it didn’t make sense to make a big sound that we can’t contend with vocally. And the simplicity came from where we were as musicians. A song like VCR, I couldn’t have played any more if I wanted to; I was literally just learning to play my bass. We were recording our demos on a five-track multi-tracker, so it was just two guitars, two voices and drums. It was limitations like that in the beginning which made the sound; it was very natural. Over time it’s become a lot more aware, and it’s been a case of having restraint. I think we all enjoy the subtleties in music. And we want to preserve those in our music.” Which makes Coexist a preservationist work; in which the band admirably ignore all the temptations of multitracking and orchestration that could’ve come their way and instead keep space their defining element. Beyond preservationist, it was even reductionist: where the recordings for xx were made in a studio built in the basement of XL’s offices – ”People were just naturally coming in and out a lot,” Sim says. “There was lots of input from others” – this time they used their Mercury winnings to build a studio space of their own, appointed Smith as engineer and producer, and set to work. Just the three of them, alone in the studio. For a year. “We were working on it for a year before we played anyone anything. When we finally played it for someone else, our management, they didn’t even have to say anything; it was just nice knowing that someone else had heard it and it wasn’t just the three of us. Because

The result of The xx bumping heads with Internet Explorer was an interactive visualisation that not only gave fans an exclusive listen of the album, but an incite into who digs the band the most. No doubt a handy tool when they look at booking tours. A unique idea that proved successful. Even if it had failed, the innovative idea still got The xx and their new album plastered over news sites worldwide. it had been just the three of us for too long; I think in the end we went a bit nuts. Having three people in the one room together, fifteen hours a day, it gets intense.” The bunker mentality was, in part, to keep out the expectations of others; or, at least, attempt to. “It would be an impossible mission to block out everything that’s happened from our minds,” Sim says. “But because it was so internal – it was literally just the three of us for a year – it made is easy to be… This sounds naff, but: ‘in the moment’. The people we work with were very, very patient, and understanding, and trusted us, and just let us do it on our own terms… The most pressure we felt came from ourselves. We weren’t going to release something that we didn’t feel confident in, that we didn’t love.” And, after their first album proved so beloved by the world, Coexist seems likely to attract just as ardent a following; meaning, The xx’s unexpected rise may continue apace and life for Sim is to continue its increasingly surreal feeling. “It’s so surreal just coming places like here, coming to Australia,” he says, again, gesturing around him with disbelief. “I didn’t imagine our music would ever leave London, let alone bring us to the other side of the world, let alone take us to places we’d never thought we’d ever go and find people there that knew all the words. To go to places like the Deep South of America, to be eating alligator in Baton Rouge, it’s like, ‘How did our music actually lead us here?’” WHO: The xx WHAT: Coexist (Young Turks/Remote Control)


Blaine Harrison, the wild-haired lynchpin of Londoners Mystery Jets, talks Benny Doyle through their fantastic fourth record Radlands and explains why Austin was as much a compromise as it was an obvious choice.


lways seen as one of the more quirky and intriguing musical prospects on the British indie landscape, Mystery Jets have delivered yet another curious curveball in the way of Radlands, their soundtrack to the dusty roads of the USA. Led by the partnered vocals of co-frontman Harrison and his long-time bandmate and friend William Rees, the quartet have channelled their experiences into a warm and expansive album that all but puts you on the adjacent bar stool. And unsurprisingly, the band is buying. Enjoying a break from touring at his London home while the Olympics take place around him, Harrison coyly admits that although he didn’t expect to, he’s quickly warmed to the sports-driven hyperbole that comes with the world’s largest spectacle. “I’m not really a big sports fan or anything like that, but I was surprised by the

ceremony; it was quite good,” Harrison confesses. “I think a lot of Londoners were surprised. I feel weird saying it but I’m interested in the Olympics. I didn’t think I would be at all. It’s always seemed to me that everyone in London has been paranoid about being nationalistic. It’s strange, you go somewhere like America and no one thinks twice about having the stars and stripes hanging off their houses, but here there’s almost a certain

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shame about being nationalistic, but that has kind of all disappeared during the Olympics. It’s all quite twee, waving the Union Jack around.” It’s funny that Harrison mentions the word “twee”. It’s a term that Mystery Jets have at times bordered on. But their sentimental nature seems rooted in honesty, life experience, learning and loving. This is more apparent than ever before on Radlands. Through the fictional character Emmerson Lonestar, the record documents the plundering lifestyle of a desert troubadour, managing to mix idealistic American nature with rogue English sharps in arguably their most cohesive body of work. “It’s always important for us with albums, that from start to finish they immerse you in something and they take you… not necessarily on a journey, but they suck you into a world and spit you back out half an hour later,” Harrison states. “I think with Radlands we felt like we definitely wanted it to be one of those kinds of records. It wasn’t an album built around singles, which we have done in the past; I think it’s sort of based on America, which is something we basically got from a comic book we wrote to accompany the record, and that very much influenced the themes on the album. It very loosely follows this narrative, which is essentially this three-part modern western. You can order it online and read it, and it’s very much an accompaniment to the record.”

So, is this Mystery Jets’ take on a concept album?

location to land the band on the banks of the Colorado River.

“In a sense it is,” he remarks. “I don’t think we set out to make a concept record, but when we came back [home] we realised that it was such a separate reality to being back in London that we needed to bottle it as something. This character Lonestar came out and the story plays out around him, and a book was just the next logical thing. The first part is already out and the second two parts will be coming out in the autumn and around Christmas as a graphic novel.”

“In a way it could have been anywhere. We’ve always made our records in London and it’s so easy to get wrapped up in our own world over here. I think going away somewhere where we were away from all our friends, I think that’s what we knew we needed to do; and live in a house together, which we’ve never done before,” he explains. “But in terms of why America and why Austin – I remember that I really wanted to go to LA and make a real ‘70s kind of Neil Young sort of record, and then a couple of the guys wanted to go to New Orleans and be a part of those all-night street parties where soul bands play on the stoops – so Austin was a compromise because it was roughly halfway between the two. But just being there in the past for SXSW, it really is a special place and it’s a very freethinking and liberal city and I think it was the right place to go.

To record the album, the band removed themselves from their safe haven of Eel Pie Island on the Thames and threw themselves into the beating core of America – Austin, Texas. It was a decision, Harrison admits, that made sense after their third record Serotonin. However, as much as the vibrant city lent itself to be a somewhat obvious choice, it took differing desires in regards to a recording

“Texas is, in many ways, the heartland of America,” he continues, “and it’s insane how much they love their country over there. But Austin is kind of like this little blue dot in this big red square; Austin’s actually a very cultured town and there’s lots of interesting young people doing cool things in the technological world – IBM moved there, for example – [so] it has a real identity in that sense. But you can also see all the old bluegrass and bar bands just playing on little stages to people who still dress like cowboys.” Since the British rock’n’roll explosion of the ‘60s, America has always stood to be somewhat of a musical frontier country. Fifty years on, and that romanticism still remains. Mystery Jets arrived with wide-eyes and dreams, and they departed, thankfully, with much of the same. “It’s such a huge place and just touching on that, I dunno, you could write a whole series of records on it,” Harrison muses. “And it definitely bought something out in us just in terms of writing together. We really connected. Like, we were all reading the same books and it was just an exploration of our imagination, I think, because part of Radlands is a fantasy; it’s partly based on the world that we found out there and perhaps the world that we wanted to find out there, which was things we’d seen in films and all this imagery that comes from Hollywood. “I’ve always found that feeling like a fish out of water is conducive to songwriting,” he concludes. “I think being a stranger somewhere is always a good perspective to write from, and it’s not hard to feel like a stranger in Texas, so it was very fruitful for us. And there are still songs [left over] that didn’t make it onto Radlands and songs that have just come up since then, so I think in terms of the music being an exploration of that culture and that imagery, I think there is going to be more coming.” WHO: Mystery Jets WHAT: Radlands (Remote Control/Inertia) WHEN & WHERE: Thursday 20 September, Capitol


As mentioned, Mystery Jets took the name of their fourth album Radlands from Terrence Malick’s 1973 motion picture Badlands. The film plays out the true story of twentysomething Charles Starkweather and his teenage girlfriend, Caril Ann Fugate, going on a killing spree in the 1950s, killing Fugate’s family and others in the Nebraska and Wyoming. Intense. Mystery Jets are one of many who have taken influence from film. On two separate occasions Queen took album titles from films by the Marx Brothers, a family comedy act. Queen’s fourth studio album A Night At The Opera (1975) shares the same name as the Brothers 1935 film. The following year they released their fifth album, A Day At The Races, which has the same name as the 1937 film. Song titles referencing classic films and TV shows are even easier to stumble across. US punk rockers None More Black (whose name is a Spinal Tap reference) took the idea one step further, half the tunes on their File Under Black album are Seinfeld references - Everyday Balloons, Dinner’s For Suckers, Never Heard Of Corduroy, Risk Management, Bizarro Me, Nods To Nothing and Wishing There Were Walkways. You’d struggle to find a better show to reference. And it doesn’t stop with bands borrowing film/TV names for song or album titles. There’s an endless list of bands that have taken their name from one: Black Sabbath took their name from a ’63 horror film; Fine Young Cannibals took theirs from the 1960s film All The Fine Young Cannibal; Duran Duran was a villain from Barbarella (1968); Save Ferris is an obvious reference to John Hughes’ 1986 film Ferris Bueller’s Day Off; Mogwai - don’t feed them after midnight or get them wet or they’ll turn into something hideous from that movie Germlins (1984). All songs, albums and band names mentioned above are titled after old classics. Want proof that movies aren’t as good as they used to be? Try finding a band called The Expendables 2 or That’s My Boy.

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LIGHTENING UP Recalling the moments that have shaped new record Out Of The Game, Rufus Wainwright talks suckers, nincompoops, life, death and crushing on Mark Ronson with Tyler McLoughlan ahead of his Australian visit.


onsidering Rufus Wainwright’s ambivalence towards all things mainstream and an upbringing that had him touring with the family band alongside sister Martha as a teenager, one can never quite tell what form the precocious artist might explore next. Thus far he has penned seven studio albums of varying shades between decorative and sombre pop, recreated Judy Garland’s fabled Carnegie Hall concert in lipstick and stilettos, and premiered his first opera. This year the form of Wainwright’s choosing is an out-and-out pop collaboration with celebrated producer Mark Ronson titled Out Of The Game, an exercise in lightening up. “I’ve had over the last three years the most dramatic and devastating and also fulfilling time of my life,” says Wainwright in explanation of the return to his project proper.

“I mean between my mother’s death and the birth of my daughter and writing an opera and being engaged and so forth, I’ve really run the gamut in terms of what the human experience has to offer. “And my work kind of reflected that for a while you know, whether it was [sixth album, All Days Are Nights:] Songs For Lulu or putting Shakespeare sonnets to music or whatever, so I was doing a lot of work in that very deep end of the pool of existence, and now for this album, I needed a break – I needed to just lighten up a bit and have fun and enjoy the moment a little bit more without this kind of frame of intensity. Nonetheless, I mean it’s still, I think there’s still some fairly intense moments on my new record – I’ve never been totally able to shed the romantic Rufus – but the goal was to lighten up a bit.” The title track of Out Of The Game does precisely that as Wainwright builds up repeated cries of “Look at you” before launching into the triumphant, chorus-backed insult “Suckers!” “It’s definitely sharp, you know,” he chuckles, typically wry. “At the beginning the suckers are like other younger people that just haven’t had the experience and perhaps the failures that I have had and that we all have in life as we all get older, and so they just have this kind of naivety. It’s not about charming naivety, it’s about idiotic naivety and so they’re just rolling around in that fashion, but then by the end of the song, I’m the sucker! ‘Cause I’m the one who’s getting kind of wrapped up in that whole question in general.” In line with Wainwright’s tendency to keep esteemed company as noted with the appearance of childhood friend Sean Lennon along with members of the Dap-Kings, Wilco, Yeah Yeah Yeahs and Miike Snow on the record, Helena Bonham Carter lip-syncs along as a stuffy librarian who almost winds up baring all in the film clip accompanying Out Of The Game. “She’s an old friend of mine,” explains Wainwright. “I’ve known her for many years. She’s always game, what can I say! She’s always game and she’s also endlessly talented so you’re not only dealing with an enthusiastic nincompoop, you’re dealing with a genius!” Though Out Of The Game more than hints at Wainwright’s general distaste of viewing younger generations through the wisdom of his 39 years, it’s by no means a suggestion that he is ready to give up the music game. ”I don’t plan on ending my career until I pass away – I’m in it for the long haul, but I would say that there are these other avenues which have really opened up for me, be it in the opera, in the theatre or writing music for films. “And now with the record industry collapsing and people not really buying CDs that much, and the whole kind of mechanism shifting gears, I am gonna have to get out of some kind of game in order to just survive, you know? So I think it’s not about leaving necessarily but it is about making some sort of statement and finding where you’re needed and where you will prosper. The music business right now is very treacherous and not an easy sell, as they say.”

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Given the personal events in Wainwright’s recent life, he has become more focused on figuring out exactly where he is needed, particularly outside of music, and despite giving off the air of a life-long suffer-for-your-art type, he is surprisingly pragmatic when it comes to getting the job done. “I just go in and complete whatever the work is at hand,” he admits matter-of-factly. “I dunno, a lot of it has to do with not thinking so much and kind of just viscerally responding to this energy around you. And I’ve completed a lot of projects in my life; I’ve made seven albums, I did the Judy [Garland] tribute, I wrote an opera, I wrote a musical – all this stuff, so it seems to be a good system to not really think about it. Just do it!” With this sentiment in mind, Wainwright and Ronson created Out Of The Game in record time. “That’s been nice,” he says of working with the man-in-demand. “It was amazing, I mean he was a great producer to work with, he’s also a lovely guy. And he is quite good looking as well – he’s definitely the full package! I think what was best about the process was that it didn’t take so much time – we worked at breakneck speed for about a month and boom, the album was done. It was really nice to experience that. I dunno, maybe especially since my mother passed away and I have a young daughter who’s growing in leaps and bounds, you realise that time is so precious and the faster you can complete something the sooner you can just enjoy life – which I intend to do at some point, so Mark was helpful in that respect as well.” Playing six theatre dates including Sydney Opera House on his upcoming Australian visit, Wainwright is particularly fussy about the setting of his live performances. ”For me the venue is everything in terms of performance. Over the last two years with all these different kinds of shows I’ve done I’ve realised that it’s really the architecture of the space and the history behind it that will dictate what’s going on. I think both the performer and the crowd react to that energy, so I’m very lucky because I have the best spots in the world to look forward to, coming out there.” With a yawn, Wainwright signals his intention to head for bed as he’s speaking in the midst of a European tour. He’s tired, but grateful for his continued relevance following the release of Out Of The Game. “The tired that I have is one of joyful exhaustion because the shows have been going so well, and we did some festivals in Europe and played for hundreds of thousands of people and yeah, I’m just happy that I’m still worth someone’s attention.”

Primal Scream ‘Screamadelica’ Remastered Edition available now through Sony Music Entertainment WHO: Rufus Wainwright

WHAT: Out Of The Game (Universal) WHEN & WHERE: Wednesday 19 September, Riverside Theatre







DOCTOR DUB As the Circus Records Tour takes over Big Ape this coming Wednesday, co-founder and producer/DJ in his own right Shaun Brockhurst aka Doctor P is rocking two sets. He talks dubstep with Troy Mutton.


he term ‘dubstep’ has an epic page devoted to it on that oh-so-glorious bastion of legit information, Wikipedia, charting its history from the late ‘90s and even giving the much-derided ‘brostep’ tag its own paragraph (hint: Skrillex features heavily). As the genre began to really take hold of a generation of young clubbers around ‘08-’09, looking for whatever was next following the electro explosion in the years previous, a young UK DJ/producer named Shaun Brockhurst, aka Doctor P, released one of his early forays into the genre with Sweet Shop.

It was by no means a landmark release, but as club kids started wandering into some heavier sounds, it was almost unescapable. Actually beginning life as drum’n’bass lad, Brockhurst’s Sweet Shop – along with Tetris – was one of his first tracks in the 140bpm realm, and really set the tone for what was to follow. “We did a bit of d’n’b with [his other project] Slum Dogz,” relays Brockhurst in the midst of tour preparations. “But we haven’t done a new d’n’b track in about 18 months. I feel that d’n’b can be a bit restrictive, and it’s a nightmare to engineer!” Brockhurst is headed to Australia, and he’s bringing some cohorts from the label he founded with fellow producers DJ Swan-E, Flux Pavillion and Earl Falconer, Circus Records. And while the producer was “…quite lazy at school”, and has “…since become more of a workaholic”, he has very much grabbed the bull by the horns, like many young DJs and producers in 2012. “I dealt with a few underground labels when I started making music, and I found that they can be pretty difficult to deal with,” he tells. “Swan-E suggested that we start our own dubstep label and I thought, why not? It’s been nice to have creative control over our own stuff, and control our own destiny.” It’s no secret the digital age has completely changed the way we find new music and obtain new music, but from the other side of the fence it’s almost meant the release of music has shifted dramatically, to the point where – in dance music especially – many artists would rather just take

control of how their music is distributed. And while it may take a little longer to separate the wheat from the chaff, Brockhurst is all for it. “I think it’s better that people release their own music, the Internet is a much better platform for music than big record companies. I think the days of large record companies are numbered. It’s not fair that a few companies should completely control an industry like music.” Along with the release-method revolution comes, what Brockhurst believes, a musical revolution in its own right – dubstep and its associated genres. “The music industry has been due for a revolution for a while; I think dubstep is what everyone was looking for. Who knows where it will go, or what it will turn into? All I know is that it’s way more interesting than most chart music.” An interesting point to make, given the genre is most definitely seeping into the charts with any number of pop acts bringing out their take; Britney Spears, Justin Bieber, Snoop Dogg… “Nobody can predict where a genre will go. I certainly wouldn’t have predicted it becoming what it has become, so I don’t even want to try and guess,” Brockhurst argues. And while dubstep has already enamoured the general club-smashing public, Brockhurst himself is in love with it just as much. It seems the room to breathe within tracks and really flex one’s producer muscles is something he really enjoys. “I feel like it’s impossible to make a cheesy or bland dubstep track. Something about dubstep just seems to be edgy and interesting. I never felt like other genres suited my style until I found dubstep. Something about it just clicked.” And as for the sound’s detractors? “I think people hear dubstep and assume the focus is on the random noises and aggressive drums, but they forget that music is actually supposed to be pleasant to listen to.” And while the merits of that statement could be argued to no end, the impetus lies in understanding those elements of some of the more aggressive elements of dubstep, and piecing them together to actually formulate a quality listening experience.

It’s these elements that Brockhurst is of course looking for when it comes to Circus Records. “We don’t have any really specific things to look for in an artist, just creativity and good music,” he states rather simply, before adding: “Also, they must be a nice person!” And which artists are doing it for Brockhurst at the moment, in the creative and good music realms? “Brown & Gammon is a favourite of mine. His music is so strange, but it works on lots of different levels. I’m also a fan of people like Koan Sound, and Feed Me; they are masters of what they do.” There will be a whole bunch of Circus masters when the tour hits Big Ape this Wednesday for the Circus Tour, and Doctor P is joined by good friends Cookie Monsta, Funt Case and the abovementinoed Slum Dogz – his “slum’n’bass/dogstep” side project with Circus co-founder Swan-E and Krafty MC. And the producer is looking forward to getting

back in the booth with the twosome. “It’s been a while since I last performed as/with Slum Dogz, we usually just try and get the crowd hyped up! My own sets have a bit more of a dancey feel.” No doubt some tracks from his new EP Animal, Vegetable, Mineral Pt.1 will be getting a spin, including the lead single, Galaxies & Stars, which features reworked hooks from Blondie’s classic Rapture and Ini Kamoze’s Here Comes The Hotstepper. Is part 2 on the way? “I’m just finishing up the tracks at the moment.” WHO: Doctor P WHAT: Animal, Vegetable, Mineral Pt.1 (Circus/Warner) WHEN & WHERE: Wednesday 19 September, Big Ape, Villa

OUT WITH THE OLD Even though Gallows sound like a completely different band these days, guitarist Laurent ‘Lags’ Barnard reiterates to Daniel Cribb they still like “fuckin’ with people”.


t almost seems as if the stars aligned to bring the world a third Gallows album. When the band announced the departure of vocalist Frank Carter in 2011, it was shortly followed by a statement detailing that Alexisonfire’s Wade MacNeil (mainly known as a guitarist/backing vocalist) would step up to take his place. The new line-up then released the Death Is Birth EP less than six months later. With so much happening so quickly, fans were left in a state of shock. The band didn’t struggle for a single second to find a suitable replacement. Things just worked out so perfectly. The story begins in May 2011 in an East London pub called The Old Blue Last where Black Lungs, MacNeil’s side project, are playing a secret show, supported by Gallows. “That was the first time I actually saw Wade front a band,” Gallows’ Laurent ‘Lags’ Barnard recalls. “I was thinking, ‘He’s a fuckin’ awesome frontman’. Fast forward about a month, Frank leaves the band, at the same time we got the low-down that Alexis were gonna break up, and this was before everyone else knew about it. So Steph [Carter, guitar] from Gallows called up Wade and was like, ‘Hey, man. My brother’s left Gallows, do you wanna sing for the band?’ and he was like, ‘Sure. When do you need me?’” It was a seamless transition that enabled the band to continue their rampage unhindered. But with an Alexisonfire farewell tour planned for December and rumours of the band doing one final release, does that mean that Gallows will have to slow down temporarily to accommodate? “We actually planned to have a break for December and January anyway, so it’s fine, man. I’ve never been an Alexis fan in the past, but as I toured with those dudes and started listening to their music, just through being friends with them, I realised they are a great fuckin’ band. It’s really good they’re doing this tour because I know so many kids would be stoked to see them one last time.” So MacNeil was able to impress the Gallows crew a fair bit at The Old Blue Last, but how does he shape up compared to Frank Carter? If you were lucky enough to catch Gallows at Soundwave 2010, when Carter was fronting the band (or more appropriately 16 • THE DRUM MEDIA

put – in the crowd smacking the microphone into his head), you likely have their set deeply embedded into memory, but as Barnard enthuses, it’s probably for the wrong reasons. “It felt like Gallows was becoming a spectacle and people were just going [to shows] to see what might happen, do you know what I mean? It got to a point where that just became boring for everyone in the band – including Frank – and I think now we’ve got the right balance between putting on a sick show where spontaneous events do happen, but, at the same time, we hold down the music. It’s become a lot tighter and a lot more professional.”

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When Carter left the band, he cited that they had “hit a crossroads” and were struggling to find a direction everyone was happy with. Fans were sceptical that MacNeil fronting the band would remedy this problem, and wondered if Gallows’ best days were behind them (one listen to their album reveals they’re not, not by a long shot). “The EP was very much, ‘Let’s make some fuckin’ intense, heavy noise just to prove that we’re not going away,’ and also, you know, prove to anyone that thinks that we might go soft – just because we have a member of Alexisonfire in our band – that’s not going to happen.” With a four-track EP that proved that very thing, they entered the studio again, this time more relaxed to put together their first album with MacNeil, simply titled Gallows. “Wade set into being Gallows and this record’s basically what Gallows is all about now. The last two records we did, yeah, we like them, but looking back there’s a few things I’d change. Listening to this album since we finished it, I don’t think there’s anything I’d change,” he emphasises. “By making it self-titled, it’s just telling people, ‘This is Gallows. This is what we’ve been working up to’ and I really think it is that, you know? It’s got millions of guitar riffs in it. It’s like everything I’d want in a heavy album.

“In many ways the songs bridge what we were trying to do before [Wade] was in the band. I think, again, similar to Grey Britain, we were trying to come up with something a bit grand and at the same time we weren’t signed to a major label. It wasn’t a case of we could spend loads of money in big studios to do something similar to Grey Britain, so there was a lot of pulling and tugging. I know in my head, I just wanted a solid record and I think we’ve definitely done this with Gallows.” A confusing piece of imagery plays the role of cover art for Gallows. In a black and white photo, two people (presumably female, but it’s hard to tell) are lying on a bed intertwined, both wearing balaclavas and revealing clothing. While it’s just a simple photo with no writing on it, it says more about the band than almost anything they’ve done before. “What I love about our album cover is, firstly, loads of people will have no idea what the fuck we were thinking when we chose it – I think that’s a really good part about it – but at

the same time, when I first saw the image it wasn’t glamorous. I’m sick to death of bands that try and set up these shoots for over-the-top album covers. “I wanted to keep it really simple, like back in the day when punk bands first started it wasn’t a case of spending ages trying to pick the right shot or the right kind of image; you just threw it together quickly. That was my gut reaction when I saw the photo. I was like, ‘This would look fuckin’ sick as an album cover.’ I know loads of people won’t get it, but for me, that’s important too, you know? I just like fuckin’ with people. I think WHO: Gallows WHAT: Gallows (Halfcut/Shock) WHEN & WHERE: Soundwave Festival: Monday 4 March, Claremont Showgrounds THE DRUM MEDIA • 44

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APOCALYPSO NOW Self-described ‘Jamaican E.T.’ and tireless reggae legend, Lee “Scratch” Perry’s new album has him teaming up with chillout veterans The Orb. Christopher H James tries to unlock the secrets of its conception, with confounding results.


kay sports fans, time for something new. It’s called Jamaican rodeo, and it involves one of the pre-eminent faces of Jamaican music, Lee “Scratch” Perry. The concept is you have to see how long you can maintain a conversation with Mr. Perry as he bounces off the walls. Often hailed simply as Scratch, Perry is a pioneer who has not only made a career out of defying convention, but also conventional logic, whilst ruffling innumerable feathers over a fifty year career. The first danger is that I’m going to run out of questions. A sound interview approach is to come up with a few different topics and have in mind some simple follow-ups. This line of inquiry, however, becomes almost impossible when the interviewer has only the vaguest notion of what the interviewee is telling me. It feels like it’s all rapidly about to implode, as I struggle to process in real time his thick Jamaican drawl and unusual choice of words. Starting on what should be safe ground, specifically his new album with Ultraworld inhabitants The Orb, I ask Scratch if he’s a fan of their music. He responds in a soft, croaky voice “Yarp. Y’one thing every people ask me about in review. Everybody interested in it. Me love it. Me love it [coughs]. The man crazy. Man craze it, and people love it. Many people love it. Many people love it and dub it, and rub it and scrub it. I love it too.” Unlike real rodeo, this bull starts off reasonable and calm, lulling the contestant into a confidence that he might actually stand a chance. As I fish for details on the collaboration, his answers tail off inaudibly. My question – ‘How was the album made?’, seems to fry his mind. He begins by claiming they “ran down the place,” before rambling into incoherence. Fortunately he starts to use repetition, which makes a few words understandable; he notes that there was some “…rocking and rocking. Beef, bam, boof, beef, baff, boof...” “You listening to me?” he interrupts. He makes a high, chirpy “hello” like a cuckoo clock and finishes with some rhythmical heavy breathing. For decades, public debate has disputed whether Scratch is genuinely crazy. It’s a discussion fuelled by his statements, bizarre clothes, paranoid outbursts and a history of erratic behaviour, which has included wrapping himself in gaffer tape, insisting that Island Records boss Chris Blackwell is a vampire and claiming responsibility

for setting fire to his recording studios. The debate is a typical mainstream response to such antics informed by the usual apocryphal rock mythology that conflates “eccentric” and “insane”. It’s a romantic view that wrongly celebrates insanity as a creative force. There is no tangible evidence that Lee Scratch Perry is anything other than eccentric to the extreme, particularly as he managed to maintain a career which includes a half century of recording experience, a literally uncountable number of records – even Scratch doesn’t know the answer to that one – including collaborations with the Beastie Boys, The Clash and Bob Marley amongst others. When he cut his first record, Jamaica wasn’t even a country; it was an undistinguished colony of the British. Speaking of which, I ask if he did anything to celebrate the 50th anniversary of Jamaica’s independence. “God bless Jamaica,” he announces after a few thoughtful seconds. “Land of riches. Land of the fathers. Land of Jamaica. Land of reggae. Land of raggamuffin. Land of ragga touchin’. But [now with a serious tone of voice] I say, ‘Behold, this is Jamaica. Jamaica dub it’.” I ask for a little clarification as to whether there was anything specific he did. “Jamaica?” he sounds surprised. “I’ve done it… Anything that goes on with your phone? …My phone rocker turn up.”

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Is there anything that he misses from Jamaica? “Most other thing that I miss? I miss our gold sands that we have in Jamaica. The sands that we have in Jamaica, I miss them…” he starts to tail off again, muttering something about Bob Marley. Suddenly he seems to find his groove again and starts singing with gusto, “God bless Jamaica! Land of the old. God Bless Jamaica. The land of dub. Dub and dub and dub. Rub and rub and scrub. And God bless Jamaica, the land that we love, and love and love and love… thank you.” An interview with his now departed friend, John Martyn, suggested that Scratch’s apparent looniness is a defence mechanism to keep away people that he doesn’t trust,


Davis made an impact as a guest MC on GangStarr’s 1992 Daily Operations with the joint I’m The Man. Two years on, he himself dropped the cult DJ Premierproduced The Sun Rises In The East, home to Come Clean. Though the PolyGram signing led rap’s East Coast resurgence, he was soon beefing with the Fugees. Davis castigated ‘sell-out’ hip hoppers like Puff Daddy on 1996’s The Wrath Of The Math (Puff’s cohort The Notorious BIG retaliated). By 1999, he was happily indie. Davis, his last foray 2007’s Still Risin’, has sustained an incredible run as an underground MC. Many a cred rapper has succumbed to airing flossy radio hits, or what RZA called ‘R&Bullshit’, but Davis resisted. “All my records were actually commercial successes,” he insists, MTV programming his videos. “A lot of people think that ‘underground’ means that you don’t sell records, but I just never went the route of the poppy stuff. I like my music a certain way – I can’t go fluffy, that’s all.” Not that there hasn’t been pressure. “The pressure and the temptation is always there, but it depends on why you make music. I make music because I love it – if it sells records, then that’s great, I don’t have to change. I’m not looking for any other validation from other places. As long as I make money, and I’m doing what I love, I’m cool.” Davis has embraced hip hop’s evolution into a global force. He collaborated with a Polish group, Slums Attack, on Oddalbym – a platinum (and YouTube) hit. The widely travelled MC is now cutting an LP with Slums Attack and other Polish hip hoppers. (The MC has also laid down vocals for Perth producer Kid Tsu.) Earlier, Davis appeared on Suntoucher off Groove Armada’s Goodbye 18 • THE DRUM MEDIA

“After this I have a movie coming out,” he pauses for dramatic effect. “Vision Of Paradise: Land Of Fire And River Of Ice.” Sounds enticing. I probe for some more specifics. “Vision of the past; vision of the future, right?” he states the last word firmly as if trying to draw a line in a sand. “After that I’m going to make me another album, an LP/CD/EP, Banzai Rule, Banzai School.” Then something goes haywire. His voice lowers into a threatening, almost mechanical sounding smear. “Do I make you people turned on and be happy, happy, happy, happy,” he starts rapping. “… laughing and slapping… reading and kicking and kicking… pissing and pissing and shitting and shitting [makes a demonic bird laugh sound]… and that’s rudimental [the same laugh again but slightly more robotic] “…you confuse your illusion.” The laughter continues, his voice as conceivably low as possible, distorting his words beyond any comprehension. All I can catch is something about “stress” and “the universe”. He closes by announcing either, “Hello old man in Eastern temple” or “Eastern Timor”.

There’s only a short time left, and I have to improvise questions to make it to the finish line. I ask him what he likes about Switzerland, his home since 1989. He responds with great enthusiasm, “The mountains, the trees, the plants, the flowers, the ice, the snow, the rock, rocks forever… warm weather, the best weather. [starts singing again] Come shine and the weather is change. I wanna move my dancing feet. To the rescue! Here I am! We love that. I love it. Come in! Jam, jam, jam, jam, jam. Jam the jam and jam rock [mumbles to a close], Okay, how do you like that?” I feel a twinge of regret that I wasn’t brave enough to start this encounter with some Swiss questions. The mediator’s voice interrupts to let me know that I have 60 seconds left, enough time for some heartfelt thanks and a goodbye. I had clung on until the bell sounded and could now collapse onto the padded rodeo floor. I was disorientated but still keen for some more of Mr. Perry’s Alpine wonderland. Alas, the circus had already left town. WHO: The Orb featuring Lee “Scratch” Perry WHAT: The Observer In The Star House (Cooking Vinyl/Shock)


Brooklyn indie hip hopper Jeru The Damaja tells Cyclone he’s ready to re-attack society with some good hip hop – “People have become complacent.” ip hop’s veterans are finding a new appreciative audience in Australia, KRS-One recently greeted like royalty. Brooklyn’s Jeru The Damaja (AKA Kendrick Jeru Davis), specialising in “hardcore conscious” hip hop, first toured with The Beatnuts in 2008, recalling the experience as “excellent”. “I love Australia,” he says. “I had a great time. I thought it was great. I thought the people were great. I’m really looking forward to coming back.”

which would appear to be almost everyone. It’s a plausible idea, as there are unhinged moments during the interview that border on disturbing, particularly when the man-made sound effects kick in. I want to know whether he has any other projects or plans on foot.

More at home in front of the decks with his keyboard than behind them, Roger Shah tells Rueben Hale about music, touring and his Balearic trance.

Country (Hello Nightclub). “Those guys are some of the best guys who I’ve met in my career as far as music people,” he says effusively. “I love those guys.” Contemporary commercial hip hop sounds indistinguishable from EDM, yet Davis has no problem with this, reasoning that electro has long been a part of the culture. What dismays him is “a lack” of skill. “A lot of today’s hip hop is not my style because a lot of rappers suck!” he laughs. “It’s not even because it’s commercial or not – because you have to remember that groups like Run-DMC, Whodini, Lords Of The Underground [and] Big Daddy Kane were all platinum. They would always have commercial hits and all of that, but they just did what they did and they were good MCs.” The lyricist attributes the absence of political hip hop amid the GFC to (US) MCs’ dearth of empathy. “People have become complacent,” he rues. “Everybody is happy and they don’t care about what’s going on around them, so there’s no need to speak about things that are going on.” Aside from the East European project, Davis is prepping a solo comeback, Premier reportedly on board. “I’m just getting ready to re-attack society with good hip hop.” He may have had his differences with GangStarr, but the late Guru remains a constant inspiration – his kindred spirit in rap. “The way I remember him is I just rock the mic – and every time I rock the mic Guru is rocking the mic with me. It’s no separation.” So what can we expect from Davis in Australia? “Dope hip hop, dope mic-rocking, good times! I’m really a people person, so I like to hang out with the people. I don’t like to stay backstage, I like to come out into the club and party with everybody and have fun.” Party, no bullshit. WHO: Jeru The Damaja WHEN & WHERE: Thursday 20 September, Amplifier


oger Shah says he is a diverse creature. He doesn’t subscribe to a genre necessarily and he tends to do his own thing. It’s always been that way and it’s hardly surprising that the ultra-talented innovator with a keyboard has remained a crowd favourite and near the top of the DJ polls for many years. “To be honest I have no main influence,” Shah insists on what inspires him. “I listen to so many different genres; from trance to house; from rock to classical scores. In the past years I created this type of Balearic trance vibe which has been kind of unique, but nowadays I developed to a more pumping and clubby sound with a proggy-house touches, but still very melodic.” Over the years Shah’s unique style of DJing has made him iconic. Out front with a keyboard in hand seems to be a very comfortable place for the DJ. This may seem to be an unconventional mould for a trance man but Shah’s background gives some indication on his style today. “Before I turned into DJing I played as a keyboarder in a live band at a young age,” says Shah. “After my producer/DJ career became bigger I always saw myself more as a performer than DJ, since I played a high percentage just of my own music. After playing piano at the main Armin Only Imagination Show, I wanted to have some live elements in my own shows, so I started to play my little wireless keyboards. Since I play a wide range of sound nowadays I’m also back a bit into more DJing and playing other people’s songs since I don’t want to play always my old big hits like a band.” Shah says he is exploring his roots these days and also taking in some of the new movements in EDM. He says he is particularly fond of the new house. “EDMwise I like the new progressive house sound which I consider as a development of my Balearic sound, because it has housey beats with melodic/trancey elements, just the beats are more pumping,” says Shah. “I like the fact that there is no barrier between house and trance anymore, my music has always been somewhere in-between, so for me it’s a perfect situation that house got more melodic and trance bpm

is slowing down. As an artist you try out new things so of course you play along with new sounds. I think the most important thing as an artist is that you have to be happy for yourself in what you are doing and not worry too much what you will read in forums when people hate for trying not to copy yourself again and again.” It has been a very a busy time for the German DJ with the 2011 release of Shah’s second LP Openminded to critical acclaim and followed by a seemingly never-ending tour schedule since then which will see him touring the country this September. “I have an interesting schedule till end of the year, also going to South Africa for the first time in my career,” says Shah. “Music wise I also have a lot of things to come; some collabs, another single from my Openminded album and also a new Sunlounger single called Finca, which is a very nice piano instrumental.” Shah also reveals that he is now considering another instalment of the his very popular Magic Island Series. “Just today after receiving a lot of requests I have started to think about doing a Magic Island Vol 4,” says Shah. “I’m even not sure if Armada wants to release a new mix album or not, so you are the first person that I have talked to about this at the moment of doing this interview.” WHO: Roger Shah WHAT: Openminded (Armada Music) WHEN & WHERE: Friday 14 September, Shape

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THE GIRL WITH THE DREADS BASSY BEATS Coming Home to launch her new live album, WA songstress Toby explains to Tess Ingram what it is that brings the fire in her belly.

DJ Plus One of the Scratch Perverts, aka Niall Dailly has another little project you may have heard of called Jack Beats, who are headed to Parklife and along the way pushing any boundaries they can. By Troy Mutton.


t’s hard to tie this musical gypsy down but earlier this year the raw and energetic Toby Beard returned from her hectic international tour schedule to record her fresh live album, aptly named Coming Home. Over two shows in WA, Beard and her band filled the room with infectious multi-genre tunes then immortalised them on disc. And now she’s back to launch the album in ten shows across the state. “I wanted Coming Home to represent my band, my sound, and our more intimate songs,” explains Beard from far away in Canada. “It still gets rocky in parts, but it really shows off the songs and my local Perth bandmates. I had so many requests for a live, acoustic sounding, stripped-back CD, so here it is – no drums!

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“Canada is incredible, this is my 11th trip here in six years,” impresses Beard on her new found ‘second home’ and her recent stint there. “But coming home to Perth for me is always so exciting. I do miss it and I do miss my home fans and home venues. I think the Perth fans will like Coming Home; it was recorded over two nights at The Ellington Jazz Club and The Fly Trap in Freo, and you can really feel this on the actual CD.” If you have ever caught Toby live or picked up one of her CDs, you can’t help but notice the array of genres she tackles, including influences from roots to blues, reggae, soul and rock. “When I get into my blues stuff, I feel like that’s my favourite, but then I love the gypsy-Euro sound as well. It all depends on what mood I am in and what I feel the audience wants. I get bored easily.” The last 12 months have been busy for Beard, performing 145 shows across three continents, but she is never less than vibrant on stage. Her secret source of energy? “Coffee, coffee and more coffee… Not really! It’s a natural type of high; I can be so very exhausted and feeling sick, but the minute I

step on stage I feel a responsibility to give it my all. I feel every audience member deserves this,” says Beard. “I love being on stage, it gives me a peace and a happiness and a sense of fire in my belly.” However, such a demanding touring schedule makes for an unusual lifestyle. “It’s definitely not normal when I compare it to all my mates,” she says. “I am away more than I am home, which gets really hard at times – especially because I am so family orientated.” One of the most special people in Beard’s life is her sister Pippa, who was diagnosed with a mitochondrial disorder called MELAS around 15 years ago. “The doctors said she wouldn’t last long and here she is! She’s a living miracle, but has had to fight so hard for her life at times. She is the most incredibly positive, strong, wonderful woman – a total hero for me.” Ever the optimist, Beard believes her career has changed her… in a good way. “I have learned to not stress over the small things and I have learned to stop and appreciate the moment – this took time. I literally have to force myself to stop and look around but then I realise how lucky I am. I get to travel to amazing places, tour with incredible people and I get see the world… I am lucky. But I also work my ass off for this to happen and you are not always rewarded or noticed for this, but I just keep on going.” WHO: Toby


n a bass music/electro scene that becomes more and more crowded every day, Jack Beats are doing well to stand out with a sound totally unique to them, instantly accessible and flippin’ easy to rave out to. Some kinda twisted hybrid between house, hip hop, dubstep, electro and drum’n’bass, the quality of their output and DJ sets makes even more sense when you look at the duo’s pedigree: Niall Dailly is part of turntablism legends Scratch Perverts, and likewise Ben Giffen was part of hip hop DJ crew The Mixologists. As such, their unique sound came pretty naturally, Dailly relays from his studio in the UK. “At first we were making music that we were feeling and didn’t really know why we’re doing it other than just the interest in it. And then I think when we hit the kind of dubstep things and the house music, and other people hadn’t really touched that at that point and people responded well to it. After we had done two or three of those tracks people started associating that sound with us… And so we were kind of stoked and we have held onto that,” he reflects. Alas, with great ability, comes great responsibility. “Originality is important and people associate that sound with us and it’s a gift and a curse in some respects because being progressive is also important and it makes that hard because you have to keep finding new ways to reinvent it. And sometimes that’s kind of difficult man because you might want to make a techno tune and people will get upset and say ‘That’s not what you do, you make these weird tunes’. But at the same time, when we get it right, it’s fun. When you do do something that doesn’t sound like anything else it feels quite good.” Coming from that turntablist, jump-up background has also afforded them immense energy when it comes to rocking out on stage. Sitting in the booth flicking through CD wallets or staring at laptops you will not find during a Jack Beats set. “Earlier this year we started to do this dance music style live production thing with lots of visuals and heaps of people and started DJing where

WHAT: Coming Home (Independent) WHEN & WHERE: Saturday 15 September, Indi Bar; Monday 17, Ellington Jazz Club; Refer to tour guide for regional dates

we were triggering the music off the visuals and it was really fun actually.” The only thing it lacked at the time was the ability of the duo to actually control the visuals themselves, a situation that’s since been rectified. “… We do the kind of shows now with the video based productions, we trigger all of our visuals from DJing and it’s much more exciting because we can bring our energy from what we always used to do,” he enthuses. “The mixing and mucking around with tracks as we play and the energy of doing some stuff on the fly. I’ve been doing the same stuff for too long where you get into that kind of regimented thing where you think ‘we have to play this song next’ but what we do now is the track list is different every night and we still bring that new production to the DJ set but we can still play the way we essentially always have. And I think that’s how we are going to perform forever. “You know the best thing is it’s really cool to play this new technology and figure out what works for you and what doesn’t. It’s cool man, there’s so many ways and options of how to do stuff. And I guess we try to be progressive and not look as if we’re worried about it but it’s just what kind of floats your boat.” But really, the audience is steering this ship, and drives the duo each time they play. “One of the best things from dance music is that energy you can get from going with the audience as well. If you get it wrong you get it wrong, but if you get it right then that’s kind of what DJing is all about.” WHO: Jack Beats WHEN & WHERE: Monday 1 October, Parklife, Wellington Square


The past eighteen months have seen Nashville’s Hot Chelle Rae thrust into pop stardom. Ahead of their debut Australian tour as headliners, Matt O’Neill speaks to singer-guitarist Ryan Follese about making the transition.


ands like Hot Chelle Rae are rare in Australia. For a country whose biggest musical exports have always been either full-blooded rock acts (AC/DC) or custom-designed pop starlets (Kylie), a respectable rock band specifically targeting pop star ubiquity is practically unheard of - tall poppy syndrome alone would tend to eradicate any contenders audacious enough for such a coup. Hot Chelle Rae, though, walk that very line. “That’s really weird. I think you guys have one of the better pop charts in the world, personally,” singer and guitarist Ryan Follese says. “I mean, you guys are amazing at pop music. I wish our chart was like yours, to be honest. America would hate me for saying that but it’s true. You guys are always a little bit ahead of the curve. I’ve always paid attention to what’s going on in Australia.”

Releasing their most recent album, last year’s Whatever, through Jive Records (Britney Spears, P!nk), Hot Chelle

Rae have supported everyone from Taylor Swift to Lil Jon. Their single, Tonight Tonight, debuted at #7 on the Billboard charts last year and was eventually certified double platinum. Yet, these pop stars are also serious musicians. In actual fact, each one of them is the son of an accomplished songwriter or session musician. “It’s interesting. When I first started writing songs with Nash [Overstreet, lead guitarist - son of singer-songwriter Paul Overstreet], we wrote really pop music together even though we weren’t even in a band yet. We didn’t even know why we were doing it,” Follese [son of songwriter Keith Follese] explains. “It’s just what came out when we started playing - really poppy music. “As time went by, we started getting into music theory and experimenting. Lots of really weird chords. I started playing piano, which was a definite mistake,” he laughs. “Eventually, we were playing this music and we just

went ‘Man, this is complicated,’ and decided to just go back to what we were doing. We basically admitted that pop music was what we actually loved and decided to focus on that rather than impressing people.” It’s often tempting to think of acts like Hot Chelle Rae as mechanical creatures. Particularly given their familial links to the industry. It’s important to note that Hot Chelle Rae’s eventual success (now extending to their own headline tour of Australia) has never been foreordained or industry orchestrated. In fact, Keith Follese originally advised his sons Ryan and Jamie [Hot Chelle Rae’s drummer] against pursuing a career in music. “That is true, actually - not many people know that. He didn’t try and dissuade us so much as he used to just say that this business is full of evil people and that we wouldn’t understand until we were in it. And, man, he was right about that,” Follese laughs. “He was really just shying us away from the business side of the music. He told us that business takes all the fun out of music and sometimes that’s the truth, sadly.

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“My dad wasn’t your typical artiste, so to speak. He treated his job like a job. He got up every day and wrote songs. That’s how he raised us and that’s kind of how we work our band. I’m very much living in the now at the moment. Our band is doing well, we’re writing our third album and we’re touring Australia. I don’t really mind what people think one way or the other. We’re just going to keep at it anyway.” WHO: Hot Chelle Rae WHEN & WHERE: Thursday 1 November, The Astor Theatre


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She Will Never Know Independent

GILDED Cluttered Room Hidden Shoal Recordings Hidden Shoal Recordings is set to release the first album from Gilded, the experimental duo comprised of local artists Matt Rösner and Adam Trainer, and this first taste is a promising start. Cluttered Room is an ambient piece that melds mild percussion, the occasional guitar chord and odd bass line. As you’d expect, it’s all intelligently constructed and each component adds significantly to the song’s gentle throb. As a standalone track it’s interesting enough but it will no doubt improve immeasurably when heard in position within the full length record.




Easy Star Records

The first 45 seconds of Gallows’ new and self-titled album sets the scene with a sample that features a monotone, computer-like female voice asking a series of questions to the sound of a steady, building drum beat. Following that, Gallows wastes no time in answering the question on every fan’s mind – are Gallows better or worse off with a new frontman? As soon as you’re smacked in the face with Wade MacNeil’s voice, it’s clear that the band has left little room for anyone to opt for the latter option.

Slide legend Bonnie Raitt returns after a sevenyear hiatus with her 19th album. On hand is her signature slide guitar and sultry vocal delivery, yet this time she also seeks to move beyond the confines of her established persona.

This fourth tribute album from Easy Star All-Stars honours one of pop’s most renowned and worshipped LIVE Jackson, in the form of a unique acts, Michael reggae take on Thriller. An album that originally won eight Grammy Awards and is still selling hundreds of thousands of copies a year since its release in 1984 is no mean feat to reproduce.




There may be a new voice up the front, but the music on this release still screams Gallows. Catchy guitar riffs laid over pacey drums see a slight drift from the brutal sounds featured on Grey Britain and more into the realm of punk rock-infused hardcore. Although this is the first full-length with MacNeil – an ex-Alexisonfire member – the band did release a fourtrack EP with him at the end of last year. Gallows have taken the band in a completely different direction than the one the Death Is Birth EP suggested they would. Last June, the first single lifted off the release, manages to capture and sum up the new sound of Gallows perfectly. While it’s arguably not the best track on there – Outsider Art and Everybody Loves You (When You’re Dead) gives it a run for its money – it’s structured in such a way as to allow each member’s defining characteristics to shine through. When one door closes, another opens; Gallows have found new life with MacNeil fronting the band, and he, in turn, has been given a new creative outlet now that Alexisonfire are, or are soon to be, no more. Daniel Cribb


Slipstream begins with the funk-fuelled Used To Rule The World, a song that bops and grooves in Chicago style as it espouses baby boomer camaraderie. It’s a personal statement of confusion but also one of playful defiance where the forgotten characters are “mystified, standing with the rest of us, who used to rule the world.”

Despite the magnitude of this project, the All-Stars succeed in reformatting the pop grooves already in place and enable their renowned reggae beats to D Vunderpin the whole album. There is no doubt that reggae fans will be pleased with this interpretation of one of pop’s most famous recordings but pop fans may find themselves in a sense of confusion on the dancefloor as their moonwalks are forced into soft sways and slow head bounces.

However, while being an album to which younger listeners may find it difficult to relate, the musicality and song choice is hard to ignore. Raitt is as known for blues as she is for country and everything else in between and this release delivers all of this yet also manages to value-add a few more twists. A dualpronged production approach and two bands competing for floor space meant this album could have been a complete mess. Yet somehow it’s coherent and welllevelled with Raitt delivering moments of tenderness and angst on Bob Dylan’s Million Miles and Standing In The Doorway. However the true highlight of the album is the Paul Brady/Michael O’Keefe track, Hollywood Marriage, that Raitt injects with understated sarcasm. Slipstream could have been another income earner for a career that has spanned five decades yet instead feels fresh and contemporary. This will be one to buy for the parents yet more youthful ears may benefit from hearing a true legend that is free from the casual disassociation that occurs to many wornout rock stars in the twilight of their careers. Chris Archibald


Melbourne quartet Polo Club has fashioned a stylistically diverse EP that straddles the electronic and indie-rock genres and is fairly successful at marrying the two. See You Again threatens to break out into an energising dance track but never lifts off, and vocally is a pretty weak effort. The title track fares much better with its slow groove and engaging chorus, but follower The View is a mess. Retro beats and comical vocal stutters dominate the verses, while the choruses, which are significantly better, are restrained and more measured. There are certainly good moments here, but unfortunately they’re offset by some very poor ones.




Released as a teaser of sorts before an album next year, the quality of this five-track EP by Scottish quintet Frightened Rabbit suggests there’ll be something exceptional in store in 2013. Their handle on song dynamics illuminates State Hospital, which soars with emotion and swagger as singer Scott Hutchinson decrees that “All is not lost”. Off mirrors some of the simple structures that characterised the best cuts from The National’s High Violet, but there’s far more light and shade to Hutchinson’s arresting voice. Compatriot Aidan Moffat lends his idiosyncratic tones to closer Wedding Gloves, which successfully rounds off this excellent release.



The album starts off smoothly with a bang of horns for a transformed Wanna Be Startin’ Somethin’. What continues to emerge from the rest of this album is a deep respect for the original production as the main structures and lyrics are rarely changed and when they are it is done in an elegant and non-indulgent fashion. Thriller itself starts in a manner reminiscent of Massive Attack’s Bluelines and is one of the big surprises of the album as it contains any possible explosion and holds on to its laid-back theme. The lyrics seem more pronounced and as a result emerge a little disjointed against the new musical structure. This album would be best played live, on a sunny Sunday afternoon, at a summer music festival, where respect for reggae is usually at its best. Lynn Mc Donnell

VIOLENT SOHO Tinderbox I OH YOU This latest effort from Violent Soho harks back to the indie-rock that characterised a lot of the output from the fertile scene that erupted in the ‘90s. In fact, some of the fuzzy guitar lines that feature on Tinderbox, the first track from a forthcoming double a-side, sound like they’ve come straight from the J Mascis school of rock. With a singer whose voice is full of conviction and strength and song dynamics that are pretty much spot on, this is a very solid effort.

FUTURE ISLANDS Tomorrow Upset The Rhythm The rich vein of form that Future Islands has hit of late continues with this single release, which contains a beautiful soulful groove and the band’s characteristically sparse feel. Astute vocal contributions from Wye Oak’s Jenn Wasner, as well as Lexie Mountain and Elena Johnston, add to the richness of Samuel T. Herring’s throaty expulsions, and it all amounts to a track of some distinction. For the uninitiated, there’s no better place to start than here, no better time than now.

SEAMS Lyrebird Independent Local outfit SEAMS, who appear to throw themselves with verve at almost any genre they can, have continued their string of releases with two tracks that differ substantially in style. The first, Lyrebird, is a dynamic, powerful piece that thumps and pulses on the back of a strong bass line, and the build and release of each chorus shows some clear musical smarts. The warped folk bent of Quickly is fairly intriguing and the piece is lifted by some well-placed vocal effects, but, ultimately, it’s too whimsical and clashes uncomfortably with the song that precedes it. 22 • THE DRUM MEDIA




3GC Records

Spunk/Cooperative Music


Welcome friend. Don’t be ashamed of your Hanson love. You’re safe here. One can only assume you’re reading this review because, like a true Hanson fan, you still unashamedly hold a candle for one of those long-locked blonde brothers (but not Isaac, he was yuck). Hanson have been busy since 1997’s Middle Of Nowhere. They’ve acquired three wives and eight kids between them, busted out seven more records and even brewed their own India Pale Ale called – wait for it – MMMHop. They also created this here album, Shout It Out, two years ago and, with Australian screaming-girl tour dates imminent, it’s finally now getting a release here.

It’s third album time for New Zealand songwriter James Milne, and the man better known as Lawrence Arabia has opted for a change in direction. Having won a legion of fans with the effervescent pop of 2009’s Chant Darling, Milne has opted for a darker set on The Sparrow. That’s not to say there are no pop moments here, for there certainly are, but the introspective feel of things and the beautifully arranged layers of instrumentation are probably more in keeping with bands like Belle & Sebastian or Okkervil River, whom Milne used to tour with as a bassist.

Aerosmith and Run DMC. Michael Jackson and Paul McCartney. Ozzy Osbourne and Miss Piggy. Music collaborations walk a fine line between inspired works of art and predictable, irritating dribble. Good Morning To The Night is what happens when two different artists come together and pull it off. The Australian dance duo was given free reign over John’s back catalog, selecting earlier, lesser-known tracks to create some energetic dance anthems and explore some uncharted musical territory. Despite being a little too short, it’s another great album from Pnau and arguably the most exciting Elton John release in years.

Shout It Out

The Sparrow

We can all pretend we care about the catchy yet predictable riffs or the safe clap-along pop melodies and well-executed three-part harmonies, but you all knew that would be there, because it’s what Hanson always has and always will be best at. What’s important is that Hanson, and Taylor in particular, are still doing the cute ‘woah-ohs’ that made you giggle as an 11-year-old as you wished you were Madeleine or Lucy (if you don’t understand those references, then get out, you’re a fraud for still reading). Zac appears as the main vocalist on a few tracks and puberty was obviously kind (15 years ago) as he’s only improved. The musicianship is still tight and risk-free but that’s what you get with a band that have been playing with each other for 20-odd years. It’s another sunshine and lollipops collection of songs made for tweens yet unfortunately it still doesn’t end the ever-raging debate that could upset even the tightest yin-yangbest-buds-necklace-wearing friendship; Taylor or Zac?

Kicking things off, the breezy Travelling Shoes is the album’s most immediate pop moment, showcasing these quality arrangements as the string section take things to another level. On Lick Your Wounds it’s the horns that deliver, giving this song a more reflective vibe as the album takes an early turn towards darker territory. All the early songs – even the mournful and slightly boring piano ballad The Bicycle – are working towards a stunning three-punch combo midway through, however. It starts with The O3, a nice little dose of ‘60s pop that builds towards a big climax, before moving onto the sinister Early Kneecappings, where the edgy piano intro gives way to the violins over an ominous beat. And, finishing this off is the icy cool The Bisexual, a jazzy little lounge number where it’s hard to judge if the title character is creepy or just confused. There are a couple of mis-steps here, but they are probably the result of Milne being a little too ambitious on an album that’s good on first listen and keeps getting better. Paul Barbieri

Beth Parker

Good Morning To The Night

First track Good Morning To The Night sounds surprisingly more like Empire Of The Sun than Pnau, starting with the same laid-back guitar strumming heard on Walking On A Dream and culminating in a summery, synth-laden chorus. The dub-inspired Black Icy Stare features some reggae organ and blaring horns that makes me wish it was from some long lost Elton John: Live In Kingston bootleg. Album highlight Telegraph To The Afterlife is a Pink Floyd-esque tune with spooky telephone vocals, lots of echo and a groovy bass line. Phoenix is the most Pnau-sounding of all the songs and a great bubbly dance track, hopefully coming to a summer backyard BBQ near you. Good Morning To The Night is sure to impress Pnau fans and hopefully some of the older Elton John crowd who are a bit more open-minded. As far as collaborations go, this is one of the more inspired, unpredictable collaborations that can safely stand on its own as a great album. Scott Aitken


Quirky Berserky (The Turkey From Turkey) MGM Pull your heads out of the gutter and slap a newspaper hat on, it’s once again time for Peter Combe! You probably remember his tunes from decades ago, but while you’ve been busy growing up, Combe has continued spreading a mix of joy and nonsense across the country. Quirky Berserky is an enormous 26-track album celebrating 30 years of Peter Combe’s witty music for the young and young at heart. His songs are almost Monty Python-ish, explaining their appeal to parents and their lasting impact on the generation now attending his shows in states of drunken enthusiasm rather than nappies. While some tracks on the album are questionable – Standing In The Shower has some iffy lyrics – most of the tracks are thoughtfully composed in the tradition of his beloved earlier tunes such as Wash Your Face In Orange Juice, Newspaper Mama and Toffee Apple. Not Zee may only be an alphabet song but the three versions on the album - Grandissimo (performed by Combe), Stringissimo (an instrumental version by the Zephyr String Quartet) and Vocalissimo (a brilliant and complex version performed by Sydney vocal trio The Idea of North) are definite highlights. Whilst 78 minutes of hardcore Combe can make even the happiest of adults a bit batty, this album is perfect to share with a new generation of Combe fans or secretly dance to after a rough day. After all, there’s no rush to grow up. Tess Ingram




Rubber Records

Moshi Moshi/Cooperative Music

405 Recordings

There are just three words that sum up the theme of The Exploders’ new album, and they come straight from the band themselves: “power and pussy.” Orche. Stratos.Pheric is supposedly the tale of Brave Achilles, a child prodigy whose tragic downfall results from his equally tragic love for a character named Izabella. But it doesn’t take long to get the impression that the band is not so concerned about imparting any serious narrative through this mish-mash of Hellenistic mythology.

When the Rumbae rhythm starts to play, lace up your dancing shoes – it’s the vocoder that will make you stumble in your tracks. Recorded in singer Esau Mwamwaya’s hometown of Lilongwe, Malawi, The Very Best’s MTMTMK is a brand new second hand collection of original AfroEuroPop. Debut Warm Heart Of Africa saw Esau teaming up with Johan Hugo and Etienne Tron (AKA Radioclit) to brew up a trans-continental stew acclaimed on both sides of the Straits of Gibraltar. It was bookended by mixtapes, making MTMTMK the second full album under the name and the first release without Tron.

James Brooke is a busy man, what with hosting his weekly radio show Elements on Kiss FM whilst running Australia’s biggest trance label, 405 Recordings. And all at the ripe old age of 25. It’s fair to say that he enjoys his trance. Luckily for fellow trance fans, James also funnels his passion into some very solid mix compilations, the latest being the second in his Trance Elements 2012 series: Water.



So instead of being a tragic tome, we get a raucous (and pretty hilarious) multi-genre barnburner about the aforementioned topic. Featuring forays into aciddrenched country, honky tonk, psychedelia, garage rock and power pop, the album’s reckless sway could incite a testosterone-fuelled bar fight over a “sheila” as easily as it could a drunken singalong between the same adversaries. And like a vicious brawl, The Exploders have approached this album with inflated vigour. The lead singer’s shriek falls somewhere between Jesse ‘The Devil’ Hughes’ bluesy croon and Nic Cester’s short-man syndrome scream, and it injects some serious energy into the already energetic tracks. However, tearing through such a diverse range of styles over 14 tracks must be as exhausting to perform as it is to listen to in one sitting. Though standouts, Hey Fucker! and The Riverboat Gypsy Queen, live up to the band’s descriptive name, they are two standouts among 14 tracks all trying to drown each other out. There’s no concept of pace or transition, and like all of life’s vices, too much of it may not be good for you all at once. Kosta Lucas

The ‘Traditional vs. Contemporary’ theme runs through their body of work and relationship – The Very Best first met when Hugo bought a new bike from Mwamwaya’s antiques shop – and is of course part of what makes them such an interesting proposition. But while at times the dance production is invigorating, at others it leaves the unpretentious Afro pop straining at the leash. The aforementioned Rumbae and the banal We Ok (featuring K’naan) are so weighed down with studio fiddling that they sag in the middle.

Trance Elements 2012: Water

Not having listened to the previous ‘element’, Earth, it’s difficult to distinguish the particular watery qualities of the release from other mixes, except maybe to allow reviewers with a fondness for puns to wet themselves. Does that mean the mixes flow poorly? H2O no! Diving right into CD1, Brooke submerges the listener in a number of choppy tunas by the minnows of the trance scene before dumping some tsunami-sized thrashers like Norin & Rad’s Pistol Whip and James Dymond’s Paladin. Shorely it can’t get any better?

These are the exceptions that (mostly) prove the rule that Afro Pop and contemporary European electronica are happy bedfellows. The Radioclitoral influence works best when it’s second fiddle to the organic, DNA-level elements in Mwamwaya’s vocal and music, and it usually is. Opener Adani is a joyful crescendo of sound and song. Bantu features the cream of a continent (Amadou and Mariam, Baaba Maal) and is a standout track. Overall – three out of five.

Oh buoy, it certainly can. Brooke lets the tide ebb early on in CD2, calming the rough seas with a babbling brook of tracks like Adriano Migliorino’s Harmony delicately trickling out. Not one to be koi, he then lets the mix swell with titanic tunes by the likes of Sean Tyas and Solarstone. Hoping not to drown us with epic trance, James opens CD3 with jazzy house number How You Make Me Smile by Jody Wisternoff feat. Pete Josef. But with a sense of porpoise, his final mix is soon awash with main room bangers from Sunny Lax and John O’Callaghan. The listener is never left to flounder across the three CDs whale Brooke captains the boat with confidence. Shrimply brilliant.

Tom Birts

Jeremy Carson






THURSDAY 13 PechaKucha Perth Vol. 10 – based on the 20 images x 20 seconds format, PechaKucha brings together local creative minds who are forced to think on their toes. Pakenham Street Art Space, 7pm.

FRIDAY 14 Remedy – designers and artists band together to support the Australian Cancer Research Foundation. With a silent auction which willl include one-off garments, artworks and donated items. All Of Above Creative Studio Pop Up Studio, 140 William St.

SATURDAY 15 WA Ballet: Pinocchio – the timeless tale of wooden puppet Pinocchio who came to life, embarked on an adventure hoping to become a real boy, and on the way his nose grew every time he told a lie. Peformed by the West Australian Ballet and choreographed by Ivan Cavallari. Opening night, His Majesty’s Theatre, 7.30pm running to Saturday 29. Boy Gets Girl – written By Rebecca Gilman, a play about Theresa who is trying to regain control of her life. After Tony a seemingly normal

computer consultant, becomes obsessive and overwhelming following a single blind date. Preview night, State Theatre Centre of WA, 7.30pm to September 30. On The Misconception Of Oedipus – based on the story of the greek mythical king Oedipus. Directed by Perth’s Matthew Lutton, performed by Natasha Herbert, Richard Pyros and Daniel Schlusser. This modern taken explore the origins of Oedipus and the parents who birthed a son who caused their own demise. Perth Theatre Company, 8.30pm.

SUNDAY 16 Picasso To Warhol: 14 Modern Masters – over 120 works by fourteen of modern art’s iconic artists. The exhibition includes works from Matisse, Picasso, Pollock and Warhol. Art Gallery of Western Australia exhibiting to 3 December.

WEDNESDAY 19 Laugh Resort 21st Birthday – in celebration for it 21st birthday Laugh Resort is holding a party, the oldest comedy room in WA. The night will feature special guests, door prizes, cake and good laughs. Rosie O’Grady’s Northbridge, 8pm.

modern society, and are not being protected; in some ways, they’re being actively assaulted. These places are being threatened not just by the changing climate and environmental degradation, but by globalisation and modernity.”

RISING STARS Director Benh Zeitlin’s debut feature is a film rich in imagination centred on a US fishing community slipping into the sea. He talks about working with non-actors and making a regional story universal with Anthony Carew. Beasts Of The Southern Wild is this year’s American indie critical darling, the li’l film that’s won big at Sundance and Cannes, and is earmarked for an Oscar date come 2013. It’s the debut work of 29-year-old Benh Zeitlin, and charts the environmental degradation of Louisiana through the eyes of its six-year-old protagonist; which turns the events of Hurricane Katrina into a cresting, ecstatic, crowdpleasin’ dream. The film was shot in Terrebonne Parish, Louisiana, in an isolated fishing community whose home is – due to rising sea levels – steadily slipping into the sea. “When you play the film in Louisiana, it almost

plays as a piece of realism: there are locally-recognised locations, characters, and lives,” says Zeitlin. “But, then, as you move away from Louisiana, it plays more and more as a fairytale. I was interested in taking these issues that seemed so local, and telling them in a way that was more like a fable; making the regional a universal story.” Zeitlin had made a short film, Glory At Sea, that “centred on the post-storm experience in Southern Louisiana”, but after addressing the Southern state’s receding shoreline intellectually, he wanted to do it emotionally, for Beasts Of The Southern Wild to “be about

how it actually feels to live in a place that’s endangered”. “I was trying to understand what it is about this place that, in spite of practical logic, is so powerful and so meaningful to people,” Zeitlin explains. “I felt like these people who were holding out weren’t being understood; I didn’t understand them. Why fight so hard for a place that is dropping off into the Gulf Of Mexico?” Beasts Of The Southern Wild is, then, “about places on the fringe of the world, both cultural and ecologically”. Says Zeitlin: “Places that are in sync with nature, in harmony with nature, those are increasingly devalued by

RUSSIAN FILM FESTIVAL LITTLE CREATURES BREWERY: 30/08/12 Well-known street artist Hurben opened his third solo exhibition at Little Creatures Brewery to a mystified audience. Alongside the works of local underground sticker artist Bubble Bobble (in his debut exhibition), light food and refreshments provided a platform for local art lovers to chat about the striking pieces on display (and for sale). The works of Bubble Bobble, described in one word, would be ‘pixelated’. Obviously drawing inspiration from old video games (Mario Kart in particular), his art is really just fun. With work featured at OneUp Microcinema, the artist is certainly one to keep an eye out for. 24 • THE DRUM MEDIA

Hurben’s pieces aim to encapsulate the ‘hypocritical’ and rapidly changing culture within Perth. Relying heavily upon symbolism (trash cans, penguins and emus) and bold colours (bright blues, reds and yellows), the artist explores Perth’s attitude to its past, present and future. With price points from $350-$2100, there was something to accommodate (almost) any art lover’s budget. Having completed a year-long residency at 140 William in early 2012, not to mention the breathtaking 10 metre mural he recently painted in Wolfe Lane, Hurben has gone from strength to strength. Chantelle Gabriel Pearth runs until Wednesday 26 September

Rewriting the story to suit their nonprofessionals, they especially leant on Wallis to try and get the film’s through-the-eyes-of-a-child fantasy to feel ‘right’. “My memory of being that age, reality and fantasy aren’t really separated in your brain,” Zietlin says. “When [Hushpuppy] starts feeling big things, they spill into this other world; and it’s not one that’s necessarily not real, but just one that she’s imagining. Just like how this location that we’re documenting is disappearing, so, too, will these imaginary worlds disappear when she gets older.” WHAT: Beasts Of The Southern Wild WHEN & WHERE: In cinemas Thursday 13 September

tending to turn-of-the-century settings and wardrobe – this is, let it be known, a frock movie – the slightlyoff dubbing almost seems like a deliberate attempt to make it play as not-contemporary, which is perfectly in keeping with the retromania of the Resurrection, where the past is always superior to the present.



This is his universal reading of a story that began life as a two-character, post-Katrina stageplay in New Orleans. From there, Zeitlin and playwright Lucy Alibar came up with a grander, more ecological, dreamlike reading, which required finding a child to play the main character, Hushpuppy, and, thus, carry the film. As they wrote the script, they spent nine months looking at more than 4,000 six-tonine-year-old girls, before settling on five-year-old Quvenzhané Wallis. Once they’d assembled their cast of nonprofessionals, they began gathering in ad-hoc workshops in the bakery across the street from their casting office; where the filmmakers had, months before, discovered Dwight Henry, who plays Hushpuppy’s father, working (“sometimes the universe is telling you just look right here in front of you”).

Our resident film guru Anthony Carew casts his gaze over the upcoming Russian Film Festival. The local Russian Film Festival has always been referred to as the Russian Resurrection, and that notion of bringing back the past – of bringing back former national/artistic glories from the dead – is often reflected in the programming. Frequently, there is an incongruousness between the new Russian cinema shown – which is often, to be honest, awful commercial crap – and the old classics from Tarkovsky, Mikhalkov or Eistenstein that are brought out annually. Which isn’t to say the festival is entirely lacking in contemporary cinematic worth; last year found a blessed screening of Alexander Mindadze’s Innocent Saturday, a slice of history-as-inthe-moment-vérité in which the

citizens of Chernobyl go about their lives whilst the nuclear reactor burns, the film an anti-disastermovie whose sly symbolism and profound parable give it extra edge in contemporary Russia. There’s nothing so interesting in the 2012 festival, which doesn’t even have the typical retrospective-of-a-master to fall back on. Instead, there’s a threefilm program of movies set against the Napoleonic Wars of 1812, including Sergei Bondarchuck’s infamously-over-the-top sevenhour adaptation of War & Peace, a slice of cinematic grandeur. There are also two films adapted from Chekhov, including Mikhalkov’s Unfinished Piece For A Player Piano,

his adaptation of That Worthless Fellow Platonov that, on its 1977 release, was already deemed determinedly traditionalist and oldfashioned, and which four decades haven’t helped; if you want zany voices dubbed badly over bawdy acting, this is the place. There’s also another – new, contemporary – film dramatising the playwright’s latter years, The Admirer. And it, too, struggles with audio sync issues, though, too, this may be a device of signposted old-fashionedness. Vitaly Melnikov’s drama is of determinedly Chekhovian conceit: setting up that period-piece staple – the torrid, scandalous affair – but refusing to hew towards such dramatic simplicity, revelling, instead, in torturned, torn morality. Lovingly

The new films on display pretty much reassert such a position: from amongst the commercial dreck and hysterical drama cluttering the program, all of what I’ve seen has been pretty awful. Starting with August 8th, a wannabe all-action blockbuster that sets a stupendouslyshitty family drama against the South Ossetia war, which is depicted with unstinting, unsettling propaganda, the unseen Georgians an invisible menace out to shoot high-tech missiles into buses filled with children. Against such noxious shrines to contemporary interventionist military might, we get an even-more-regrettable narrative, about a tediously ‘good’ mother trying to reunite with her snivelling son, who is so detached from reality the only way he can cope is by imagining his world as a verypoorly-animated computer-game. Two more awful movies: Home and Siberia, Mon Amour, both ensemble pieces set in rural shitholes, in which the local-theatre-production-level acting is all screeching, pantomimed drunkenness (hic!) and characters slapping each other endlessly. If this is the Resurrection, who died for such cinematic sins? WHAT: Russian Resurrection Film Festival WHEN & WHERE: Wednesday 19 September to Wednesday 26, Cinema Paradiso



ROTTNEST ISLAND PICTURE HALL: 08/09/12 Rape jokes. They’re quite often hit or miss. More often than not, as well, they’re pretty capably used as nothing more than an excuse to offend people for a cheap laugh. So, in order to become known as the “satanic prince of stand-up�, it serves to reason that you would have to be pretty well-practiced to pull of rape jokes effectively. Luckily, this night’s sets proved that there’s no boundaries to good comedy. Nick Cody MC’d the night, and struggled a bit at first. To be fair, trying to get connected to a few hundred people (most of which were well into the revelling enjoyment of Rottofest), but he ended up getting all on-side and warmed up. Tien Tran was first up, and totally repped the local side of comedy. A lot of his jokes centered around his heritage and cultural and racial divides, but he handled it in good humour (pardon the pun) that had the crowd all chuckling along. He was self-deprecating just enough that he formed an instantaneous relationship with everyone. Melbournian Karl Chandler was an ample taster for the headliner, in that his jokes were crass enough to generate laughs and groans at the same time. He often targeted certain punters and was happy enough to admit when he would drop a shit joke.



Anthony Jeselnik had a lot of hype behind him, most of it revolving around just how far you can take humour. Known internationally as one of the dirtiest comics performing at the moment, he managed to deliver a very unique performance, one that had people in fits of laughter and questioning moral ethics at various stages. This reviewer was pretty questionable of how funny he would actually be, but he managed to be ridiculously offensive not at the cost of being ridiculously funny as well. The whole night was more or less hectic, with the crowd reeling from what had already been a long day of, er, “enjoyment�, but Jeselnik and co provided a great, if morally questionable, cap to the night. Cam Findlay





Clownfish Marlin is widowed when a shark kills his wife and all but one of her eggs. Naturally he becomes incredibly protective of his surviving son Nemo, and his entire world falls apart when Nemo is taken by divers. Marlin sets off on an enormous quest down the Great Barrier Reef to Sydney where, unbeknownst to him, Nemo is being kept in a fish tank at a dentist’s office. Finding Nemo is beautiful storytelling. Marlin is a real hero, overcoming all kinds of personal demons to find what is the most important thing to him – his son. While the search might seem like a fun adventure, death, pain and loss are all central themes of this film.

This really is a feast for your eyes, with every colourful fish in the sea making an appearance. There are countless familiar voices from Albert Brooks as the film’s protagonist and Ellen DeGeneres as his faithful sidekick, to Willem Dafoe, Brad Garrett, Eric Bana and Geoffrey Rush. It seems as though Pixar can do very little wrong. Finding Nemo 3D is simply spectacular. The colour is fantastic and the 3D really packs a punch. Like always there’s a lot for the children, but so much for the adults too. Regardless of age, everyone will enjoy revisiting this experience in a visually sumptuous movie perfect for the 3D upgrade. Chloe Sesta Jacobs In cinemas nationally

This year’s Russian Resurrection Film Festival is upon us, so my comrades, dust off your ushanka and get your vodka shots lined up. In its ninth year, Russian Resurrection is a national film festival that showcases the best of Russian cinema and this year we will be treated to 25 Russian films that span a range of genres. Opening the festival is Spy, a thriller directed by Alexey Andrianov. Based on Boris Akunin’s novel, the film is set in 1941 and looks at the world of secret services in the lead up to World War II. Paying homage to the bicentennial of Russia’s 1812 defeat of Napoleon is one of the festival’s two retrospectives, Classics Retrospective: 200 Year Anniversary Great Patriotic War 1812. The retrospective includes Sergei Bondarchuk’s adaptation of Leo Tolstoy’s War And Peace. Originally released in four parts in 1966 and 1967, this epic seven-hour Oscar-winning film looks at the love story of Countess Natasha Rostova and Count Pierre Bezukhov and is set against the background of Napoleon’s invasion of Russia. Vasili Goncharov and Kai Hansen’s film, 1812, is also being screened as part of the retrospective and is known as one of the greatest pieces of pre-Soviet cinema. Made in 1912, the silent film tells of Napoleon’s invasion and has influenced currentday cinema techniques greatly. The other retrospective being screened is Chekhov Screen

Adaptations, which celebrate the Russian writer Anton Chekhov and includes The Duel and Unfinished Piece for a Player Piano. Bringing the festival into a more contemporary setting is Vysotsky, the most successful Russian box office film from the last year. The film looks at the life of iconic musician and poet Vladimir Vysotsky and was written by his son Nikita and directed by Pytor Buslov. Gromozeka is directed by Vladimir Kott and tells the story of three childhood friends who have lost touch and are now in their forties. The trio were in a band back in their high school days and the film looks at what has happened to them over the years in the lead-up to a reunion show for their high school reunion. Yolki 2, the sequel to Six Degrees Of Celebration, is a film directed by six prominent directors and features an all-star Russian cast. The films present a range of characters all trying to reunite with lost love and both films will be screened, giving audiences a chance to see this double-feature of top quality films. Aside from the retrospective films, all the films screened are Australian premieres. With Perth the last leg of this national film festival, it should be one hell of a year for the festival, which is just growing stronger and stronger. The festival allows us to experience a little bit of Russian culture while also ensuring we don’t lose touch with the historical aspects of the country, because, while they are two great exports, it isn’t just all about vodka and babushka dolls.

Western Australian Academy of Performing Arts

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08-09/09/12: ROTTNEST ISLAND Rottnest Island is just one of those places we take for granted. It sits there, year-round, as a haven for tourists, but it’s easy to forget just how amazing the place can be – especially in the offseason. But Rottofest, the now established annual comedy and music menagerie, turned the Island this weekend from a sleepy town to a full-on festival. After the cyclonic storms earlier this week, the weather gods truly smiled down on us as the sun broke early Saturday morning. Excitement piqued on the short ferry ride over, and it was palpable in the huge crowd that was slowly shuffling onto the island. The festivities were split between four venues, with the Rottnest Hotel handling the music side while various comedy programs were shared between Café Aristos, the Governors Hotel and the old picture theatre. First up, Rottofest’s Funniest Shorts served as a suitable warm-up. A series of various shorts and sketches were shown, with (as with any comedy show) a lot of hit and miss. Philosoraptors trapped in the bodies of humans, cavemen caught in awkward love triangles, malicious possessed teddy bears: there was a great amount of variety, and it was a great start to what would be a very eclectic weekend. A quick trip to the pub meant catching most of Morgan Bain’s set. Even with nothing but his guitar, stompbox and voice, he easily warmed up the growing crowd. Anton Franc was next, and delivered a straightforward and relaxed, if slightly lackluster, indie-pop set. The inevitable process of sorting out accommodation (which was, unfortunately, on the other side of the island) meant that we would miss a few of the great local acts on show, but judging by the crowd occupying the pub before Saturday headliners Millions took to the stage, it was obviously epic. Millions themselves

were certainly a highlight, as there smooth, funky pop hooks seemed to sink in to the environment. There wasn’t too many people who weren’t dancing, and the Brisbane boys were grateful for the encouragement. Following that, Adam Rosenbachs took to the Governor stage to MC for Chris “The Bloke” Franklin, and he immediately succeeded in both creating much mirth and ripping the ever-loving crap out of certain audience members. A short, but slightly alcoholhampered, walk back to the picture theatre lead to catching main attraction Anthony Jeselnik’s full on show. Both Karl Chandler and Tien Tran did admirable work as the supports, but it wasn’t until Jeselnik himself stepped on stage that the room became really loose. He deals mostly in the taboo side of comedy – jokes about rape, fetuses, chauvinism, and basically anything that’s offensive – which can usually go either way. As such, there was a very mixed reaction from the crowd, with some cackling madly for the full set while others sat in mild amusement. Sunday – colloquially known by those on Rottnest as “Hungoverday” – provided a full, if only more laid-back set of entertainment. Some great local acts filled out the Hotel stage, Cow Parade Cow and Patient Little Sister being prime examples of the vibe that had taken over the entire island. The Medics headlined Sunday, and served as a fine tip-off to the bulk of the festival, as punters started boarding ferries to return to their normal lives. Not that that was the end of the day, though – The Big Hoo Haa, an improv-based comedy competition, was a definite highlight of the weekend. If only there was more time to catch all of the great bands, films and comedians that were on show, but it just serves as a great reason to return to this little island again next year. Cam Findlay

Womanly wowsers, the amount of rad female acts that have been announced just this week to tour this way is enough to make us blush.

Just when you thought Chris Brown couldn’t get any more idiotic, he goes and gets himself a particularly visible neck tattoo that looks particularly similar to a beaten woman. Good news is, at this rate, getting a penis tattooed on his forehead seems quite conceivable.

Good work by the Greens for making the re-funding of AMRAP one of their political goals, attempting to reverse the Federal Government’s “dead-air decision” that’s going to hamper Australian artists’ ADALITA chance of being played on community radio.

BACKLASH REVAMP With six years of backlashin’ and bad puns to his name, it’s time for Aarom Wilson to move over to allow Troy Mutton into the Editor’s hot seat. As such, we can assure you an almost endless supply of freshly questionable jokes to look forward to.

EVERMORE: SEP 13 Amplifier MYSTERY JETS: SEP 20 Capitol BESIDE LIGHTS: SEP 21 C5, Metropolis Fremantle BRITISH INDIA: SEP 22 Amplifier; NOV 29 Prince Of Wales; NOV 30 Metropolis Fremantle; DEC 1 Capitol XAVIER RUDD: SEP 25 Goldfields Arts Centre, Kalgoorlie; SEP 26 Esperance Civic Centre; SEP 28 Albany Entertainment Centre; SEP 29 Fremantle Arts Centre; SEP 30 Caves House, Yallingup JULIA STONE: SEP 28 Astor Theatre PARKLIFE: THE PRESETS, JUSTICE, ROBYN, NERO (LIVE), RUSKO, DJ FRESH, BENGA, JACK BEATS, MODESTEP, FLUME, PASSION PIT, TAME IMPALA, CHAIRLIFT, CITIZENS!, ST LUCIA, CHARLI XCX, ALISON WONDERLAND, PLAN B, CHIDDY BANG, LABRINTH, WILEY, HERMITUDE, RIZZLE KICKS, JACQUES LU CONT, PARACHUTE YOUTH, ART DEPARTMENT, LEE FOSS and locals: OCT 1 Wellington Square TZU, SIETTA: OCT 5 Bar 120; OCT 6 Amplifier; OCT 7 Prince Of Wales PAUL CAPSIS: OCT 11 Artbar, Art Gallery Of WA MUMFORD & SONS, EDWARD SHARPE & THE MAGNETIC ZEROS, WILLY MASON: OCT 12 & 13 Belvoir Amphitheatre CLARE BOWDITCH: OCT 20 Astor Theatre






One of the world’s true original contemporaries, Rufus Wainwright is returning with a full band to showcase his acclaimed new Mark Ronson-produced album, Out Of The Game. The touring band will include recent visitor, folk-jazz-soul singer/songwriter Krystle Warren, plus also only recently announced in the last few weeks, Australian songstress Megan Washington has been confirmed to join the fun. In July at a one-off charity concert she sung a cracking version of Sometimes You Need, from Wainwright’s aforementioned latest album, and before the long the call was made to get her on board. Wainwright and co. grace the Riverside Theatre Wednesday 19 September. Tickets via Ticketek. Rufus Wainwright has established himself as one of the great male vocalists and songwriters of his generation – and those who’ve seen him before know his live show is something you don’t want to miss. He also arrives in the country a newly married man after he wed his fiancé Jorn Weisbrodt just last week, so you can help the happy couple celebrate!




ONGOING: GIGNITION: Upcoming band showcases 2-10pm monthly on Sundays at The Railway Hotel CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel

STICKS & STONES We’re struggling to see why trolling is taking up so much media space. People have been giving others shite before they could walk, let alone talk. Monkey see, monkey do, monkey say; monkeys will always act like monkeys – just ignore them!

KING UNDERPANTS You know the world’s very much still in economic crisis mode when you can’t even find a single pervert willing to buy a pair of Elvis Presley’s unwashed and soiled LANE jocks he wore underneath his famed whiteLANIE jumpsuit BY CC HUA in a 1977 concert for around a measly PIC $13,000.




The North Midlands Show at Niven Park in Carnamah brings the region together Saturday 15 September, 10am ‘til midnight. Along with entertainment like a Tractor Pull, fashion parade, kids entertainment, fireworks and more, there will be live music from Felicity Groom, The Seals, Dilip & the Davs, Davey Craddock & The Spectacles and Calectasia. Ticket and camping options via Heatseeker.

ALL A BIG BLUR Twenty one years, seven studio albums. Mac McNaughton jumps onto a milk float to take a ride on Blur’s 21 Reissue Series.


Party, but both M.O.R. and On Your Own proved they were still capable of delivering glorious pop singles. They just sounded a bit more serious than before.

Following a successful debut season earlier this year, Sunday Piazza Live returned last week in the glorious sunshine of the Northbridge Piazza. From 1 ‘til 3pm on Sunday 16 September, catch the one-two punch of the Howie Morgan Band and The Russel Holmes Trio playing live, a couple of Perth’s finest purveyors of jazz.

Just two years later came the William Orbitproduced 13. Tender’s gospel optimism and Trimm Trabb joined the dots between catchy songs of yore and the squalid melancholy that had been driven by Albarn’s consuming break-up with Frischmann. The agonizing No Distance Left To Run closes the album with a devastating broken fragility that also signals the departure of Coxon (as prophecised in the video to Coffee & TV featuring a lost milk carton).

SINGLE STORY “Pop makes me very sick” – Graham Coxon, 1997. Blur are 21. Let there be cake! Fizzy drinks! Box sets! A respectable re-release program of all seven studio albums, each with postcards, bonus disc and downloadable content seems rightly in order.

THE BOB GORDONS Releasing their latest single Uncle Buck this weekend, The Bob Gordons’ Lachlan Crothers gives us the story of the single. The Bob Gordons latest single, Uncle Buck, was spawned from Horse (our lead guitarist) and his unhealthy love for all things John Candy. Growing up in the shanty town that is Busselton it quickly becomes clear how a young man can become attached to such a movie. It’s hard to confirm but as far as I know his record for watching Uncle Buck is six times in one day! Impressive, I know. The song was written as a bit of a joke late last year, but it quickly became a consistent crowd favourite so we figured, what’s the harm in spending the next six months of our lives recording, releasing and touring a song that’s written about an ‘80s family movie? We recorded and mixed the single all by ourselves at our Ferndale studio, The Worm Farm, in April 2012. Mastered by Al Smith at Bergerk! Studios, it sounds nothing short of fan-bloody-tastic. We are currently getting primed to release it onto everyone at The Rocket Room with our good buds from Blazin’ Entrails, Kill Teen Angst, Blindspot and The Shakeys. We follow up the official launch show with a killer tour of Victoria, then the back to Perth mid October to round it out in style with a dual headline show with our brothers from Scalphunter. We’ve got some pretty awesome stuff planned for the evening but can’t to give too much away just yet. All you really need to know is that this show will be remembered for years to come and those that decided to stay home and watch Uncle Buck instead will be sad and sorry. Uncle Buck, he’ll f**k you up! WHO: The Bob Gordons

It would be too easy to write their 1991 debut Leisure off as being done by slightly charmless men, slow-bouncing in their oversized t-shirts and bowl cuts, but it deserves revaluation. The ‘baggy’ tag is well deserved for There’s No Other Way and High Cool, but there’s shoegazing on She’s So High and Repetition. The bonus disc sets the mould for all the individual re-releases – almost all the b-sides for the relevant singles are included, plus additional oddities where space permits. I Know is an overlooked corker which would have been very much at home on The Stone Roses. 1993‘s Modern Life Is Rubbish began what would become the ‘life’ trilogy, Damon Albarn hitting his stride with the lyrical British-isms that would become his trademark. Stabs at breaking the US proved draining to the band, at odds with grunge and college radio. Sunday Sunday sang the praises of the Great British Routine (“To gather the family around the table to eat enough to sleep”). Oompah trumpets (exemplified on b-side When the Cows Come Home), proud marching rhythms and a cover painting showing a great English steam train that would proudly occupy wall space in the lounge married well with Graham Coxon’s jagged guitars and Albarn celebrating his cockney bent vocals, perhaps in defiance of those who accused Blur of being Madchester fakers on Leisure, as well as those others who refused to remove their heads from Seattle’s arse. Funnily, Britpop wasn’t yet at full speed. Having spent so long on the fringe, 1994‘s Parklife seemed like vindication. Britpop made the band corporeally marketable; a fact knowingly exploited by packaging singles as condoms, pulp fiction, a beer coaster and so forth. Girls & Boys appealed to horny Ibiza-headed 20-somethings who’d collapse in love to their newfound ‘our song’ To the End, then contemplate ending it all in the comedown with

Clover Over Dover. The Parklife bonuses contain some of the least engaging extras, with Magpie and the Pet Shop Boys’ mix of Girls & Boys being decent enough, while Supa Shopper appears to be a sketchy cousin of Lot 105. And Alex’s Song is a drunken joke that isn’t even funny. The Battle Of Britpop was fought between the lead singles for Blur’s fourth and Oasis’ second albums in their race to number one. Beating Morning Glory to the punch by a month, The Great Escape completely rode Parklife’s coattails. It received universally lathery praise, but the bubbles burst quickly. Amongst these reissues, it emerges as the weakest set of them all. Concluding the ‘Life’ trilogy, it opens with their worst single (Stereotypes) and gets swept up in the Tony Blairled New Labour promise that things can only get better. The UK’s newly launched National Lottery gave dole dependents the hope of wife-swapping holidays with new millionaires. “It really, really, really could happen”, promised The Universal. Initial copies even came with a Blur Scratch & Win card (all were losers). Ernold Sane and Dan Abnormal provide caricatures lamenting what New Labour promised to fix (“Dan went to his local burger bar/I want McNormal and chips or I’ll blow you to bits”). Blur may have won the preliminaries but when Morning Glory proved infinitely superior, they lost the final battle. “I don’t think the band would have lasted if we didn’t take a big jump forward” – Damon Albarn, 1997.

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While Graham Coxon’s nervous frustration had put him at odds with Britpop and its spoils, Albarn was looking inside America at bands like Pavement. His relationship with (Elastica frontwoman) Justine Frischmann was disintegrating. 1997’s Blur marks the end of their long relationship with producer Stephen Street. The US finally caved, swept up by Song 2. You’re So Great, essentially Coxon’s first solo song, is a tender, super low-fi affirmation of the guitarist’s presence and a year later would become his first album. Blur addresses the end of the fun times knowingly in the spacey-proggish Death Of A

As a b-side experiment, each Blur bloke remixed the scuzz of Bugman into new tracks. It’s intriguing fun, with Alex James’ campy Trade Stylee being the most successful. There’s also the Beagle 2 instrumental (famously loaded onto the European Mars Express space mission). The 13 bonus disc is perhaps the best of the bunch, also containing Music Is My Radar and a Cornelius mix of Tender. Decamping to Morocco, learning to function as a three-piece and enlisting the production of Orbit, Ben Hilliar and Norman ‘Fatboy Slim’ Cooke, 2003‘s Think Tank is densely spiced with new worldly rhythms and a political edge not previously heard in a Blur record. Sans Coxon, some fans don’t even regard it as a ‘proper’ Blur album, which is indignant to the other three considering the jamming vibes of Moroccan People’s Revolutionary Bowls Club and Caravan. The extras include the final fan club single, Some Glad Morning from 2005 and a decent Xfm session. If you’re looking for trinkets from their pre-Blur Seymour era, you’ll only get them by splashing out on the opulent 21 boxset (un-previewed). It contains everything the individual sets have plus seven more CDs and DVDs that flesh out the real treats. But there is so much on the bonus discs of the album packages that it’s well worth the admission price. The 33 digital issues of fan club ‘zine Blurb (offered as downloads across the seven releases) provide fascinating, often frank interviews, mainly with Damon and Alex James (Coxon and Dave Rowntree frequently seem anesthetised by the interview process). The compilers of the packages should have employed some editing, though. Karen Richardson may have been interested in making pen-pals who also like Menswear and Supergrass in 1995, but 17 years later, does she really want other Blur fans knowing her address so they can get in touch? Awkward! ‘Will Blur record an eighth album?’ is something of a dangerous question. Activity such as the Olympics Parklive concert and recent one-off single Under the Westway have seen Coxon return to whatever fold is still ongoing. But for now, these re-releases serve as a confident preference to the habitual voyeur. WHO: Blur WHAT: 21 Reissue Series (EMI)

WHAT: Uncle Buck (Blood Rock Records) WHEN & WHERE: Friday 14 September, The Rocket Room


Australian songstress Megan Washington has been confirmed to hit the road with Rufus Wainwright for his forthcoming tour. Recently at a one-off charity concert she sung a cracking version of Sometimes You Need, from Wainwright’s latest album Out Of The Game, and before long the call was made. She’ll join Krystle Warren as the other support at Riverside Theatre Wednesday 19 September. Tickets via Ticketek.


The Rosemount Hotel plays host to an eclectic night of local music Thursday 13 September, featuring Minute 36, The Shallows, Erasers and Fucking Teeth, plus DJ Salut Barbu. $6 from 8pm. There’ll be a totally unique vibe on the night with Minute 36’s jazz-Rock, The Shallows’ folk-rock, Erasers’ atmospheric electronica and Fucking Teeth’s grimey, lazy, dental folk-punk (their words).


Continuing from the success of the jazz-themed nights in Season One, AGWA Nights Season Two kicked off last week at the Art Gallery Of WA. The weekly event continues Friday 14 September with Rabbit Island. You can also check out the Picasso To Warhol exhibition from 6pm each night. for more info/tickets.


Local two-piece Dead Owls tore the roof off the Regal Theatre last Friday night to win the AmpFest Final with a thrilling grunge/pop performance that impressed the five judges and wowed the 400-plus crowd. Young Indie-folk songwriter Lucas Jones took second place, New Animals placed third, Bears & Dolls took fourth and From The Dunes fifth. All finalists walked away with a share of $15,000, including a Gibson Les Paul guitar, recording time and more. 28 • THE DRUM MEDIA


Rising from the ashes of Hoopers Store, Race To Your Face launch their debut EP This Be Friday 14 September at The X-Wray Café. The two-piece math rockers combine offbeat drumming and layer upon layer of luscious guitar tones, and they’re joined by Tangled Thoughts Of Leaving’s jazz-noise improv side project The Ron Pollard Quintet and Zeks. $6/$10 with an EP.

FEEDBACK Hunger For the Flesh was valiantly started but quickly aborted as he literally couldn’t sing another note and had to take a time out off stage. Bouncing right back after hot honey and lemon (“Always go with the classics!” he assured), he made an admirable recovery, managing to hit the falsetto highs of Life In One Day (and later, an emotional Don’t Always Look At The Rain) thanks to regular quaffing of the hot drink. So rock’n’roll. After an unnecessarily long intermission, Conditioning opened the Human’s Lib set. For the HoJo trainspotters, there were thrills in the visuals as performance artist/early collaborator Jed Hoille contributed facial projections for Natural, and the title track was set to some brand new (and darkly disturbing) artworks from the cover artist Steg. Perhaps more aligned in theme with the other Howard Jones (ex-Killswitch Engage singer), the works were a welcome backdrop. Leading the whole house into song with What Is Love and concluding with a fabulously deconstructed New Song, Howard left the stage as graciously as he arrived. Some things, it would appear, can only get better. Mac McNaughton



BURSWOOD DOME: 06/09/12 After 50 years, 30 studio albums, numerous lineup changes, countless hits and a big dose of band politics, the five surviving, original members of Rock And Roll Hall of Fame superstars The Beach Boys found themselves in Perth to round out the Australian leg of their 50th anniversary reunion tour. As their backing musicians took position (all nine of them), the stage lights were replaced by a booming kick drum and a dark silhouette welcomed the legends to the stage one by one: David Marks, Bruce Johnston, Al Jardine, Mike Love and, the man behind the music, Brian Wilson. For a band whose members couldn’t stand to be in the same room as one another at one point, they gelled instantly with Do It Again. Only after tune number six, Surfin’ Safari, did they have a brief pause to allow vocalist Love to have a crack at saying “G’Day”. Love then took on the role of backing vocalist to allow his cousin, and foundation of the band, Wilson to take control with Surfer Girl, the title track off the album released in 1962. While substance abuse in his heyday has unfortunately taken its toll, and despite a lack of energy, it was still surreal to see Wilson in his element. Some more vocal swapping throughout the band and after 30 songs, they took a quick, well-earned intermission, “followed by a nap”. Part two was kick started by guitarist Marks unleashing a lengthy guitar solo before they gathered around Wilson’s piano for an intimate rendition of Add Some Music To Your Day. Tracks from this year’s That’s Why God Made The Radio album were nice additions to the set but don’t shape up to the classics from albums such as Pet Sounds. Two hours into the set, Wilson spoke to the crowd for the first time – introducing his two brothers, Dennis,

who passed away in 1982 and Carl, who passed away in 1998. Forever and God Only Knows allowed each brother to take the spotlight via the huge screens either side of the stage. A best of ending to the set – Good Vibrations, Help Me, Rhonda, Surfin’ USA, Kokomo, Barbara Ann and Fun Fun Fun – and they were gone. The fact they played for well over two and a half hours with such relentless energy cements just how incredible this band is. Anyone who missed this show may not get another chance to witness this magic live. But, no one expected this tour, so anything could happen. Daniel Cribb


THE ASTOR THEATRE:05/09/12 28 years into his career, synthpop stalwart Howard Jones has returned to tour the two albums that made his mark as a pioneer of the genre. An antipodean jaunt perhaps proving too cumbersome for the transportation of an armory of keyboards, a somewhat spartan array of equipment set the scene with Jones commanding just two synths (no surprise to see a Roland Fantom), while John Atkinson sat behind a deceptively simple looking electronic drum riser and the brilliantly quiffed Robbie Bronniman manned the keys. The concept to play Human’s Lib (his 1984 debut) followed by Dream Into Action (’85) in their entirety was tinkered with liberally, starting with a megamix of hits and launching into Automaton, a rearranged ordering of the latter album coming first. With a heartfelt dedication to his dear mum Nora, Look Mama was the first big hit and stirred a bit of bouncing from the mostly listless crowd (complete with some of Perth’s wankiest hecklers). During Dream Into Action’s title track, Jones’ voice drastically took a turn for the worse as jetlag and the cold weather got the better of him.

FLY BY NIGHT: 09/09/12

Fly By Night was pretty much deserted as the doors opened for business on Sunday night. A surprising feature upon arrival was that the spacious venue had been set up with tables and chairs, which seemed a bit misplaced considering the genre of talents programmed for the night. As people wandered in, with the start of a fairly decent crowd now beginning to form, local support act Maurice Flavel & The Intensive Care took to the stage to deliver a highly energetic set. The band performed some excellent numbers with a hard-edged rock‘n’roll swagger; complete with grating riffs and some fantastic percussion. With a brief interval between sets, the headlining act Barry Adamson – with band in tow – took to the stage with an air of coolness and self-assurance, with the crowd looking on appreciatively. Performing (vocals and bass guitar) an assortment of numbers from his new album, I Will Set You Free, his performance and highly animated stage presence was a winning combination. Numbers like Black Holes In My Brain, a grinding and intense number depicting mental illness, and Destination, a fast-paced rock romp, were testament to his eclectic musical talent and diverse background in many musical genres – from classic rock’n’roll to soul – which were delivered with exceptional eloquence.


Immediately after the death of Robert Hughes, I was compelled to watch the TV series that brought him to greater international prominence as one of the finest art critics in our time, The Shock Of The New. Over the course of the series, Hughes explored the impact that the industrial and technological ages had on the development of modern art in his uniquely eloquent and lucid manner. As fruitful as the relationship between the Art Gallery Of W.A. (AGWA) and New York’s Museum of Modern Art (MoMA) has promised to be, I hadn’t expected to see quite as many works directly referenced in the show in front of me. From Picasso To Warhol is an immaculately curated exhibition that showcases not just iconic artists but iconic pieces that contributed to the shift in what we understand to be modern art, like Warhol’s Soup Cans or Fernand Leger’s Woman With A Book. Pulling off a cultural coup like this for Perth is no small task in effort or cost, and it demands heavy traffic, so new concepts in engaging patrons have been introduced, including the AGWA Nights series. Entering its second season, the program meshes music and comedy from a diverse roster of performers with a licensed pop-up bar and extended opening hours to offer the public a very cosmopolitan way to spend a Friday evening. Opening night for Season Two saw Grace Barbe Kreol Acoustic performing their charming and colourful tropical fusion to an appreciative crowd that was buzzing with end-of-the-working-week energy. The atmosphere was relaxed and inviting, and the experience of viewing masterpieces of modern art whilst listening to live music and chatter filter up from the ground floor was a refreshing reminder of how Perth is slowly becoming a city of culture. For anyone looking for a memorable alternative to the post-work Friday evening monotony, or for those seeking a sure-thing first date idea, whether you love art or not, you would be hard-pressed to find a better option than this. Jeremy Carson

Again, the ‘white elephant’ in the room was the tables and chairs set-up, which left very little room for the audience to stand close to the stage. However, surprisingly it seemed that the audience, for the majority, didn’t want to. Perhaps it was just a slow Sunday, but there was certainly a stark contrast between Adamson’s high energy set and the modest, low-key audience and it was not hard to believe that the gig may have been better suited to a different venue. Never the less, Adamson’s delivery was flawless and engaging; proving that he is very deserving of his worldwide reputation as a prolific musician. It was just a shame that there were only a few who emphatically revelled in his greatness. Naomi Dollery



Get folked at The Bakery Friday 14 September for Folk Yeah, a celebration of the cream of the crop when it comes to charismatic new wave folk pop in Perth. From 8pm catch James Teague, The Big Old Bears, The Seals and The Flower Drums, plus DJ Folk Hack vs. DJ Dance Robot to finish the night off. All for a measly $8 entry, or $5 via


The annual WAAPA Concerto Competition at the WAAPA Music Auditorium happens Thursday 13 and Friday 14 September. The finalists competing are Simon Frosi, Beren Scott and Noelle Zhao, joined by the Faith Court Orchestra, plus American pianist George Gershwin also performs. Tickets via


Carl Peck & The Tramps are set to do the same to the Newport Hotel band room, with there rockabilly garage rock sound Sunday 16 September. With an album set to drop later this year get down to the Newport to hear what’s in store on the new release. Free from 6pm.


Bughunt release their EP Bang Is Not A Note, Saturday 15 September at North Fremantle Bowling Club. Kicking off at 6pm with Cathie Travers and Strychnine Cowboys, the first 100 people get a free EP. $10 entry.


Bringing you more of their electrified didgeridoo, heavy slide guitar, soaring flutes and juju rhythms, OKA return to WA with their new live show. They play Mojo’s Thursday 13 September, before going regional next week, playing Prince Of Wales, Bunbury Thursday 20; Settlers Tavern, Margaret River Friday 21; White Star Hotel, Albany Saturday 22; and The Railway Hotel Sunday 23. Tickets via



Since supporting Bluejuice in April and Kaiser Chiefs in May, Loon Lake have been eager to return for their own headline tour and now it’s a reality with current single Cherry Lips smashing radio around the country along with a cracking new video clip. Celebrating the EP on which it resides, Thirty Three, they play Prince Of Wales, Bunbury Friday 14 September and Amplifier Saturday 15. Tickets via Heatseeker and Oztix.

October 12 sees Evermore release their fourth studio album, titled Follow The Sun – arriving after a threeyear hiatus during which time they toured the world with Pink, then traversed the globe a second time to start the album writing process. Best listened to in large groups at maximum volume, you can when they play Amplifier Thursday 13 September. Tickets via Heatseeker and Oztix, presented by SPA.


Four-piece blues-rock act Calectasia will be playing The Mustang Bar Thursday 13 September. With the band traveling north and south for most of the month, this will be your only chance to catch them in Perth for some time and pick up a copy of their debut EP. Supported by the hard boogie of Palatial Digs and One Thousand Years. Free all night.


Melbourne instrumental four-piece Margins are returning to Perth for the first time since 2009, with their sophomore album Divide in tow. Following some excellent critical reception, Margins are excited to present a range of new offerings Friday 14 September at Dada’s Garage (all-ages, 6-9pm) supported by Seams and Kurbist Gong Band, and Saturday 15 at the Rosemount Hotel with American drone legends Earth.

Band history in brief? TJ [vocals, guitar, head honcho] and I went to high school together. We used to hang out a lot and play guitar and make up songs and such. When we finished school we started the band with another dude and played our first gig in May 2004. The other dude left the band, we met Mal [drums] through a mutual friend and he said we should get J Cortez [guitar] to play as well. TJ and I met Louis Macklin [keys] when The Exploders and 67 Special did shows and tours together back in the day. We’ve released a self-titled debut album in 2005 - it got re-released through EMI in 2006 - and a follow up, Easy And The Sun, in 2007. Highlights for the band include playing Falls, Southbound, Splendour and Pyramid festivals. And also travelling, playing and recording overseas. We also got to play on Rove Live once. Describe your sound: We like to refer to our sound as ‘electric country and psychephallic rock or roll music’. Throw a whole mish-mash of influences ranging anywhere from the late ‘50s to early ‘70s (Neil Young, Dr John, The Faces, Moby Grape to name but a few) into a bowl, mix well and bake at 180 degress for 45 mins to an hour and we’re getting close. Tell us about the album: The album is called Orche.Stratos.Pheric, it has 14 tracks on it and although that sounds like a long album, it clocks in at just under 45 minutes in total. It’s been described as startling in breadth of styles and seamlessly eclectic marrying of genres. Recording process: Most of the album was recorded ourselves at a cottage on TJ’s farm in the Western District of Victoria in some downtime in-between tours, etc. Malcolm engineered those sessions. A few bits and pieces were tracked with Dave Parkin at Blackbird Studios in Perth when we were in town for some shows. Doing it ourselves gave us greater freedom and less restraints with time and money and made it the most enjoyable - and in our opinion, best - album we’ve made yet by a long shot. Collaborations? Well, Louis was kind of a guest player when we recorded it, as he played keys for Jet (amongst others) a lot of the time. We always considered him a member of the band since he’s played with us though, although he obviously not play all our gigs. We also had Perth local Tara Drosdowsky lay some backing vox on a song when we were tracking at Hothouse. What can punters expect from your live launches? Please expect a sonic kick in the teeth – guitar solos, keyboard solos, vocal harmonies and complete abuse of a drumkit. Expect five guys playing with conviction, giving it their all. Expect a rollicking good time for all involved. Expecting something unexpected couldn’t hurt either. What’s on the horizon? The rest of 2012 and beyond is a bit up in the air. This tour will be our first shows in over three years, as there was a delay in getting this album out (not enough room here to go into details). If the shows go well and people are hungry for us to play some more, I guess we’ll just have to organise some more shows, won’t we? WHO: The Exploders WHAT: Orche.Stratos.Pheric (Independent) WHEN & WHERE: Friday 14 September, The Bird; Saturday 15, Mojo’s; Sunday 16, Indi Bar


For those ponderers that missed out on worldconquering psych rock fun makers Pond’s sold-out Norfolk show earlier this year, the group return from their east coast sojourn to play The Bakery, Saturday 15 September. Local groovers and shakers Water Temple, Peter Bibby and The Weapon Is Sound support. Tickets via Now Baking


THE EXPLODERS Paul Doery – bass, crap shirts



THE AUNTS Kenny Austin– guitar, vocals Band history in brief? Formally known as Dublin Jazz Aunts, founding member Kenny Austin formed the band in 2010. In his search to find musicians to suit his unique style and brand of music he introduced the powerful and eclectic sounds of cello player and good friend Joe Troy, bassist and backing vocalist Tony Ball and drummer/percussionist Daine Spowart. Performing around the Perth metro area and spending time in the recording studio has seen the sound of the Aunts evolve dramatically from the early sounds of an acoustic roots artist. With an electric cello rock sound, a tight rhythm section and unique/powerful vocal sound, the group develop into a real roots based rock band with an edge. September 2012 will see the release of The Aunts debut album, Line Drive. Describe your sound: Each member of the band brings a completely different background and style of musical training. With elements of Jazz, classical and rock all thrown into together, this results in our eclectic driving sound. Some of our individual influences include U2, Shostakovich, The Cure and Pearl Jam. Tell us about the album: Line Drive is the title of our album and it’s also the 10th track out of 11. The song Line Drive is all about being a product of the environment you grow up in and realising that it doesn’t have to be that way. Discovering there’s a lot more going on out there in the world to re-shape your thoughts and beliefs, and then getting yourself on the right path. The essence of this song flows throughout the album, so it was only natural it became the album title. Recording process: The album was recorded in June 2012 at the newly established Ashmore Studios in Perth, and it was engineered, mixed and produced collectively as a band. There was a really good vibe in the studio, as we had been playing the songs live for nearly two years around the traps, and demo recorded 12 months before. The tracking process was relatively easy and painless with minimal editing needed. The only real hurdle was ‘the great Perth storm’ blowing the studio power out during recording, sending us into darkness on a number of occasions! Tell us about the launch: The launch will happen over four shows in the metro and southwest regional area. We’re very privileged to being playing with some fantastic acts like Tom Fisher & The Layabouts, Tabas.Co, Old Blood, Lucy Peach, One Tiger Down, and Zara Huts. What’s on the horizon? We plan to release an EP before the end of the year. We’ve recorded a lot of great songs that couldn’t be squeezed on to Line Drive and we feel it would be a shame not to release them within the vibe of the album. There’s a lot of really good material floating around in the band at the moment, so we would love to put the recorded songs behind us and start focusing on the possibility of second album release later next year. Perhaps some national touring between then would be a good idea too? WHO: The Aunts WHAT: Line Drive (Independent) WHEN & WHERE: Friday 14 September, Norfolk Basement; Saturday 15, Ya-Ya’s; Saturday 21, The White Star, Albany; Sunday 23, Clancy’s Fish Pub, Dunsborough

Congrats to David R Jones from Ellenbrook, WA’s biggest Band Competition now has a name

$10,000 — an to winning b


Unsigned original WA bands enter via - as of November 1st 2012. The competition will be held between June 4 & August 10 2013. Follow: THE DRUM MEDIA • 31






Although he makes some pretty dark and aggressive grime and dubstep, Tony Cook aka Cookie Monsta tells Tess Ingram that people just need to chill out.

Electro, disco and everything in-between with Troy Mutton. Let’s kick off with an old favourite of DC (wow, just realised this column sounds way cool abbreviated) in Boys Noize, whose new LP Out Of The Black is due in October. He’s already previewed the awesomesounding XTC and What You Want, and while he’s been almost omnipresent since 2009’s Power – producing the likes of Scissor Sisters and collaborating with Oizo and old mate Erol Alkan – some solo productions are long overdue. Even if Snoop Dogg has to be somehow involved. I’ve also got a good feeling he’ll be here over in summer (my money’s on Summadayze or Future), hopefully bringing his personal foray into the live show realm – the terminator-esque ‘The Skull’. Drop The Lime has dropped his debut artist album, and if you haven’t been following his output over the past 18 months or so, then Enter The Night may not be for you. It’s pretty much Luca Venezia’s chance to cut loose a rockabilly obsession that you could always tell he had just from the way the dude looks. And to be honest, it’s not half-bad – especially when he lets his club tendencies trickle into proceedings a bit towards the end. I’m really not sure where this leaves him though (his live set at Stereosonic last year didn’t go down amazing), so let’s hope there’s some punks out there who don’t mind a bit of electro thrown in. The team at Future Classic have released their first compilation album – check last week’s mag for my little Q&A with them for the deets, though I will say that the Anna Lunoe & Touch

BOYS NOIZE Sensitive S iti ((aka k Michael Mi h l Van V She) Sh ) joint Real Talk is hands-down on my favourite releases this year. And speaking of Van She, they’ve just released a video clip for their single Jamaica, and it’s a little unfortunate in that Major Lazer released a clip for the amazing Get Free a few weeks earlier, shot in the same country, and much more authentic-feeling than a boy band wandering around the Caribbean coast. Still, it’s pretty cool, and let’s hope by the time they return for Stereosonic (Sunday 25 November, Claremont Showgrounds), they’ll have their live set sussed out enough to atone for that dreadful June appearance. Taste-maker extraordinaire Annie Mac is calling it “a future Balearic anthem”, and I’m inclined to agree with her thoughts on Russ Chimes’ latest, Back 2 You (Uno Mas/ OneLove). A hands-in-the-air discoelectro gem, the summer sun has no more perfect a soundtrack. After swooning us last year with his debut album Don’t Hold Back, Sydney master of the ‘80s Donny Benét is already back with the follow-up, Electric Love. You either get and love Benét or can’t stand him, and Electric Love won’t change that. So you can don your white

suit, aviator sunglasses sunglasses, pant suit snakeskin boots and show the one you love a good time, or step out of the Cadillac. A few random things to finish off: Keep your eyes and ears peeled for Funilingus. Rising from the ashes of Blood, this local duo make some crazy-good electro bangers and you can see for yourself when they play Speakeasy Friday 28 September alongside visitors North East Party House, with Tim & Jean (remember those guys?) spinning a DJ set. A new night at Honey Lounge (formerly Double Lucky), Inception launches this Friday for all things house, future, nu-disco, garage and beyond, featuring James A, Shaddow Brothers, Dan McNab, Valle Zoo and DYP. Free before 9pm, $5 before 10, $10 after. The pretty dang awesome Mitzi will make their WA debut in early December to help a certain local band launch their latest single, the details of which will be revealed very soon! And finally, there’s a picture circulating the interwebs with the Daft Punk logo, the words “No End” and a date – 13/03/13. Does it mean anything? Time, as it always does, will tell.

IT’S A TRAP Dance music has so many genres it’s almost impossible to keep up. Sydney DJ/producer Spenda C is bringing ‘trap’ to the Bootleg Sneaker Party, and he fills in the gaps for Troy Mutton. First up, can you educate us a little about trap? Trap has been around for a while in the hip hop scene but has just crossed over into the clubs with the help of guys like Flosstradamus, Baauer, TNGHT and RL Grime. I love it because it’s raw, upfront and bass heavy! It’s kinda what I always wanted dubstep to sound like. It seems pretty sample-heavy too, right? I’ve always used loads of samples in my production, so making trap came really naturally to me. It was just a matter of studying the genre and getting the elements right. Will you be pumping a bit of it at Ambar? My sets are very trap-heavy at the moment, but I also play a lot of moombahton and some d’n’b/jungle as well. I have just finished off three new trap tracks with Whiskey Pete, 32 • THE DRUM MEDIA

Playing a residency at Chinese Laundry in Sydney, does that give you a chance to try out different styles and tracks? The Chinese Laundry crowd are really open to new sounds. I’m always pleasantly surprised with how much shit I can get away with there! Being a drummer, do you ever get back behind the skins? I still have my kit but it is packed up at the moment. I really love punk and ska and have recently started collecting Jamaican Dancehall 45’s. You’re playing a special Sneaker Party over here in Perth, are you the kinda guy who has heaps

The final track HedRokkA on your Riot! EP is noticeably more melodic than the earlier, grungier tracks. Why do you think it is important to have diversity in your music? I was so glad when HedRokka got accepted for the EP, just because all of my releases have been angry and dark. If I keep pumping out the same sounds, people would get bored and even more importantly I would get bored. That’s why I made that track; I got sick of loud screamy noises that day. You often acknowledge Rusko as your main musical influence. How do you hope to make your mark on dubstep? I just hope people will remember me for not giving a fuck about what kind of music I ‘should’ be making. I never started to make music so that people


You have been an active member on and have gained respect through the site. What other methods have you used to promote yourself? DubstepForum helped me out a lot because it was a way to send music out to people all over the world in one click. Without the Internet no one would be where they are now. MySpace was a sick website too (until it died!). What are your personal feelings about dubstep’s movement towards a more mainstream audience of late? Well the problem is that people are emotionally attached to music, which can be a problem especially when an artist like Skrillex comes into the scene and makes his side of dubstep. People feel like the ‘underground’ Dubstep got ruined because it’s taken a new path. People don’t realize that this has happened over and over again ever since music has been about. We had rock that turned into heavy metal etc. and then ended up being punk music and so on. It’s all a big roundabout of new generations with ‘their’ own different styles of music. Dubstep will die out and become something totally different and the older generation who ‘owned’ the current dubstep will try to educate them about where it has came from etc. I just enjoy music no matter what the fuck it is. People need to chill out! What are you looking forward to the most about the Circus

Showcase tour, and what can we expect from your live show? I’m looking forward to the sun and beer the most. Lots of sun… and lots of beer! I just can’t wait to get back out there and smash the crap out of it! I always try my hardest to play the best set I can and I always enjoy it as much as the crowd. Following the Circus tour, what can we expect from Cookie Monsta for the remainder of 2012 and beyond? Well, my next release will be Yow Momma’s Ass and the b-side will be a secret collaboration with one of the Circus guys. We’ve been meaning to collab for about three years now. Just wait for the Atom Bomb! WHO: Cookie Monsta WHEN & WHERE: Wednesday 19 September, Big Ape Circus Tour, Villa


How would your mum describe you? I’m not sure! She’s very pleased with me just now after helping her cut the cat’s claws though. What’s one genre you would remove off the face of the earth and why? None of them. It’s not for me to tell anyone what not to listen to, and it’s fun to hate stuff you don’t like.

ETC!ETC! and J-Trick, which will definitely get a spin. I also have a heap of exclusive mash ups, bootlegs and remixes as well. You’re also involved in The Hump Day Project and The Mane Thing – can you tell us a bit about them? The Hump Day Project make Baltimore-influenced party jams while The Mane Thing is heavy on the moombahton tip. With my Spenda C stuff I really just try to make everything and anything and play around with new sounds and push some boundaries in the studio and in the club. Spenda C sets are more eclectic.

You’ve been labeled “the grime guru” amongst many others… what do you think you have done differently to make yourself stand out? Not too sure really, I guess it’s down to the fact that when I sit down to make a track I always get in the mode to make something ridiculous. Something really angry or horrible!

would listen to them, I started because it’s so much fun to do!

Who inspires you musically? I grew up on Jimi Hendrix, Nirvana, Prince… Then I got into Prodigy, I loved Thomas Schumacher’s early techno, I think those earliest dance music experiences feel like the biggest inspiration. These days Deadmau5 is pretty damn good at what he does. SPENDA C off kicks ki k on hhand? d? I hhave a pair of Air Jordan 1 strap hi in ‘Brown Cement’, still in the box from a trip to New York three years ago… Might be time to lace those bad boys up! After the show in Perth what’s going on in the rest of the year/2013? Doing a lot of shows with The Mane Thing actually… Parklife and Stereosonic in Sydney as well as a national tour, so I will be back in Perth very soon. WHO: Spenda C WHEN & WHERE: Friday 21 September, Bootleg Sneaker Party, Ambar

Name three tracks currently detonating your dancefloor. Chris Lake & John Dahlback – I Saw This Before; anything by Hard Rock Sofa; and Nom De Strip – Clouds (unashamed plug!). Tell us about a classic dancefloor moment. Dropping my track with Chris Lake and Hot Mouth feat. Benji Madden – Come Back Down in Korea earlier this year. They went insane to it! We’re still tweaking the mix but it’s almost there. What’s the musical achievement you’re most proud of? A pop production I can’t talk about yet! What’s one record you’re embarrassed to admit you own? My first album purchased was Rick Astley, on cassette tape.

NOM DE STRIP Spike Milligan quipped he’d like his tombstone to read ‘I told you I was ill’ – what would be on yours? “This is the deepest I’ve gone in.” What’s something that really annoys you? Infants. Imagine you’re on death row. What’s your last meal request? Fish‘n’chips from Globetrotter in Edinburgh. Name one person living or dead you would love to party with and why. Probably Will Ferrell, I like people that make me laugh and he’s about the best. What’s ruling your world at the moment? Me and Hot Mouth did a track called Wear The Trousers, that we’ve just given away for free. I have lots more music to come. Right now I’m focussing on coming to Australia and New Zealand, getting all my music together, doing a bunch of exclusive edits etc…

What can we expect to hear from you in the near future? Lately I have been focussing on studio work and have a number of releases coming up that I’m really excited about. I’ve been working closely with Chris Lake and his label Rising Music, we’re currently planning the release schedule for four of my new tracks. Next up is a collab with Peo De Pitte called Big Knobbler out September 10 through Rising Music. Pulse was just aired on BBC Radio 1, so there’s quite a bit of buzz about that one at the moment. My remix of Tommy Trash – Monkey See Monkey Do is out on Mau5trap in November, finally! I’m really looking forward to my shows in Australia and New Zealand where I’ll get the chance to test them all out. WHO: Nom De Strip WHEN & WHERE: Friday 14 September, Ambar


When any rave-inducing event starts at 7.30pm, it starts to raise a few eyebrows. Then again, this was the triple j House Party, and no one needed any introduction – by 8.30pm the line was so long it stretched halfway down Murray Street. The avid fans were out in force and no time, place or obstruction could stop these kids from seeing what can only be described as one epic house party… in a club. The night kicked off with Deacon Rose hitting the decks and having the daunting task of generating a party-thumping dancefloor to the early punters, and Rose’s talents and masterful skills amplified the already buzzing atmosphere, with people eager to get things going. The steady beats and psychedelic drops enticed the crowd before young gun Flume took over with some deeper, hip hop-infused beats bringing a rhythmic and calmer approach that synchronised


the crowd in somewhat of a wave formation. When the bass dropped so did the strobe lights, setting the night into sensory overload and creating a dancing frenzy. The rhythmic unison of the crowd exploded when he dropped his cracking remix of Hermitude’s Hyperparadise, people getting on shoulders and general loose vibes quickly following. When Nina Las Vegas finally had her time to play, she certainly took it with gusto and a set comprising of multiple genres from hip hop to house, gangsta to dubstep, rock to pop… she found a way for everything to fit together. Her enthusiasm and energy behind the decks only multiplied the atmosphere and got people dancing and loving the tunes even more. And a house party wouldn’t be complete without a little bit of table dancing, Nina Las Vegas often jumping onto the table and do some booty swinging table dancing to the likes of Missy Elliott. Beni followed and turned this genre swapping into a heavy bass and dubstep craze. The pinnacle of the night was when the skilful boys of What So Not (aka Flume and Melbourne’s Emoh Instead) teamed up and graced everyone with their skills to glide between songs


ready for what was to come.

and craft together obscure sounds in an orchestrated but surprising manner that kept the party in full swing.


Building on the crowd’s vibe, The Last Kinection graced the stage and used their brilliant combination of tight rhymes and funky beats to whip the crowd into a frenzy. The two MCs in the three-piece group, a brother and sister combo, showcased a number of extremely catchy tunes, complimented by some soulful and honest lyrics, and banter that only people extremely comfortable with each other would be able to express. While I will always be an indie kid at heart, I find that there is certainly something special about a hip hop act that can put on an inspiring performance, and these guys pulled it off exceptionally.

Saturday night’s feast of Aussie hip hop talent had a recurring theme presented throughout – it was all about the good vibes, man; good vibes all around. Early punters were even more cheerful than usual as Slackjaw took to the stage, having just witnessed the Dockers take down the Cats in the footy, and the crowd were coming through the doors like a flood as the up-and-comer performed a very enthusiastic and sunny set, keeping the audience feeling very warm and very

As crowd numbers reached near-full capacity, Tim Levinson, aka Urthboy, presented himself on stage, accompanied by Jane Tyrell, and began what would be an absolutely stellar set with crowd favourites The Signal and Hellsong. Both tunes were greeted with deafening roars, and the dynamic duo looked to be having just as much fun as the crowd was, going knees bent and shoulders forward in a very hip hoppy swagger across the stage. Tyrell had the crowd swooning as she performed

In proper house party fashion, the night then continued with all the DJs joining the usual Death Disco party professionals on stage mixing with one another, crowd surfing and giving vodka shots to the front row as the night continued on to early hours of the morning. Mitchell Evans




Shruggin, treating them with that heart-melting grin they all love so much. Urthboy took some time around the middle of the set to present the crowd with some food for thought – a rambling monologue that ultimately asked the question: “Is a song worth something?”, to which the crowd yelled with great approval. The end of a very entertaining performance saw Urthboy come down into the crowd to dance with his fans, and that topped off the night. It was certainly one of the most enjoyable live shows I’ve experienced in a long time. Kane Sutton


GEISHA: 07/09/12 The prospect of attending a drum’n’bass gig held at Geisha was an enticing one, having never heard the sweet sounds of bowel-loosening bass and driving drum loops pumping from its sound system – and especially so with the headlining act being one of New Zealand’s finest purveyors of the genre, The Upbeats. Having produced big tune after tune for close to ten years, including three artist albums and a stack of single releases, the duo - who also go by the sensational


monikers Terror Snake and Downie Wolf - have certainly amassed a sizeable following. With Perth’s considerable Kiwi population and Geisha’s modest size, the night was destined to be limited in providing brock-out space. Halfway through N1’s solid set the dancefloor was already filled out, but the crowd were clearly up for it and responded to the flow of killer tunes with rowdy abandon. Mickey B picked up where N1 left off and played out an ideal warm-up set that didn’t upstage the main act but kept the energy of the now sell-out crowd peaking. The Upbeats were represented by Jeremy Glenn aka Terror Snake on the night and no time was wasted in rinsing out some big tunes like Noises and Amit’s Killer Driller, with the at-times excessive, but not intrusive MCing of Stylee backing the mayhem. There were ear-toear grins everywhere and the rollers sounded unbelievably good on the Geisha sound system. Overall, a rousing endorsement for future d’n’b gigs at the venue that hopefully Loaded Dice can continue to provide. Jeremy Carson



13 SEP - 19 SEP





RUBADUB @ NEWPORT HOTEL The Weapon is Sound’s monthly dub/reggae night injects a sorely needed dose of dubstyle into your midweek, while the Culture Clash Clan party in the front room.




Perth’s seminal monthly hip hop karaoke night returns - throw your gang signs up and get rhymin’. Free before 8pm, $5 after. Ladies Of Hip Hop night.


The Empressions, Mumma Trees and Sista Che. Free from 8pm.



NOM DE STRIP @ AMBAR Ambar gets Stupid Fresh as Canadian genius Nom De Strip pops in for a set featuring a blend of styles from electro to techno, dutch to disco, supported by DNGRFLD, Philly Blunt and FTW. $20 from 10pm.

INCEPTION @ HONEY LOUNGE Inception launches for all things house, future, nu-disco, garage and beyond, featuring residents James A, Shaddow Brothers, Dan McNab, Valle Zoo and DYP. Free before 9pm, $5 before 10, $10 after. RYAN HEMSWORTH

RYAN HEMSWORTH @ SECRET VENUE Joining the ranks of Clams Casino, Hud Mo, Harry Fraud, Lunice and the like, 21-year old Canadian Ryan Hemsworth has begun to chart the future sound of young hip hop. He plays a secret location, supported by Modo, Clunk, Kit Pop, Sleepyhead and more.

HIGHER FYAH @ BAR ORIENT The reggae club plays host to special guest, Zamian DJ Chio, plus Ras Mwas, General Justice,

The debut Perth appearance of Germany’s Kalkbrenner, bringing a sound that’s akin to Balearic guitar riffs meet rave tracks and warm house beats, supported by Atif Khan, Aarin Fraser, El Dario and more.

KATCHAFIRE @ ASTOR THEATRE Katchafire return with their iconic reggae sound, lighting the way out of the winter chill. The eight-piece band that hosts five extraordinary singer songwriters, deliver one of the most authentic reggae shows around today. Ja Moko supports. Tickets via

ROGER SHAH @ SHAPE On stage, clad in his trademark white, Roger Shah is impossible to miss with, his live crowdinteracting performances have brought an entirely new experience for club and-festival goers worldwide. $35 plus BF via Moshtix, Planet and Mills.

AMPLIFIER/CAPITOL Jamie Mac spins indie/alt classics from midnight at Amps, while Caps satisfies your ‘90s desires with DJs from 11pm.

FHF @ METRO FREO Death Disco DJs rock bangin’ indiedance, plus red cups, cheerleaders and college-themed craziness in a special Pyjama Party edition.

NEXT HYPE @ GEISHA New music, new hype with Bolsty, Craig Hollywood, DYP, Graduate and Kit Pop. $10 from 10pm, drink discounts early.


LLAMA BAR DJs Jim Pearson, Jehan, Cee and Ben Edit bring smooth house vibes, plus Warren Harvey on percussion.




Az-T rounds up your Sunday Sesh.

The sounds of Bezwun, Oli, Dead Easy, Marko Paulo and Blend bang into your mind at the home of the underground. $12 before midnight, $15 thereafter.

METRO FREO DJs DTuck, Ben Carter and Wazz keep the party tunes rolling in the big house.

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

DEVILLES PAD The Isolites bring the vintage sounds of ‘60s Jamaica to life,, plus DJs, GoGo and more. Doors 6pm, $10 after 8.

THE WEMBLEY Once again Lokie Shaw fires up the Saturday night soundtrack.

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



COMMIX @ SHAPE UK drum’n’bass duo Commix double-drop into The Lick for a special last minute show, their 2007 album Call To Mind considered a seminal work in d’n’b history. Deflo and Jazza support from 9pm til late. $10 via, $15 door.

BIG APE @ VILLA It’s a special Circus Records showcase featuring head honcho and mastermind behind Sweet Shop Doctor P, joined by label lads Cookie Monsta, Funtcase, Slum Dogz and the master of ceremonies, Krafty MC. Tickets via or Moshtix.

STUDENT NIGHT @ ROSEMOUNT DJ Anton Maz brings you postpunk, indie-pop and rock goodies outside in the beer garden for free.

WUB WUB @ BOULEVARD TAV DJs and MCs mixing up the best dubstep, drum’n’bass, electro and general bass music free from 7pm in a special Pirates Party edition.



The lads from Pond spin tunes to warm the loins, ears, eyes, feet and hips. Free from 8pm.

Az-T brings the party anthems all night long.


LEVINS/TICK TOCK FAREWELL @ THE BIRD Sydney producer/DJ/chef Levins is in town to launch his killer cook book Diner, plus help local promo company Tick Tock say farewell. Shazam, Lightsteed and Aslan support. $5 from 4pm.


DAISUKI @ GEISHA DEADWEIGHT @ THE BIRD A special allstars party showcasing those who’ve been there from the start, with Boy Prince, Saxon, Nebula, Modo and Rekab. $5 from 8pm.

This month Daisuki features Higher Education (featuring members of Usurper Of Modern Medicine) plus Eleventeen Eston, Lacheo Ley and Tom Lettenmaier & George Capalas. Doors 8pm, $5 til 9, $10 after.




Katchafire return with their iconic reggae sound, lighting the way out of the winter chill. Tickets via

Katchafire return with their iconic reggae sound, lighting the way out of the winter chill. Tickets via

Dylan Hammond fires up with dancefloor destroyers ‘til late.

HUSSLE HUSSLE @ MOJO’S This month’s Hussle presents Seasta Chani with Mama Tiger on the decks and Cat on harmonies, plus The Freakz Of The Nature launching their new video for Thoughts In My Head, plus The Black Penny Project, Wisdom 2th and DT. $10 from 8pm.




Perth has long been considered by the rest of the world as a bit of a drum’n’bass mecca, and since the dissolution of Pendulum earlier this year, it’s fair to say our brightest light is the one and only Karl Thomas, aka Shockone. Only furthering his global pedigree, Thomas recently relocated to the UK for three months in the wake of a massive UK and European tour, warming audiences up for his hotly anticipated debut album. And while that’s not due ‘til early next year, we’ve got a sneaking suspicion he plans on letting a few fans in on how it’s going when he rocks Villa this weekend, Saturday 15 September, including his most recent new single, Relapse featuring Sam Nafie on vocals, out next month on Viper Recordings. The d’n’b and rising dubstep king is supported by good buddy/part-time production partner Phetsta, Ekko & Sidetrack, Dvise, Illusiv and Dub Z, plus MCs Xsessiv and Tenacity. $30 plus BF via Moshtix.

Good food and beats with DJs Danny Boi and Charlie Bucket plus Meg Mac & The Squeeze bring the live soul. Fried chicken til 10pm.


BEAUFORT BOP @ DEFECTORS A swingin’ night this week features Tom O’Halloran Trio boppin’ the live jazz and DJ Anton Maz spinning blues, soul, funk and more, free from 8pm.

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

LMW @ CONNECTIONS Lesbian Mud Wrestling with tunes from Connections DJs all night. Free entry from 10pm.

Available at: 78’s . Blue 62 . Chunes of Broome . Dada’s . Groove Music . JB Hi-Fi (all stores) Junction Records . Mills . Planet Video . Sound One . Soundwaves . Urban


THU 13 Evermore Amplifier Bar Chasing Calee Belgian Beer Cafe Our Latin Thing Clancys Canning Bridge Bryn Jones, Jimmy Thorne Claremont Hotel Courtney Murphy Como Hotel Prita Grealy Ellington Jazz Club Jugular: Rotaxus, Energy Commission, Hideous Sun Demon, Alec J Wilmot, Esa Fly By Night Fremantle Chris Murphy High Wycombe Hotel James Wilson Lucky Shag Oka, Simmo T Mojos Nth Fremantle Troy Pearson Mt Henry Tavern Calectasia, Palatial Digs, One Thousand Years, James MacArthur Mustang Bar Rubadub: Weapon Is Sound Newport Hotel Grant Hart Ningaloo Resort Davey Craddock & &he Spectacles, Stunning In Red, Old Blood Norfolk Basement Hi-NRG Paddy Hannan’s, Burswood Minute 36, The Shallows, Erasers, Fucking Teeth, Salut Barbu, Sons Of Rico DJs Rosemount Hotel Clayton Bolger Rosie O’Gradys Fremantle Neil Colliss Rosie O’Gradys Northbridge David Fyffe Sovereign Arms Fliptop, Leonardo & Special Guests Swan Lounge Jen de Ness The Boat One Trick Phonies The Gate Bar and Bistro, Success Shillelagh Law The Shed Off The Record Universal Bar Two Plus One Woodvale Tavern Ace Alex and Jazzy Jack Xwray & The Blackbirds, James Rogers, Timothy Nelson, Jacob Diamond Ya Ya’s

FRI 14 Free Radicals 7th Avenue Bar Mod Squad, Tip Top Sound Bailey Bar & Bistro Folk Yeah: James Teague, The Big Old Bears, The Seals, The Flower Drums Bakery Northbridge Jamie Powers Bally’s Bar Mike Nayar Balmoral Chio, Ras Mwas, General Justice, The Empressions, Mumma Trees, Sista Che Bar Orient Fremantle Electrophobia Belmont Htl Dove Bentley Hotel Everlong Black Bettys Perejuan, DJ Andyy Blvd Tavern, Joondalup Nat Ripepi Broken Hill Hotel Tod Woodward Brook Bar & Bistro Midnight Rambler Burswood Meridian Room 36 • THE DRUM MEDIA

Jonah Matranga’s onlinedrawing C5 Cargo Beat Captain Stirling Slack Alice Castle Hotel York Chasing Calee Chase Bar & Bistro Fitzroy Xpress Civic Hotel, Back Room The Crux Clancys Fremantle Our Latin Thing Clancys City Beach Needing Cherie Clancys Dunsborough Jon Ee Claremont Hotel Rush Hour, Lil Franco Berry, Benny Boy Devilles Pad Nitro Net Dunsborough Tavern One Trick Phonies Edz Sports Bar 1 Danny Martin - Late Night Grooves, Natalie Gillespie, JadeLori Crompton Trio Ellington Jazz Club Richard Roberts Flinders Park Hall Ali Towers Herdsman Lake Tavern The Damien Cripps Band, Chris Murphy High Road Htl Riverton Underground Hound, Thee Goldblooms, The Black Jackets Hyde Park Hotel Connie Kis Anderson Last Drop Tavern Jack & Jill M On The Point Hussle Hussle: Seasta Chani, The Black Penny Project, Wisdom 2th, The Freakz of the Nature, DT Mojos Nth Fremantle Urban X Moon & Sixpence Oz Big Band, Cheeky Monkeys, James MacArthur Mustang Bar Party Rockers Newport Hotel The Aunts, Tom Fisher & The Layabouts, Tabas.Co, Old Blood Norfolk Basement Simon Kelly Paddo Flyte Paramount Nightclub Acoustic Licence Peel Ale House David Fyffe Pink Duck Lounge Loon Lake Prince of Wales Bunbury Deuce Princess Road Tavern The Blackbirds Quarie Bar & Bistro Advent Sorrow, Mhorgl, Memoria, One Too Many Camel Railway Hotel The Bob Gordons, Blazin’ Entrails, Kill Teen Angst, Blindspot, The Shakeys Rocket Room Extreme Aggression: DJ Cain Rocket Room (Late) Gloria Ironbox, Aurora, From The Dunes, Bishi Bashi, Subtle & The Undertones, The Bone Kickers and more Rosemount Hotel Howie Morgan, Childs Play (Upstairs) Sail & Anchor Sneaky Weasel Gang Settlers Tavern Margaret River Kickstart Shed Rotaxus, Breed, Mirror Mirror, The Fallen Academy Swan Basement Better Days Swinging Pig

Greg Carter Swinging Pig (Arvo) Steve Hepple The Admiral The Exploders, The Novocaines, The Love Junkies The Bird The Organ Grinders The Boat B.O.B The Principal Kickstart, Glenn 20 The Shed Nightmoves Universal Bar Room At The Reservoir, Dead Owls, The Shallows, Idle Front Velvet Lounge Ivan Ribic Victoria Park Hotel Dr Bogus Woodvale Tavern Race To Your Face, The Ron Pollard Quartet, Zeks Xwray Café Tyto Kings, Three Hands One Hoof, Edie Green Ya Ya’s

SAT 15 Loon Lake Amplifier Bar Dr Bogus, Tip Top Sound Bailey Bar & Bistro Pond, Water Temple, Peter Bibby, The Weapon Is Sound Bakery Northbridge The Recliners Balmoral Flyte Bar 120 J Babies Black Bettys Jason Baker (Arvo), 303 Trio, Sketch Blvd Tavern, Joondalup Aftershock Breakers Bar (Geraldton) Nymph Honey, Blind Otis, The History Of, Ross Lowe Brighton The Mojos Brook Bar & Bistro John & Shaun Sandosham Burswood Lobby Lounge Chris Murphy Burswood Meridian Room Switch Burswood Prize Draw Stage 3’s a Crowd Funk Duo Clancys Canning Bridge The Ten Cent Shooters Clancys Fremantle Russell Holmes Trio Clancys City Beach (afternoon) Dude Ranch, Ian Simpson, Jane Germain Claremont Hotel Ricky Green Como Hotel The Isolites, Safari, Agent 85 Devilles Pad Sarah Mcleod Ellington Jazz Club Jana Chanelle & The Perscription Ellington Jazz Club (Late) Losing Julia High Road Htl Riverton Prita Grealy, Toby Indi Bar Plastic Max and the Token Gesture Jarrahdale Serpentine Recreation Centre Hot Suga Kardinya Tavern Steve Hepple Leopold Htl Bicton Rock Scholars (Arvo), The Exploders, The Novocaines, The Love Junkies, Sugarpuss, Man The Clouds Mojos Nth Fremantle The Damien Cripps Band Moon & Sixpence Double Trouble Murphys Mandurah The Rusty Pinto Combo, Milhouse, Rockabilly DJ, James MacArthur Mustang Bar

Gravity Newport Hotel Kizzy Newport Hotel (afternoon) Felicity Groom, The Seals, Dilip and the Davs, Davey Craddock and the Spectacles Niven Park, Carnamah Deep River Collective, Elli Schoeller, Jess Nyanda Norfolk Basement BugHunt, Cathie Travers, Strychnine Cowboys North Fremantle Bowls Club Welcome To Loco, Applebite, Creature, The Jephasuns Railway Hotel Kickstart, Mel Rocket Room (Late) Earth, Margins, Original Past Life Rosemount Hotel Blue Gene Rosie O’Gradys Northbridge Katchafire, Jamdown Vershun Crew Settlers Tavern Margaret River Chasing Calee The Admiral Deadweight Allstars, Boy Prince, Saxon, Nebula, Modo, Rekab The Bird 11:11 The Boat Storm The Shores, Severtone, Lakeside, Remember The South, Alizarin Haze The Den Dirty Scoundrels The Gate Bar and Bistro, Success Huge, DJ Andyy The Shed Courtney Murphy Trio The Whale & Ale Nightmoves Universal Bar Mod Squad Woodvale Tavern The Blackbirds, James Rogers, Ellen Oosterbaan Xwray Café The Aunts, Lucy Peach, One Tiger Down, Zara Huts Ya Ya’s

SUN 16 Reckless Kelly 7th Avenue Bar Annabelle, Roger Gomez Blvd Tavern, Joondalup Chris Murphy Broken Hill Hotel (afternoon) Local Heroes Burswood Meridian Room The Zydecats Clancys - Fremantle The Big Old Bears, The Flower Drums Clancys Dunsborough Sunday Driver, Double Dee Claremont Hotel Jane Germain, Ian Simpson E Shed, Fremantle Harbour Arthur Gracia and his World of Indojazz Ellington Jazz Club Higher Education, Eleventeen Eston, Lacheo Ley Geisha Bar Nat Ripepi High Road Htl Riverton (Afternoon) The Organ Grinders High Wycombe Hotel Music In The Park Kings Park Botanic Gardens Blokes In Coats (Arvo), Fear of Comedy, Brutus, Hyte, Darkzveight Mojos Nth Fremantle The Whistling Dogs Moon Café Neil Adams Murphys Mandurah Peter Busher & the Lone Rangers, Rockin Rhys Mustang Bar

Cal Peck & the Tramps, The Raging Lincolns, Axe Girl Newport Hotel Tim Nelson Newport Hotel (afternoon) The Red Paintings, Gilded, Pex Norfolk Basement Billy & the Broken Lines Paddy Hannan’s, Burswood One Trick Phonies Pig & Whistle Neil Colliss Rosie O’Gradys Northbridge Mike Nayar Sail & Anchor Scott Bassham Settlers Tavern Margaret River Anthony Nieves South st Ale House Ivan Ribic Sovereign Arms Adam James Swinging Pig Jamie Powers Swinging Pig (Arvo) Levins, Shazam, Lightsteed The Bird Better Days The Gate Bar and Bistro, Success The Healys, Blue Hornet The Shed Retrofit Universal Bar Damien Cripps Victoria Park Hotel Good Karma Woodvale Tavern The Charisma Brothers, Click Brown Fox Xwray Café

MON 17 Song Lounge Ellington Jazz Club Open Mic Night, Bruno Oliver Booth Mojos Nth Fremantle Marco & The Alleycats Mustang Bar James Wilson The Brass Monkey Plastic Max and the Token Gesture The Deen Big Thommo’s Open Mic Variety Night Ya Ya’s

TUE 18 Something Savoy Blvd Tavern, Joondalup Courtney Murphy Burswood Meridian Room John Septimus Roe Jazz Ellington Jazz Club Rock Scholars Hyde Park Hotel Ben Merito Lucky Shag Dank Magick, Oddstar, Xeno, Musako Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Simon Kelly Paddo Fat Shan’s Open Mic The Bird The Tome Tale Quartet Xwray Café Death Elevator, 2 Pound Pocket Rocket, The Kuillotines Ya Ya’s

WED 19 Daramad Ellington Jazz Club Fremantle Blues & Roots Club: Justin Walshe Trio, Gilbert Whyte, Mike Develta Mojos Nth Fremantle Dave, Mouring The Collector, Catlips, Trojan John Rosemount Hotel Pond DJs The Bird Helen Shanahan, Lexi Keller Xwray Cafe

TOUR GUIDE PRITA GREALY EVERMORE: SEP 13 Amplifier PRITA GREALY: SEP 13 Ellington Jazz Club; SEP 15 Indi Bar OKA: SEP 13 Mojo’s; SEP 14 Divers Tavern; SEP 16 Caves House; SEP 19 Indi Bar; SEP 20 Prince Of Wales; SEP 21 Settlers Tavern; SEP 22 White Star Hotel; SEP 23 Railway Hotel JONAH MATRANGA’S ONLINEDRAWING: SEP 14 C5 MARGINS: SEP 14 Dada’s Garage; SEP 15 Rosemount Hotel LOON LAKE: SEP 14 Prince Of Wales; SEP 15 Amplifier THE EXPLODERS: SEP 14 The Bird; SEP 15 Mojo’s; SEP 16 Indi Bar KATCHAFIRE: SEP 14 Astor Theatre; SEP 15 Settlers Tavern; SEP 16 The Prince Of Wales SARAH MCLEOD: SEP 15 Ellington Jazz Club RICHARD CLAPTON: SEP 15 Astor Theatre EARTH, MARGINS: SEP 15 Rosemount Hotel HISTORY II: MICHAEL JACKSON TRIBUTE WITH KENNY WIZZ: SEP 15 Perth Concert Hall + TOBY: SEP 15 Indi Bar; SEP 17 Ellington Jazz Club; SEP 19 Monkey Bar, Monkey Mia; SEP 20 Ningaloo Reef Resort, Coral Bay; SEP 21 Gascoyne Hotel, Carnarvon; SEP 22 & 23 Karratha Hotel; SEP 26 & 27 El Questro Station; SEP 29 Boab Tavern, Derby; SEP 30 Divers Tavern, Broome THE RED PAINTINGS: SEP 16 Norfolk Basement RUFUS WAINRIGHT, KRYSTLE WARREN, WASHINGTON: SEP 19 Riverside Theatre MNOZIL BRASS: SEP 19 Perth Concert Hall MYSTERY JETS: SEP 20 Capitol WHEATUS, NOVA & THE EXPERIENCE: SEP 20 Metropolis Fremantle DEFYING GRAVITY, KUNIKO KATO: SEP 20-22 WAAPA Music Auditorium PUGSLEY BUZZARD: SEP 20 Settlers Tavern; SEP 22 Rottnest Lodge; SEP 23 Newport Hotel; SEP 25 Charles Hotel HOPELESS: SEP 21 Amplifier; SEP 23 YMCA HQ BRITISH INDIA: SEP 22 Amplifier; NOV 29 Prince Of Wales; NOV 30 Metropolis Fremantle; DEC 1 Capitol GYROSCOPE: SEP 22 Rosemount Hotel HANSON, MATT WERTZ: SEP 22 Metropolis Fremantle

KATCHAFIRE 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 SOLA ROSA: SEP 26 Indi Bar; SEP 28 Clancy’s Dunsborough; SEP 29 Amplifier; SEP 30 Wave Rock Weekender EMMA HAMILTON: SEP 27 Ellington Jazz Club HIGH WOLF: SEP 27 PICA Bar THE EASTERN: SEP 27 Clancy’s Fremantle; SEP 30 Wave Rock Weekender KATIE NOONAN, KARIN SCHAUPP: SEP 27 Albany Entertainment Centre; SEP 28 Winthrop Hall; SEP 29 Mandurah Performing Arts Centre STICKY FINGERS: SEP 27 Indi Bar; SEP 28 Settlers Tavern; SEP 29 Prince Of Wales; SEP 30 White Star + SPEAKEASY: NORTHEAST PARTY HOUSE: SEP 28 Villa SLEEPMAKESWAVES: SEP 28 The Bakery JULIA STONE: SEP 28 Astor Theatre STEPHEN MALKMUS & THE JICKS: SEP 28 Rosemount Hotel + DALE BARLTROP & AYO: SEP 28 & 29 The Ballroom, Government House CLAUDE HAY: SEP 28 Velvet Lounge; SEP 29 Fly By Night SHIHAD: SEP 28 Amplifier; SEP 29 Wave Rock Weekender; SEP 30 Mojo’s RUMBLE IN THE UNDERGROUND: THE SIN & TONICS, THE RECHORDS, HANK’S JALOPY DEMONS, SCOTTY BAKER, KIERON MCDONALD, LADY VOODOO & THE RITUALS, PAT CAPOCCI COMBO, DJ SWINGABILLY RAY and locals: SEP 29 Perth State Theatre Underground SASKWATCH: SEP 29 Wave Rock Weekender FEAR FACTORY: SEP 30 Capitol RUSSIAN CIRCLES, EAGLE TWIN: SEP 30 The Bakery PARKLIFE: THE PRESETS; ROBYN; PASSION PIT, TAME IMPALA, CHAIRLIFT, ST LUCIA, PARACHUTE YOUTH, ART DEPARTMENT and more: OCT 1 Wellington Square JOE BONOMASSA: OCT 1 Perth Concert Hall NEKROMANTIX: OCT 2 Rosemount Hotel + MIST, OUTER SPACE: OCT 3 North Perth Bowling Club

DEFEATER, BLACKLISTED: OCT 3 Amplifier; OCT 4 YMCA HQ OH MERCY, MILLIONS: OCT 4 Settlers Tavern; OCT 5 Norfolk Basement; OCT 6 The Bakery + BLUEJUICE: OCT 5 Metropolis Fremantle; OCT 6 White Star Hotel THE RUBENS, NEW GODS: OCT 5 Capitol; OCT 6 Prince Of Wales; OCT 7 Newport Hotel + FRED SMITH & THE SPOOKY MEN OF THE WEST: OCT 6 Kulcha BENOIT PIOULARD: OCT 7 The Bird MEKARE-KARE: OCT 7 The Bakery PETER COOMBE: OCT 7 Fly By Night HYPERFEST: BLUEJUICE, HEROES FOR HIRE and more: OCT 7 Midland Oval REGURGITATOR, SENYAWA, HEDGEHOG: OCT 7 Astor Theatre THE AMITY AFFLICTION, THE GHOST INSIDE, ARCHITECTS, BURIED IN VERONA: OCT 7 & 8 Metropolis Fremantle KELLY CLARKSON, THE FRAY, SARAH DE BONO: OCT 8 Challenge Stadium CANNIBAL CORPSE: OCT 9 Capitol STEEL PANTHER, THE ART: OCT 10 Metro City PAUL CAPSIS: OCT 11 Artbar, Art Gallery Of WA WARBRINGER: OCT 11 Amplifier TIM ROGERS, CATHERINE BRITT: OCT 11 Clancy’s Dunsborough; OCT 12 Fly By Night; OCT 13 Rosemount Hotel MUMFORD & SONS, EDWARD SHARPE & THE MAGNETIC ZEROS, WILLY MASON: OCT 12 & 13 Belvoir Amphitheatre SOUND OF SEASONS: OCT 12 C5; OCT 13 Amplifier; OCT 14 YMCA HQ + WHAT FOUR (LOREN, FREYA HANLEY): OCT 12 Prince Of Wales; OCT 13 Settlers Tavern; OCT 14 Clancy’s Dunsborough; OCT 17 Indi Bar; OCT 18 The Paddo; OCT 19 Clancy’s Fremantle; OCT 21 Redcliffe On The Murray + DON WALKER: OCT 14 Fremantle Arts Centre DAPPLED CITIES, JAPE: OCT 14 Amplifier THIS IS NOWHERE: TORTOISE, XIU XIU, GRAILS and more: OCT 14 UWA EVERCLEAR: OCT 14 Capitol COUNT BASIE ORCHESTRA: OCT 14 Perth Concert Hall KARISE EDEN, LAKYN HEPERI: OCT 16 & 17 St. Joseph’s Church




• till



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• •

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Alex 7pm

Fri 14 • Race To Your Face EP Launch w/ The Ron Pollard Quintet / Zeks • $10 from 8pm Sat 15 Rogers • Sun Click

Lot •


Blackbirds Ellen from

/ $5

16 • The Charisma Brown Fox • free

Tues Quartet Wed •



4 • 9430

• •

• Helen free 3 9399

The free Shanahan from 13 •

/ James Oosterbaan 8.30pm Brothers / 4 7pm

Tome from /


Tale 7pm Keller 8:30pm

Essex St Fremantle


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Drum Media Perth Issue #305  
Drum Media Perth Issue #305  

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...