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THE DRUM MEDIA • 3
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BIG DAY OUT 2013
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FOREWORD LINE
NEWS FROM THE FRONT
IN BRIEF Massive congrats to local indie-pop wonders San Cisco, who signed a label deal with Fat Possum/ RCA Records for all territories outside of Aus’ and NZ - the first Australian band to sign with the very well-respected label. Fringe World Festival 2013 are taking submissions for your show/exhibition head to fringeworld.com. au and get involved.
THE GASLAMP KILLER
ORIGINAL SINNERS In what has been an absolutely massive year for bass music, Origin NYE has come out with its biggest line-up yet, with some ambitious changes making for one huge New Years party. And this is just the first announcement: Chase & Status (DJ Set); Knife Party; Gaslamp Killer; Shockone; Gemini Pearson Sound; DMZ; Goldie; Ben UFO; Brookes Brothers; Ed Rush; Pariah Wilkinson; Marky & Stamina; Skism; Sigma; Delta Heavy; XXXY; New York Transit Authority; Dillinja; Inspector Dubplate; Metrik; Jakes; Dodge & Fuski; DC Breaks; Mensah; Bar9; Distance; Dark Sky; and Om Unit. With more due October 2 - check back then. Origin has also shifted from Belvoir to a new home – Fairbridge Village. Not only that, it’s now a two-day camping festival, taking place Sunday 30 and Monday 31 December. Pre-sales via thebigape.com.au and grizzled.com.au.
FAN FORCE Perth and Adelaide weren’t on Gomez’s Australian tour schedule when it was first announced, but after constant barrage from fans demanding shows, they have been forced to add more dates, and as such The Quinceanera Tour will now hit Fly By Night Club Saturday 6 October and the Rosemount Hotel Sunday 7. Tickets via Heatseeker, Cam Avery supports. This will be their last shows down under for some time, so best get along to bid them farewell (for now).
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LADY VELVET CABARET PRESENTS:
BIG DADDY KANE
LADIES MAN Brooklyn MC Big Daddy Kane, who undisputedly defined the term “lyricist” in the world of hip hop, will be touring Australia for the first time ever this October. Kane was the first rapper to ever hold not one but two sold out shows at the world famous Apollo Theater for women only. His live performances, which consisted of theatrics, choreography and tailored costumes, prove that he is not only an MC, but also a full entertainer. Catch the man in action Thursday 11 October at the Rosemount Hotel. JEFF THE BROTHERHOOD
THE GRADUATES. DOORS 6PM/$15 BIG TOMMO’S OPEN MIC VARIETY NIGHT 7PM FREE
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COMMUNITY STEREO
DJ PAUL BURGESS PLAYING RETRO CLASSICS, NORTHERN SOUL AND DANCEABLE INDIE DOORS 8PM FREE CORNER OF JAMES AND LAKE ST NORTHBRIDGE 147 JAMES STREET NORTHBRIDGE 6003 6 • THE DRUM MEDIA
Cuban Club 2013 will take place at The Flying Squadron Yacht Club Tuesday 1 January 2013. It’s all about Mad Men pastiche in a good time garden party, check Drum for the line-up announcement next week. Chet Faker has dominated this year’s Jagermeister Independent Music Awards nominations with five in total. 360 picked up four, while Royal Headache, The Jezabels and locals DZ Deathrays picked up a few each. The awards are presented in Melbourne October 16.
This week’s cover stars The Amity Affliction have stolen the ARIA Album Chart number one from last week’s cover stars The xx and hotly-tipped Sydney dance duo (and the week befores cover stars!) The Presets this week, who finished in numbers two and three respectively. Placebo have signed a new worldwide licensing deal with Universal Music, with a new EP on the way next month and new record in the pipeline for 2013.
MONDAY 24TH SEPTEMBER
BROTHERLY LOVE Purely revelling in the old “less is more” attitude, Jeff The Brotherhood are a Nashville brotherly duo that have no problem bringing the rock’n’roll wall down on audiences. With a new LP in Hypnotic Nights (produced by The Black Keys’ Dan Aurbach), the bros are ready to set sail once again on their first visit back since their Meredith performance in 2010. Catch the brotherly bug at the Big Day Out (Monday 28 January, Claremont Showgrounds) or in the more intimate surrounds of Mojo’s the night before, Sunday 27. Tickets via Heatseeker.
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DREAM TEAM Melbourne’s Dave Graney & The MistLY have been touring their album You’ve Been In My Mind all around the country and finally it’s Perth’s turn to hear the tunes live. Dave Graney kicks the tour off with a solo show Thursday 4 October at Clancy’s Dunsborough, then the four-piece play Friday 5 at the same venue; The Bird Saturday 6; and Mojo’s Sunday 7. Dave Graney and drummer Clare Moore have worked together on 25 different albums.
Celebrating the best and brightest WA hip hop, the West Australian Hip Hop Awards 2012 have been scheduled for Saturday 1 December at Villa.
Australian singer and songwriter Sia has continued her dream run of chart success this week, the track She Wolf (Falling To Pieces), another collaboration with David Guetta, entered the UK chart at #14 and the dance chart at #2.
THURSDAY 20TH SEPTEMBER
Following the release of his debut album, Doomsday Deluxe in June, Sampology has announced the record’s second single, Around The Globe, and a DJ tour to coincide with its release. The track features a cameo from one of the hardest working men on the reggae/dancehall/ bashment scene, UK vocal don Serocee. Sampology’s high energy DJ set hits The Manor Friday 12 October.
Rumble In The Underground - the massive 20-band, east vs. west face-off scheduled for later this month has been postponed to next year.
If you’ve snapped a winning dance photo then submit an entry into this year’s Perth Dance Music Awards, where entries are now open for Best Scene Photograph, Best Flyer and Best Local Tune until Wednesday 10 October. Perthdancemusicawards. org for more info. GOMEZ
WORLDWIDE
A new two-disc compilation, Essential Oils, brings together 36 of much loved Aussie band Midnight Oil’s best songs, as compiled by the band themselves. It’s released November 2. EMI Music Australia has teamed up with Future Entertainment to launch an exclusive label deal entitled Future Music.
THE WOOHOO REVUE
WHO’S WOO After overwhelming acclaim at Fairbridge Festival this year and a sell-out show at The Fringe World Spiegeltent last year, The Woohoo Revue are returning to WA due to popular demand. They’ll be in WA for Wave Rock Weekender, but will also be lending their high octane sextet of horns, strings and drums to a sideshow Friday 28 September at Mojo’s with support from Ensemble Formidable. With their signature sound and an adrenalinfuelled performance, they have forged their reputation as a live favourite. $20 via Heatseeker, $25 at the door.
THREE’S A CROWD Your favourite party starters are coming together for a very special night of dancefloor debauchery. Sam ‘Floating Points’ Shepherd, Alexander Nut, and ‘Queen’ Fatima combine their talents Thursday 22 November at Ambar for over five hours of late-night retro-futurism as the Eglo Records collective take over Perth’s tidiest basement soundsystem for the very first time. Put your trust in this collective to keep toes tappin’, hips dippin’, and the party moving all night.
WEIRD BEARDS Freshly decoded from some sub-Antarctic DNA, Get Weird is the party that your spirit animal has recently been referencing on the astral plain. Get Weird launches Friday 5 October at Ambar with very special guests Punks Jump Up (Kitsune/UK) and Perth party heroes Blend, Manimal and Audageous. This ain’t just any old club banger, there will be inflatable things, men in funny hats and other stupid crap to make things more awesome. Tickets via boomtick.com.au.
ABOVE & BEYOND
RISE ABOVE After wowing Australian audiences at Creamfields earlier this year, Above & Beyond are returning to reconnect with their vast and incredibly loyal Aus’ fanbase. Above & Beyond’s ongoing world tour will see their DJ experience take control of Metro City Friday 1 February 2013 with support from Anjunabeats stars Andrew Bayer and Norin & Rad. The trio will showcase their latest productions, as well as exclusive material from their forthcoming Anjunabeats Volume 10 compilation. Tickets via Moshtix.
DOWNTIME Punishing dancefloors all over the planet with his heavy brand of dubstep, Canada’s Downlink is headed to Shape Bar Friday 12 October. While maintaining an appreciation for the sparse and laid-back vibes of the old school, Downlink explores a frantic, adrenaline fuelled style, influenced by everything from heavy metal to astrophysics. Support from J. Nitrous, Killafoe, J Switch and Jaydee Fordee. Tickets via Moshtix.
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FOREWORD LINE WAY TO GO To coincide with their forthcoming EP Way To The Coast, Newcastle’s Benjalu play Clancy’s Fremantle Friday 7 December; The Bird Saturday 8; and Clancy’s Dunsborough Sunday 9. Way To The Coast was produced by ARIA Hall of Famer Tim Powles, and it looks like a debut album is in the pipeline, set for release in 2013. Fast becoming firm favourites on the live circuit, Benjalu have gained a reputation for their infectious melodies and dynamic energy on stage.
NEWS FROM THE FRONT
LOCAL LOVIN’
There’s some mighty fine happenings going down soon in WA, and we don’t just mean not watching anything AFL related following last weekend’s double tragedy. Following their epic set at BigSOUND and a sold out show at the Fly By Night last month, The Growl are playing a hometown return show to launch their new single Cleaver Lever Friday 19 October, supported by Felicity Groom, Maurice Flavel & Band at Villa. Local unplugged night Friday I’m In Love hosts Lumiere, Kucka and Husband (solo) Friday 28 September downstairs in Fat Shan’s Records. Nightclass is back for a set of serious vibes and proper business Saturday 29 September at The Bird, this time featuring Clunk, Rekab, Zanetic, DYP B2B Frodo and Everyteen. Perth-based DJ, performance art and party collective The Monarchy bring Richard The Second, a night of regal debauchery and “the biggest, hardest, most engorged polysexual dance party in recent memory”, to Connections Nightclub, Sunday 30 September.
DOCTOR WEREWOLF
BASS ATTACK Ask a fan how they’d describe a Doctor Werewolf show and you’ll usually get the same response – loud and crammed full of obnoxious bass. It’s this fusion of electronic chaos, blistering synths and crashing drums that has given rise to the unstoppable party beast comprised of Adam Zae and Andrew Bell. They’ve managed to capture the onstage chaos on EP Wolfzilla and will be in Perth Saturday 27 October to play Shape.
Fresh-faced three-piece Lilt are launching their debut EP, Swim, at Geisha Bar Sunday 30 September with Carl Fox and more in support.
IRON LUNGS In a world exclusive, former Iron Maiden vocalists Blaze Bayley and Paul Di’Anno will be uniting for a co-headlining tour that will see both singers belting out only Iron Maiden songs. They’ll play classic tracks from their respective albums with one of the biggest heavy metal bands in the world. The tour will also mark Bayley’s first time down under. Catch the pair at The Civic Hotel with Psychonaut and Silent Knight Saturday 24 November. Tickets via Moshtix.
FLYING HIGH After creating plenty of buzz around the world with their debut EP Woodland, Melbourne folk five-piece The Paper Kites are back with their Young North EP. The band celebrate with a national tour that hits Mojo’s Friday 19 October. The new EP was co-produced by the band and ARIA Award-winning producer, Wayne Connolly (The Vines, Josh Pyke and Sarah Blasko) and is set to again wow Australia and the world.
As a first offering off their upcoming EP, Rainy Day Women will launch new single Runaway at Mojo’s Bar, Saturday 6 October with supports from Runner, The Flower Drums and Mat Cammarano.
HYPER TIMES The second instalment of Viper Recods at Villa has been locked in for Saturday 20 October, and has an awesome line-up sorted. Matrix & Futurebound (UK), Smooth (Slovenia) and local legend Phetsta will showcase some of the best drum’n’bass today. Support by Ekko & Sidetrack, Illusiv & Dub Z, Gracie & Sistym and MCs Xsessiv and Seeka. Tickets via Moshtix. The first edition in April sold out, so grab tickets before this one does too. 8 • THE DRUM MEDIA
Three years in the making, Blackmilk’s debut album In Lak’ech is finally here, and they launch it Friday 19 October with support from Diger Rokwell, The Love Junkies and Rachael Dease. Almost after a year from officially forming, Blindspot launch their debut EP Friday 5 October at The Civic Den along with old mates 10 Past 6, Mr Chance, The DeNiros and Truce. Half price entry and a single for anyone who dresses up Where’s Wally? style. Perth jazz singers Juliana Areias, Nicola Milan and Jen de Ness embrace cultural diversity and a sense of community in Jazzdevous, a diverse and intricate collaboration of their talents, Wednesday 7 November at The Fly Trap. Following the release of their magnificent debut album A History Of Houses, The Siren Tower are embarking on their first national tour, and the mid-tour spots see them play a hometown gig at Amplifier, Friday 9 November, as well as the Prince Of Wales on Saturday 10.
M A R L E Y
HAVANA BROWN
BIRTHDAY BROWN As the only female DJ to sign a major label recording deal in Australia, Havana Brown has delivered on expectations with multiple releases of her Crave compilation series all charting and spurning successful national and international club tours. She kicks off her next Australian tour at Metropolis Fremantle Saturday 29 September, helping the iconic WA venue kick off their 20th Anniversary celebrations. Tickets via Oztix and Moshtix.
FINALLY IN TOWN
THE GROWL
AFTER DARK PARTY When the last act at this year’s Parklife walks off stage, the party is far from over. The official Parklife After Party takes over Villa after the festival, Monday 1 October. While we can’t tell you which headlining acts will wander over from Wellington Square, we can assure you some will be! Those special guests will be announced midday Monday 1 October. $20 plus BF via Moshtix, festival wear cool but no thongs.
FESTIVAL NEWS
Sydney’s Tigertown have released a brand spanking new single complete with a new video, in lieu of their forthcoming EP Before The Morning. Morning Has Finally Come is the name of the track released, and is a glimpse into the remainder of the EP, crafted by Eskimo Joe producer Jimi Maroudas and mixed by Scott Horscroft, who has worked with the likes of Little Red and Silverchair. They play Ya Ya’s Thursday 18 October and the Norfolk Basement Friday 19.
BETTER THAN EVER It’s been 18 months since Nick & Liesl’s last tour in WA in support of their debut album Feather, and since they’ve toured with the likes of John Butler Trio, The Cat Empire and The Whitlams, refining their live sound. They briefly return next month to play Taylor Beach Bar, Esperance Friday 5 October; Quindanning Inn Sunday 7; The Indi Bar Wednesday 10; and Nanga Music Festival, Dwellingup, which runs Friday 12-Sunday 14.
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VOLTAIRE TWINS
STREET FLEET TENNISCOATS
NEW TWO Perth’s newest and freshest festival This Is Nowhere is fast approaching, held Sunday 14 October at the Somerville Auditorium, Jackson Court and Dolphin Theatre at UWA. And it just got bigger with the addition of Japanese psych-pop outfit, Tenniscoats and the American prog-folk weirdness of Holy Sons. Head to thisisnowhere.com.au for the full line-up and tickets.
HOLLY SEE, HOLLY DO The delightful Holly Throsby performs her first ever children’s album See! live in the Spiegeltent, behind the WA Museum on Saturday 6 and Sunday 7 October as part of the 2012 AWESOME Festival. Inspired by childlike logic, the natural world, and old musical favourites, See! is not to be missed. Tickets available at awesomearts.com, where you can find all the details on this, well, awesome festival, running October 6-19 over the school holidays, presenting a feast of theatre, dance, music, film and hands on activities for all ages.
CREDITS MATRIX & FUTUREBOUND
Local synth pop duo Crooked Colours launch their debut EP Friday 19 October at Amplifier with fellow LL starts this week, Carl Fox and Lilt.
Surf pop-rockers Stillwater Giants launch their second EP Fly Under The Radar at Villa, Friday 5 October, with support from Emperors, Paper Plane, Metric DJs and triple j’s own Lewis McKirdy DJing.
GET A GRIP Canadian sleaze dogs Reverse Grip are bringing their sleazy riffs and dangerous attitudes to kick start their first Australian tour, in support of their debut album, Hunger For Chaos. They’ll be lighting a powderkeg of furious rock’n’f’n’roll at the Rocket Room, Friday 5 October, with support from fellow “sleaze dogs” and local heroes The Sure Fire Midnights, Stone Circle and Nymph Honey.
Amanda Merdzan launches her five-track EP, The Map Has Been Redrawn, Saturday 6 October, with support from Timothy Nelson & The Infidels, Bedouin Sea and David & Nathalie (Big Old Bears).
Take a deep breath and get ready for the cracking line-up for the 2012 The Beaufort Street Festival… Ready? Anton Franc; Arts Martial; Bastian’s Happy Flight; Big Old Bears; Cal Peck & The Tramps; Cow Parade Cow; Deep River Collective; Emperors; Empire; Leure; Lucy Peach; Meg Mac & The Squeeze; Natalie Gillespie; Odette Mercy & Her Soul Atomics; Oz Big Band; Patient Little Sister; Penny King; Pimps Of Sound ft. Milly James; Sam Perry; Solomon Pitt; Sonpsilo Circus; Stereoflower; Sun City; The Arsonist; The Brow Horn Orchestra; The Chemist; The Community House Band; The Love Junkies; The Stoops; The Weapon Is Sound; Those Wretched Horses; Voltaire Twins; and Will Stoker & The Embers, with even more TBA. The Beaufort Street Festival takes place Saturday 17 November over four stages on Beaufort Street. Head to beaufortstreetfestival.com.au for all the info.
MAMA KIN
SOUL SINGLE Out of the studio and on the road, Fremantle’s soulful raconteur Mama Kin is set to tour her new sound and expanded line-up around the country. She plays the Town Hall, Nannup Friday 19 October; Clancy’s Dunsborough Saturday 20 and Mojo’s Sunday 21. Was It Worth It, the first single from her new album The Magician’s Daughter due early 2013, signals an expansion in Mama Kin’s musical palette. Lucy Peach supports at all shows.
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
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THE DRUM MEDIA • 9
CHASING DREAMS
ITCHY TRIGGER FINGER
The problem with social media being largely a oneway street for a lot of musicians, celebrities and high profile individuals (Ashton Kutcher has more than 11 million follows and follows less than 1000) is anything said on the tubes can spiral out of control or leave them sharing a little too much to too many people. With a smartphone in their pocket, someone might get pissed off about something and vent his or her rage in 140 characters or less without fully comprehending the audience about to read their spontaneous post. When The Amity Affliction released the cover art for Chasing Ghosts, they were bombarded with a slew of negative press. Frustrated, Joel Birch took to Facebook, saying, “Let me explain how you DIDN’T TRY TO KILL YOURSELF AND WEREN’T DEPRESSED BUT I DO WANT TO HEAR YOUR OPINION.” The next day, after cooling down, Birch returned to Facebook with “I just wanted to give you my apology for being insensitive and indignant with my initial comments that I aimed at those who were upset about the album image… I feel really awful about that. No one deserves to be berated about their emotions, and I feel I was far too offensive, and defensive.” Although his apology was fairly prompt, by the time it was released, his previous comment had spread like wildfire.
Once upon a time you’d find The Amity Affliction passing out and throwing up on stage in front of only a handful of people in regional Queensland. With the release of their third album looming and upcoming national tour selling out faster than they can add dates, vocalist Joel Birch tags out of the chaos to chat with Daniel Cribb about their controversial cover art and other hiccups faced when churning out Chasing Ghosts. Cover and feature pics by Kane Hibberd.
I
t’s 5am and The Amity Affliction awake in New Zealand after two hours’ sleep. The previous day the quartet was in the middle of nowhere shooting a video for the title track off their new album, Chasing Ghosts. Throwing up on set and passing out, one might think that these boys have been partying all night. Partying is, after all, one of the tags commonly associated with the Queensland metalcore four-piece. In ’07 and ’08 they embarked on two separate tours dubbed The Drunk And Disorderly Tour, and their 2008 debut album Severed Ties contains the tune Fruity Lexia. But, as mainman Joel Birch assures, they’re all “getting on now” and “usually go to bed” after they step off the stage. The sicknesses suffered during the video shoot are not party related – rather, they’re from working too hard. Flying home from New Zealand, they managed to squeeze in some rest time to power up before embarking on their biggest national tour to date, supported by US band The Ghost Inside, UK boys Architects and Buried In Verona. “For some reason that still follows us around,” Birch says of their publicly perceived party personas. “We do party, but not like we used to. We’ve got a lot more respect for what we’re doing these days. I think it’s pretty important that we be on our A game and not be too drunk before we play,” he continues. It was around the time Severed Ties came out that they had an epiphany of sorts. During their Severed Ties Tour (a name perfectly fitted to their realisation) they discovered people actually started coming to the shows. “I guess we saw that we maybe had a crack at doing this for a living and not just getting out bank loans that we can’t repay because we’re touring. We’ve been touring for eight years now and If you’re touring for eight years and you’re not making a living, it’s probably time to give
up, but we’re luckily enough that we’re… we’re not rich by any means, but we don’t have to go and work a nineto-five between tours and stuff like that, which is great. “I think a lot of our success is to do with the fact that we’ve never changed our sound either, not drastically anyway,” he explains. “I think it’s always just been a natural, organic progression rather than any wild sort of jumps. I think the craziest thing we’ve ever done was add a keyboard and I don’t even think that was unwarranted. We’ve still got keys on the new record and I think they add a nice warm sound to the songs, but apart from that, we’ve kind of just been doing the exact same thing. I guess we’ve just hammered it into kid’s heads,” he laughs.
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on the iPad
With that in mind, it’s surprising to hear that the band jump from one producer to another. Their sophomore release Youngbloods (2010), which debuted at number six on the ARIA charts, received a wealth of praise worldwide and was recorded and produced by Machine (Bullet For My Valentine, Enter Shikari) in New York. Although he was somewhat of a perfect match for the band, they felt the need to mix things up and keep it interesting. Enlisting producer/engineer Michael ‘Elvis’ Baskette (Story of the Year, Falling In Reverse), they flew to Florida to begin work on what would be an album that would produce a few hiccups along the way. “We wanted to do something different, so we went with Elvis and, you know, it worked in the studio, but
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the mixing didn’t work out and we had it mixed by Will Putney (Four Years Strong, Suicide Silence), who actually engineered a lot of the guitar on Young Bloods,” he explains. Which begs the question – what went down out of studio? “Well, we were getting the mixes and they kind of sounded like shit. They sounded like a rock mix. It was really flat and not really dynamic, and then I think Troy [Brady, guitar] just had enough and called everyone in the band and said, ‘Our songs sound like shit, we need to fix it’. And so he got in contact with Will Putney and he pretty much saved the day. [Troy] had to cop it from Road Runner; they were really pissed off and Troy copped the brunt of it. He pretty much said, ‘If you want a good record then you’ll let this happen, otherwise you’re going to have a piece of shit and you’re going to have to explain to people that we tried to change the mixes and you wouldn’t let us and it’s all your fault’. And they were like, ‘Alright, that’s scary’, and yeah, we went with this guy Will and he fuckin’ saved the day. “It was a fucked situation,” Birch admits. “I mean, they’ve got this guy that they’ve used before for other bands and it’s been fine, it just didn’t work with us. Every band’s different. Sometimes that’s going to happen and it happened with us and we did something about it. I think a lot of bands might be scared by their labels, but we don’t really give a fuck, so Troy just went in with guns blazing and we came out with a much better record.” It was obviously important for them, and would be for any band, to ensure their album was the best they could make it. For Birch, though, it meant all the more. Chasing Ghosts is a platform to voice his strong views on suicide and start conversation in the public arena. The cover art for the album did just that;
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Whether the feedback of his posts and the artwork itself were positive or negative, they definitely got the issue of suicide in the spotlight, which was ultimately Birch’s plan from the beginning. Once the album is released and the imagery is intertwined with the lyrics and themes throughout it, Birch and co can be assured that it will do well. If you need help dealing with a situation or want to talk to someone, call Lifeline on 13 11 14 or head to lifeline.org.au. backlash was plastered all over the internet the day it was unveiled to the public. The artwork depicts a suicide victim, hanging by his neck from a tree. “I’ve been writing anti-suicide messages since 2006, and it just didn’t cross my mind that people would take it the wrong way,” he contemplates. “Some people did and I said some pretty harsh stuff [see sidebar] and obviously had to rescind it, because it was pretty mean. But, yeah, I dunno, the message on the CD is a very positive one – I don’t think people have a problem with it after they’ve actually read the lyrics. The cover’s the cover – it’s full on, but it’s going to get people opening a discussion about suicide and I think that’s a positive thing. It needs to be discussed. It gets swept under the carpet too much, in Australia especially. “I’ve been through it, I got through it, I’m really happy now and I’m dealing with it. I have anxiety issues every now and then, but for the most part I’m happy. I think a lot of people who kill themselves forget that when they’re dead they’re leaving behind a lot of people who have to deal with that shit… I really want to affect people in a positive way and I feel like we’re on the right path, despite the extremely brutal cover imagery.” WHO: The Amity Affliction WHAT: Chasing Ghosts (Roadrunner/Warner) WHEN & WHERE: Sunday 7 October, Metropolis Fremantle; Monday 8, Metropolis Fremantle (under 18s, 1pm); Monday 4 March 2013, Soundwave, Claremont Showgrounds
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Finding a new place of inspiration when writing is never easy, but for Sugar Army it ended up being integral to the final product. Cam Findlay sits down with frontman Pat McLaughlin to find out how important change has been to them.
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hen Sugar Army released their debut album The Parallels Amongst Ourselves back in 2009, no one really knew what to expect – let alone the band themselves. Following the release of their EP, Where Do You Hide Your Toys, the year before, there was a certain amount of pressure on the band to live up to the exacting standards that an eminent rock band typically faces. The Parallels... was a triumph for the band, but it’s almost chaotic nature reflected the pressures and emotion revolving around them as it was being produced. Fats forward to now, though, and with the impending release of their sophomore album Summertime Heavy, Sugar Army are throwing any and all typical tropes on their head. “Parallels... was definitely a reflection of where the band was at that time,” frontman Pat McLaughlin begins on the development of Sugar Army’s debut. “There was a lot of argument between the four of us. We had all come together with so much pressure on ourselves and so many differing ideas, that the sessions were often a case of us shouting over the top of each other. We would all meet up, and one of us would go, ‘Right, this is what I want on the album,’ and then someone else would say, ‘No, fuck that, that’s shit,’” he laughs. “I think you can really hear that on Parallels.... It’s a definite rock album, but there’s so much going on. It really is a record of us butting our heads together.” Despite that constant source of interior pressure, The Parallels Amongst Ourselves proved to be a success. It led to a heap of national airplay, a string of festival slots and supports for the likes of Karnivool and Interpol, two bands that arguably
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inhabit the same sphere of alternative rock that Sugar Army do. This led to the inevitable: a few years on constant tour, the band throwing themselves around the country like a plastic bag caught in an updraft. Time taken, then, to sit down and write a new album might seem like a reprieve, but it was actually the opposite for McLaughlin and co. This time, it wasn’t necessarily unintentional pressure, despite the unexpected exit of bassist Ian Berney halfway through the development of Summertime Heavy. “From the beginning, we already had wildly different plans for the new album,” McLaughlin explains. “We didn’t want to take the same road as Parallels... because we would just end up with the same sound, and that’s obviously not what you want to do. So the way we set about writing the album was completely different. And then Ian left, and we were in a situation, like, ‘Well, what the hell do we do now?’ And instead of simply finding another bassist and just doing the same thing again, we made the decision to explore this new… I guess, dynamic that we had between the three of us. We knew we wanted something different as a band, so we ended up taking advantage of the situation and building a completely different dynamic between us. It’s still Sugar Army, it’s still rock’n’roll, but I think that we have really found a fresh sound now. It’s interesting – I think if we were to go into the studio and record the same way we did for Parallels..., it would’ve fallen apart, because we would’ve gotten fucking sick of each other,” he laughs. “So it was really great to come in with that experience, but at the same time with a fresh start. It made us feel like a new band again, which was really exciting.” Adding to the transformation was the decision to decamp to Sydney to record Summertime Heavy, something that went against the grain to how they had always recorded in the past – with the great Dave Parkin at Blackbird studios. Parkin is a cornerstone of the local music scene, with credits as recording engineer for some of the most highprofile WA bands. But, as McLaughlin found himself in a new direction, a change in locale had to be on the cards. “We had worked with Dave for both
the EP and Parallels... and he is one of the best out there; those records wouldn’t be what they were if it weren’t for him,” McLaughlin explains. “But I needed to thrust myself into a different environment if I thought the songs were going to work. We chose not to record with Dave for no other reason than we needed to do something different. Especially as Ian left, the band was starting to take on a new dynamic anyway, so we just felt that we needed to put ourselves out of our comfort zone and go and do something different, just for the challenge of it really. It had its good points and bad, but it’s definitely something we learnt from. It was completely different from going down to Osborne Park every night and driving home at four in the morning and going back to your bed and your normal life, you know? When you’re in Sydney, we completely concentrated on the recording, and it totally consumed us for the whole time we were over there.” “It was also so different to work in a studio that was so…professional,” McLaughlin chuckles. “They had a receptionist, interns would come in and bring us coffee, and it was in an office building, so there was all this hustle and bustle going on around us as we were trying to record. Coming from Dave’s studio, where it’s just him and his desk and the studio, it was really weird to be thrown in the deep end of this very commercial studio process. Having people coming in and out all the time… I mean, they both have their positives and negatives, but I think it was a positive experience, because we were forcing ourselves into a situation that we were completely not used to.” As you’ve probably noticed by now, change has become something of a motif for Sugar Army in this stage of their career. And it’s not just reflected through McLaughlin’s words. The entire aesthetic of the album also carries a (ahem) heavy sense of alteration. “Even with the album title, Summertime Heavy, that was just a feeling that Todd (Honey, guitar) got when he was working out the song. It’s just how it vibed, that it was this really heavy, daunting environment. And we felt like it worked as the album title, because the entire album, in essence, is us finding a new way to do
things. It’s us dealing with the changes that have happened to us as a band, and the changes that we deliberately put in place. We didn’t really have that idea when we first started writing the album. Well actually, we really didn’t have any idea,” McLaughlin laughs. “But yeah, with all those things happening, it just seemed really natural to have that as the main theme. And it’s not something that’s completely tangible – it’s a bit of an abstract one. We don’t want to force our ideas down everyone’s throats. We want people to take the music and the artwork as it is, and make their own decision.” McLaughlin mentions the artwork because of the role the band took in organising not just the aural, but the visual side of
Summertime Heavy. Whilst the artwork for The Parallels Amongst Ourselves was vibrant and complex (some might say eerily as a reconstruction of how the band felt at the time), Summertime Heavy is all muted colours and lines. “Especially with just the three of us now, it felt like we needed to really portray that sense of space and minimalism,” McLaughlin explains. “It’s really just the same thing. We didn’t want to have to construct any solid ideas for anyone. We really want people to take both sides of the album in their own way.” On a side note, the band also too control of the just-released film clip for Hooks For Hands, the first single from the album. It was a process that McLaughlin, in all the daunting changes he’s had to face over the last year, found just a bit nerveracking. “Todd is really into animation, especially that kind of stop-motion stuff,” McLaughlin offers. “We got the original version of the clip, and it just seemed sort of boring. It didn’t really feel like it was going anywhere. So Todd was like, “Well, why don’t we put some animation in it?” And we had this idea of creeping vines, of the natural slowly overtaking the artificial. It was really cool, but man...” McLaughlin sighs, before continuing. “There was the parts where the vines were climbing up me, and I’m not the most patient man ever. I was like, ‘How long’s is this gonna take?’ And Todd and everyone were like, ‘Uh, about four hours?’ So I was sitting there for four hours every night for a week, and people had to feed me beer and cigarettes. It was pretty weird.”
WHO: Sugar Army WHAT: Summertime Heavy (Permanent Records/Shock) WHEN & WHERE: Friday 5 October, Rosemount Hotel
NAIKED AMBITION
Sugar Army have had no problem getting gigs since ‘09. On top of the shows mentioned to the left, they also supported The Smashing Pumpkins in their most recent stopover, a show that was amazing not only for how tight the Sugars sounded, but also because of the mass appreciation of fans that were primarily there to see one of the world’s greatest alternative rock bands. But that’s not all that’s going on in Pat McLaughlin’s world. He’s also dabbling in something that will probably take those who have heard Sugar Army by surprise. Earlier this year, McLaughlin took to the stage at both Future Music Festival and a Community showcase show with one of this city’s finest beatsmiths, Naik. That’s right; the confidant frontman of a rock band and an urban beat producer teaming up. “The point of it was to put myself completely out of my comfort zone,” he offers. “What Naik does is he writes music that isn’t made for a singer. In that, I find it intriguing that he keeps so much interest. Generally, in a band environment – at least in my experience – you kind of start off with a riff or a groove, and then the vocals are what determines what happens next. Whereas with Naik, he’s not used to that. “That’s refreshing, but that’s also the challenge in it. We have to find a medium ground where it’s still interesting for him, but I still do what I need to do. We’re both really respectful in that regard when we do work with each other. Like, there’s no way I can walk in and say, ‘Right, I’m here now, this is what it’s gonna sound like.’ I have to be careful with how I treat his work, because it has to be me finding room in it. He’s just so prolific that forcing any idea on him would just not work. So the challenge for me has been meeting up with him, engaging with whatever his working on and trying to find a place within that. It’s been very rewarding.” McLaughlin is set to sing guest vocals on a track from one of Naik’s upcoming releases.
THE DRUM MEDIA • 13
MAD MEDITATIONS Welcome to Maison d’Tellier, where Danielle Marsland learns from Sébastien Tellier that potions from shamans are okay but wine is not, dreams are dreamed in blue, and teenage diaries are the music-making Bible.
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ind of like you can count on there always being a good spread on the table if you visit your folks for dinner, you can usually count on there being some interesting meat in any interview undertaken with Sébastien Tellier. You probably know Tellier as the guy behind La Ritournelle, the romantic piano ode that quickly became a contemporary chill classic, but it’s just a small sample of the nine albums’ worth of eccentric, lush electronic music the French singer, songwriter and multi-intrumentalist has under his belt. The tall, dark, heavily-bearded Tellier, who counts Daft Punk amongst his closest collaborators, gets a lot of attention not just for his music but thanks to his curious persona: for starters, there’s his open stance on controversial topics (he once wrote a whole album purely about sex and openly admits to smoking weed in interviews) and his stint in Eurovision (he was drunk for the whole performance, and used to be an alcoholic).
Antics aside, a recent chat with Tellier revealed him to be an emotionally and musically intelligent dude, out there making the world a more interesting place. He wasn’t stoned or drunk during our slot, although the thick French accent and broken English did make it a baffling exercise at times: “Eh sorr-ee, I cannot hear ze question... where? when? oo ? what?”, enquires a manic Tellier, before we establish that on the particular day of the interview, he’s at home in his studio, which he walks us through. “In my apartment in Paris I have a studio just for me, specifically for composition,” says Tellier. “You enter my apartment and go through a straight hallway, then you push a bookshelf, and this opens and leads to a secret passage, through which I reach my studio. It’s really good for me to have this space to create. I have the piano in one part of the living room, another little part for the guitar, another part to compose with computers, there’s a little office part for writing.” It’s in this home studio that Tellier with the help of Parisian producer Mr. Flash (Ed Banger Records) – worked on latest album My God Is Blue, a musical meditation on spirituality and belief. Tellier admits to a favourite haunt close by: “I really like a French brasserie named Siflot it’s really, really old fashioned. It’s really close to a big garden named Les Tuileries, it’s also quite close to the Louvre Museum. Everyone knows me in this restaurant.” However, to remove any temptation to get on the plonk during the creation of My God Is Blue, the musician put himself under house arrest: “Usually when I work, I don’t have a break, I wake up, I work and I don’t even eat until about 8pm. So I don’t usually go to cafes really during the day. Also, I have a history with alcoholism, and am trying not to drink anymore, so cafes always have alcohol – it’s best for me to stay away.”
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Shutting himself off to make music is something Tellier says he’s been doing since childhood: “When I was six I had an electric guitar, I used to listen to Pink Floyd’s Animals and try and copy what I heard. Then a few years later and I got some drums, and by the time I was 13 I had my first little studio set up in my bedroom. So that was pretty great, not many 13 year olds have their own music studios. But it was also pretty lonely for me – on the weekends other kids my age would be going out, but I would stay at home making music in my studio.” But if not friends, Tellier at least his family keeping him in good company: “My father is a big fan of music, so for me, it was completely natural to become a musician – there were no expectations on me from my parents to become a doctor or anything,” explains Tellier. “Every Sunday morning my family would religiously listen to records together. That really cemented my relationship in music. My father taught me to play chords on the piano, helped me understand how to create music. I’m really grateful for that.” Knowing his calling early on meant that by the time Tellier was 20, he was ready to map out a solid plan on how to implement his passion; taking it upon himself one night to write down in a notebook every kind of album he wanted to make in his life, a plan he now references regularly: “I said I wanted to make an album about family, another about politics, another about sex, one abut religion… so now I just follow these books. When I was 20 I had this lovely, naive view of the world and I want to preserve that naivety.” In line with his plan, My God Is Blue takes up religion in a broad sense as a subject matter, although not in a limiting way, says Tellier. “The album is my proposition to society: don’t forget the spiritual side of life, it’s really important. Myself, I feel close to God, but not in the boring, old-fashioned way. I just believe in the power of something stronger than us, that religion is inside everything. For instance, I feel closest to God when I’m playing music, on stage or in the studio.”
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The ‘Blue God’ refers to Tellier’s hope that people will abandon predetermined notions of religion and create their own spiritual masters. For Tellier, this realisation was spurred after a a trip to a shaman in Los Angeles – the shaman gave Tellier a “potion” to drink that resulted in Tellier dreaming “blue dreams”. “They were wonderful dreams, a blue wave washed over the world and everything was beautiful and true,” muses Tellier, “all my new music ideas came from that dream. So for now, it’s about Blue God. Maybe next year I’ll have some different Gods, maybe the year after that, 20 different Gods. Society is so complex, everyone wants a finite answer, but what’s always going to be simple is sleeping and dreaming, creating and seeking. Everyone can do that.”
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To spread the good ‘blue’ energy, Tellier has created an online community – L’Alliance Bleue – to accompany the album release, the idea being that Tellier can surround himself with like minds, and possibly raise some funds to translate this online community into a real one. He’s not sure where it’ll be yet, but Tellier says this ‘mystery’ location will have sun, disco, swimming pools and vodka and be some kind of “heaven on earth”. Even writing this sounds a little wack, but Tellier assures us it’s all above board. “Maybe the world thinks it’s a sect or a cult, but it’s not, true! I need money and time and skilled people to create this place. The website is about finding those people who want this place to happen and bringing them together.”
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There’s no denying My God Is Blue witnesses Tellier’s philosophies and music graduate into new and complex realms – a long way from the days when a simple love song had Tellier ruling the charts and critics. “It took me eight minutes to write ‘La Ritournelle’,” remembers Tellier. “I did it in one night.I called all my friends to come over; I said ‘I’m pretty sure I’ve got a good song here, a life-changing song.’ They all came over, we had wine, I played the piano part to them… then I got Tony Allen [Fela Kuti] to do the percussion on the track – he’s the leader in African rhythm, it was really important for me to play with him. It was a wonderful experience for me.” WHO: Sébastien Tellier WHAT: My God Is Blue (Warner)
14 • THE DRUM MEDIA
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FANNY BEATS? What’s the Clown Prince of Ninja Tune’s secret to his rapid ascent? As revealed to Kosta Lucas, making tunes that are a “immature and fanny-y” is what Slugabed’s all about, if Greg Feldwick’s to be believed.
I
f you scour through the available press about under-25er Greg Feldwick aka Slugabed, a significant portion of it seems to talk about an ineffable sense of humour being present in his work. This is interesting in a scene like contemporary electronic music, because the Warp/Ninja Tune monster is arguably more readily associated with an assortment of serious, furrow-browed beat-heads who smoke dope, wear hoodies and make beats in the dead of night. Whilst it’s not to say that their music isn’t fun, such labels aren’t exactly known for their class clowns. So when Feldwick answered our questions, it was reassuring to see his apparent ‘musical’ sense of humour translated socially. Those same qualities that were present in his debut were present in his answers; a mix of intelligence, humility and an acute self-awareness that were all peppered with a casual sense of fun. He manages to express something that is easily inexpressible over a medium like email, much like how his album Time Team is about musically expressing those feelings which are incredibly difficult to express in everyday discourse. So how does he do it? In a rather relaxed fashion, of course: “I just lie around in my pants drinking beer and making music, and I can’t be bothered to do the washing up,” explains Feldwick, with no doubt a wry smile. “I think part of the approach involves not really approaching it with any particular approach, really. Writing the songs was quite a natural and thoughtless process.” In other words, staying close to his truer nature is key. It makes sense then that he likes to write music first thing in the morning when he’s “feeling a bit weird from having a weird dream or something.” It also makes sense then that his approach is very centered around making music that he “wants to hear.” Perhaps it was this artistic philosophy, that is quite true to his natural creative instincts, that got Feldwick noticed by imprints like Mu and ultimately Ninja Tune. After all, he appeared on Ninja Tune’s radar after throwing together an unofficial remix of Roots Manuva’s Witness (1 Hope) which subsequently appeared on the label’s 20th anniversary boxset and received some pretty big praise from Mr Manuva himself. But it almost didn’t happen that way.
for the land down under? “I’ve watched Neighbours quite a lot so I think I know what to expect.” But what can we expect from him? Well, the plan seems to be to “play some really good music, really loud and jump around a bit.” Feldwick also reveals, “Got lots of new Sluga stuff to test on your sound systems and crowds… I’m working on my second LP at the moment and it’s coming along great!” WHO: Slugabed WHAT: Time Team (Ninja Tune/Inertia) WHEN & WHERE: Sunday 14 October, This Is Nowhere Festival, University Of Western Australia
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“Funnily enough, there was no pressure because when I asked if I could remix Witness they were like, ‘No, sorry’,” recalls Feldwick. “So that evening I downloaded an mp3 of the a capella and instrumental versions of Witness and got to work, just for fun. My manager took it into the Ninja Tune office a few days later and they put it on, enjoyed it, and then changed their minds about letting me do it.” And the rest is history really. On his signing to the prestigious label, he remarks that his most significant career highlight was simply the opportunity to make and release his debut album. “It’s really nice to watch something develop and take shape and then to be pleased with the finished thing and be able to share it with people. That’s a nice feeling.”
There’s more to this story on the iPad Insert the arrival of Sluga’s first LP, Time Team, a title that seems like an odd choice for an album he’s been quoted as saying is about “fannies, pubes and nervousness.” He clarifies with a laugh, “That quote was talking about the single ‘sex’, referring to how it’s not really very sexy; it’s a bit more immature and fanny-y.” Clearly a little bemused at being asked to explain the title, a question he probably receives a lot, Feldwick concocts a hilariously trippy story about it referring to a group of friends who exist in “various different legs in the trousers of time,” before conceding that he made that story up and actually named the album after the TV show about archeological digs. All because he thought it would be funny. It’s that very lightness that shows up all over Time Team. Despite the harsh g-funk beats and the elusive syncopation of the album’s rhythm, it never feels overwrought or oppressively apocalyptic. In terms his of career outlook, Feldwick keeps a cool head about it all, showing a maturity beyond his 23 years by not getting caught up in all the fuss attached to being signed to a great label and landing on it at such a young age. “It’s really great to be doing well and surviving off making music, but honestly it doesn’t really feel like ‘flying high’ to me. My aims aren’t so much to do with signing to labels and stuff, and I’m more interested in my own personal development and writing music that I love.” He does however acknowledge that this is a pretty momentous achievement. “Obviously if 16 year-old me could see me now, he’d be really excited. And I am definitely proud that I have seen a bit of success. But I don’t ever want my priorities to change.” Sure enough, some things haven’t changed for Feldwick. After all, he still holds a residency at the Brighton club that hosts Donky Pitch, a club night and subsequent label that he credits as a key to his success. “The club nights have always been so atmospheric and friendly and party-y. I feel like it really reignited my love of partying a couple of years ago, when I’d become a bit fed up of clubs and stuff. It reminded me how fun it can all be. Also just having people so passionate about good new music around me has definitely been inspiring. People like Ghost Mutt and Boss Kite have been big musical influences on me, and the Donky Pitch guys themselves are always so up to date on rad new music that I’m never needing to search for stuff myself because they’ve got it all already!”
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SUNDAY OCTOBER 14TH
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Luckily for Australian audiences, they’re in for a treat when Slugabed arrives for shows including the debut This Is Nowhere Festival show, featuring a great line-up some of the world’s busiest and fastest rising stars in alternative music. “I’m super excited to be coming out to Australia. I have never been before.” So how does he prepare
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THE DRUM MEDIA • 15
BEATS OF BURDEN Detroit techno is alive and well thanks to brotherly production duo Octave One. Lenny and Lawrence Burden tell Cyclone they’re sometimes a bit jealous the rest of the family is out of the game.
INWARD AND UPWARD Xavier Rudd’s new record Spirit Bird is every bit the soul journey we’ve come to expect. Tyler McLoughlan enjoys a yarn with the barefoot cultural warrior to learn about the experiences that shaped his seventh studio album.
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rom his position as one of Australia’s most loved roots artists both at home and abroad, Xavier Rudd is fulfilling his lifelong mission of creating awareness and change for the country’s environmental and Indigenous issues. Never mind that Rudd’s new album Spirit Bird has produced his highest selling single to date in Follow The Sun; music is merely a vehicle for the Sea Shepherd ambassador to share his deep connection to country.
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etroit’s Octave One, who have jokingly proclaimed themselves ”The Rolling Stones Of Techno”, finally toured Australia in 2011 – twice. This month they’re back with their live analogue show of alt.EDM. On their inaugural trek, brothers Lawrence and Lenny Burden performed exclusively at a soldout party held in tandem with the Sydney Festival. “It was great!” Lenny enthuses, remembering the gig as “more of a concert than a dance party.” O1 belong to that fabled legacy of Detroit techno. Indeed, Lawrence, the oldest of five brothers, was DJing in the ‘80s. In 1989 he teamed with siblings Lenny and Lynell, singer Lisa Newberry, and engineer Anthony “Shake” Shakir to cut the classic I Believe. The song appeared on the influential compilation Techno 2: The Next Generation. The Burdens’ childhood music lessons at mum’s insistence had paid off. While, like Underground Resistance, O1 were identified with Detroit techno’s ‘Second Wave’, I Believe was arguably the first tech-house track. Soon after, the Burdens’ launched their own label, 430 West. They’d introduce a second handle, Random Noise Generation. And they brought in the youngest Burdens, Lance and Lorne. In 2000 O1 unleashed the mega crossover anthem Black Water, which, along with DJ Rolando’s Jaguar, revived Detroit techno. Kevin Saunderson’s then wife Ann sang on it. Late last year they presented the 20th anniversary comp Revisited: Here, There, And Beyond, their back catalogue remixed by such techno illuminati as Aril Brikha – and the hip Sandwell District. Today Lawrence and Lenny make up Octave One’s core. “The other three have regular lives,” Lenny reveals. “Sometimes you definitely look at ‘em envious [laughs]… For them, music is still a hobby, and they can use it as a release. We make music as a release, but we also are so involved in the business, sometimes it’s hard to get that joy – we have to step back to get that joy out of making music the way we used to, when we were making music just for the sake of making music.” Lenny, Lawrence, Lorne and their parents are now based in Atlanta, the city dubbed ‘Hotlanta’ during the ‘90s’ urban boom (think: TLC, OutKast, Goodie Mob). “We didn’t really come down here for the musical culture, we just actually came down here to kinda shake the life up a bit,” Lenny says, nonetheless admitting that they’ve worked with an Arrested Development vocalist. The others remain in Detroit. Coincidentally, all five Burdens recently bunkered down in the Motor City for the first time in 10 years to prepare another O1 album. They’ll be testing this material, as well as airing October’s single New Life, in Oz. Detroit techno goes in and out of fashion, yet it’s never been out of style. But are younger listeners discovering the music? “Positively, especially with us,” Lenny responds. Their crowd are in their early 20s. “People in our age group are at home and have families.” That a young generation is embracing Detroit techno, and the social media-savvy O1, is welcome news. After all, kids aren’t being exposed to it through mainstream channels. It also lessens the possibility of Detroit techno becoming a stagnantly ‘retro’ subculture, like ‘80s New Wave pop. O1 constantly convert fans with their “funky” live music. ”We mix our live sets with new tracks, and we also mix our live sets with a lotta classic tracks – and for them the classic tracks are new!” One may argue that America’s EDM craze has delivered few, if any, benefits to the music’s (African-American) originators. Lenny concurs. “To be honest, all it does is make the general public aware that there is some kind of genre called ‘electronic dance music’. Normally, if I tell someone I’m a techno musician, they look at me crazy – like, ‘What is that?’ But now because it’s all over the place, they kinda [go], ‘Oh, that’s cool!’ But they still don’t know what it is, except they think of David Guetta or the Swedish House Mafia or something like that. It doesn’t really affect us at all.” WHO: Octave One WHEN & WHERE: Saturday 22 September, The Likes Of You, The Bakery 16 • THE DRUM MEDIA
“I had a really, really profound experience with a red-tailed cockatoo in the Kimberly,” explains Rudd of the creature that named his new record. “It’s hard to put into words, but basically what happened was I was coming back from a sacred site one day and I had this urge to stop the truck… There was this dead tree, and in it was a big mob of red-tailed cockatoos. Usually [they’re] pretty flighty birds, but they just stayed there and there was this one big bird and she locked eyes with me and didn’t take her eyes off me and she just started to screech and groan; as she did I felt like I was anchored to the earth and started seeing all these visions of places and faces and things were flashing through my mind like memories, but they weren’t my memories – [it was] stuff I’d never seen. And basically later that day the song Spirit Bird just poured out of me; I wrote the first half of it on the sand in the beach. It was pretty emotional and I was drained at the end of it. “Then a few years passed and I was recording this record – and a lot’s happened between now and then; I guess my connection with the Kimberley was a lot to do with James Price Point and building the gas [hub], protesting that. I was in Canada and I was recording this record sitting by the fire at ten o’clock at night, writing the song and the back half of it just poured out of me again – really strong and really fast and really emotional. I was drained, went to bed, woke up the next day and I had all these messages and realised that at the time that was coming through me – Western Australia time – the police had moved in on James Price Point and started to
drag elders off, and protestors and kids and all the rest, and moved in with bulldozers and it was just a toxic thing.” Rudd has a wonderfully warm way of revealing his creation stories – it’s like listening to a spoken-word version of the mythological Dreamtime stories that many Australians are first exposed to in primary school through the tale of the rainbow serpent. “I knew it was a spirit – I knew it was an old, Aboriginal spirit,” he continues. “From where and when and how and who I wouldn’t know and it would be just ego to try and know; I just knew what it was and respected that it was coming through me and that I just had to leave it in its raw form and just let it be what it is… I do understand that I’m a vehicle for some kind of spirit because it happens more often than not that strong music comes up through country and through me. I don’t know why and I don’t really want to know why or try and tell it what to do or try and alternate the music at all for whatever reason in my mind – I think it’s important to leave it in its raw form, almost like you wouldn’t tell your grandmother what to wear to church. It’s the same kind of thing; I respect it and it is what it is.” Following the personal loss documented across his 2010 opus Koonyum Sun with the aid of the distinct vocal and percussive personality of South African musicians Tio Moloantoa and Andile Nqubezelo, Rudd has returned to a solo setup for Spirit Bird to emphasise the feeling of a new chapter. It also allowed him the space to incorporate the sounds of his beloved bush friends, beginning with the cacophony of kookaburra chuckles accompanying didgeridoo on opening track Lioness Eye. “It was something that I’d definitely wanted to do for a while, so I left a bit of an open canvas for it. I recorded some [birds] myself, but it’s a bit of a mission, it’s hard work – so I ended up finding this guy called David Stewart on the internet whose spent the last 35 years of his life recording bush sounds and bird sounds around Australia. So I basically bought the samples off him,” he says quite chuffed of the find. “Kookaburra’s are big for me, they’re always bringing the sun down and bringing the sun up… They’re a very strong presence in this country and I see a lot of people in kookaburras and it just made sense.” Rudd’s work on Spirit Bird was perhaps enriched rather than delayed by an on-going back problem that progressed to the point of surgery last year, the cause of which even his surgeons are unsure. “When I wrote Comfortable In My Skin I could hardly move, so yeah it was an interesting time of reflection,” he
admits. “It was at the end of a massive change in my life and it was like – I guess in Chinese medicine and a lot of cultures, a lot of what I was going through manifests in your lower back, and I feel like that’s probably what was goin’ on. And I guess I dealt with a lot of that stuff by just being active – I’d go run or do whatever – and I couldn’t do that. It was interesting just to reflect and go within myself; I’ve had an amazing dozen years of touring internationally and the crazy journey I’ve been on, and two kids and a beautiful life of high highs and low lows, and I think this record and that time was part of just like, ‘Okay, all of that aside, where am I at?’ You know, where am I at inside and through my back thing I was spending hours painting and reflecting and listening to music and just sort of going inward. It was interesting; it was tougher than I thought it would have been, but it was definitely necessary.” Due to head out on a 28-date tour, his most extensive trip around the country to date, followed by a North American tour that takes him well into December, Rudd is eager to share Spirit Bird with the world. “I’m ready to play – I get back here… months from now,” he says with a big, joyful laugh. “It looks like a long daunting tour but it’s gonna a beautiful one and I’m just gonna have to stay healthy and fit.” WHO: Xavier Rudd WHAT: Spirit Bird (Salt X/Universal) WHEN & WHERE: Wednesday 26 September, Esperance Civic Centre; Friday 28, Albany Entertainment Centre; Saturday 29, Fremantle Arts Centre; Sun 30 and Monday 1 October, Caves House, Yallingup
INDUSTRIALISM Pioneering metal gods Fear Factory are returning to Australia to promote their return to form album, The Industrialist. Mark Hebblewhite sat down with vocalist Burton C. Bell to discuss concept albums and intra-band conflict.
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ustralia has been really good to us and we’re forever thankful to you guys for the way you helped us out over the years,” enthuses Fear Factory frontman Burton C. Bell. “From day one when we released Soul Of A New Machine, way back in the early 1990s, Australia gave us a level of support that was unmatched – radio play, album sales, you name it.” Did the band realise what they had unleashed with Soul Of A New Machine, especially the way the album would be embraced warmly by industrial enthusiasts, metal traditionalists and death metal fiends alike? “No, we had no idea that it would go on to have such a life of its own. We didn’t sit down with some grand master plan. Basically me and Dino [Cazares, guitar] sat down to create the music we wanted to hear and it all snowballed from there. Because we had crossover appeal – death metal people, thrashers, the industrial crowd – all of them supported us. It meant that we were able to tour with a huge range of bands and that helped us grow. “We’ve found over the years that Fear Factory fans stay Fear Factory fans for life. They keep coming to the shows, keep buying the records, and some of the older ones even bring their kids to see us as well. It’s humbling to have that devotion in our fans and every time we put on a show we make sure that we give back that same devotion.” Fear Factory’s continuing longevity has been helped by their latest LP, The Industrialist, which has been rightly hailed as a return to form and the ‘classic’ Fear Factory sound after a number of years of turmoil (both stylistic and literal) and confusion for the band (more on that soon). “We’re really proud of that record,” says Bell. “It came out exactly the way we planned. We went into the studio with a really defined focus and came out having achieved what we want to achieve.” Apart from a distinct uptick in the quality of the songwriting and its sleek yet massive sound, The Industrialist is also notable for being a fully-blown concept record that tells the story of a morphing megalithic
automaton who eventually turns into a cataclysmic threat to mankind. Thing is, do concept heavy albums still work in this day and age? And more importantly why did Fear Factory choose to record one at this stage in their career? “It represented a real challenge for us in a creative sense. We wanted to meld a concept together in both a lyrical and sonic sense to create one overriding theme,” explains Bell. “Ambition, and rising to a challenge is something that I think is missing in a lot of today’s music where artists are content to play it safe most of the time. As music fans we all need something to be excited about again. “We believed that there were enough people who enjoyed having a story in their music and enjoyed the ability of their favourite artists to create such a story. But even if you don’t like that approach - just focus on the music itself - the songs work individually as well. Whatever way you look at it everyone wins!” Bell is so enthused about the new album that he concedes it is possible that sometime in the future the band will decide to play the whole thing live and in sequence. But for the Fear Factory’s upcoming Australian tour a more traditional set is planned. “We give you guys three or four songs from the new album alongside a dose of stuff from Soul…., Obsolete, Demanufacture – you know, pretty much all our records. It will be a really balanced set that will hopefully cater for everyone.” Although Fear Factory are back on track the turmoil in their recent past lives on in the memories of the band’s legions of fans. This turmoil is of course the huge falling out that occurred between members that, at one stage, got so complex no one could figure out what the hell was going on. The simplest way to explain it all is to that in the fallout the band split into two diametrically opposed camps that stopped playing music and just snarled at each other via the press. On the one hand Burton C. Bell and Dino Cazares – the current core of Fear Factory who themselves were at loggerheads as late as 2008. On the other side, Raymond Herrera [drums] and Christian Olde Wolbers [bass/guitar], who in 2009 found themselves ousted and were none too pleased with it. So where does everything stand now? “Dino and I are Fear Factory; it’s that simple,” states Bell. “We have a drummer, Mike Heller, and bass player, Matt Devries, on tour with us and we’d like to keep them for as long as possible. Both of them are amazing musicians, and the fact that Matt was actually a guitar player has brought a whole new depth to
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our sound. It’s what Fear Factory always needed – a guitarist playing bass,” he laughs. “It’s meant that this band is tighter than it’s been for a long, long time.” And dare we ask about the status of Raymond Herrera and Christian Olde Wolbers? Do Bell and Dino have anything to do with them anymore? Is there any chance of a reconciliation? “We don’t have any relationship with them at all,” spits Bell. “People talk about the band having a reconciliation but they don’t want to reconcile with us – so fuck ‘em. I can’t put it any more simply than that.” And to those fans who clamour for the ‘classic’ Fear Factory lineup, which would have to include the aforementioned gentlemen? “This whole idea of that lineup being some kind of ‘classic’ lineup doesn’t really sit well with me,” offers Bell. “I mean we had five different bass players before we had Christian so what lineup are they actually talking about? Besides, as I said earlier the band is stronger now than it has ever been – Dino and myself are writing the best material of our career and the band as a unit is absolutely unstoppable. Why people would want us to go back to a situation that just wouldn’t work is beyond me. Fear Factory will never be some nostalgia act content to live on past glories – that’s just not how we do things. People should come to the shows and then they’ll see that Fear Factory in 2012 is continuing to push the envelope of what this band is capable of.” WHO: Fear Factory WHAT: The Industrialist (Riot/Sony) WHEN & WHERE: Sunday 30 September, Capitol
You’ll be surprised by what you can study in engineering. With a wide range of courses available, a Curtin Engineering degree can turn your passion into a career. For example, you could work in the gaming industry, creating new technologies, software and applications. Curtin is ranked in the top 200 universities in the world for engineering, technology and computer sciences,* so you’ll benefit from state-of-the-art facilities and innovative teaching methods, combine theory with practical study, and graduate career-ready after four years. To learn more about our courses visit maketomorrowbetter.com.au/engineering or call 9266 1000. Make tomorrow better.
*Academic Ranking of World Universities 2012. CRICOS Provider Code 00301J CU-SE-0075/ CUESC0127A Curtin University is a trademark of Curtin University of Technology
THE DRUM MEDIA • 17
TEEN IDOLS
SLOW BURNS & EXPLOSIONS
Formerly of synth-dense experimental pop outfit Here We Go Magic, Teeny Lieberson talks through her new band TEEN’s debut album with Callum Twigger.
Seth Sentry released his breakthrough single The Waitress Song back in 2009. Matt O’Neill corners the Melbourne MC to find out why it’s taken three years to deliver debut album This Was Tomorrow.
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ristina ‘Teeny’ Lieberson’s TEEN is a four-member dream-pop collective composed of Lieberson herself, her siblings Katherine and Libby, and close friend Jane Herships. TEEN’s sound is sweet and innocuous, but Lieberson explains that the motivators behind the outfit’s debut album In Limbo were blunt. “I got broken up with,” says Lieberson. “I was between bands, that’s in there. My father died too. A lot of pretty heavy stuff happened. I feel like there’s a lot of anger in there. There’s also that liberation in there, after someone’s fucked you over and you get over it. And then trying to get over the heartache.” Formerly the keyboardist of Brooklyn alt-pop band Here We Go Magic, the severity of Lieberson’s recent life does not translate directly into the album. In Limbo’s opening track, Better, has Lieberson cataloging stuff she does ‘better’ than an un-named antagonist, including but not limited to ‘sitting on top of a pile of horseshit’. “I was actually making fun of someone,” she explains, while probably not actually sitting on a pile of horseshit. “My friend and I were talking and he was like talking about making a film, and how he could do it better than another friend who was a filmmaker even though he had never picked up a camera before. And I just thought it was so ridiculous, so I went home and wrote a song. Sarcastically,” Lieberson concludes. In Limbo’s dense, lo-fi synth, coupled with droning guitar, evokes The Horrors’ capacity for triumphant lament. Likewise, Come Back hears Lieberson singing “I’ve seen too many loves/I’ve kissed too many men”, a lyric she insists is not to be taken in its literal sense. “I don’t actually think that; I think that it was more of a personal thing of, ‘Am I doing this again? Am I trying this again? I’ve done this too many times’. The idea of doing the same kind of boring thing over and over again. It was like, ‘I want something different to happen. Please come back’. I think you can sleep with as many people as you want,” Lieberson qualifies. Lieberson has been making music for almost a decade; having arrived in New York in 2002, she witnessed
first hand the final phase of gentrification lamented in LCD Soundsystem’s New York I Love You But You’re Bringing Me Down. “Man. When I first moved to New York, we were going to places like Bushwick, which were really rundown,” says Lieberson. Located to the immediate east of Williasmberg, the Bushwick neighborhood is a mixture of formidable, grey apartment blocks and marked ethnicities. Lieberson watched on as its infamously contrived neighbour evolved into the Rome of hipsters, a shift she felt hurt the autonomy of her musical community. “Brooklyn wasn’t very Williamsburg back then, specifically, and Bushwick was completely off the map. All those makeshift DIY spaces were really happening, and now, it’s just not possible. Because the neighborhoods can’t keep up, the rent is too high, and everybody’s getting out. It’s okay, I’ve been here for a long time though.” Following a conventional route in contemporary altpop, as Lieberson’s sound matured, she moved beyond the instrument in which she initially specialized to a broader range from instruments and influences. “I mean, so much has changed since Here We Go... I make some electronic music, but I’m obsessed with synths now, working and doing everything on the computer,” explains Lieberson. “I’m definitely into more experimental stuff. I play guitar, I didn’t play guitar back then. And singing, it’s funny how your voice changes. I definitely had a very different way of expressing things. It’s definitely more raw and aggressive now.” Considering all that has transpired, TEEN’S maturation is a natural transformation.
WHAT: In Limbo (Mistletone/Inertia)
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“When Cicada started out I was an indie rock kid, really. I listened to Public Enemy and stuff like that, but I was primarily into the rock stuff. As time went on I got more and more into things like the series of Dope On Plastic compilations, that were a bunch of producers making funky modern dance music, and I got into those and psychedelic and jazz music and I started changing my focus really,” explains Spraggon. Over the course of five albums Sola Rosa has developed from instrumental jazz funk excursions to a fully-fledged nu-soul, beat-driven electronic outfit who have developed a reputation for their live act as strong as that of their recorded output. When it came to the recording of Low And Behold, High And Beyond, Spraggon was determined to use the talents of some of New Zealand’s top musicians and arrangers which, as he explains, meant that the recording process was often a fractious one. “We did all the drums over two days in a studio. We did strings in one day and horns in another session. It was kind of scattered really. I’d love to go into a studio and spend ages doing everything at once, but it is too hard getting everyone you want to work with into the same place at the same time,” he opines. “Julian Dyne is my favourite drummer in the country and I only had a 18 • THE DRUM MEDIA
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A warm, gentle, slightly silly song chronicling Sentry’s idle crush on the waitress of a particularly unimpressive local diner, The Waitress Song is an almost stunning showcase of the Melbourne MC’s innate lyricism and personality. Atop a lush and bleary instrumental backdrop, Sentry’s almost-sung flow dances cleverly around the narrative - a knack for detail helping to paint a comprehensive portrait of the MC’s chosen subject matter. “Everything I do is quite conceptual. It’s one of the reasons it takes me so long to write songs,” Sentry says of his approach. “When I hear a beat and stuff, I see a little movie in my head and I just try and fit words to that movie - but, because I’ve got such a specific picture and sound in my head, it can take me quite a while to capture it. I’m trying to get to a specific kind of point.
and you don’t know where they’re going to end up,” the MC muses. “But that’s not really how I play. I usually have a very specific idea and I’m trying to sum everything up in a song - beginning, middle and end, you know?” This could explain why Sentry’s taken three years to actually capitalise on the success of his breakthrough single. The MC has hardly been idle in the years since Waitress‘ release - collaborating with Horrorshow and 360, touring the country and dropping the occasional follow-up single - but it’s nevertheless taken him three years to significantly expand his body of work beyond that initial EP with debut album This Was Tomorrow. “Well, when we did the EP, that was going to be the album, at first. When things took off for The Waitress Song, we decided to just put out an EP instead - so, really, it’s taken closer to four years,” Sentry laughs. “And, really, laziness was a massive part of that. Don’t get me wrong - when I say it took me four years to write the album, it wasn’t because I was labouring in my room for four years making it. “That would be awesome if that’s what actually happened - but that’s definitely not the way things ran,” the MC laughs - a little embarrassed. “It was also simply a case of the EP doing so well. We could tour off the back of that EP, which was a bit stupid, but we just kept getting gigs out of it and that was too awesome to ignore. Really, though, laziness was a big part of it. It feels good to be motivated and working again.” WHO: Seth Sentry WHAT: This Was Tomorrow (High Scope/Inertia) WHEN & WHERE: Thursday 4 October, White Star Hotel, Albany; Friday 5, Prince Of Wales, Bunbury; Saturday 6, Rosemount Hotel; Sunday 7, Hyperfest, Midland Oval (early), Norfolk Basement (later)
SHEEP’S CLOTHING
With a brand new album in their back pocket, Sola Rosa are returning to Australia for the first time in two years. Main man Andrew Spraggon surveys the band’s past, present and future with Chris Familton.
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“I was definitely surprised when that took off the way it did,” Sentry says candidly. “You know, we weren’t even going to include that song on that EP in the first place. [Producer] Matik didn’t even like it when I first showed it to him and it’s just a weird song. It’s all a bit silly - and, really, a bit stalker-ish, when you think about it. Still, people seemed to really connect with it. A lot of stalkers out there, apparently.”
“You know, I’m not very loose or freeform with my flow. When I listen to my songs, I don’t hear flow, really. I hear something that I tried very hard to get to... You know, I like hearing dudes just rap and take listeners on a journey
WHO: TEEN
SOL JOURNEY
hough Sola Rosa continues to be an increasingly collaborative project, the signature sound still comes from Andrew Spraggon, who has been on the New Zealand music scene for two decades, predominately as Sola Rosa but also early on as the singer and guitarist for indie rock band Cicada. The transition from guitars to samplers came at a time when he was running out of ideas in the rock realm and increasingly turning to the type of jazz and soul-infused electronica that UK producers like DJ Food and Red Snapper were creating.
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ven today, Seth Sentry’s The Waitress Song stands up to scrutiny. Conceived as something of a throwaway novelty when recorded for Sentry’s debut EP The Waiter Minute, it swiftly gained momentum upon release and has since gone on to become the most downloaded track on triple j Unearthed. Three years later, it’s still a remarkably clever and crafted piece of music.
Not content with sitting in the shadows, Black Sheep’s Andres Titus tells Cyclone a lesson in nostalgic hip hop is headed our way.
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couple of days to get him in the studio, so you have to do it when you can. Scott Towers (Fat Freddy’s Drop) who did the string arrangements and Victoria Kelly who did the strings, they are in my opinion the best in the country at what they do. Sometimes you have to sit around waiting for people if you really want to work with them. You have to work on their clock.” The international success of Sola Rosa has seen a number of visits to Europe and America, and as with many acts from this part of the world, there is always the temptation to relocate to the Northern Hemisphere to be closer to those larger markets. “We may go and live in the States next year, even for six months or a year,” Spraggon mulls. “At this stage it is hard to tell if we will do that yet. We wouldn’t be going there in the hope that things would take off; we’d go because things are already happening.” Spraggon is aware of the pros and cons of making such a move. The demand is already there, yet the scale of the commitment for the band and their families makes it a difficult one. “We are getting great shows and good fees and it feels right to maybe do it. We’d only do it with careful planning. I’ve got a family now, so if I can’t take them over and make it work then its not worth doing.” In the meantime, Spraggon is looking forward to bringing Sola Rosa back to Australia to proudly showcase the new album. “Most of the time we have really great shows, and that is what we’ve built our reputation on and why we’re at the level we are at.” WHO: Sola Rosa WHAT: Low And Behold, High And Beyond (Way Up Recordings) WHEN & WHERE: Wednesday 26 September, Indi Bar; Friday 28, Clancy’s Fish Pub, Dunsborough; Saturday 29, Amplifier; Sunday 30, Wave Rock Weekender, Wave Rock Beach
he ‘90s urban revival is well underway with Black Sheep joining the Hip Hop Legends Tour alongside Das EFX and DJ Tony Touch.
Black Sheep, from Queens, New York, was formed in the late ‘80s by MC Dres (AKA Andres Titus) and DJ Mista Lawnge (William McLean). Ironically, they’d met in North Carolina, Titus a military brat. The Native Tongues affiliates premiered with 1991’s single Flavor Of The Month. Their classic debut, A Wolf In Sheep’s Clothing, also took in the enduring The Choice Is Yours (licensed for a recent US hamster-featuring car ad) and brilliant gangsta satire U Mean I’m Not. Still, Black Sheep never received the wider recognition of A Tribe Called Quest, De La Soul and Jungle Brothers. And Titus is far from being done. In fact, the MC has previously been in Oz – as a De La Soul stowaway. But he’s “very excited” to now be performing his own show. “I’ll be with my dude DJ Strike – and it’s a simple formula that works well for us. I’ll be taking you on a good music trip, from some classics to some unknowns – all delivered in the vein of real hip hop [with] a true MC,” he explains. As it happens, McLean has retired from Black Sheep. “Lawnge and I don’t speak much,” Titus admits. “Once in a while something business-related may pop up and we’ll correspond, but we’re definitely in two different spaces at this point in our lives. I understand him to be well and a family man.” Black Sheep self-produced a seminal – and eccentric – hip hop album in A Wolf... What does Titus recall of recording it? “One of the things that really sticks out was the writing. I would keep a notebook of sorts everywhere I went. It was common to find me in Washington Square Park with a joint writing in my book. I remember it being quite a task [because] I knew the first people to hear what I was writing would be the Tongues – talk about pressure!” Though Black Sheep contributed to The Brand New Heavies’ trailblazing Heavy Rhyme Experience: Vol 1, the music industry proved increasingly difficult for them to negotiate. After all, they were conscious hip hoppers in the gangsta rap era. Black Sheep’s second album, Non-Fiction, floundered largely due to lousy promotion.
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The duo split from their label, Mercury, and then went their separate ways, eventually reuniting (briefly) in 2000. Any regrets? “Well, hindsight is always 20/20 so, of course, there are things that could be rectified and maximised, but such is life,” Titus ponders. “I’ve definitely embraced what was, but I’ve also let it go – [it’s a] duality. I find it important for myself to not live in the past, but to live for today and prepare for tomorrow – something I don’t think I really understood in totality when I was younger. As well, it’s the experiences that give me the insight I now possess.” Titus discovered new diversions – and not merely a solo career. He landed his first acting role in Laurence Fishburne’s Once In The Life and has lately starred in Mr Complex’s indie Fanatic. Titus is keen to do more. “I think it’s a good transition for the older me.” In the meantime, he has a new outfit, evitaN, with ATCQ satellite member Jarobi White. (Check ‘em out on YouTube). There is a pervasive nostalgia for ol’ skool hip hop – which Titus’ ally Nas tapped into on Life Is Good – but this MC isn’t preoccupied with it. (Titus concedes to following hip hop online, rather than on radio.) “I would say it’s more about good music at the end of the day. I feel many of the older artists got a little caught up in what [hip hop] was and didn’t necessarily bring it forward, but let it pull them back. Those that adapt found a medium that works for them. This usually resonates with the people. In my opinion, things truly have changed – embrace it, put your spin on it, make it better. Nas would be a good example of this.” WHO: Black Sheep WHEN & WHERE: Thursday 27 September, Civic Hotel
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Mirror Traffic Tour 20112
Paul Capsis
Fri Sept 28 Rosemount Hotel onds A + SpMiMilllitlls,s,S7e8ss,cPlPlan Perth W ar et,, Star et a an a , au m.au c m. co ker.r.co eeke
11 OCTOBER
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Welcome to the Paul Capsis Revue! Award winning star of stage and screen, Paul Capsis will take you on a hypnotic journey celebrating iconic music by The Beatles, Prince, The Doors, Amy Winehouse and much more. Don’t miss this one-off special Perth show. w.
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ALOHA AND SUPERSONIC PRESENT
Ticket price includes entry on the night to Picasso to Warhol: Fourteen Modern Masters exhibition.
"Paul Capsis really is a king" Australian Stage
THE MEANEST TOUR FRIDAY SEPTEMBER 28
Music, food, drink and art
AMPLIFIER - PERTH + EMPERORS
SATURDAY SEPTEMBER 29
WAVE ROCK WEEKENDER - HYDEN Tix from www.soulhighway.com.au
Photography by Brian Stewart
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ARTGALLERY.WA.GOV.AU/ARTBAR
SUNDAY SEPTEMBER 30 MOJOS - FREMANTLE + EMPERORS
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ARTBAR 2012. Where people, art and live entertainment come together. Doors open 6.30pm. Exhibition open 6.30 - 8pm. Paul Capsis 8pm. Visit ticketek.com.au or call 132 849. Under 18s must be accompanied by parent/guardian.
ARTBAR PRINCIPAL PARTNER
ARTBAR MEDIA PARTNER
ARTBAR EVENT PARTNER
GOVERNMENT OF WESTERN AUSTRALIA
ANNUAL SPONSORS WESFARMERS ARTS – PRINCIPAL PARTNER 303LOWE CHANNEL NINE THE SUNDAY TIMES AUDI The Picasso to Warhol: Fourteen Modern Masters exhibition is organised by The Museum Of Modern Art, New York and The Art Gallery Of Western Australia, Perth.
THE DRUM MEDIA • 19
ON THE RECORD KING GIZZARD & THE LIZARD WIZARD
PETER BLACK
KINGFISHA
ODD FUTURE
Citadel
Uppercut Records/Vitamin
RED
Flightless/Fuse
Considering the year The Hard-Ons’ Peter ‘Blackie’ Black has had (for those living under a rock, he was assaulted whilst driving his cab in Sydney and suffered serious injuries), it’s almost hard to approach this release and judge it on the songs alone. After all he’s been through, and the support everyone has shown him, who really wants to be the person to say this album doesn’t shape up? Luckily, through honing his many years of musical experience into twelve tunes, Blackie has ensured no such situation arises.
Brisbane reggae outfit Kingfisha have taken longer than most to deliver their debut, but it’s an enjoyable, LIVE if somewhat unsurprising release. well-produced Looking Glass makes it clear that their intention is to define a reggae axis on which to balance the rest of the album on. The playing is tight and Anthony Forrest’s smooth vocal delivery and selfreflective lyrics raise the quality considerably.
While the maelstrom of faux-outrageous and righteously outraged behaviour raged around bratrappers Odd Future, quietly, somewhere in the eye of the storm, someone made the most important, courageous and downright rock‘n’roll statement in years. Maybe ever. When Frank Ocean took the step of publicly declaring his sexuality open to interpretation he was doing something no one in his position had ever done. Syd Tha Kyd’s ‘is-she-isn’t-she’ androgyny notwithstanding, the candid act of defiance and selfliberation gave credence to a crew who had always been in danger of drowning in their own dick jokes.
First song, Elbow, is a short, catchy punk rocker fighting against a barrage of distorted guitars and alien noises dowsed in echo seeping through the speakers. Muckraker features scratchy harmonies and a constantly shifting tempo that gets chucked out the window towards the end. Sam Cherry’s Last Shot is straight out of a spaghetti Western with Broderick Smith of The Dingoes reading out a chapter from 33 Years Among Our Wild Indians in his best Johnny Cash impersonation. Bloody Ripper and Uh Oh, I Called Mum are the two of the best and funniest songs on the album, showing the fact that the band have much more to offer song-wise than just lots of high-energy punk-rock launched straight at you through an old, beat-up amplifier. I thoroughly enjoyed this album and while it may not be everybody’s cup of peyotelaced tea, 12 Bar Bruise will delight anyone looking for an album full of ear-smacking, chaotic rock’n’roll that throws you a few curve balls along the way. Scott Aitken
D
Admittedly, it takes a little time for the softly sung, stripped-back acoustic numbers to stick, but once they do, you’ll have numerous chorus melodies in your head for days. And with nothing for the lyrics to hide behind or be buried under, these 12 songs provide an intimate look into the inner workings of the musical mastermind. While it’s a solo record the collaborations featured really take certain songs to the next level. Strings on Algebra & Calculus, Bus Catcher and Dumb Dumb, performed by Samantha Fonti, help drive vocal melodies to a level he wouldn’t be able to take them on his own. Blackie has taken a lesson from a certain Gotye hit and Cloud Nine sees him swapping vocals with Michele Madden – a match made in heaven. The only notable downfall is Blackie’s harmonies are sometimes too confronting in the mix and every now and then it distorts the intimacy the record is trying to achieve.
Overall, No Dangerous Gods In Tunnel is not only symbolic of how strong Blackie is, but testament to how powerful the Australian music community can be. Daniel Cribb
Enough, which first surfaced on the Island Time 4
compilation, has been reworked and the moody reprise VD may be a disappointment to lovers of the edgy original.
However it’s still a standout with a pulsating tempo coupled with clever biting lyrics, proving Kingfisha can deliver versatility without sacrificing their core sonic elements. Always Tomorrow is the clear winner with syncopated groove counterpointed with a sublime guitar lick that drips with chorus and vibrato reminiscent of the best of ‘80s Australian pop. It’s also cleverly arranged and shows a band that can deliver beyond genre with future releases. After the smooth Let You Know, Piece Of The Puzzle lays down solid foundations rounded out with rising synths that make it a pleasure to listen to. Lamentations about lost youth and anti-Babylon chanting continue here but somehow manage to not sound cheesy, even if resorting back to tried and true lyrical reggae fair. Your Welcome is another high point with a fat bottom end guaranteed to blow car speakers and move derrière’s.
D
Drawing from the likes of Thee Oh Sees, The Clean and Pavement, 12 Bar Bruise is the first full-length album from Victorian seven-piece King Gizzard & The Lizard Wizard. 12 Bar Bruise can best be summed up as the chaotic, unpredictable soundtrack to a bad acid trip. Each of the 12 songs on the album is laced with reverberated howls, spooky Theremins and feedback-laden guitars that jump out at you whenever you least expect it. Brimming with raw punk energy and power, the songs constantly teeter on the edge of implosion, which simply adds to the excitement of listening to this record.
Kingfisha
VD
12 Bar Bruise
No Dangerous Gods In Tunnel
This is a solid debut that pulls some surprises out of its well-worn Rasta hat. It should not only appeal to lovers of reggae, but also to newcomers looking for a sound complimentary to sundrenched days and apathetic social activism.
The OF Tapes Vol. 2
Unsurprisingly, the three tracks on The OF Tapes Vol. 2 with Frank are outstanding, and Analog 2 is hands down one of the songs of the year so far. More surprisingly, the rest aren’t far behind. Enduring hip hop collectives are those in which each member pulls their weight, and there is little dead wood here. Even Tyler’s tiresome enfant-terrible routine has capitulated. Now he has the time-worn exoneration ‘some of my best friends are gay’ in his holster for anyone daring to accuse him of homophobia, the rapper who once spat “Whoa, no homo/I’m not gay faggot” laces tracks with actual lyricism - check out Sam (Is Dead) if you don’t believe me. Domo Genesis is a revelation, shining on a third of the tracks, and Oldie is a posse cut par excellence. This album marks a genuine milestone for Odd Future, and at its heart lies real hip hop. The sweary slackness remains, but the most shocking thing about The OF Tapes Vol. 2 is that it’s good.
Chris Archibald
Tom Birts
VARIOUS
ANDY MOOR
THE GASLAMP KILLER
BAND OF HORSES
EMI
Armada Music/405 Recordings
Brainfeeder/Inertia
Columbia/Sony
Don’t be quick to dismiss this as another faceless major label compilation cash-in; this one’s actually had some love put into it. EMI have enlisted Heaven 17’s Martyn Ware to traipse through their vast catalogue (which now counts the Mute and Astralwerks labels as assimilations) to present Electrospective as an online, CD and event-based celebration of the evolution of electronic music. The CD features 38 artists (and David Guetta) who’ve made notable contributions.
With his prodigious musical talents and output for influential progressive trance label Armada Music, it was only a matter of time before Andy Moor released an artist album. Being a (self-proclaimed) perfectionist has its drawbacks, however. The second-guessing and constant rewrites that perfectionism demands can result in lengthy delays and often tepid fare. The tracklist does not bode well: nearly all 18 tracks feature a female vocalist. Although Moor has proven ability with vocal trance, it’s hardly a sound known for evolving, and there’s a fine line between spine-tingling euphoria and overripe brie.
“Do me a favour, and cut your vein” are just the opening words we might have expected on Gaslamp Killer’s full-length debut Breakthrough; delivered from the depths of shamanic cohort Gonjasufi over appropriately jagged violins. It’s been several years in the making and with a credit roll that lists many of Gaslamp’s noted, darkened-alley dwelling brethren, expectations are high, with this writer envisaging nothing less than a deviant masterpiece; a grotesque carnival of misfits and freaks.
Over their last couple of albums – but maybe more through some truly standout songs such as Is There A Ghost, and the glorious Laredo – Band Of Horses have become one of those bands you almost wanted to keep to yourself, worrying success might mess with the pure joy and craft of their music.
Electrospective
The original 1963 Dr. Who theme is a splendid kick-off with the first disc being almost flawless. Favourites like Together In Electric Dreams and West End Girls sit bucolically with Brian Eno’s Here Come The Warm Jets and The Normal’s Warm Leatherette. They’ve got the mix of anthems and education spot on here. Disc 2 starts with Inner City’s 1988 house classic, Big Fun, and moves through dub (Renegade Soundwave), ambient (FSOL; Moby), techno-house (Daft Punk; Chemical Brothers) and so forth. But this is where the cracks begin to show. How can one include Radiohead (Everything In It’s Right Place) but not Autechre, who arguably had the biggest influence on that sound? Where is Joe Meek’s Telstar? What of acid-house, Warp and dubstep? And how come nearly everything is from the UK? Were there no decent electronic records released at all after 2005? The exclusions can be debated as much as the inclusions celebrated but the answers must inevitably lie in the limitations of the EMI catalogue. Taken on surface value, Electrospective gives you a lot of essentials that will inspire you to compile your own third disc to fill in the gaps. I did. Mac McNaughton 20 • THE DRUM MEDIA
Zero Point One
Breakthrough
Weirdly, the majority of tracks sit in an unremarkable middle ground. Aptly-titled opener Atmospherica sets the tone with its almost filmic ambience, but the album pretty much fails to launch from there with the overall soundscape lacking punch or drama. Take out the kick drums and you’d have a number of halfway decent chillout tracks. It makes for pleasant listening but runs short on the throat-grabbing, tear duct-opening moments you’d hope for in an uplifting trance release. Clear standout Orbithing (with Orkidea) is a cracking tune that cuts through the glossy murk with its dark bass/synth riff and choppy vocals, and In Your Arms is the best of the rest thanks to Jessica Sweetman’s distinctively nasal vocals. The overall production on Zero Point One is superb which, given Andy’s established studio chops, is unsurprising, and the tracks flow seamlessly. Yet the wishy-washy synth lines and generic vocals make it a slightly underwhelming listen. This is well-wrought music that, sadly for a genuine talent and notable figure of the uplifting trance scene, fails to make its mark. Jeremy Carson
Gaslamp’s flair for otherworldly samples continues to thrive, as Gonjasufi’s second contribution has him croaking over what might have once been a Turkish sea shanty for the damned. But with a range of guest producers – including Samiyam who adds his peerlessly implosive beats to Peasants, Cripples & Retards – Breakthrough is clearly more of a studioweened animal. There’s a near overflow of potent phases – such as Amir Yaghmai’s transcendental solo or the symphony of widescreen horror that lurks on In The Dark – but many of them remain less than fully developed. Pieces that start promisingly, often wind up frustratingly short – seemingly designed to be stun weapons in Gaslamp’s already infamous DJ sets. Whilst a handful of songs segue smoothly into the next, it might’ve been more fruitful to go the whole hog and make it a mix disc, as the typical two second pauses in between tracks allows the atmosphere to ebb away.
Mirage Rock
But Mirage Rock is likely the album where we’ll have to share them. The album’s previewing single, Knock Knock, is the calling card of them about to kick the door down rather than just waiting for an invitation, main Horse, Ben Bridwell, perhaps finally having the confidence to believe some of the praise he’s garnered. What makes it so right this time around? The music is still that alt.country-flecked Southern racket, well-thought and well-played. It’s perhaps a little more approachable, certainly more consistent. There are still some darker moments – the almost Appalachian Everything’s Gonna Be Undone or the love song with perhaps something else going on underneath in Long Vows – but overall it’s a Band Of Horses not ashamed of being a pop band as well. But that’s a pop band like R.E.M. were a pop band, although you can almost hear the backlash from old fans revving up on internet forums even now.
An album littered, or possibly splattered, with great moments, yet it’s not quite the definitive Gaslamp statement the unwashed minions were baying for.
Production by true veteran Glyn Johns adds further sheen, but it can swing (A Little Biblical) or get a bit sentimental (Slow Cruel Hands Of Time) as necessary. Or go to the album-centring Dumpster World to have them go from Sam Beam-style reflections before breaking out something louder in the midst of it and yet remaining true to the song. It’s just further proof of what an utterly assured record this is.
Christopher H James
Ross Clelland
themusic.com.au
THE DRUM MEDIA • 21
FRONTROW@DRUMPERTH.COM.AU
THIS WEEK IN
ARTS
of following up this successful first novel, and that [paralysis] comes from trying to control how the world reacts to his work; and that becomes this psychic struggle that just saps the life from his work.”
A NOVEL IDEA
“Manic Pixie Dream Girl” might be the go-to cliché of alternative romcoms – love it or hate it – these days, but Anthony Carew learns from the directors of Ruby Sparks, Jonathan Dayton and Valerie Faris, that there are still more ways to play with the oft-worn trope.
DAVE CALLAN
THURSDAY 20 Radio Active – WAAPA’s annual contemporary music performance, and a celebration of chart topping songs from the ‘50s, ‘60s, ‘70s, ‘80s, ‘90s and today. Subiaco Arts Centre, 7.30pm to Saturday 22.
FRIDAY 21 The Polite Gentleman – A surreal play that reminds you to be careful what you wish for when the Devil comes a-calling. Written and performed by Mark Storen and directed by Adam Mitchell. Blue Room Theatre, 8.30pm, to Saturday 22. AGWA Allsorts Comedy Debate – Join a host of comedians as they debate Modernist ideas inspired by the Picasso to Warhol: Fourteen Modern Masters exhibition. Tonight Dave Callan will host as the topic, ‘Should we celebrate the everyday or the sublime?’ Inspired by Andy Warhol’s quote “In the future, everybody will be world famous for fifteen minutes”. Art Gallery Of Western Australia, 5.30pm.
SATURDAY 22 Boy Gets Girl – Western Australian Premiere by Rebecca Gilman. Journalist Theresa gets talked into a blind date with a computer consultant Tony, and creepiness ensues. Directed by Adam Mitchell with James Hagan, Ben O’Toole and Myles Pollard. Heath Ledger Theatre, State Theatre Centre of WA, 7.30pm to Sunday 30 September.
SUNDAY 23 FAC Print Award Forum: Possibilities of Print – Artists Joel Gailer and Michael Meneghetti discuss the possible relationships between printmaking, performance and video. Speakers also include Jenna Downing from Perth hacker space Artifactory and Sue Forster, Print Council Of Australia’s editor of Imprint Magazine. Fremantle Arts Centre, 2pm.
MONDAY 24 Wolf Children and The Egg of The King – Both part of the 2012 Reel Anime Festival, which brings the 22 • THE DRUM MEDIA
spectacle of Japanese animation to the big screen. Wolf Children is a fairy tale about a family who harbours a secret. Their father is a ‘Wolf-Man’ and has passed his affliction on to his children. Berserk – The Egg Of The King is an actionadventure film set against a dark, European-inspired Medieval fantasy world, based on Kentaro Miura’s bestselling manga series. Luna Leederville, 7pm.
What did we do before the phrase ‘Manic Pixie Dream Girl’? It was only first coined on The A.V. Club in 2007, but the stereotype feels eternal, and any phenomenon that’s a constant reminder of how awful Garden State is should be lauded. Ruby Sparks, the second feature for married team Jonathan Dayton and Valerie Faris, takes to that noxious trope with a scalpel, Zoe Kazan’s script giving us a struggling writer (Paul Dano) who invents a MPDG, only to be confronted when she (Kazan herself) comes to life, Mannequin-style.
Faris. “And also the way women were portrayed in film,” adds Dayton. So a conversation goes with the filmmakers who finish each other’s sentences plenty. “We don’t want this debate about Manic Pixie Dream Girls to overshadow the other more meaningful themes that’re explored in the film,” Dayton offers, before Faris chimes in: “It’s not a film where this sad male character’s life is magically changed by this girl. He doesn’t get to bask in this fantasy fulfilment; he actually has to pay a very real price for creating his dream girl.”
“Zoe was interested in the way that men see women and this idealised, fantasised version they have versus the real thing,” explains
Thus, the film isn’t just about skewering a stereotype of ‘indie’ romantic-comedies, but about the delusions people bring to
relationships, Ruby Sparks’ “key thematic interest” being, Faris says, control. “We all carry a certain amount of fiction with us about the person who we’re with, especially at the beginning of a relationship,” Dayton explains. “And that, as we come to see who those people really are, there’s an urge to control them, to try and force There’s more to this story
on the iPad
them to be more like this version of them that we believe in.” “People have this intense desire to control, both in their relationship and in their work,” Faris offers. “Part of [the main] character’s problem is that he’s paralysed by the task
WEDNESDAY 26 The Democratic Set – A residency model that explores the belief that all people are, in principle, equal and should enjoy social, political and economic rights and opportunities. On display, PICA Main Gallery to Sunday 21 October. WOLF CHILDREN AND THE EGG OF THE KING
Dayton and Faris describe — whilst never going in-depth — stalled productions where stars or producers seemed to have a different vision than them; but they were encouraged by a project that came with its young stars — and real-life couple — attached, and that they were able to get the final cut. This meant they could make a frothy rom-com a study of control. “We wanted to make this genre-bending movie that begins as a light comedy then goes to this darker place,” Dayton says. “There’s no way that being able to change someone else wouldn’t tap into these very dark elements of the human psyche.” WHAT: Ruby Sparks WHEN & WHERE: Opening nationally Thursday 20 September
innocent blonde children who harbour this really murderous belief system. It’s looking at a society in a tiny microcosm, essentially looking at a whole belief system through this one girl.”
TUESDAY 25 Tinkertown – A play about Tammy, whose father is back after 15 years. He’s kidnapped her at gunpoint and murdered her aunt and her mother. He thieves, kills, womanises and drinks. Fresh from its Melbourne debut, this is Perth playwright Nathaniel Moncrieff’s (Sleepyhead) black comedy. Opening night, Blue Room Theatre, 7.30pm to Saturday 13 October.
Following up a success is, of course, a loaded subject for Dayton and Faris, whose only prior film was the crowd-pleasin’, moneymakin’, Oscar-nominated 2006 road-movie, Little Miss Sunshine. “The connection was not lost on us,” says Dayton. “We certainly felt the weight of what it meant to have that kind of success, and that kind of a connection with audiences. It was very intoxicating. So, we didn’t want to return with something that was less of a film. For us, it was never an issue of writer’s block. In the six years since Little Miss Sunshine, we worked on various film projects, but none of them ever ended up being ready-to-shoot.”
Shortland threw herself into study of the Bund Deutscher Mädel, the girls wing of the Hitler Youth, and was struck, on discovering one story, of a girl’s memories of blithely watching an elderly Jewish woman get kicked down the stairs of her apartment building, but then throwing up thereafter. “That was always in my mind, how human instincts were suppressed, and how empathy was one of many things you had to sacrifice for this regime,” Shortland says.
I FOUGHT THE LORE In the follow-up to her critically adored debut film, Somersault, Cate Shortland is tackling World War II Germany. She tells Anthony Carew the parallels we can draw with our Australian history. “I didn’t really want to make a historical drama, and I certainly wasn’t looking for one,” says Cate Shortland. But, when the filmmaker was at the Edinburgh Festival in 2004, someone gave her a copy of Rachel Sieffert’s novel The Dark Room – a study of ordinary Germans dealing with the end of World War II – she was suddenly obsessed that it be her next project. “Rachel writes from a very intimate point of view, and she never preaches,” Shortland explains. “She’s looking at individuals, and looking at how societies affect them. From that, you get a quite profound feeling; she’s not out on
some thunderous crusade to enact justice through fiction, where these good people will triumph and these bad people will be punished. In the end, everyone is fallible, everyone is human, everyone makes mistakes. History isn’t about good guys and bad guys, it’s messier than that, and it’s more personal than that.” Thus, Shortland’s follow-up to her debut Somersault – the film that took her to Edinburgh, and won an astonishing 13 AFI Awards – became Lore, another study of an adolescent girl (“I’m only interested in the female psyche,” she admits), this time set against the instant collapse of
the Third Reich. Demanding to any interested producers that the film be shot on location in Bavaria, in German (“there’s always, for me, a disconnect if you’re watching a film set in, say, France, when they’re speaking English; it’s just kind of odd.”), Shortland set out to making a work of aesthetic realism, if beautifully, dreamily photographed. It’s a distinctly German film, too, dealing with how a group of children – its titular character, Lore, and her band of young siblings – reconcile the changing social climate with the doctrines they’ve grown up with. “There’s a real central contradiction to the film, where you have these
Lore recently won the audience award at the Locarno International Film Festival – “I never thought I’d ever get an audience award for one of my films” – offering approval from German-speaking audiences. In Europe, where there’s a longrunning dialogue that continues to discuss the atrocities of the past, Shortland feels Lore will be a part of that conversation. In Australia, however, she sees it as having “a different life”, critically. “In Australia, we don’t deal with our colonial history very well, we don’t deal honestly with Indigenous issues. This is a film set in World War II Germany, but it could’ve just as easily been a film set in colonial Australia in which a girl is dealing with atrocities that her father had committed. So much of our history has been suppressed, and that creates a lot of fear and anger in the Australian psyche.” WHAT: Lore WHEN & WHERE: Opening nationally Thursday 20 September
FRONTROW@DRUMPERTH.COM.AU
REVIEWS UNPACK THIS! THEATRE SUBIACO ARTS CENTRE: 15/09/12 Under certain circumstances, assault charges are met with a court order to attend anger management classes. This is precisely what happened to Geoff Paine, an actor in Neighbours back in the late ‘80s, after he head-butted his own neighbour and broke the man’s nose. Not one to waste an opportunity, Paine brought his notepad along and turned the classes into a show for the Melbourne Comedy Festival. Several months later, the show has made it west. The show is largely autobiographical, with Paine playing himself in addition to two other characters. Ross Daniels also plays multiple roles, covering the other three students in the class. His and Paine’s are attractive roles for good actors – changes occur at speed and are demonstrated by not much
C U LT U R A L
WITH MARCIA CZERNIAK
more than small shifts in costume and posture. Where the acting falters is with Syd Brisbane and Michelle Nussey, who play the councillors. Nussey’s role of the youthful female councillor is a subtle one, and it does not benefit from Brisbane’s brutish treatment of his. Brisbane is an anger management councillor with anger issues – a fantastic concept, but one that might have stood up better with a less overt treatment. Herein lies the pattern. It’s a show of ideas and there are some brilliant ones; acutely observed, hilariously expressed, imbued cleverly with a sense of irony. There’s some very funny dialogue here and this was loudly reflected in a very responsive audience. But there are some unfortunate inconsistencies and some lost subtlety that rendered it good instead of great, and which, after a season in Melbourne, can’t just be put down to opening night jitters. Zoe Barron
RUBY SPARKS
RUBY SPARKS FILM
UNPACK THIS!
CRINGE
It’s been six years since directors Jonathan Dayton and Valerie Faris debuted their quirky comedy Little Miss Sunshine. Their second feature Ruby Sparks, with a sharply witty and poignant script by Zoe Kazan, is another scrappy human comedy that admirably stays more quirky than cheesy. Calvin (Paul Dano) is a young novelist who achieved exceptional success early in his career but is now struggling with his writing – and everything else
in his life. Thanks to his shrink, he makes a breakthrough and creates a character named Ruby (Zoe Kazan) who turns up in his kitchen making scrambled eggs; a living, breathing person. Ruby Sparks could have easily been a predictable rom-com, but Kazan’s clever script presents a welcome feminine critique of the male “author god� complex. Ruby Sparks features amazing character arcs, laugh-out-loud moments and some very dark scenes, making it an intelligent must-see. Tess Ingram In cinemas now
The Fremantle Arts Centre Print Award, one of WA’s most recognised printmaking awards programs, is about to announce its 2012 winners and launch this year’s exhibition. The opening weekend is jam-packed full of print award goodness that will share with audiences the present day context of the award, as well as taking a look at the history of the award and what some of the past awardwinning artists are up to now. In its 37th year, the award features both established and emerging Australian artists, with works in acquisitive categories being added to the City of Fremantle Art Collection, which was established in 1958 and houses over 1300 works. This year there are 60 artists whose work will be on show. The exhibition runs from 22 September to 8 November, with a few other offshoots to the program running over this time as well. As part of the program, there is the Big Winners exhibition brings us four female artists who have all won the Fremantle Arts Centre Print Award in the last 20 years and have presented various ideas about how women are represented, with works from Rebecca Beardmore (2010 winner), Heather Hesterman (1992 winner), Michelle Hyland and Marion Manifold (2001 winner) on display. Fremantle Arts Centre is also holding The Big Weekend Of Print over the opening weekend of the Print Award, with three events. Developed through a residency at the Arts Centre, Performprint brings
us Melbourne-based artists Michael Meneghetti and Joel Gailer, who won the Award in 2008 for his work Hot Process. Gailer and Meneghetti will be working together for the first time as part of this printmaking and performance experience, which includes print and multimedia installations and, of course, allimportant audience participation. This event kicks off this weekend and runs until the close of the Print Award exhibition. Performprint will see Gailer and Meneghetti pushing the boundaries with a series of onehour performances that run over ten hours. With their work questioning and exploring masculinity, these series will include large-scale printing, live human branding and outdoor projections, as well as Harley-Davidsons and beer fridges. Should be interesting‌ and pretty much the polar opposite of what audiences will experience with Big Winners. The Fremantle Arts Centre Print Award Forum – Possibilities Of Print rounds things off on opening weekend, with Jailer and Meneghetti discussing Performprint and the future of printmaking, performance and video and how they can work together. Jenna Downing from Artifactory and Sue Forster, the editor of the Print Council Of Australia’s Imprint Magazine, will also be speaking and Fremantle Arts Centre curator and Print Award judge, Dr Ric Spencer, is giving a floor talk and exhibition tour. With these events open to the public and free, what more could you ask for to celebrate the opening weekend of one of our State’s most beloved print awards?
Western Australian Academy of Performing Arts
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THE DRUM MEDIA • 23
24 • THE DRUM MEDIA
THE EXPLODERS BY BRAD SERLS
TOUR GUIDE GIG OF THE WEEK
MYSTERY JETS @ CAPITOL
London-based indie-rock group Mystery Jets are up to big things. Riding high on the release of their fourth album Radlands, they’re in the country to celebrate. Radlands sees the band break from their usual West London-based image to construct an album of drier, sunnier countrified pop, inspired by the American west and spaghetti westerns. And now they’re starting off their national Radlands Tour in our own state tonight, Thursday 20 September at Capitol. Support for this show comes from local enigmatic dance-pop duo Voltaire Twins, who themselves have been racking up big numbers of looks and likes following the release of their new EP, Apollo (check out the vid to new single Solaris if you can – it’ll have you double-taking all the way through.) Mystery Jets are one of the most talked-about acts at the moment, so don’t miss out on your chance to catch them live. Tickets through Oztix for the show, which is proudly presented by Street Press Australia.
THE EXPLODERS THE NOVOCAINES, THE LOVE JUNKIES
DRUM MEDIA IS PROUD TO PRESENTS SHOWS INCLUDING:
THE BIRD: 14/09/12
The Bird’s faded, dimly lit charm provided the perfect backdrop for a night showcasing acts whose take on rock’n’roll is a gritty and corroded one. Opening act and local grunge sweethearts, The Love Junkies, casually stomped their way through a pretty lean, but still sufficiently fuzzy set of grungy, garage-blues with ease. The band’s brand of swaggering juvie-heartbreak was administered at the perfect dose; leaving the crowd hungry enough to devour the night that was to follow. Even so, the crowd appeared more than taken back by the ferocity of The Novocaines, whose chaotic and powerful performance was hypnotic to the point of paralysis. While the band itself was all business, frontman Corey Marriot’s serpentine presence was nothing short of magnetic. Seemingly hell-bent on smashing his wrist off with his tambourine, the physical and emotional self-flagellation that occurred on stage was almost frightening but entirely captivating. Even if The Novocaines’ style of music is not your thing, their dramatic live show is worth seeing at least once. It almost goes without saying then that this was an interesting lead up to the headliners, The Exploders, whose variety of rock’n’roll is corroded in a different way. Rather than dripping with brooding bitterness, The Exploders’ acid-country cock rock is a far more sarcastic and snarling affair that’s more diverse in structure and style than the material of their support bands.
FRONTLASH NEW YEAR’S END
With Origin NYE, Cuban Club, Southbound and Summadayze all happening within seven days of ADALITA each other, the end of the year truly will be the end of us, in the best – partying – possible way.
PARA-AWESOME
While our able-bodied swimming team continues to bicker about who’s to blame for their poor showing, our Aussie paralympians showed them how it’s done, rocking in at fifth at the London Paralympics.
AMITY ALRIGHT
Hats off to our cover stars The Amity Affliction, topping two much-more fancied prospects in The xx and The Presets and scoring their first number one album.
Performing tracks from their new album, Orche.Stratos. Pheric., the effects of the band’s three-year performing hiatus did not show at all. Not even remotely. Their set was an impossible mix of watertight and raucous, and TJ Allender’s vocals in particular were beyond pitch perfect. In fact their clinical precision, at least initially, jarred really obviously against the glorious messiness of the opening acts and it resulted in the crowd taking a little time to really get into it. This was not a fault to do with the performance of any band, but more an issue of having a line-up order that was stylistically top-heavy. And had The Exploders not prevailed with such unwavering enthusiasm and impeccable musical marksmanship, the awkward transition could have derailed the night. But persevere is what the band did, triumphantly bringing the crowd out of its stunned, darker mind frame to a fun-seeking, free-loving euphoria. Funnily enough, it was when the band showed signs of loosening up (like when Allender’s voice started giving out, or when drummer, Malcolm Clark, knocked the drum kit over) that the crowd really ate it up.
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
Overall, the night actually benefitted from its interesting, if clashing, line-up. Even more heartening was seeing The Exploders launch the audience into the stratosphere in the face of (potential) adversity.
MUMFORD & SONS, EDWARD SHARPE & THE MAGNETIC ZEROS, WILLY MASON: OCT 12 & 13 Belvoir Amphitheatre
Kosta Lucas
CLARE BOWDITCH: OCT 20 Astor Theatre
DAPPLED CITIES, JAPE: OCT 14 Amplifier BASTARDFEST: ASTRIAAL, FUCK… I’M DEAD, DESECRATOR and more: OCT 27 Civic Hotel
BACKLASH
THURSTON MOORE: OCT 30 Rosemount Hotel BILLY BRAGG, JORDIE LANE: NOV 2 & 3 The Astor
JOSH PYKE: NOV 8 Artbar, Art Gallery Of WA THE BEARDS: NOV 15 Prince Of Wales; NOV 16 Settlers Tavern; NOV 17 Rosemount Hotel; NOV 18 Indi Bar BALL PARK MUSIC: NOV 16 Prince Of Wales; NOV 17 Capitol NATURAL NZ MUSIC FESTIVAL: SHAPESHIFTER, KORA, LADI6, TRINITY ROOTS, MAISEY RIKA, DAVID DALLAS, P-MONEY and more: DEC 1 Red Hill Auditorium PRIMAL SCREAM: DEC 11 Astor Theatre JEFF MARTIN: DEC 21 Clancy’s Dunsborough; DEC 22 Mojo’s; DEC 23 Indi Bar EVAN DANDO & JULIANA HATFIELD, BAMBINO KORESH: DEC 22 Rosemount Hotel BREAKFEST: KRAFTY KUTS, A SKILLS, DJ YODA, LADY WAKS, THE NEXTMEN, JAGUAR SKILLS, SPECIMEN A, PYRAMID, MARTEN HØRGER, HIGH CONTRAST, CAMO & KROOKED, SPY, MC WREC: DEC 26 Belvoir Amphitheatre SOUTHBOUND: BEACH HOUSE, BEST COAST, BOY & BEAR, COOLIO, THE FLAMING LIPS, SBTRKT, THE VACCINES, BOMBAY BICYCLE CLUB, FIRST AID KIT, MAXIMO PARK, MILLIONS, HILLTOP HOODS, TOTALLY ENORMOUS EXTINCT DINOSAURS, ANGUS STONE, BALL PARK MUSIC, COSMO JARVIS, DJANGO DJANGO, THE HIVES, JINJA SAFARI, LISA MITCHELL, MATT CORBY, SHARON VAN ETTEN, TWO DOOR CINEMA CLUB and more: JAN 4 & 5 Sir Stewart Bovell Park, Busselton
ONGOING: GIGNITION: Upcoming band showcases 2-10pm monthly on Sundays at The Railway Hotel CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel
LADY GANJA
We get it Gaga – you’re super cool and down with the earth and all that. Follow up on your plans to talk to Obama about legalising marijuana and maybe we’ll start listening.
PARTY DOWN
What happened to the days of good times with your mates at mates’ houses, throwing back a few tasty beverages, not throwing bricks, rocks, bottles and more at police?
AF-FAIL
Cricket season starts soon right? LANIE LANE PIC BY CC HUA
JULIA STONE
themusic.com.au
THE DRUM MEDIA • 25
BIRTHDAY BLUES
GARDEN VARIETY
Kings Park Festival has announced Ulla Shay, a young singer songwriter who is fast gaining an international reputation as a soul, pop and country artist, and ARIA award winning songwriter John Bennett will take control of the Botanic Garden as part of the Santos Live Sunday Series, Sunday 23 September from 12pm.
The Perth Blues Club celebrate their 20th Birthday Party Tuesday 25 September at the Charles Hotel, with music on the night from John Meyer, Lindsay Wells, Chelsea Gibson, Pete Romano, Mark Constable, Dave Hole, Richard Roberts, Matt Taylor, Kat Kinlay, Jason Smith, and Sue Bluck, along with the PBC House Band. $15/$10 members.
RADIO BERLIN It’s been a long time since local indie-rock troubadours Our Man In Berlin have released any new tracks, so in anticipation for their December EP launch they’re releasing a new single Song For Simon at Mojo’s on Friday 21 September. They’ll be supported by some more fantastic local talent in Warning Birds, Sidewalk Diamonds and 44th Sunset. $10 with a free download of the single.
NUCLEAR SOUNDS WAAPA contemporary music students present Radio Active at the Subiaco Arts Centre for three nights only at 7.30pm on Thursday 20, Friday 21 and Saturday 22 September – a high-energy celebration of chart-toppers throughout music’s history. The night will feature a diverse repertoire covering all musical bases from pop to rock, R&B to soul and funk classics. Tickets via BOCs.
ALBUM FOCUS
SET FIRE
Having attracted a legion of fans to their recent single launch, The Arsonist are set to bring Mojo’s alive Thursday 20 September. To warm punters up on the night they have enlisted the talent of Piano Donkey, Lilt and Fools Of April. With a penchant for thick, driving synths, electro beats, soothing harmonies, The Arsonist have quickly made their mark on the local scene. $8 entry.
LIGHTSING UP
GET LEI’D
Smell the flowers, feel the sun, sway like a palm tree. Spring is here and summer is peaking around the corner! Aloha Bakery sees some of Perth’s most rhythmic pop bands celebrating the fact in style at The Bakery, Friday 21 September, with Cow Parade Cow, Runner (pictured), Zealous Chang, Electric Toad and DJs Jack Quirk and Matt Sav. $8 door or $5 via Now Baking.
Local pop-rock outfit Beside Lights have been rather busy of late, and Daniel Cribb gets the lowdown from frontman Adrian Wilson.
HOT STUFF
WA-based six-piece Tabas.Co has no shortage of influences. It’s globe-spanning members assure your senses will be treated to a multicultural melting pot of sweet and spicy rhythms. The band’s tasty Afro-French-pop melodies can be caught Friday 21 September at Kulcha.
SAN FASHIONISTA
As part of this year’s Perth Fashion Festival (PFF) Brookfield Place hosts Fashionably Loud Friday 21 September. From 5pm the heart of the city will be transformed into a mecca of fashion and music with Fremantle based indie-poppers San Cisco performing live whilst models parade looks styled by Zara Bryson.
ADDICTED TO LOVE
THE DOMNICKS WITH DOM MARIANI
In the mood to support local original music tonight? Of course you are! Get down to the Mustang Bar to catch hills boys The Love Junkies smash out a wild set of punkafied rock’n’roll, supported by Deep River Collective and DJ James McArthur. Forming many moons ago in high school, The Love Junkies have honed their sound from jamming beginnings to the tight band they are today.
Band history in brief? Nick Shepherd and I met at a barbecue while we were both at Southbound one year. The next time it was on stage together at a friend’s 40th and it took off from there. Describe your sound: Electric guitars, bass, drums and singing. Rock, swagger and roll. We love blues and soul music… The Stones, The Faces; all the great stuff. Tell us about the album: The album is titled Super Real after one of the tunes on the album. The album contains 12 tracks, nine of them originals written by Nick and myself. We’ve also covered three of our live favourites for the album. Billy Thompson’s Black Eyed Girl, Robert Parker’s Where The Action Is and Howard does a great job on Bobby Bland’s I Wouldn’t Treat a Dog. Recording process: Started recording the beds at Kingdom Studios early 2011 and then completed overdubs and mixing at Real To Reel over a 12 month period with James Newhouse. Collaborations? Simon Cox and Pete Bull played keyboards; Ivan Zar played harp; Adam Hall and Matt played brass; and Monica Guerini sang backing vocals. Tell us about the launch: Will be held at Mojo’s in North Fremantle this Saturday with special guests The Floors and Custom Royal, plus Charlie Bucket will spin some fine tunes in the breaks between the bands. What’s on the horizon? We’ll be playing local shows right through until the end of October, and we’ll then head to the east coast for shows in Melbourne, Sydney and Wollongong as part our label’s 30th year celebration. A tour of Japan is also planned. WHO: The DomNicks WHAT: Super Real (Citadel/Fuse) WHEN & WHERE: Saturday 22 September, Mojo’s
26 • THE DRUM MEDIA
How has your approach to writing evolved since being contestants on Australia’s Got Talent? Our approach to writing hasn’t changed at all since being on the show. AGT isn’t like the shows such as X-Factor or Australian Idol where someone mentors you, or someone helps with your performance or song arrangement; it was more just us showcasing our songs and talent as a band.
HOPEFUL
What were the best and worst aspects of appearing on the show? The best aspect of appearing on the show was being able to play our original music on national television. The worst aspect was not having any control over how you were portrayed, or the footage they use… Which is why you have to be careful not to say anything stupid, like ‘We’re single and ready to mingle’! We didn’t want to portray a story or attempt to get any sympathy votes in order to win, we aimed to stay true to our band and our sound, and didn’t do anything on the show we wouldn’t normally do.
Melbourne hardcore band Hopeless added more shows to their tour schedule, including two Perth dates. These shows will be their first live performances in Perth with new vocalist, local legend Mark Bawden of Break Even. Catch them Friday 21 September at Amplifier with Foxes, Tikdoff, Agitated and Losing Grip and Sunday 23 at YMCA HQ (all ages) with The Others, No Regrets, Dying Sun and Cabin Fever.
SING ME A SONG
For decades, Paul Gioia has been recognised as one of WA’s leading blues and gospel pianists, and he’ll be launching his third CD with some of Perth’s top musicians at Kulcha, Saturday 22 September. Resting on the hot rhythmic sounds of Greg Brenton and Joe Southwell, with a whole swag of guest performances, the launch promises to be a unique and special night.
EXPLORE THA ‘FLOOR
You’re currently in the studio working on a follow-up to you debut EP, tell us a little bit about the new material. We’re releasing a brand new single very soon – just adding some final touches to the song and we’ll be announcing a release date shortly after. The new songs we’ve been working on still maintain the same catchy pop-rock sound our EP has, but we feel it’s a bit more mature and developed. I’ve grown up a lot as a songwriter since the EP and we’ve had a bit more time to find our sound as a band, so we’re really excited to show the fans the new material!
One half of Perth breakcore kids Angry Teenagers Who Want to Kill People, Dora The Extruder is otherwise known as Ella Rudland. She’s here to absolutely confuse the dancefloor with her wonky, splitting beats. Fresh off a 12-month stint in Berlin, “avoiding” the hottest nightclubs in Europe including Berghain, Tresor and UFO, she hits Fly By Night Saturday 22 September with a bunch of 8-Bit Records friends in tow.
How has your live show developed since fans last saw you? We’ve been working on new material, so the fans can definitely expect a few new songs in the set. It’s been quite some time since we’ve done a headline show here in Perth, so it’ll be interesting to see how much the show has helped our fan base grow and the sort of crowd we get on the night. It’s still going to be the five of us doing our thing on stage, but we’ve added a few extras to the set we feel will step it up. We’ve been rehearsing like crazy since coming off the show, writing new material, and working on getting out live show up to scratch –we’re itching to get up on stage again! You’re playing Hyperfest – how important for you is it to stay in touch with your under age
themusic.com.au
fans? We still can’t get over how passionate and supportive our underage fans are. The kids that come to our shows are amazing. Staying in touch with them on Facebook and Twitter is probably the most important thing for us, especially the fans over east and the international fans that won’t really get to see us live until we begin touring. YouTube is great for that so we like to post videos frequently and stay in touch online. A lot of bands feel the need to relocate over east once they get to a certain point – would you consider such a move? Moving over east has definitely crossed our minds, especially being a pop-rock band. It’s hard to find other acts in Perth like ours, and putting on shows with other bands has always been a bit of a struggle in the past. We definitely plan to tour over east, but we’re not relocating anytime soon. All of our family and friends are here; Perth will always be our home. Highlights of the chaotic 18 months since forming? There are a few! Recording in Vancouver last year, showcasing our music at Canadian Music Week in Toronto, winning a regional Battle Of The Bands competition down south, supporting The Vines at Astor Theatre, releasing our debut self-titled EP, and of course making the finals on Australia’s Got Talent! AGT has probably been the biggest highlight for me personally. I love traveling as a band, and it was great to be flown back and forth from Melbourne whilst we were filming the show…for FREE! Plans from here? We plan to release our brand new single soon; along with a music video we’re shooting at the end of this month with our good friend Tim Brade, who directed our last clip. We have a few shows/ festivals we’re playing throughout the rest of the year, plus we’ll be in and out of the studio between all that demo-ing songs and working towards an album. And we’re hoping to announce some national dates later on in the year. WHO: Beside Lights WHEN & WHERE: Friday 21 September, C5, Upstairs Metropolis Fremantle
FEEDBACK POND, WATER TEMPLE, THE WEAPON IS SOUND, FUCKING TEETH THE BAKERY: 15/09/12
I rocked up to The Bakery half an hour before the opening act were due on stage, expecting a fair portion of the sold-out show’s crowd to be lined up, excited and ready for action. This wasn’t the case, and for all those who decided to skip Fucking Teeth, well, you missed out big time. Sporting what would become the night’s fad by way of paper-boat hats made of newspaper, the early crowd were treated to a feast of rough-cut punk jams and wolf howls, complimented by some fantastic and often humorous songwriting. Next to grace the stage were The Weapon Is Sound, and there was only just enough room to fit all eight members. A stark contrast to the previous band, they had the crowd grooving away with some heaving, hypnotising beats of psychedelic dub-filled reggae. The band certainly deserve extra credit for their size, and it works wonderfully in their favour, the end product being some of the most genuine-sounding dub the Perth scene has to offer. The penultimate performance of the night saw Water Temple face the audience, and while they didn’t particularly stand-out amongst the other bands, the growing crowd were on their side and this really allowed them to shine, their confidence brimming. Their style of furious instrumental rock really hit the spot. By the time Pond took to the stage, the crowd had amassed inside The Bakery and the band opened with their classic brand of psych riffage from the get-go. Although Pond share some members with Tame Impala, it is obvious that the bands are completely different animals, Pond certainly being the more wild of the two. Lead vocalist Nick Allbrook looked well and truly in the zone, spending a lot of time staggering across the front section of stage and making a mess of the mic cord. The band as a whole produced a gruelling, noisy set that was so eagerly lapped up by the audience, it was easy to see why Pond have conquered Perth with their revelling funk-psych jams, and for all those who were there, it was certainly a night to remember. Kane Sutton
PRITA GREALY, LUCY PEACH ELLINGTON JAZZ CLUB: 13/09/12
The warm, intimate vibe of The Ellington jazz club was the perfect spot for local musician Prita Grealy to play as part of her Postcards From Europe tour. As the name suggests, the hip hop, soul and folk singer/ songwriter had been touring The Old Continent for the past six months, returning to Perth with a bunch of new songs to play to her adoring audience. With an electric guitar in her hand and a flower in her hair, Lucy Peach gave a beautiful solo performance. While first slightly nervous and a little lost for words, she certainly didn’t lack confidence when it came to belting out each song with that massive, pitch-perfect voice of hers. From opener Wax And Wane onwards, she ploughed through a great 45-minute set which included a fantastic performance of Black Haired Boy and Golden Days. The set culminated in a beautiful version of A Million Ways; a perfect ending to a performance demonstrating just how far she’s come as an artist.
Prita Grealy arrived onstage shortly after to a warm hometown welcome. Despite a few problems with her loop pedal, Grealy got everyone warmed up with a smooth version of Mellow. After a quick tune up of her tiny acoustic guitar, she recounted a story of her adventures in Glückstadt drinking a weird concoction of aniseed alcohol with a slice of anchovy (yum!...wait, what?) before leading into a fiery version of You Did Me Wrong. She stepped away from the mic to give a truly unplugged performance of an as-yet-unrecorded version of My Home that left the whole crowd dazzled before closing the set with a mighty, foot-stomping version (literally) of Get Out Of Your Own Way that even got some of the audience to their feet. All in all, it’s great to have her back. Scott Aitken
EARTH, MARGINS, ORIGINAL PAST LIFE
ROSEMOUNT HOTEL: 15/09/12 Masters of those drone frequencies that lull the onlooker into a 1000 yard stare, Original Past Life unwound a hypnotic set that blurred each of their individual songs into one oozing, ebbing molasses of loops and effects. Ostensibly led by Adam Trainer, who manipulated a variety of instruments, it was drummer Michael Caratti who kept the band on their toes, by constantly improvising and searching for sympathetic sounds from his kit. Taking their seats on a barely illuminated stage, Melbourne quartet Margins gradually constructed a creeping, atmospheric funk that might be described as a kind of night stalker music; not overtly threatening, but decidedly edgy in an understated, minimal sort of way. I half expected to turn ‘round and spy a shadowy figure in a hat and trench coat recording my every move. They resisted raising the volume until the closing piece, and even that progressively faded into nothingness. The recent trend in all things drone-doom/postrock seems to be to adding more technology and instruments; moogs, bows, percussion etc. Whilst such exotic instruments, samples and jazzy lights can still be transformative additions, Earth cut straight to the animal core of the music by utilising the most rudimentary tool kit – a bass, one standard drum kit, a beautiful crimson guitar, a handful of sparinglyused effects and an elemental approach to songcraft that could be summarised as “we swear to play the riffs, the whole of the riffs and nothing but the riffs”. Strikingly Spartan, it could almost be read as a giant finger to those acts that over-complicate to impress. Magically enough, simple numbers such as Old Black built a tangibly thick atmosphere, as they mixed new, and in some cases unnamed, material with two-decade-old pieces such as Ouroboros Is Broken. By no means a big man; frontman Dylan Carlson nonetheless shimmered with a masculine intensity, magnetising all eyes as he peppered his set with acerbic asides such as, “$100 for anyone who stabs the person next to them using flash photography”. “I have a medical condition,” he explained. Cranky on the outside, but sweet on the inside, he responded warmly to the charged waves of appreciation that rolled his way and beamed as he shook hands with fans, after closing the show by detuning his bottom E string into reverb oblivion. Christopher H James
LOUNGE SOUND
A massive line-up takes control of Leederville Loungeroom Thursday 20 September. Will Stoker & The Embers, a five-piece who never give way to a dull moment, headline the night supported by Mezzanine and Mark Neal. Hosted by local cabaret crazy showman Tomas Ford, there will be pizza and booze specials galore. Free entry.
SIMPLE SOUNDS The best punk/alternative acoustic acts around Perth have decided to join forces at Mojo’s Tuesday 25 September for what promises to be a relaxing and memorable night. Paper Plains, aka Patrick Gengler and Matt Rickwood, are the main attraction and have Brayden Edwards, Rhys Watson, Mai Barnes and Yiannos McStavros playing support. If you don’t know these local gems, get yourself acquainted. $5 entry.
DOUBLE TIME
Two of Australia’s most recognised and awarded jazz talents, vocalist Gian Slater and saxophonist Jamie Oehlers, have been collaborating on various projects over the past five years. They launch their latest studio offering, The Differences, Friday 21 September at the Ellington Jazz Club. The album combines Gian’s hauntingly beautiful and original voice and Jamie’s firebrand intensity and virtuosity.
AMBIENT ANTICS
Sunday 23 September will see Mojo’s filled with spacey guitar sounds, improvised noise and plenty of diversity when three-piece semi-experimental band Robo-Ant takes to the stage, showcasing new material. Joining in on the action will be Misty Mountain, The Ron Pollard Quintet and Hunting Huxley. $5 from 6pm.
THE DRUM MEDIA • 27
WAM UPDATE
HOT SHOT
CONTEMPORARY MUSIC INDUSTRY NEWS WITH AAROM WILSON.
SINGLE FOCUS
THE LAMMAS TIDE Releasing their latest single Partridge Farm this weekend, The Lammas Tide’s Em Urquhart gives us the story of the single.
LISTEN UP!
The 80 nominees in 16 categories have been announced for the 2012 WAM Song Of The Year competition, the winners to be announced on Thursday 11 October at Fly By Night Musician’s Club in Fremantle. Tickets to the Awards Night, featuring the likes of Timothy Nelson & The Infidels, as well as Yabu Band (pictured), Kučka and Boom! Bap! Pow!, are $23.50 inc BF from flybynight.org. Door sales $28.50 if available. You can also head to wam.asn. au and scroll on down to have a listen to all the songs in the running to take out the SOTY gongs and over $30,000 worth of prizes.
EVERMORE BY BRAD SERLS
To mark the release of their new single I Can Make You Love Me, British India are headed our way twice (!). Presented by SPA, they play an exclusive Perth show Saturday 22 September, before returning on the official tour playing Prince Of Wales, Bunbury Thursday 29 November; Metropolis Fremantle Friday 30; and Capitol Saturday 1 December. Tickets via Oztix, Heatseeker, Moshtix and the usuals.
BLUESY BUZZARD
Prepare to be booglarised by one of Australia’s finest consummate artists when Pugsley Buzzard returns to the west with his unique blend of dark hoodoo blues, good-time rollicking boogie and voice to make ladies sigh and grown men cry. Thursday 20 September he plays Settlers Tavern, Margaret River; Saturday 22 Rottnest Lodge; Sunday 23 Newport Hotel; and Tuesday 25 the Charles Hotel.
The latest Tide single, Partridge Farm, was inspired by ‘60s bands like Jefferson Airplane, Fairport Convention and Cream. It’s sort of like our tribute to the pioneering music festivals of the ‘60s and ‘70s; embracing that abiding notion of togetherness through music.
KISSING IN ALBANY
Both Partridge Farm and b-side The Murky Deep were recorded with Sam Ford (Pond, Abbe May) at Tone City Recording Studio in Perth. We wanted to experiment with a rawer and slightly grittier sound after our first EP, High Tide. It’s still psych folk rock but maybe a bit heavier on the psych this time ‘round! The tune’s held down by a rolling groove with a driving organ and guitar riff. It’s still got the melodic fiddle and harmonies that we dig but also some wah and a big half-time sing along at the end. It’s tricky to describe our sound. Someone at gig once said we’re like Steeleye Span meets The Doors. I’m definitely cool with that…
AGWA HOT SHOTS
We’re stoked to have some of our talented and excellent friends playing at our launch/ love-in at the Norfolk Basement. We just want to have a sing along with a bunch of excellent people really. Isn’t that what it’s all about?
Running for the fourth consecutive year, the Kiss My Camera exhibition showcases the best photographs taken of WA artists or music venues giving visitors a unique and personal insight into the incredible talent of WA musicians. The exhibition snaps down to the WA Museum in Albany from 26 September til 22 October.
INDIAN LOVERS
I don’t know what it is about the 1960s that resonates with me but I’ve always been obsessed with that time in history. It might be the fact that it was one of the few decades where people were really present – you know, living for the moment. They weren’t looking at the past or really to the future. It was all about what was happening at that time. There’s something intoxicating about that vibe and energy and I think it explains why we keep going back to that era for inspiration.
Opening Season Two to massive applause two weekends ago, and then following it up in style with the dreamily experimental folk of Rabbit Island last Friday, AGWA Nights are one of the hottest tickets in town. Including entry into the Picasso To Warhol exhibition, the next two Fridays see the Allsorts Comedy Debates filling the Art Gallery of WA with laughter, before The Pimps Of Sound feat. Milly James on October 5 kick off eight Fridays of home-grown acts filling the venue with superb sounds.
WHO: The Lammas Tide WHAT: Partridge Farm (Independent) WHEN & WHERE: Friday 21 September, Norfolk Basement
The Western Australian Music Industry Association (WAM) strives to support, advocate and nurture WA talent of all types. Visit wam.asn.au for more info.
FREE
DOUBLE DIGITS
To celebrate the tenth edition of The Academy, Vanity, who have been tearing it up all around Australia and are gearing up to release a new 7-inch, will take to the Amplifier stage Wednesday 26 September, supported by Grim Fandango and Alex The Kid. $15 entry, or $12 if you know the code word. Doors 9pm.
THIS WEEK’S ISSUE NOW LIVE 28 • THE DRUM MEDIA
themusic.com.au
THE DRUM MEDIA • 29
RAISING FUN
BREAKING THE MULD THEE GOLD BLOOMS
PEACE SUPPORT What cause are you raising funds for? Timor-Leste (East Timor) is one of Australia’s closest neighbours, yet one of the poorest countries in the world. The population is one of the youngest and fastest growing worldwide, however opportunities for education and employment are scarce, with only 400 formal jobs available to the 15,000 young Timorese people entering the job market each year. Combined with Timor-Leste’s devastating history of war and instability, violence remains a major contributor to ongoing cycles of poverty. Ba Futuru, meaning “For the Future”, is the name of Timor-Leste’s preeminent child protection and peacebuilding organisation. Ba Futuru’s Youth Empowerment and Peace Building Project aims to build Timorese youth’s capacity to prevent, manage and resolve violent situations peacefully. By empowering young individuals to act as leaders and peace educators in their communities, the project creates change that will last for generations to come.
Throughout the year, animal-hatted electroweirdo duo Mulder have been slaving away in a basement in the hills of Perth to bring you Young, a beautifully crafted record that more than lives up to the expectation set by their captivating live show. They launch it Friday 21 September at their home away form home, The Bird, supported by Sprawl and The Bosons.
BACK ON HIS FEET
FAIMOUS
Taking a quick break from recording their debut album, punk rock five-piece FAIM will play the next instalment of Geisha’s Innerspace sessions, Sunday 23 September. The venue’s quadraphonic soundsystem will be used to amplify the raw sounds of Ten Points For Glenroy and Burning Fiction before the headliners top things off with memorable energy. $10 entry, $5 if you know the right people.
A little over four months ago Gyroscope guitarist Zoran Trivic was involved in a motorcycle accident which left him with two broken legs and a long road to recovery and rehabilitation. Trivic is back on his feet and ready to help the band put on their postponed benefit show for Dana Vulin, Saturday 22 September at the Rosemount Hotel. Scotch Of Saint James and Boston & Chevy still support for $35 via Oztix.
STUDIO DIARY
NEW KIDS
With a name that matches the visual intensity of their live show, The W*H*O*R*E*S launch their new EP, Crone, at Ya-Ya’s Friday 21 September. School Kids, the first single taken from the EP, received a warm welcome into the world, so this show will no doubt follow suit. Support by The Scotch Of Saint James and FOAM. $10 entry.
How did this idea/show come about? We decided to combine our passion for fighting global poverty with our passion for supporting local Perth music. Peace Support is not only raising money for Ba Futuru, but also raising hope for young people affected by violence in Timor-Leste; hope for peace, opportunity and a future to look forward to Who’s playing and why did you select those acts? James Teague, Thee Gold Blooms, Lucy Peach and Lillium Stargazer. We chose these acts as there is a selection of acoustic and funky music to create a fun and relaxing environment. How do people get tickets? Tickets are $20 and people can get them online or at the door. Preferably before the event at civicpeacegig.eventbrite.com. Is there anything people can do post-gig to support the cause? People can also make donations at civicpeacegig.eventbrite.com. WHEN & WHERE: Friday 21 September, The Civic Den
BRUTAL BLAST
RTRFM regularly brings you some of the best underground metal, punk and other such dark and heavy sounds to be heard, and now they bring you Something Brutal, Friday 21 September at The Rosemount Hotel, featuring Psychonaut (pictured), Memoria, Goat, Thaddaeus, Helta Skelta, Warthreat, The Shakeys, Negative Reinforcement and Creature, plus DJs HEXX, Deryk Thomas, Sandy, Renfield and Scott. $10 subscribers/$15-non.
F A-OK
Settling back into WA after a Canadian summer, OKA are ready to unleash their unique fusion of dub, electronica, hip hop and jazz on stages around the state. They play the Prince Of Wales, Bunbury Thursday 20 September; Settlers Tavern, Margaret River Friday 21; the White Star Hotel, Albany Saturday 22 and The Railway Hotel Sunday 23. Welcome them home in style! 30 • THE DRUM MEDIA
or their fourth studio album Mirage Rock, Seattle’s Band Of Horses bunkered down in LA’s famous Sunset Sound studios with legendary UK producer Glyn Johns (The Beatles, Bob Dylan, The Rolling Stones, The Band, The Who, we could go on forever) and came up with arguably their most vital release to date. To celebrate the album’s release and their impending Australian tour around the 2013 Big Day Out, Band Of Horses kindly provided us
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with some photos of their in-studio experience, which they loudly proclaimed to be not only productive but a whole ton of fun to boot. WHO: Band Of Horses WHAT: Mirage Rock (Columbia/Sony) WHEN & WHERE: Monday 28 January, Big Day Out, Claremont Showground
THE DRUM MEDIA • 31
20 SEPTEMBER
2012
FLOORED KATCHAFIRE, JAHMOKO
THE ASTOR THEATRE: 14/09/12 It didn’t take long for the Astor Theatre to fill up and be consumed by an optimistic and vibrant mood. Whilst not the greatest venue for dancing space, especially for the headlining act’s first sold out tour to WA, its sound certainly catered well for the familiar tasty grooves of some renowned NZ talent. Jahmoko opened up the evening by thanking the already pumped and growing crowd for supporting the NZ music scene. As the smell of electric puha seeped through the air, the newly-formed reggae band heated up the room with their energy, well-crafted vocals and instrumentals. Dedicating their second song to all those people back home going through the struggle, the six-piece gave a performance that was real, instilled by offbeat sounds that fitted perfectly, and wasted no time spreading their culture and good vibes. With the crowd backed up from the stage, through the isles, and all the way to the end of the room and top balcony – it was a dead giveaway that headlining act Katchafire has a huge following here. The all-Maori eight-piece reggae roots inspired band move you seamlessly into their stimulating solos and breathtaking vocals, telling their stories through song. Lead vocalist Logan Bell, along with lead guitarist Grenville Bell and the rest of the boys give off such a natural approach, involving the crowd the entire time, you get the impression you’ve just
PERSONALITY TEST
PAUL MASTER
been included in an exclusive jam session. Jamey Ferguson does a spectacular job of juggling both the sexy sax sounds and keys, whilst together the band rolls in and out of infectious harmonies. Tracks Sweet As and One Stop Shop played from their latest platinum album On The Road Again were guaranteed hits, progressing from romantic tunes through to pure funk in Groove Again. Got Your Back and Who You With were just a few of the crowd favorites, and a cover of Bob Marley Don’t Worry went off flawlessly before finishing the set with two encores. Both bands gave an unforgettable live experience, to a crowd that was bursting with relaxed and happy pulsations and a room filled with aroha (love), united together as one. Jayde Ferguson
FRITZ KALKBRENNER, RICHARD LEE, AARIN FRASER, EL DARIO, ATIF KHAN GEISHA: 15/09/12
Having turned many heads and pricked twice as many ears on the strength of his superb 2010 debut artist album Here Today Gone Tomorrow, and soundtrack work with brother Paul for the film Berlin Calling, it came as little surprise to arrive to a long line for this sold-out show. As such I unfortunately missed opener Atif Kahn, but by all accounts his set was the perfect opener, easing the early arrivals in. After Kahn, Aarin Fraser engaged the packed dancefloor with some decidedly harder-edged tech before lightening the tone appropriately. And with
the exception of an unfortunate equipment malfunction, produced an ideal opener to the main man. There are fewer sure-fire signs of a love for the music than observing a smiling DJ rocking out harder than most of the punters. From start to finish Fritz Kalkbrenner reminded everyone of the simple pleasure of great house music in a club setting, and judging by the crowd’s reaction I was not alone. Of numerous highlights the jaunty Kings In Exile off the album and the gloriously anthemic Sand & Sun were particularly memorable. Side note: the application of the increasingly glib term ‘live’ to what is essentially a DJ set seems more redundant with Fritz’s productions. He sings on a lot of them. To be playing out samples of himself singing over the course of a live set, and not actually singing, strikes as a missed opportunity. Hopefully, in time, he’ll add that to an already remarkable skillset. For those who joined the customary post-headliner exodus, you have my pity. Richard Lee had a fair crack at upstaging the headliner and delivered a supremely enjoyable set that saw a diverse array of tracks, from Deetron’s deep and dark Croque to the Panchanga Boys’ epic and lush Time, delivered to a cheery assortment of revellers. The consistently excellent El Dario sought to continue the fine display of music with panache and rounded off a sublime night that could only have furthered promoter Habitat’s reputation. Jeremy Carson
HOT SHOTS
SHOCKONE & MC XSESSIV PIC BY JAMES GIFFORD
SHOCKONE & MC XSESSIV PIC BY JAMES GIFFORD
32 • THE DRUM MEDIA
HEY SAM
How would your mum describe you? My mum would have nothing but good words to say about me… I hope. She thinks I’m pretty much a wedding DJ, so she doesn’t have much of a clue but is still very supportive. What’s one genre you would remove off the face of the earth and why? Country and Western. I grew up in a country town but have never been a fan. It’s just plain annoying.
What’s the musical achievement you’re most proud of? I’m most proud of my record label Jump To This. I started it from nothing, without any idea of what I was doing but worked my way through it. I recently celebrated the label’s second anniversary and can’t wait to see how it grows in the future. What’s one record you’re embarrassed to admit you own? Psy- Gangnam Style? I wanted to see what all the hype was about, haha.
Who inspires you musically? I can be inspired from massive international acts through to young local producers. When I hear a track for the first time that I automatically like without knowing the producer or anything, that inspires me.
Spike Milligan quipped he’d like his tombstone to read ‘I told you I was ill’ – what would be on yours? ‘No need for my glasses now’
Name three tracks currently detonating your dancefloor. Combo! – Crazy High (Original Mix) [Jump To This]
Imagine you’re on death row. What’s your last meal request? I can’t believe this, but the first thing that popped into my head was Maccas.
Hey Sam – Stupid (John Baptiste Remix) [Jump To This] Wellsaid & Rubberteeth – South Side Jam (Hey Sam Remix) [Suckmusic] Tell us about a classic dancefloor moment. It’s a classic moment (in my mind) whenever I step onto the dancefloor.
What’s something that really annoys you? Country and Western music.
Name one person living or dead you would love to party with and why. I’ld like my Dad to come out and party again, but he won’t after the last time. Let’s just say he had a hangover for 3 days after we went out. What’s ruling your world at the moment?
HEY SAM
’ gott a new single i l on th I’ve the way called Dope Sh!t with another Melbourne producer, Butters. I’ve just received some of the remixes and it’s the happiest I’ve been with a package to date. We’re still figuring out the release details but can’t wait to get this one out. What can we expect to hear from you in the near future? On top of Dope Sh!t I’ve got another original track, Four Eyes out on my label this month as well as remixes for Melbourne labels doing big things, Suckmusic and Say Wat. WHO: Hey Sam WHEN & WHERE: Friday 21 September, Bird On The Wire, Geisha; Sunday 23, Backyard Disco, The Aviary
TRANCE-FIXED EVERYTHING TRANCE WITH RUEBEN HALE
It’s official! Above & Beyond is returning to Australia for a national tour, which will have the guys in Perth playing Metro City at the beginning of February. The trio last played under a marquee at Creamfields 2012 earlier this year. Little is known at this stage about what is in store, however if you were lucky enough to catch them for their Group Therapy tour early last year, I’m sure you’ll agree it’s likely to be as mind-blowing and mindbending as always. But that’s not all happening in world A&B, with Jono, Pavvo and Tony planning to celebrate the 450th Trance Around The World (TATW450) radio show in India. It will take the form of marathon worldwide eight-hour broadcast with a host of trance’s finest contributing to the party. With the trance trio’s legendary Anjunabeats label named after a beach in Goa and the rapidly expanding scene in Asia, the selection of India as the destination to host the party only seems logical. Local trance has been served well lately with a massive show just gone and another just about to go down prior to the onset of the summer festival season. Last weekend Jason Creek reportedly smashed it supporting Indian-born German trance DJ Roger Shah for his Magic Island tour at Shape. In early October he’ll also be teaming-up with his Amon Vision buddies Kenny L and GeRmAn to support the much anticipated and long-awaited return of Paul
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Oakenfold for his Four Seasons tour. When I caught up with Oakey a couple of months back he said the show would be based around the concept of a journey through the seasons. With JC in his present form the shows will surely have to have an emphasis on summer! Superstar trance man Armin van Buuren seems to be hitting a ‘purple patch’ of late just when he was just showing signs of greatness fatigue and putting himself at risk of getting a bit, well, boring. Armin van Boring he ain’t with his latest bonifide anthem I’ll Listen. Featuring the talents of Ana Criado, the latest track is peaking on EDM charts worldwide even before van Buuren has had a chance to showcase it in his live sets. After the massive support AvB received for Suddenly Summer it was staggering that he not only was able to deliver on the goods again, but also probably eclipsed its success with this latest offering of warm melody, deep and proggy bass; not to mention emotive vocals that have the potential to melt one into the dancefloor. For the uninitiated, let me introduce you to Irish producer Richard Lowe. On his debut vocal release he is already making waves in the EDM world with the stunningly beautiful track Chasing Dreams featuring the sublime and pristine vocals of fellow Irish vocalist Karen Kelly. The combination of Lowe’s swinging, moody and percussive rhythms combined with the talented vocals of Kelly make for a very exciting rising star in the world of trance.
EDDIE HALLIWELL
With Lowe’s profile still sketchy it’s worth keeping your ear to the ground for this talented newcomer. With the Summadayze 2013 line-up announced with only one trance DJ it will be slim-pickings for rainbow hunters this year. Eddie Halliwell has been announced for the festival which is exciting news in its own right, but leaving lovers of the genre a little short-changed compared with previous years. Halliwell is known for his technical genius behind the decks which has him revered by his fans and contemporise around the globe. Now it has been almost three years since the Englishman was last in the country and for the well-indoctrinated it will be a very exciting return to our shores indeed. Let’s just hope he is just the start of some great names to play the festival circuit this summer. Tickets to Summadayze 2013, at new venue Patersons Stadium Sunday 6 January, go on sale today via Ticketmaster.
LITE UP THE D-FLOOR Last year’s Into The Limelite winner Fellis gives this year’s competitors a heads up. You won the last Into The Limelite DJ comp. What were you hoping to get out of it and what went into your preparation to compete? I was fairly new to the game, freshfaced and keen to poke my head up anywhere I could. The Limelite competition was the perfect opportunity to have a shot at playing on a club setup. When the heats line-up came out, I misread the columns and thought I hadn’t made it, but after realising my mistake, I jumped straight into prepping my set for the night. What was it like playing Stereosonic as a relative newcomer last year? It was intense, never in my life had I seen so much equipment within an arm span of me! Seeing a festival from the other side and being metres away from my industry heroes was definitely an experience to remember. What crews/nights have you been rolling with since, and how did the competition win help your rolls? I think one of the best aspects of the Limelite comp is getting to meet a whole bunch of people with similar tastes and interests. Through these connections, I’ve been lucky enough to have the chance to play a number of events, one of my favourites being District at Ambar. What do you think of the prize
TEN THINGS YOU DIDN’T KNOW ABOUT...
FELLIS
6. I won the Oscar for best actor in a dramatic role in 1981. 7. I still get insanely nervous before every gig. 8. I have two ‘80s-inspired tunes coming out soon on Spirit Soul Music. 9. Street food in Malaysia over a five star restaurant any day of the week. 10. My all-time favourite album is Screamadelica by Primal Scream. WHO: Luke Fair WHAT: Sound Of Saturn (Nightbird Music) this year? Absolutely pristine. I love the addition of the SAE Scholarship; especially with the growing trend in DJs/producers, having those sorts of qualifications under your belt is only going to help. What advice can you give to bedroom bandits looking to enter this year’s comp? I’d recommend playing around with the track order of your set, you might stumble across a gem of a mix that’ll make all the difference. If you haven’t submitted your mixtape, get onto it! Three ingredients you see as most important in smashing out a winning set? Firstly, energy! Go bonkers on stage and get the crowd amped up, it’ll lift your game and have the place buzzing. A close second is having a tight set planned, I’m a big fan of quick mixes, especially when you’ve only got twenty minutes to bust out as many moves as possible
for the judges. Lastly, but still very importantly, is choosing your tracks carefully; play what you love as the mixes will come naturally and you won’t even have to try to get amped. What more should we keep an eye and ear out from you? It’s been head down in the studio for the last few months working hard in the mid tempo bass range. I’ve just had a release out (Zed’s Alive) with remixes from three local acts, Philly Blunt, Sylar and Blind Vision. There’s also an exciting solo release on the way as well as a huge collab with Get More which has shaped up very nicely. To submit your entry head to facebook.com/LimelitePerth and find the event page before October 5.
WHEN & WHERE: Saturday 22 September, Geisha SIX60
SIX60
9. Chris is from Darwin.
1. SIX60 are playing at Metro City Sept 29, get there.
WHO: SIX60
From: New Zealand
10. Matius’ favorite dance move is The Twerk.
2. The Paul Mac Remix of In The Clear by SIX60 is out now on iTunes
WHEN & WHERE: Saturday 29 September, Metro City
3. Marlon has an engineering degree.
LUKE FAIR
4. Matiu has a law degree. 5. Eli has a computer science degree. 6. Chris did not finish high school. 7. Everyone in the band can play at least 3 instruments, except for Eli, who’s still struggling with drums… 8. SIX60 recently played three sold out shows to 3000 people over three nights.
From: Toronto, Canada 1. I am a huge science nerd. 2. I’ve done a deep and jazzy track called Sound Of Saturn, out soon on Nightbird Music. 3. I was first DJing Chicago house when I began in 1999. 4. I ate deep-fried Guineapig in Ecuador. 5. My other job is poker.
FHF @ METROPOLIS FREMANTLE
FRIDAY @ AMPLIFIER
FRITZ KALKBRENNER @ GEISHA
NOM DE STRIP @ AMBAR
SATURDAY @ AMPLIFIER & CAPITOL
SATURDAY @ METROPOLIS FREMANTLE
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LUKE FAIR
THE DRUM MEDIA • 33
20 SEP - 26 SEP
2012
THURSDAY 20/9
DANCEFLOOR OF THE WEEK
VJ ZOO
CORNERSTONE Dylan Hammond bangs out the pub and club anthems for the peak of the weekend.
JERU THE DAMAJA
SUNDAY 23/9 VJ ZOO @ ATTIC BAR The Regal Theatre is opening its upstairs Attic Bar to VJZoo, who will host different era dancethemed sets from 1.30 til 5pm for three consecutive Saturdays.
JERU THE DAMAJA @ AMPLIFIER D. Original Dirty Rotten Scoundrel, aka Jeru The Damaja has established himself as a multitalented artist and businessperson, including as one third of the legendary Gang Starr.
DESCENT @ VELVET LOUNGE Old school goth goodness for $5 from 8pm.
R’N’R KARAOKE @ DEVILLES A great night out with your vocal chords every Thursday, Free entry from 6pm.
BEAT LOUNGE @ THE BIRD Local producers showcase their works in front of peers - peeps get 10 mins to rock their beats, from hip hop, R&B, glitch, future soul and everything in between. $5 from 8pm.
ROSEMOUNT HOTEL Sons Of Rico DJs takes over the decks outside.
CLAREMONT DJs Bryn Jones and Jimmy Thorne rock the beats.
THE AVENUE
ABLETON LIVE USER GROUP @ VELVET LOUNGE
ROLAND TINGS
Az-T brings the party anthems all night long.
Jon Ee gets you ready for the weekend.
SATURDAY 22/9
THE CRAFTSMAN Roger Smart gets pumped for the weekend with commercial chart toppers and classic party anthems.
URBAN SWAGGA @ NEWPORT HOTEL Angry Buda’s monthly urban hip hop/R’n’B night with the man himself rocking old and new school full-flavoured drops, free from 8pm.
FRIDAY 21/9 SAUSS BAUSS
FRICTION
ROLAND TINGS @ GALLERIA Melbourne’s Roland Tings puts a contemporary Aussie twist on classic Chicago house, and he’s launching his new 12” Milky Way, supported by Savoir (live) and DJs Ben Taaffe, Nik Ridikulas, Dr J, M Kaminski and Javier Frisco. $10 from 8pm.
BIRD ON THE WIRE @ GEISHA The Backyard Project bring over DJ/producer and label owner Hey Sam, supported by Don Fermano, Darci Bromac and Baden M. $10 from 11pm.
INCEPTION @ HONEY LOUNGE SYRUP @ IRWIN ST. LANEWAY Kit Pop, Zeke, DYP, Sauss Bauss, Boy P, Ol Wright, Starks, El Cue and Oni Ca$h get you hustling to the latest bass and future beats from midnight til daylight on an expanded dancefloor and soundsystem. $10. MR VEGAS
Inception features special guest SIS bringing all things house, future, nu-disco, garage and beyond, supported by James Francis, Aarin Fraser and Shaddow Brothers.
Barry Simpson and the local guest DJ’s bring you the sound of Motown, northern soul, R&B and modern soul for $10 from 8pm. Rocket To Memphis and Custom Royal rock out live, plus ‘60s DJs, GoGo girls and more. Doors 6pm, $10 after 8.
The reggae club plays host to the Aus’ launch party of Mr Vegas’ new CD Sweet Jamaica, with a live Skype from the man himself, plus DJs Ray, Calvin and Rasta Mick with The Empressions, Mumma Trees and Sista Che.
SPENDA C @ AMBAR Bootleg are throwing a Sneaker Party with prizes for best and/or craziest sneakers, with Sydney DJ Spenda C mixing up styles from trap, to moombah, b-more, electro and everything in between. The Bootleg Brothers, 4BY4, Genga and Riot Class support. $15 from 10pm.
AMPLIFIER/CAPITOL Jamie Mac spins indie/alt classics from midnight at Amps, while Caps satisfies your ‘90s desires with DJs from 11pm.
SOVEREIGN ARMS Dylan Hammond fires up with dancefloor destroyers ‘til late.
THE AVENUE The Friday night party rocks till the sun comes up with Dale Ingvarson.
CLAREMONT Jon Ee lays down the funk and fires up for the start of the weekend.
34 • THE DRUM MEDIA
Brighton-raised Friction is one of only a handful of drum’n’bass DJs to utilise three decks to mash up his mixes, and he’s joined by MC Linguistics, plus locals Ekko & Sidetrack, Gran Calavera, Sargent Danger and MC Xsessiv. $25 plus BF via Moshtix.
WED 26/9
Announcing their first ever appearance in Perth, Octave One tour their retrospect compilation, Revisited: Here, There, And Beyond.
LUKE FAIR @ GEISHA 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 plays a three-hour set, supported by Marko Deric, Rob Sharp, Luke P and Carl Drake. $20 door charge.
NINETIES TO NOUGHTIES @ THE BIRD A celebration of R&B music from the late ‘90’s to the early ‘00s with Andrew Sinclair, Jack Doepel, George Capelas and James Ireland. $10 from 8pm.
DJ FEMME @ FLAWLESS Selected by SHM, EMI and She Can DJ as “One of the top ten female djs in Australia and New Zealand”, DJ Femme brings the party. $20.
TRNSFRMRS @ DUSK LOUNGE Dubstep and drum’n’bass from Q-Bik, Dair, The Barons Red, Mercury and Dvise. $10 from 9pm.
HIP HOP/DUB @ NORFOLK BASEMENT DJs Joe Macc, Sparklehause, SugarDaddy Dixon and Lady Carla from 8pm.
DEVILLES PAD The Johnny Nandez Hammond Explosion rock out live, plus Mondo Inferno DJs, GoGo girls and more. Doors 6pm, $10 after 8.
BLAZE TRIPP
METRO FREO DJs DTuck, Ben Carter and Wazz keep the party tunes rolling in the big house.
BLAZE TRIPP @ AMBAR Sydney producer Blaze Tripp has made a name for himself with heavy bass, addictive rhythms and jumping between genres and styles effortlessly. Supported by Buda, Philly Blunt, DNGRFLD and Tee El. $15 from 10pm. VERTICAL TRANSPORT & BATZ
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.
THE GENEROUS SQUIRE DJ Freeds rocks ‘On Tap’ house music all night long.
SOVEREIGN ARMS It’s a Rewind hosted by Rockwell, with retro hits from the ‘80s and ‘90s.
FHF @ METRO FREO Death Disco DJs rock bangin’ indiedance, plus red cups, cheerleaders and college-themed craziness in a special Pyjama Party edition.
Az-T rounds up your Sunday Sesh.
Playing their brand of reggae groove dub, Albany’s Manaia head to Margaret River.
FRICTION, MC LINGUISTICS @ VILLA
THE AVENUE ELECTRIFIED @ GILKISONS Electrified features special guest from the UK Danny Gilligan; plus Vertical Transport and Batz; Remarc & Grimm; and Paul Robertson, joined by JT, Solar Blaze, Rinski, Jason V, Invictus, Terrance & Phillip, Mannerism, Blanko and Hutcho, plus MCs Rtilary, Webbz, J.Soul and Xavier. $10 from 9pm til 4am.
THE AVENUE
Bringing his much-hyped Edinburgh Fringe show back to WA, Tomas Ford rocks the electro weird, supported by Pimps Of Sound, The Freaks Of The Nature and DJ Rex Monsoon. $10 from 8pm.
MANAIA @ SETTLERS TAVERN
MOTOWN & SOUL @ FLY BY NIGHT
DEVILLES PAD
HIGHER FYAH @ BAR ORIENT
EVE NIGHTCLUB
The Backyard Project bring over DJ/producer and label owner Hey Sam, playing Backyard Disco. Free from 4pm.
TOMAS FORD @ INDI BAR
OCTAVE ONE @ THE BAKERY
Okay, so the Drum crew enjoy getting their rave on every weekend just as much as the next guy, probably too much if we’re being honest with ourselves. And that is why this week’s dancefloor of the week probably won’t feature a whole lot of dancing, rather plenty of chit chat and mind-meeting between some of this city’s most respected beatsmiths. Ableton Live User Groups have just launched around Australia and Sunday 23 September sees the debut of the Perth leg, from 1pm at the Velvet Lounge. Hosted by Ableton Live certified trainers, there will be presentations from local artists, all of whom will take part in the Co-Producer Sprint, this edition tackling Flume’s Sleepless feat. Jezzabell Doran. The sprint is a workshop where everyone works collectively to bump out a remix. The guest presenters ain’t no thing to sneeze at either, and they include Ta-Ku (pictured), Diger Rokwell, Dazastah (Downsyde/SBX Crew), Yarkhob, Philly Blunt and Hykus. Get involved - $20 via liveschool.net/learn/courses/perth.aspx.
HEY SAM @ THE AVIARY
Jon Ee brings the funk, hip hop, house, breaks and everything in between.
THE WEMBLEY Once again Lokie Shaw fires up the Saturday night soundtrack.
THE CRAFTSMAN DJ Shortz delivers the music for the masses in Cannington’s fave night spot.
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SOLA ROSA @ INDI BAR With new album, Low & Behold, High & Beyond, Andrew Spraggon’s Sola Rosa has produced a record that’s more beat-driven, but as always, tinged with his trademark soul and funk. Tickets via Oztix.
STUDENT NIGHT @ ROSEMOUNT DJ Anton Maz brings you postpunk, indie-pop and rock goodies outside in the beer garden for free.
WUB WUB @ BOULEVARD TAVERN 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.
UPCOMINGS HIGH WOLF @ PICA BAR
Fresh from Austin Psych Fest, High Wolf is hitting our shores with new album Know Thyself out on Sun Araw’s Sun Ark label. High Wolf’s music mixes cosmic loops, fuzzy guitars, droney synths, mystic vocals and tribal percussion. He plays PICA Bar Thursday 27 September in his Perth debut.
SPEAKEASY @ VILLA 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. There they are joined by international nu-disco demon Gigamesh, with support from Tim & Jean (DJ Set), Funilingus and the Metric Allstars. $20 door from 10pm.
EIFFEL 65, N-TRANCE, MR.95 @ METRO FREO You’ve probably noticed by now, but the 1990s are back with a vengeance and the re-birth continues when Eiffel 65 and N-Trance join up to play Metropolis Fremantle Friday 28 September. No doubt you remember Eiffel 65’s not-annoying-at-all Blue (Da Ba Dee), while N-Trance’s track Set You Free made them another ‘90s fave. Mr.95 supports both. Bigtix. com.au for tickets from Monday.
TZU @ VARIOUS September 21 is the release date for TZU’s fourth studio album, Millions Of Moments, and following the album’s release, the band will hit the road for an extensive tour that hits Bar 120, Hilarys Friday 5 October; Amplifier Saturday 6; and Prince Of Wales, Bunbury Sunday 7. In addition soulful hip hop/ electronica duo Sietta join the entire tour as support. Tickets via Oztix, presented by Street Press Australia.
PAUL OAKENFOLD @ VILLA In the build-up to the release of Paul Oakenfold’s Four Seasons four-disc album in November, the “world’s most successful DJ” rocks an appearance at Villa, bringing with him the full Four Seasons audio/visual production. Minds will be blown Saturday 6 October, supported by Kenny L, Jason Creek, Makitan and GeRmAn. Early birds $35 plus BF via Moshtix.
UPCOMINGS
JERU THE DAMAJA: SEP 20 Amplifier OKA: SEP 20 Prince Of Wales; SEP 21 Settlers Tavern; SEP 22 White Star Hotel; SEP 23 Railway Hotel ROLAND TINGS: SEP 21 Galleria HEY SAM: SEP 21 Geisha SPENDA C: SEP 21 Ambar ELECTRIFIED: DANNY GILLIGAN, VERTICAL TRANSPORT, BATZ, REMARC & GRIMM, PAUL ROBERTSON and more: SEP 22 Gilkisons FRICTION, MC LINGUISTICS: SEP 22 Villa BLAZE TRIPP: SEP 22 Ambar LUKE FAIR: SEP 22 Geisha OCTAVE ONE: SEP 22 The Bakery SOLA ROSA: SEP 26 Indi Bar; SEP 28 Clancy’s Dunsborough; SEP 29 Amplifier; SEP 30 Wave Rock Weekender DAS EFX, BLACK SHEEP: SEP 27 Civic Hotel SPEAKEASY: NORTHEAST PARTY HOUSE, GIGAMESH: SEP 28 Villa EIFFEL 65, N-TRANCE, MR.95: SEP 28 Metropolis Fremantle + HAVANA BROWN: SEP 29 Metropolis Fremantle SIX60: SEP 29 Metro City WINTER WONDERLAND: RUBY ROSE, GRANT SMILLIE and more: SEP 30 The Atrium FERRY CORSTON, SHOGUN: SEP 30 Villa 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 SETH SENTRY: OCT 4 Stuidio 145; OCT 5 Prince Of Wales; OCT 6 Rosemount Hotel; OCT 7 Norfolk Basement + GET WEIRD: PUNKS JUMP UP: OCT 5 Ambar TZU, SIETTA: OCT 5 Bar 120; OCT 6 Amplifier; OCT 7 Prince Of Wales BLUEJUICE: OCT 5 Metropolis Fremantle; OCT 6 White Star Hotel PAUL OAKENFOLD: OCT 6 Villa HYPERFEST: BLUEJUICE and more: OCT 7 Midland Oval + BIG DADDY KANE: OCT 11 Rosemount Hotel RUDIMENTAL: OCT 11 Ambar + DOWNLINK: OCT 12 Shape + SAMPOLOGY: OCT 12 Manor BOMBS AWAY: OCT 12 Eve LANGE: OCT 12 Shape THE ASTON SHUFFLE: OCT 12 Villa BIG VILLAGE RECORDS: TUKA, ELLESQUIRE: OCT 12 Mojo’s; OCT 13 Shape EMALKAY: OCT 13 Shape THIS IS NOWHERE: JIMMY EDGAR, IKONIKA, SLUGABED, D’EON, SALVA, HTRK and more: OCT 14 UWA THEESATISFACTION: OCT 20 The Bakery + VIPER RECORDS: MATRIX & FUTUREBOUND, SMOOTH: OCT 20 Villa NICK THAYER: OCT 20 Ambar JAY SEAN: OCT 25 Eve + DOCTOR WEREWOLF: OCT 27 Shape COLOURSPLASH PAINT PARTY: AJAX, STARFUCKERS, ROYALSTON: OCT 27 The Overflow
THE DRUM MEDIA • 35
THU 20 Hi-NRG Burswood, Groove Bar Mystery Jets, Voltaire Twins Capitol Our Latin Thing Clancys - Canning Bridge Beleza Escola De Samba, Mitch Becker Clancys - Fremantle Courtney Murphy, Adam James Como Hotel Rock’N’Roll Karaoke Devilles Pad Juliana Areias Ellington Jazz Club Chris Murphy High Wycombe Hotel Open Mic Indi Bar Nathan Gaunt Lucky Shag The Arsonist, Piano Donkey, Lilt, Fools Of April Mojos Nth Fremantle The Love Junkies, Deep River Collective, James MacArthur Mustang Bar Urban Swagger Newport Hotel Dr Bogus Paddy Hannan’s, Burswood Avastera, Colour The Sky, Here Come The Cavalry, Lights Of Berlin Rosemount Hotel Clayton Bolger Rosie O’Gradys Fremantle Neil Colliss Rosie O’Gradys Northbridge Pugsley Buzzard Settlers Tavern Margaret River Fenton Wilde Sovereign Arms Heather Gray, Costal Kicks, Woody & The Bullfrog Swan Lounge Jen de Ness The Boat One Trick Phonies The Gate Bar and Bistro, The Healys The Shed Off the Record Universal Bar Old School Goth Velvet Lounge Damien Cripps Acoustic Trio Woodvale Tavern Alex & Jack Xwray Café Stray Dogs Of Athens, Mr Chance, Split Cities, Super Games Ya Ya’s
FRI 21 Midnight Rambler 7th Avenue Bar Hopeless, Foxes, Tikdoff, Agitated, Losing Grip Amplifier Bar Mod Squad, Tip Top Sound Bailey Bar & Bistro
36 • THE DRUM MEDIA
Cow Parade Cow, Runner, Zealous Chang, Jack Quirk, Matt Sav Bakery - Northbridge Anderson Bally’s Bar Mike Nayar Balmoral Electrophobia Belmont Htl Sophie Jane Bentley Hotel Everlong Black Bettys Andyy, Tommo Blvd Tavern, Joondalup Nat Ripepi Broken Hill Hotel Dean Anderson Brook Bar & Bistro Chris Murphy Burswood Meridian Room Besides Lights, Stillwater Giants, Shameem TaheriLee, Harvey Rae, Alfred Gorman C5 Robo Mosquito Castle Hotel York Wayne Green and the Phantoms Charles Hotel One Trick Phonies Chase Bar & Bistro The Feral Swing Cats, Pete Busher Clancys - Fremantle Our Latin Thing Clancys City Beach Needing Cherie Clancys Dunsborough Rocket to Memphis, Custom Royal Devilles Pad Chris Gibbs East 150 Bar Astrid Ripepi, Solomon Pitt, Gian Slater, Jamie Oehlers, Harry Mitchell Trio Ellington Jazz Club Damien Cripps Band, Clayton Bolger High Road Htl Riverton Vdelli Indi Bar Tabas.Co Kulcha The Organ Grinders Legends Bar Our Man In Berlin, Warning Birds, Sidewalk Diamonds, 44th Sunset Mojos Nth Fremantle Adam Hall & The Velvet Playboys, Cheeky Monkeys, James MacArthur, Swing DJ Mustang Bar Party Rockers Newport Hotel The Lammas Tide, The Gypsy Howls, Jacob Diamond Norfolk Basement Flyte Paramount Nightclub Cargo Beat Peel Ale House
Flying Piranhas Princess Road Tavern Still Water Claims, Afraid of Heights, Listening For Triggers, We Run With Wolves, A Haunting On Ravenswood Rocket Room Extreme Aggression: DJ Cain Rocket Room (Late) RTRFM’S Something Brutal: Psychonaut, Mhorgl, Memoria, Goat, Thaddaeus and more Rosemount Hotel Oka Settlers Tavern Margaret River Better Days, Greg Carter Swinging Pig Steve Hepple The Admiral Deuce The Boat Acousticone, Vicktor, James Ess, George Green The Brass Monkey James Teague, Thee Gold Blooms, Lucy Peach, Lillium Stargazer The Den Smoking Section The Gate Bar and Bistro Kickstart, DJ Glenn 20 The Shed The Aunts The White Star, Albany Nightmoves Universal Bar Sacred Flower Union, Mental Powers, Electric Toad, Major Dardi Velvet Lounge Ivan Ribic Victoria Park Hotel Dr Bogus Woodvale Tavern Kate Gilbertson, Patient Little sister, Bryan Rice Xwray Café The W H O R E S, The Scotch of Saint James, Foam Ya Ya’s
SAT 22 British India, Mezzanine Amplifier Bar Lush, Tip Top Sound Bailey Bar & Bistro Dove Bally’s Bar Flyte Bar 120 Mike Nayar Belgian Beer Cafe J Babies Black Bettys JAson Baker (Arvo), The Radiators Blvd Tavern, Joondalup 10 Past 6, Michael Triscari Brighton John & Shaun Sandosham Burswood Lobby Lounge Courtney Murphy Burswood Meridian Room Courtney Murphy & Murphy’s Lore Burswood Prize Draw Stage 3’s A Crowd Funk Duo Clancys - Canning Bridge Black Milk, Bruno Oliver Booth, Heathcote Blue Clancys - Fremantle Russell Holmes Trio Clancys City Beach (afternoon) The Johnny Nandez Hammond Explosion Devilles Pad Elise Lynelle, Gian Slater, Jamie Oehlers, Freddie Grigson Band Ellington Jazz Club Motown & Soul Night Fly By Night Fremantle Dr Bogus High Road Htl Riverton
Legacy Of Supremacy, Living Dying, The Branson Tramps, Kim Louise Hyde Park Hotel Tomas Ford Indi Bar Paul Gioia Kulcha Jukebox Bandits Lakers Tavern The Organ Grinders Legends Bar Steve Hepple Leopold Htl Bicton Rhythm 22 M On The Point Rock Scholars Mojos Nth Fremantle (afternoon) The Domnicks, Custom Royal, The Floors, Charlie Bucket Mojos Nth Fremantle Grand Theft Audio Moon & Sixpence The Rusty Pinto Combo, Aftershock Mustang Bar Gravity, Kizzy Newport Hotel Overload Peel Ale House Electrophobia Quarie Bar & Bistro Axe Cane, Wicked Wench, In The Now, Lightshift Railway Hotel Kickstart, DJ Perry Rocket Room (Late) Gyroscope, The Scotch of Saint James, Boston & Chevy Rosemount Hotel The Damien Cripps Band Rosie O’Gradys Northbridge Retriofit Sail & Anchor Manaia Settlers Tavern Margaret River Beerfridge, Silver Lizard, Dreg Squad Swan Basement Greg Carter (Arvo), Tandem Swinging Pig One Trick Phonies The Admiral 11:11 The Boat Dirty Scoundrels The Gate Bar and Bistro Huge The Shed Thomas Crane, Tip Top Sound The Whale & Ale Nightmoves Universal Bar Carbon Taxi Wanneroo Tavern Matt Milford Warnbro Swans Football Club Renegade Woodvale Tavern Crystal Voyager Xwray Café
SUN 23 Good Karma 7th Avenue Bar Chasing Calee Balmoral Annabelle, Scott Ruthenberg Blvd Tavern, Joondalup Chris Murphy Broken Hill Hotel (afternoon) Christian Parkinson Captain Stirling The Zydecats Clancys - Fremantle The Aunts Clancys Dunsborough The Blue Monk Quartet, Melissa Skinner Ellington Jazz Club Dora The Extruder Fly By Night Fremantle Grim Fandango, Faim, Ten Points for Glenroy Geisha Bar Glen Davies High Road Htl Riverton (Afternoon) The Organ Grinders High Wycombe Hotel
Emperors & Special Guest Indi Bar Ulla Shay, John Bennett Kings Park Botanic Gardens The Caravan Club Kulcha (afternoon) Robo-Ant, Misty Mountains, The Ron Pollard Quintet, Hunting Huxley Mojos Nth Fremantle The Continentals Mustang Bar Pugsley Buzzard, Tim Nelson Newport Hotel Deuce Ocean View Tavern One Trick Phonies Pig & Whistle Wayne Green & The Phantoms Ravenswood Tavern Jonny Taylor Redcliffe On Murray David Fyffe Rosie O’Gradys Northbridge Mike Nayar Sail & Anchor Simon Marks Settlers Tavern Margaret River Ivan Ribic Sovereign Arms The Healys, Renogade The Shed Retrofit Universal Bar Damien Cripps Victora Park Hotel (afternoon) Free Radicals Woodvale Tavern The Charisma Brothers, Click Brown Fox Xwray Café Lady Velvet Cabaret Ya Ya’s Hopeless, The Others, No Regrets, Dying Sun, Cabin Fever YMCA HQ
MON 24 Courtney Murphy Duo Burswood, Groove Bar Chamber Jam Ellington Jazz Club Wide Open Mic, Bruno Oliver Booth Mojos Nth Fremantle Marco & The Alleycats Mustang Bar Nathan Gaunt The Brass Monkey Plastic Max and the Token Gesture The Deen Big Thommo’s Open Mic Variety Night Ya Ya’s
TUE 25 Carl Mackey Quartet Ellington Jazz Club Dr Sketchy’s Anti Art School Fly By Night Paper Plains, Brayden Edwards, Rhys Watson, Mai Barnes, Yiannos McStavros Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Simon Kelly Paddo David Saunders, Scott Ruthenberg, Essie Swan Lounge The Tom Tale Jazz Quartet Xwray Café
WED 26 The Academy: Vanity Amplifier Bar Andrew Winton Balmoral 5 Shots Burswood, Groove Bar Sola Rosa Indi Bar Gombo, Hostile Little Face, Dead Set Radio Paddo Chloe McGrath Xwray Café
themusic.com.au
TOUR GUIDE STICKY FINGERS MYSTERY JETS: SEP 20 Capitol WHEATUS, NOVA & THE EXPERIENCE: SEP 20 Metropolis Fremantle DEFYING GRAVITY, KUNIKO KATO: SEP 20-22 WAAPA Music Auditorium OKA: SEP 20 Prince Of Wales; SEP 21 Settlers Tavern; SEP 22 White Star Hotel; SEP 23 Railway Hotel PUGSLEY BUZZARD: SEP 20 Settlers Tavern; SEP 22 Rottnest Lodge; SEP 23 Newport Hotel; SEP 25 Charles Hotel TOBY: 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 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 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 + NORTHEAST PARTY HOUSE: SEP 27 Mojo’s 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 + THE WOOHOO REVUE: SEP 28 Mojo’s; SEP 29 Wave Rock Weekender SPEAKEASY: NORTHEAST PARTY HOUSE, GIGAMESH: SEP 28 Villa SLEEPMAKESWAVES: SEP 28 The Bakery JULIA STONE: SEP 28 Astor Theatre STEPHEN MALKMUS & THE JICKS: SEP 28 Rosemount Hotel
SHIHAD 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, CITIZENS!, ST LUCIA, CHARLI XCX 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 + DAVE GRANEY & THE MISTLY: OCT 4 (solo) & OCT 5 Clancy’s Dunsborough; OCT 6 The Bird; OCT 7 Mojo’s OH MERCY, MILLIONS: OCT 4 Settlers Tavern; OCT 5 Norfolk Basement; OCT 6 The Bakery + REVERSE GRIP: OCT 5 Rocket Room + NICK & LEISL: OCT 5 Taylor Beach Bar, Esperance; OCT 7 Quindanning Hotel; OCT 10 Indi Bar; OCT 12-14 Nanga Music Festival, Dwellingup 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 + GOMEZ: OCT 6 Fly By Night; OCT 7 Rosemount Hotel + HOLLY THROSBY: OCT 6 & 7 Spiegeltent 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 + DON WALKER: OCT 12 Clancy’s Fremantle; OCT 13 Clancy’s Dunsborough; OCT 14 Fremantle Arts Centre 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 DAPPLED CITIES, JAPE: OCT 14 Amplifier THIS IS NOWHERE: TORTOISE, XIU XIU, GRAILS, TENNISCOATS, PURO INSTINCT 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 + TIGERTOWN: OCT 18 Ya-Ya’s; OCT 19 Norfolk Basement WE ALL WANT TO: OCT 18 Prince Of Wales; OCT 19 The Bird; OCT 20 Indi Bar + MAMA KIN: OCT 19 Nannup Town Hall; OCT 20 Clancy’s Dunsborough; OCT 21 Mojo’s ELAINE PAGE: OCT 20 Riverside Theatre CLARE BOWDITCH: OCT 20 Astor Theatre CHARITY ROCK FEST: ARCANE SAINTS and more: OCT 21 Newport Hotel PAUL HEATON: OCT 21 Fly By Night
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THE DRUM MEDIA • 37
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