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WA’ S H I G H E S T Q U A L I T Y S T R E E T P R E S S • T H U R S DAY 2 7 S E P T E M B E R 2 0 1 2 • 3 0 7 • F R E E














IN BRIEF The WA State Government has allocated $180,000 towards helping smaller performing arts companies tour regional areas in the state. The Presets have debuted at 11 on the Billboard Dance/Electronic Albums Chart this week with their new album Pacifica. They headline Parklife this coming Monday.

w/ sam perry & crooked colours Entry $15 from 8pm.


w/ ensemble formidable Tix $20 thru heatseeker & arvo captn k & simmo T free 4-6pm.

$30 at door from 8pm.

w/ cal peck & the tramps, the raging lincolns & three hands one hoof Entry $10 from 8pm. w/ emperors

Tix $35 thru & $40 at the door from 6pm. Bibby’s Welcome to Week. Free 12 -3pm.

WAY TO GO The ever-forward thinking and eclectic Laneway Festival has announced its 2013 line-up, featuring some of the newest and most exciting acts from here and around the globe, programmed by music-lovers for music fans, delivered to you in the intimate, metropolitan setting of the Perth Cultural Centre, Saturday 9 February. The line-up quality’s proof is in the pud: Alpine; Alt-J; Bat For Lashes; Chet Faker; Cloud Nothing; Divine Fits; El-P; Flume; Henry Wagons & The Unwelcome Company; Holy Other; Japandroids; Jessie Ware; Julia Holter; Kings Of Convenience; The Men; Ms Mr; The Neighbourhood; Nicolas Jaar; Perfume Genius; Polica; Pond; Real Estate; The Rubens; Shlohmo; Snakadaktal; Twerps; and Yeasayer. Damn son! Presale kicks off Wednesday 3 October from 9am at


Free entry from 5pm every Monday. Music from 7pm.

FUNDRAISER w/ dreamtree, nu jazz ensemble, koby & ensemble formidable Entry $10 from 8pm. GYPSY & THE CAT

KIND OF BLUE In a short space of time, Melbourne’s Gypsy & The Cat have infiltrated the Aus’ musical landscape - their debut album Gilgamesh naturally and effortlessly making an impact. Its successor, the duo’s eagerly awaited new album The Late Blue, will be released on October 19, followed by a huge national tour presented by Street Press Australia. They hit Capitol Friday 2 November, and if Gilgamesh was anything to go by, the band’s unleashing of The Late Blue will be an equally momentous occasion. Tickets via Oztix and Heatseeker.









DANDY PICKUP With nearly three decades of existence and a universe of sonic textures between them, Silversun Pickups and The Dandy Warholes will form one of the most personality-laden and eclectic indie bills of the year when they play Fremantle Arts Centre Tuesday 13 November. Both bands will be riding in on the backs of their latest albums, in the dense swarm of guitars and emotions that’s made both bands famous. Tickets via Oztix and Heatseeker.








GARDEN VARIETY Perth’s premier New Year’s Day garden party, Cuban Club, has announced the artists that will be playing this year’s event at The Flying Squadron Yacht Club, Tuesday 1 January. The Cuban Brothers (UK), Yacht Club DJs (VIC), Russ Dewbury (UK), Stillwater Giants, Death Disco DJs and El Ginger Mojito will keep the energy pumping for the 7th installment. Add freshly shucked oysters, refreshing cider on tap, and suave, sophisticated Tanqueray Gin or Ketel One Vodka and you’ve got one of the best ways to kick off 2013. Tickets via Ticketmaster.

It’s safe to say that Weezer’s first trip to Australia in sixteen years was always going to be a momentous party, one that will be all the more extraordinary with the announcement of two very special additions. The band has confirmed that Cloud Control and Ball Park Music will be supporting them when they play Perth Arena Wednesday 23 January 2013, Weezer playing their greatest hits as well at The Blue Album start to finish. Tickets via Ticketek.


TIN FAN RADIO Brisbane five-piece Tin Can Radio have their brand new EP Open Ears Open Mind ready to go. In support of the record, the band is hitting the road on a massive national tour, so put on your dancing shoes and prepare to be captivated by their incredible live show when they play the Prince Of Wales, Bunbury Thursday 4 October, Settlers Tavern, Margaret River Friday 5, White Star, Albany Saturday 6 and the Indi Bar Sunday 7.

OUT AND ABOUT Now that Blkout’s sophomore full-length Point Of No Return has had a few months to claw its way into fans, they’re hitting the road for a national tour. They play shows all around the country before rounding out the tour at home at The Beat Nightclub Friday 2 November, the Vineyard Auditorium, Bunbury Saturday 3 and YMCA HQ Sunday 4. Brutally sincere and uncompromising, Point Of No Return sets in stone that Blkout are willing to push the boundaries of Australian hardcore to their hilt.


FINAL CLOSURE Originating in the South Bronx, disco-punk legends ESG play The Bakery Sunday 20 January 2013. This will be your final opportunity to see ESG after they announced they would be disbanding with the release of their final EP, appropriately titled Closure. Support on the night comes from Mei Saraswati, MmHmMm, Rok Riley, Ben Taaffe, Mama Cass and Pex. Tickets via Now Baking for one boogie-tastic evening of disco delights.

THE REAL SLIM Feeling fat? Fear not, Micky Slim – a charismatic Birmingham-bred boy who rocked Breakfest in 2009 and reaffirmed his charm at one hell of a hot gig at Ambar last year – is returning to the home of the underground to remind you it’s okay to have a fat beats appetite. Slim plays Ambar Friday 19 October with support from eSQue, Ben Mac and Marko Paulo. Fat boy who? The only Slim you need to remember is Micky. Tickets via Boomtick.

The debut album from Sydney’s The Rubens has debuted in the number three position on the ARIA Album Charts. American rapper Flo Rida has appealed against the $400,000 fine he was slapped with by an Australian court after he failed to appear at last year’s Fat As Butter festival. Australia’s Israel Cruz has been released from jail after reportedly spending 52 days behind bars.


Green Day frontman Billie Joe Armstrong has entered a rehabilitation facility to deal with substance abuse issues, following on from a dummy spit at Las Vegas’ iHeartRadio Festival.

Fiona Apple was arrested last Wednesday evening in Texas after being caught with hashish onboard her tour bus. She spent a night in jail and was released on $11,000 bail.


Veteran promoter Michael Chugg is set to enter the dance festival market by bringing American festival Lights All Night to Australia in 2013. The 2012 event, held in Dallas, Texas, will host the likes of Tiesto, Avicii, Bassnectar, Calvin Harris, Axwell and more.

The inaugural two-day Electronic Music Conference takes place Tuesday 27-Wednesday 28 November in Sydney, forming a key component of the new ARIA Week program.



Archie Roach, Natalie Pa’apa’a and Dan Sultan have leant their voices to three re-recorded renditions of the Shane Howard classic Solid Rock, which celebrates the song’s 30th anniversary. Future Entertainment have launched Future Fans, a program that gives festival fans the opportunity to be a ‘minipromoter’ for the event and sell tickets to their friends for a discounted price.

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FREO BLUES & ROOTS CLUB w/ ali penny & the moneymakers & nathan kaye Entry $15 / $10. 8pm.

360, The Jezabels and Gotye lead the nominees in this year’s ARIA Artisan Awards with the first two scoring three nominations and two nods going to Gotye.


Publishing company Sony/ATV are believed to have started the auction process for the rights of more than 30,000 songs from the Virgin Music and Famous UK catalogues. Local electro-rock outfit Throwing Shapes has signed with Sydney label Fogsongs Music.


NOT NEED TO WAIL Due to unrevealed circumstances, The Original Wailers have had to pull out of All Fruits Ripe 2012. Never fear, the show will go ahead as planned, Saturday 27 October at Fremantle Arts Centre. Organisers were swift in finding a replacement and have announced that Easy Star All-Stars will be taking their place, still joined by Aussie favourites Blue King Brown and New Zealand’s Tomorrow People for a massive night of great music and positive vibrations.

MORE THE MERRIER Having circumnavigated the country once already, Ash Grunwald has come full circle and has decided to keep pulling in and riding the wave; returning to where he kicked it all off on his national tour and adding another seven WA shows. Catch him at Settlers Tavern, Margaret River Thursday 25 October; Prince Of Wales, Bunbury Friday 26; Premier Hotel, Albany Saturday 27; Redcliffe On The Murray, Pinjarra Sunday 28; Indi Bar Wednesday 31; Karratha Tavern Thursday 1 November; and Fly By Night Friday 2.

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FOREWORD LINE THE FINAL COUNTDOWN For the fourth year in a row, Perth’s favourite New Year’s Eve party on the beach, Countdown To New Year’s Eve, will take place at Salt On The Beach Monday 31 December. This year’s event will be headlined by The Cuban Brothers (UK) spanning two beachside areas in North Fremantle. They’ll be joined by Mr Thing (Scratch Perverts), N’FA (1200 Techniques), Charlie Bucket, The Funk Club House Band and more. $80 plus bf via



Perth rockers OPIA launch their new single Undone at the Rocket Room Friday 12 October, The Prince Of Wales, Bunbury Saturday 13 and The Newport Sunday 14.

There’s some mighty fine happenings going down soon in WA, and we don’t just mean taking up Life in a Park somewhere in the glorious spring sunshine.

Launching their new single Footprints, Runner play The Bakery Friday 19 October with hefty support from Stillwater Giants, Antelope and a debut live performance from Weeks. $7 presale, $10 at the door.

Post-punk rockers Dave launch their new music video for single Red Eye at The Bakery Friday 12 October with Place Of Indigo, Runner and Rachel & Henry Climb A Hill. Usurper Of Modern Medicine are dropping their Osmosis Vol. 1 compilation for free download just time for an appearance at Wave Rock Weekender Saturday 29 September and supporting Sugar Army at The Rosemount Hotel Friday 5 October. Local rockers Custom Royal have announced a last minute show at The Newport Hotel Sunday 30 September with support from FOAM and James Rogers.


LOVE LANE To celebrate the release of his new single Fool For Love, Jordie Lane is offering fans a free download of the tune for one week via jordielane. com from October 1, and heading on tour. Recorded in LA with Grammy award-winning producer Tom Biller (Kanye West, Beck) and drummer Matt Chamberlain (Bruce Springsteen, David Bowie), Fool For Love marks a new direction for the folk troubadour. Presented by Street Press Australia, the tour kicks with a solo set at Ya-Ya’s Sunday 4 November. Tix via

The first edition of Daytripper takes place at Ya-Ya’s Saturday 6 October and features Jacob Diamond, Sidewalk Diamonds, Timothy Nelson, Nevada Pilot and Dharshini Muru. Free enty from midday.

Challenger Ready: Halloween Dress-Up Party takes control of Ambar Saturday 27 October when FTW, Benny P, Blend, DNGRFLD, Marty McFly, Tee EL, Black & Blunt, Marko Paulo and Oli battle it out. $15 from 10pm. Saturday 3 November is a night dedicated to celebrating Fly By Night’s 26th B’day, and it’s a night of funk, soul and Motown tunes from nine-piece big band Stratosfunk, plus DJ Cook and VZ Zoo. Matt Gresham launches his new album See The World Saturday 10 November at The Astor Theatre, supported by Bryan Rice Dalton and another TBA. Tickets via

BASS BENDER After an untold amount of date changes and near cancellations, DeadWeight! have announced their ridiculously belated Double Droppin’ Second Birthday Bender will take place at The Bakery Saturday 1 December, featuring the one and only Eprom (USA) alongside the cream of Perth’s underground bass music scene. It’s their second birthday so you can expect everything to be twice as large as it was at their first. Tickets via Now Baking.





With a huge second announcement and every state selling out, it seemed almost impossible for Soundwave 2013 to get much bigger. Now the festival has unleashed its third artist announcement, and it could be somewhat of a festival in its own right. Killswitch Engage, The Vandals, Orange Goblin, The Sword, Chelsea Grin, The Chariot, Sharks, Northlane, O’Brother, Dr. Acula and Milestone join an already explosive line-up featuring Metallica, Linkin Park, Blink 182 and more, taking control of Claremont Showgrounds Monday 4 March. If you missed out on tickets, keep your eyes peeled for a sea of sidewaves that hopefully head west as the festival approaches.

WALK HARD Road warrior, poet and legend, Don Walker is headed back to WA this October and joined by his band The Lucky Strikes, featuring Lucky Oceans and Dave Brewer. Walker plays Clancy’s Fremantle Friday 12 October; Clancy’s Dunsborough Saturday 13; and Fremantle Arts Centre Sunday 14 (2pm). Walker’s songs serve historical notice like rock mementos to journeys past and present.


READY TO GO Clancy’s Fish Pub Dunsborough is celebrating the launch of a hot new performance room with a week of amazing shows called Red October. The Red Room is an intimate space with plush crimson curtains, rugs and soft lights that opens up to the main bar. Over the coming months it will be hosting everything from comedy to book readings and quiz nights, and they’re kicking it off ex-Coral Snakes frontman Dave Graney play Friday 5 October (free show). Followed by Tim Rogers (You Am I) Thursday 11, Dave Warner’s From The Suburbs Friday 12 and the heart and soul of Cold Chisel, Don Walker & The Lucky Strikes Saturday 13. 8 • THE DRUM MEDIA

Stargazers are in for a rare celestial convergence as three of Australia’s brightest stars – Suzannah Espie, Liz Stringer and Chris Altmann – take to the road for a special tour to launch Suzannah’s new Sea Of Lights album. Suzannah Espie’s Sea Of Lights Tour hits The Velvet Lounge Friday 26 October and Redcliffe On The Murray, Pinjarra Sunday 28. These three will recreate the beautiful intimacy of those studio recordings and play the songs of all three of these unique artists.

MONSTER MASH Last year Villa’s Halloween Dress Up Party nearly tore off the roof with a capacity crowd of ghosts and ghouls. This year it’s back, Wednesday 31 October at Villa, for more dressed up bloody mayhem. Making you do the monster mash will be international guests Swanky Tunes alongside Ace Basik, Paul Scott, Tape Heads and Axen. Tickets via Moshtix.



DARK TIMES Swedish black metallers Dark Funeral are heading our way to conjure up demons and cover stages with blood (much to the annoyance of venue operators). They’ll be bringing the pain to Amplifier Sunday 25 November for one show only. Recently signing a three-album deal with Century Media Records, these guys show no signs of slowing down any time soon.

Double Grammy award-winning duo The Civil Wars return to Australia in March for a series of shows that are set to be both visually and sonically spectacular. The shows will see the American pair touring seven churches and cathedrals across the two countries to perform their beautiful brand of melodic chamber folk and pop. St Joseph’s Subiaco plays host to the duo for an all ages show Friday 15 March 2013. Tickets via Ticketek from October 5.

After leaving Perth and heading to Sydney to further her musical career, Catherine Summers returns for three shows. The charismatic, powerful and dynamic singer plays The Ellington Jazz Club Tuesday 2 October, Wembley Downs Shopping Centre Saturday 13 (1pm), and The Naked Fig Sunday 14. Show your support for live music, jazz music, local musicians and local venues and come along to one of Summers’ performances.

DAZZLING SUPPORT Missy Higgins’ national The Razzle Dazzle Summer Tour wraps up in WA at the Fremantle Arts Centre Saturday 8 (sold out) and Sunday 9 December, and Kate Miller-Heidke has been announced as the special guest for both shows. Miller-Heidke is currently on a US tour with Ben Folds Five and will also perform in another opera with the English National Opera, as well as tour Germany before she returns to join Missy.



Ecstasy Bathroom is back at Honey Lounge and Honey Laneway Saturday 6 October, featuring Monarchy DJs, Voix De La Ville, Craig Hollywood, Rex Monsoon, Mr Sinclair, Son Of The Father, Doepel and more. With a new music video under their belts, The Decline wrap up their national Abbot Proof Fence Tour at The Den Friday 12 October with support from FAIM, Burning Fiction, Tikdoff, Worst Possible Outcome, Got Sharks? and Steadfast.




One of the finest blues rock performers on the planet, California’s Joe Bonamassa is returning to Australia with his new album Driving Towards The Daylight. Constant touring and smashing charts all over the world, Bonamassa recently had a six week break and is gearing up for a world tour so extensive that it’s surprising he managed to squeeze in time for Perth. We’ve got TWO DOUBLE PASSES up for grabs to his show at Perth Concert Hall Monday 1 October. For your chance to win email au with “JOE’S SHOW” in the subject header.

It wasn’t too long ago that Perth’s Make Them Suffer released their debut album Neverbloom on Roadrunner Records to rave reviews. Now they’re taking it on the road to showcase tracks from the album and their previously released EP Lord Of Woe. If that wasn’t enough, they’ve lined up an epic lot of support bands for the journey that sees Oceano (US), Saviour and Boris The Blade (VIC) join them at Amplifier for The Academy Thursday 22 November and Friday 23 at YMCA HQ.

STREET PRIDE The Court Street Party returns after the the Pride Parade this year on Satuday 3 November with its biggest headliner yet, the Dirty Talker herself Wynter Gordon, plus Aus’ urban king DJ Nino Brown, Sydney’s Dan Murphy, Skarlett Saramore’s new duo Boy & Girl and Sydney DJ Drag Queen Kitty Glitter. It’s a Full Moon Party, and you can treat it as such with a free shisha bar, massages, bouncy castles and more. Tickets via

CONTRIBUTORS Scott Aitken, Marisa Aveling, Paul Barbieri, Zoe Barron, Steve Bell, Jackson Best, Tom Birts, Mike Bowring, Tom Bragg, Tristan Broomhall, Rob Browne, Rick Bryant, Michael Caves, Cyclone, Marcia Czerniak, Sebastian DíAlonzo, Kitt Di Camillo, Daniel Cribb, Kosta Lucas, Naomi Dollery, Cameron Duff, Cam Findlay, Tomas Ford, Chantelle Gabriel, Olivia Gardiner, Baron Gutter, Rueben Hale, Simon Holland, Craig Hollywood, Christopher H. James, Jason Kenny, Angela King, Lynn Mc Donnell, Mac McNaughton, Tom OíDonovan, Nic Owen, Simon Rundin, Michael Smith, Andy Snelling, Aimee Somerville, Callum Twigger, Anthony Williams


Managing Editor Andrew Mast Editor Troy Mutton Front Row Editor Cass Fumi

ADVERTISING Sales & Marketing Director Leigh Treweek Sales Executive Matt McMullen



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

ADMINISTRATION Accounts Loretta Carlone


PHOTOGRAPHERS Elle Borgward, Shane Butler, Graham Clark, Beau Davis, Ebony Frost, Callan Gibson, Cybele Malinowski, Elena Marcon, Drew Mettam, Aaronv2

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

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The upcoming Parklife tour will see Parker again being joined by fellow Tame band members Jay Watson, Dom Simper and Nick Allbrook, between them also covering turns in WA bands including Pond, Mink Mussel Creek, Allbrook/Avery and Gum. “Everyone’s got their fingers in everyone’s pies,” explains Parker. “That’s always been second nature to us; to bring music into other people’s bands – it’s a really communal way of doing it. You know, I’d feel pretty apprehensive about entering a collaboration without already knowing the person – it’s always been about the friends for me.” With his new French connections though, the live band friendship circle has extended to Frenchman Julien Barbagallo, Parker pointing out, “he plays drums and Jay now plays the synthesizer and keyboard.” So hang on, they’re changing instruments again? Is this just to annoy the rest of us who struggle to master one instrument, let alone all?

If you thought Innerspeaker was big, wait ‘til you get a load of Lonerism. Aarom Wilson speaks to Tame Impala’s central nervous system Kevin Parker about what it takes to create true art – of the explosive psych variety, that is.


rom the first moment Elephant stomped its mammoth musical imprint into our heads, you knew Tame Impala’s next album was going to be a different beast. “If anything, it just came down to not being afraid to just do exactly what I, or what we, felt like doing at the time,” explains Kevin Parker, the lead curator of the follow-up to an album that received such accolades as placing in Pitchfork’s Top 50 Albums of 2010, and scoring triple j’s Best Australian Album (j Award) and Rolling Stone’s Best Album gongs for that year. This shift in sound is one evident in a number of tracks on new animal Lonerism, Parker describing this new sound as “more explosive”. Sure, cosmic psych rock bursts are part of the Tame repertoire, but tracks like Be Above It, Apocalypse Dreams and Elephant have a newfound propulsive gusto to them. “If there was this really chunky blues riff I would’ve dulled it back to being sort of a delayed guitar tone; washed it out to sound more Tame Impala,” Parker describes of his Innerspeaker songwriting. “I would have tried to restrain it. Whereas this time I was like, ‘Well fuck it, this already sounds good when it’s turned up and really jolting, so I’m just going to take it as far as it wants to go!’

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“And for the drums, I really wanted them to have this kind of like digital dance, Daft Punk kind of edge as well,” he continues, brimming with enthusiasm. “In the past I would’ve been too afraid to just push each of those elements… And it was actually kind of the only way I was going to be able to fall in love with the music as much as I used to fall in love with music; by just doing something to the extreme.” While Lonerism has a bigger sound, the album also more passionately embraces pop sounds. “The next single, for example, is a total pop melody which I think might throw a couple of Tame Impala fans off,” reveals Parker of Feel Like We Only Go Backwards. Don’t worry, Tame haven’t gone all Oasis on us, nor are they after the cash. It’s all

about the sensation. “Hopefully the production was crazy enough to swing those die hard psych rock fans back in after they’ve heard the chorus, melody,” laughs Parker regarding Feel Like. “For me I love everything; every kind of element available. I would never do a pop melody just to sell more records or anything. I genuinely love the emotion that a pop song can use to touch me. Pop music is in a way so much more pure than all other types of music - there’s no intellectual level; it’s just pure feelings.” One thing that hasn’t changed is Parker’s references to the concept of being alone. Solitude Is Bliss was a highlight from Innerspeaker, celebrating time with yourself. But now Lonerism seems to convey a different attitude towards the state. Is the life of constantly touring starting to wear on Tame’s main man? “That one song is like about how great it is to be alone, you know, the glory of being alone,” describes Parker of Solitude Is Bliss. “Whereas this one is kind of more from the persona of someone growing up realising that they are alone. It’s more kind of like introspective. I mean, introspective is a pretty wanky word, but it’s a different kind of… For me it’s obviously still about being alone but there are no songs like Solitude Is Bliss where it’s like, ‘I’m alone, isn’t this awesome, doo, doo, dah’,” he sings. “It’s more like someone trying to figure themselves out. The songs on Lonerism, they’re all about other people – they’re about the outside world, which all comes with the one word, ‘Lonerism’; the feeling of not really being apart of the outside world.” This idea is perfectly captured in the new album’s cover artwork. Taken by Parker the day after he scored a Diana F camera, the photo invites the viewer to gaze from behind a fence at the world behind, thus creating a sense of exclusion. “Yeah, I didn’t know whether people were going to get what the picture was getting at. Which was great in the end because I love that people can look at that picture and just see a picture of some people and think, ‘What’s the big deal?’, and some people can see the meaning; the separation of the person looking through the fence.” Upon closer inspection you might notice the red splotch in the top right hand corner, one Parker blames on the fact


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he didn’t know how to wind the film. But that’s just the beginning. “I love the expression of people’s faces in this picture,” he enthuses. “It’s kind of this snap shot of life, and the more you examine… Like, if you’re going to get the vinyl version, you can really examine what’s going on in the picture. There’s some guy touching himself, I think, having some kind of fun. He’s talking to some girl and he’s got his hand on his crotch, and there’s a policeman, and there’s all this other sort of crazy shit if you look really hard. And the more you examine all these things, the more you realise you’re really just perving from the other side of the fence.” Cue: Bonerism jokes. While Parker points out that the album songs are, “definitely from the perspective of a persona, rather than me,” he does admit that the lyrics have been inspired somewhat by his own experiences. He’s now based mostly in Paris with his partner - also a musician with a new album out - but isn’t yet ready to call the city of romance home yet. Certainly the suitcase is one he’s had to get used to, with touring increasingly taking up his time. “At the moment I don’t actually have a home,” he sighs, demystifying the ‘rockstar’ life. “In Perth, all my stuff, all my recording equipment, even most of my clothes and things, are sitting in my manager [Jodie Reagan from Spinning Top]’s place!” Certainly Parker’s well known for his love of hometown Perth, and you get the feeling he misses these connections. He’s had to learn to deal with it though. “In Perth the inspiration is coming so much from other people that make music. Because Perth is such a communal sort of life – a friends’ based music scene – everybody’s going around to other people’s houses for a jam, and it’s so much more relaxed and everyone’s inspiring each other to make the craziest music or do the craziest thing on stage. And um, in Paris there isn’t really much of a music scene. Well there is, there totally is, but it’s kinda more structured. I mean, for me the inspiration has to come from within rather than from everyone else.” Despite Parker’s love of communal creative experiences (including remixes of tracks by Abbe May and Leure, producing Melody’s Echo Chamber’s new

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“For us there’s no point staying on the one instrument. Even with our friends who... Like, I pretty much suck at the keyboard – I have trouble playing with more than one hand on the keyboard at any one time – but there’s still keyboards all over the album. It didn’t stop me! You shouldn’t be afraid to just have a crack if you think you’re going to be able to express something. You should just have a whale,” Parker laughs. “All of the music of the last ten years that’s been popular in the world should just prove that; that you should just stop worrying about how much of a fucking virtuoso you are and just do it! Meg White for example, Meg White’s an amazing drummer, and she just had a crack. So, you know, it’s not about how good you are. There’s one for the kids!” album, producing Pond and playing when he can in an extensive list of WA-based indie bands), as the conversation rolls on it becomes more apparent that being a musical loner isn’t of concern for the artist. He’s armed with an expansive and delightfully creative musical mind, and it’s this that’s fairly autonomously pushed the sound of Tame Impala to such heights. Sure he has a band consisting of regular touring partners/friends, and this album sees Jay Watson co-writing a song and Dave Fridmann (The Flaming Lips, MGMT) again on mixing duties, but generally Tame Impala is solely the creation of Parker. “Yeah definitely… in a way… apologies for my vagueness,” he laughs as this scribe pushes the interview to the borders of wankerdom, searching Parker’s thoughts on whether art from the self is one of the truest forms of art; the most honest expression of creativity. “Some of my favourite pieces of music are total collaborations, bands where everyone has the same input. But yeah, I wouldn’t say it’s the truest form of art… Creative output, when it’s made by one person, it just kind of has this unity of expression, it just means it’s one thing that’s been amplified; this one pulsating beam of light, as opposed to lots of beams of light. You know, the ‘lots of beams of light’ is a really beautiful thing as well. Like the times where I’ve made music with my friends have been totally magical and there are things that you can achieve as a collective that you could never achieve alone, and vice versa; they’re just two different things, and for me Tame Impala is in the singular vision category.” WHO: Tame Impala WHAT: Lonerism (Modular/Universal) WHEN & WHERE: Monday 1 October, Parklife, Wellington Square

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Ritual madness, blackbirds picking brains apart, the Governor of California – Alexander Gow of Oh Mercy is no longer writing about himself. Zoe Barron talks to him about the transition.


The recording of Deep Heat was an experience in itself. The band spent over a month holed up in the studio with producer Burke Reid, who really pushed them and kept energy levels high. “He’s a lovely guy,” Gow says of Reid. “He’s got a lot of nervous energy, which you see a lot in producers. So he’s got energy to burn.”



eep Heat, Oh Mercy’s third LP, is dark, danceable, and entirely fictional. This is quite a far cry from the largely acoustic confessional of Great Barrier Grief, the band’s second LP – an album full of first person perspectives, with a

of generalisations about the kind of guy I was and the way that I make music. So I wanted it to make it quite clear that I won’t be pigeon-holed and I had to throw people a bit of a curve ball with this album.” So he did. Lyrically, musically, Deep Heat could be by a different band. The usual set-up of guitar, drums and bass have been joined by keyboard, organ, flute, and a fleet of saxophones. Acoustic has gone electric and the genres on this album swing from funk to reggae. “I’ve always been interested in groove-based

reading, movies he’s watched, to things that people say. “Just fairly kinda human stuff, you know. If you’re not like a hermit, you know… I have an interest, as lots of people do, in the human condition and the way that we operate and the things

“I suppose if there was one thing worthy of conversation, it would just be the great expanse of it, you know, and how dwarfing the whole country is. It’s inspiring in its own way, because with that feeling of insignificance comes a certain creative lucidity. Other people deal with insignificance in a different way. It scares some people. But to some, including myself, it’s incredibly inspiring. If I had to pick one thing, that was probably the most influential part of the trip.”

enormously expensive and that’s where all your money goes into. And that’s why it’s not glamorous being a musician in Australia or probably anywhere. But I do better than most. We’re lucky as it is to be able to record at all, anywhere. So I’m grateful for that.”

TO HELL WITH MERCY The discrepancies of the place didn’t escape him either. “Socially the poles are so far apart. In terms of comfort that people are living with, the poles are miles apart. It’s equal part depressing and inspiring,” he says, “but that’s life.”

After the tour, the band joined up with producer Burke Reid and retired up to a studio near Portland, Oregon, to settle down for a bit and record the album. By then, Gow knew exactly the sort of album he wanted to make. “I had preconceived ideas about the aesthetic of the record and how it was going

keen focus on personal, single-subject sort of topics. On that album, most of the contents are love songs of some description: lovers leaving lovers, lovers missing lovers, lovers resisting relationships, running away, and so on. If there are songs about love on Deep Heat, however, it’s probably been corrupted in some way. In place of yearning and apologies, there’s sexual deviancy, possession, manipulation and lust. In place of the boy next door, the average middle-class lover, there’s the devil and the grim reaper. The shift was born out of frustration. People were beginning to put frontman Alex Gow and his band into a box, and this did not make Gow very happy. “Initially, it was the idea that I’m not comfortable with being defined in any way, personally or musically. And people had started to make fairly lazy kind 12 • THE DRUM MEDIA

music and ‘70s R&B and some glam rock kind of stuff,” Gow says. “I’m always the guy with the iPod, kind of DJing and trying to make everyone dance. So I figured I’d make a danceable kind of record. And try to marry it with considered lyrics… often with those types of songs that I’d play, the lyrics would be fairly throw-away and a bit of an afterthought.”

There’s more to this story

on the iPad

This time, though, lyrics are at the forefront. After reading Paul Kelly’s memoir, Gow wanted to start telling stories. So he wrote My Man, a song from the perspective of a deeply possessive woman, and the rest of the album followed on from there. In the end, there was a work of fiction: ten short stories in song form, with a focus on dark people in dark places. “I’m not writing about my fairly mundane, middle-class existence,” Gow says, insisting that the transition from writing autobiography to writing fiction was actually not a difficult one to make at all. “I have a wider pallet of vocabulary and concepts to choose from and exploit, which makes writing a lot easier.” It’s a pallet that consists of the world around him. He gets his ideas by paying attention: to books he’s

that we do. And, yeah, I suppose I read a fair bit and take a fair bit of inspiration out of books.”

The band is home in Melbourne now, and have been for a little over a month, preparing for a Australian tour to promote the new album. A good chunk of the year, however, was spent overseas, basking in the North American spring and summer and touring extensively. Instead of flying between gigs, the members of Oh Mercy drove, clocking up a total of 13,450km in a tour van across Canada and the US. “I could talk all day about it,” Gow says when asked about his impressions of that great and strange land to the North.

to go, and ways to go about making it. I wrote like a long mission statement a few months before we recorded about how it was gonna go and how we were going to record it and I sent it to Burke and he really understood where I was coming from, so yeah, I had concrete and sophisticated ideas about what kind of record I wanted to make.” The studio was Family Farm Studios, a place just outside the city that encourages artists to stay a while, camp out, and take their time recording and creating, rather than rushing through the process in a few long, intense sessions. The members of Oh Mercy heard about the studio through friends and in that way arrived at the decision to record there. “We were touring around America prior to that,” Gow recalls. “We ended up in LA and some friends there had friends that owned the studio up in Portland. So with that in mind we were able to spend a couple more weeks at that studio that we would at any other studio and I knew that the time would be useful because I wanted to have as much time to explore different kind of sonic pallets, as opposed to being pressured to finish all the songs in a certain time.”

Still, even with mates rates, recording is not the cheapest of undertakings. “We got a slightly cheaper rate than the next guy, but, you know, that stuff’s

From there, they didn’t do much but record for the next month and a bit, not even leaving the studio, to explore the city a few kilometres away. “We were recording every day, basically,

so we could’ve been anywhere in the world,” says Gow. “Apparently Portland’s nice. I couldn’t tell you.”

Their Australian tour kicks off in Brisbane towards the end of September and covers a good portion of the country, wrapping up somewhere towards the end of October. No strangers to the touring routine, Oh Mercy have been around the country a few times now, so many Gow’s

Reid is originally from Canada but he moved to Australia in his teens, and had joined the Sydney trio Gerling by the late ‘90s. Since then, he’s produced for the Drones and Garreth Liddiard, The Mess Hall, Jack Ladder and Liam Finn, among others, and has mixed or engineered for many more. “He can work 10 hours a day,” Gow says. “And he’s a bit of a renaissance man. Like, he can do the ProTools thing, but he can set up mics and he can, you know, understand tonality and chord structures and things like that.” Gow had a very clear idea of the sort of album he wanted to make, well before the band even got into the studio, so Reid proved a fortuitous choice. He liked Reid because Reid facilitated, as best he could, the album Gow wanted to make. “Burke, he’s a fairly ego-less producer,” says Gow. “He doesn’t come in and try to call the shots. He makes the record the bands want to make.” Plus, after so many months charging around North America, Reid actually got their jokes. “He grew up mostly in Australia so he has a similar sense of humour to the rest of us,” Gow explains. “It was a breath of fresh air.”

lost track. “Dunno. More than 10 less than 20,” he guesses. He says they’ve come get to know all sorts of people on these tours, and that’s the part he really enjoys. “That’s one of my favourite things about touring – the friends that we’ve made, whether it be fans or people in the profession, it’s probably my favourite thing about touring.” And with any luck, this time he’ll have them up and dancing as well.

WHO: Oh Mercy WHAT: Deep Heat (EMI) WHEN & WHERE: Thursday 4 October, Settlers Tavern, Margaret River; Friday 5, Norfolk Hotel; Saturday 6, The Bakery

“Ben Drew’s move from sharp-suited soul boy to gritty narrator of inner-city deprivation is a bold one – and a good one.”

8/10 - NME


COMMUNITY THEATRE “There’s a limit to your love,” Feist once sang. However, the lovefest between Amanda Palmer and her fans is seemingly inexhaustible. Relationship guru Christopher H James goes looking for the magic.


eing an “independent artist” used to mean being signed to an independent label. Amanda Palmer has radically redefined that formula, as without label input she appealed directly to fans to finance her latest album, Theater Is Evil, and raised a head-spinning $1,192,793. “I felt incredibly supported and lifted up by my fanbase,” she recalls of her emotions on seeing the donations rolling in. “I felt like all these people were putting their money where their mouth was and really supporting the philosophy that we’ve believed in. I think culture in general underestimates the typical human being’s willingness to embrace and support art. I felt it a lot as a street performer and I feel it a lot as a musician. There is a fundamental truth that people absolutely love supporting artists.” Other lesser-known bands are following close behind, such as Tom Dickins of

Melbournian cohorts the Jane Austen Argument. “[He] reached out to his fanbase and crowdfunded a record and made about $10,000,” Palmer notes. “It doesn’t make him rich. It pays for his expenses for a few months and makes it possible for him to record and print a record. That’s all a musician fundamentally wants anyway, the right kind of musician at least; make a liveable wage, not have to work a shit job and connect with an audience. I think the culture of crowdfunding and [online funding platform] Kickstarter is educating musicians and audiences into a new system into which we directly communicate and support each other instead of relying on third parties to do it.” The opening shows of her world tour in the US have been “explosions of joy,” whilst the album has been scoring positive reviews. It’s been a technical advance, as Palmer now employs a full-time band and a musical style she describes as “crancing” – where you’re simultaneously crying and dancing. “You should imagine a Goth club in the mid-‘90s,” she informs, “and a black-clad Amanda Palmer, standing there isolated and lonely on the dancefloor, slowly undulating to the sounds of The Cure whilst weeping.” Given her current popularity, this doesn’t seem likely to reoccur any time soon. But considering how much of personal life she releases into the public domain – through her songs and her famously candid blog – has she ever felt over-exposed? “The funny thing is,” she ponders, “I treat the Internet as a communication tool. I use it how I want. I don’t ever feel enslaved and beholden to my fans. I feel that I’m in a committed relationship with them, but not an abusive one. It feels like a really healthy relationship where we sometimes have our problems and I talk and they listen, they talk and I listen and we work out our differences and sometimes I take off for a little while, because I need my space. Y’know, as a social experiment, I take extreme joy and have a lot of gratitude for the fans who stay in constant contact with me and are following the plot of my life. As a songwriter and an artist I feel like it’s the biggest gift I could possibly be given.” But surely some fans can be a bit intense? Has she ever felt stalked? “Funnily enough, I never feel that. My fans have an unbelievable degree of respect for me, and I for them. It’s a two-way street. I have the theory that, the more frequently I hang up my dirty laundry and talk about my dirty personal issues, the less likely the sordid types are to look through my trash,” she smirks. “It’s already all there on the Internet.” That relationship was celebrated last summer in new, extraordinarily interactive ways as she closed promo shows at art galleries by, “stripping off naked and having fans cover me with magic marker and paint. It was kind of the ultimate expression of that trust that I have for them and they have for me. They feel like I’m not doing it for sleazy reasons and I feel like they’re going to take care of me; they’re going to treat this experiment with care and love and joy and not weird me out. That’s a really special relationship to be able have with your fans.” In what may be becoming habit, Palmer also disrobed and reclined in a bathtub for the promo clip of her collaboration with The Flaming Lips. Does she ever feel bashful at the thought of public nudity? “Bashful I am not,” she states strongly, as if swearing allegiance to a worthy creed. The video reveals breasts, the top of her pubis and glistening curls of underarm hair. “I’ve had armpit hair all my adult life. I used to be much more conscious of showing it, or hiding it. Nowadays, I feel I’ve won some huge cultural jackpot,” she cackles with glee. “When I look back I realise that I had that ongoing internal dialogue of judgement, and that’s the moment where I say, ‘Oh my god, it took me until I was 35, but now I’m not taking this into account’. That’s how long it took, for me to just think of my body as a vehicle of expression. It’s a wonderful feeling to look back and say, ‘Oh my god, I’ve been a woman for 35 years now. I’ve always been insecure about this. I’ve always been self-conscious about this. I didn’t even know it, and I’ve finally let it go,’ and that’s just an incredible death, and I wish it for every single woman out there, because it plagues us all.”

There’s more to this story on the iPad Was the process as simple as that, just letting go? “Well, years of yoga and meditation and lots of talking with lots of friends. It wasn’t like an angel came down and touched me with a wand.” Talking of videos, the Wayne ‘Flaming Lips’ Coyne-directed clip for Do It With A Rockstar is apparently “99% locked on the edit” and “looks beautiful.” “It stars Stoya. She’s a famous American alternative porn star,” Palmer gushes. “She was the inspiration for the video to begin with. I scripted the video to include her, because I wanted to do a kinda bold statement about, y’know, bisexuality and sexual freedom, and... I didn’t even know exactly what I was doing,” she snickers, “but I got Stoya on board, I got Wayne Coyne on board and I had a fantastic thong. With those three ingredients I think the clip went down well.” In the interests of full and thorough research, my image search for ‘alternative porn star’ returned a number of deathly pale skinned damsels with cropped hair, tattoos and piercings. Some more digging revealed individual interests such as Throbbing Gristle (the band) and pretentious movies (which aren’t porn). Yes, I really do get paid for this. Since we’ve explored the nature of fan relationships, was Amanda Palmer an admirer of comic and book author and future husband Neil Gaiman before she met him? “I wasn’t. I’d literally never read any of his work. [But] I really dig his personal forays into dark memoir and the plumbing of his inner psyche. My favourite Neil Gaiman book is actually his unpublished one that’s probably going to come out next year, which I haven’t technically read, but I’ve had read to me in bed.” Set adrift on a haze of nostalgia, I clumsily reminisce aloud that no one’s read to me in bed since I was child. “If you’re a good cuddler, you might get a shot,” she purrs. WHO: Amanda Palmer & The Grand Theft Orchestra WHAT: Theater Is Evil (8 ft. Records) 14 • THE DRUM MEDIA

MEANING OUTSIDE OF HORRIBLE The harsh terrain of Xiu Xiu is definitely not for everyone, but frontman Jamie Stewart explains to Anthony Williams how integral themes like abortion and war crimes are to the confronting experience of the band.


amie Stewart knows how to make an impact. The Xiu Xiu frontman and creative constant has done it with disturbingly honest songs about molestation, rape, self-loathing, abusive relationships and war crimes. He’s also done it with blasts of abrasive digital noise, the clatter of gamelan-esque percussion and one of the most distinctive wails in experimental art-rock. Across nine studio albums and ten years, Stewart and Xiu Xiu have mapped out unique, inventive and always high-impact sonic terrain. Even so, the visceral intensity of the band’s September 2010 Perth show – reviewed by yours truly in these hallowed pages – came as quite a surprise. Stewart brought a near-hardcore sense of purpose and urgency to the stage, attacking Xiu Xiu’s finest tunes, and his guitar bred an exhilarating, on-edge physicality that actually felt dangerous. It’s a night etched in memory, and a memory that begs the question: What does Stewart get out of the Xiu Xiu live experience? “Anybody who plays live would probably say that it’s a very singular experience,” he begins. “It varies between feeling completely exhilarated, unaware of what’s going on in a sort of out-of-body state, and feeling completely and totally humiliated if it’s going badly.

escape to what he describes as his “favourite city in the entire world – Torino, Italy” (where Larsen is based). XXL delivered its third album, entitled Düde, in July, and it’s obvious that Xiu Xiu has found a kindred spirit in Larsen. “XXL is very romantic, much more improvisational and a lot freer,” Stewart explains. “It’s much more of a celebration and a signifier of friendship with those guys, than being an illustration of the wreck of living [like Xiu Xiu]. Basically, we’re in the studio from about two to 10pm, and then we just go out and eat the best food in the world and get insanely drunk. There could not be a better holiday.” WHO: Xiu Xiu WHEN & WHERE: Sunday 14 October, This Is Nowhere, University Of Western Australia

“Live, [Xiu Xiu] is very immediate and very loud. It’s a bit more abrasive than the records and, certainly, it’s 20,000 times louder than anybody’s stereo. But we’re trying to say the same thing and say it with as much honesty as we can.” That trademark honesty – documenting what Stewart describes as “the wreck of living” – is present, correct and in challenging full-effect on the band’s latest album, the February 2012 release Always. A track like I Luv Abortion is both a personal and starkly political declaration, while Gul Mudin (named after a boy killed by US troops in Afghanistan) and Factory Girls (about Asian sex slaves) also document the Xiu Xiu worldview. Musically, the recording seems darker, more complex and more densely layered than its predecessor (2010’s Dear God, I Hate Myself). “We were trying to make the simplest record we’d ever made, and we made the most complex record we’ve ever made,” he recalls, with a chuckle. “So, amusingly, we blew it in that regard! It was [actually] a very fraught experience; there were a lot of interpersonal difficulties with a couple of band members, and, conversely, with the other couple of band members, it was some of the most fun I’ve ever had working, and the most productive things have ever been.” The interpersonal difficulties Stewart speaks of were, sadly, of his own making; the result of an invitation to old friends and fellow musicians Zac Pennington (Parenthetical Girls) and Sam Mickens (The Dead Science) to contribute to Always. It wasn’t long before old, unresolved tensions resurfaced and these old friends became former friends, returning Stewart to his more recent, and ongoing, Xiu Xiu collaborators – multi-instrumentalist Angela Seo and producer Greg Saunier (Deerhoof) – to complete the album. The track Beauty Towne – a sequel to Clowne Towne from 2004’s Fabulous Muscles album – is the only survivor from the ill-fated Stewart-PenningtonMickens sessions, but, thankfully, for Stewart’s sake, his relationship with Saunier is proving much more enduring. “He and I are very good friends,” Stewart says of Saunier. “The production process tends to be done in a couple of stages – there’s the writing process, which tends to be very difficult, very private and very separate from the post-production process, which is putting all the songs together. “I think it would be completely impossible to get any of these records done with somebody who was depressing,” Stewart argues. “For me, it’s almost impossible to work when I’m depressed, I can’t do anything. Obviously, I like feeling happy and I like enjoying myself, and, luckily, when Greg’s around he really brings that part of things out. He’s an incredible joy to work with. We’ve known each other for 13 years at this point and have a lot of love and have a lot of history together, and I really, really trust him personally and creatively.” Given the dark honesty and often harrowing subject matter of Xiu Xiu’s work, the idea of a joyful recording process seems rather incongruous. But Stewart’s unflinching trawl through the worst aspects of human nature – drawn from personal experience, observation and the damaged souls he interacts with – has found a counterbalance in music making (what he describes as “one of the greatest parts of living”). After ten years of Xiu Xiu, then, is life gotten any easier? “Some aspects of life have, and other aspects have gotten more difficult, not surprisingly,” offers Stewart. “It’s the usual case for an Earthling. My external life is, for the most part, not as difficult as it used to be, but my internal life has taken some unfortunate turns which I’m struggling to work out. It’s been a tough year.” So does the process of documenting experiences of rape, abuse and personal trauma in song offer any sort of healing? “It’s not so much healing,” Stewart says. “I definitely depend on it to get through the day. I think it’s more of a place to put those overwhelming and negative emotions, rather than turning them into something selfdestructive. It’s almost more of a way of organising them, I think.” Speaking of horrible, the state of politics in America, and the country’s relationship with the wider world, has never been far from the Xiu Xiu agenda. Support Our Troops OH! (Black Angels OH!) was a stand-out track on 2004’s Fabulous Muscles album, delivering a bravely direct line of questioning to US military personnel: “Did you know you were going to shoot off the top of a four year old girl’s head[?]” and “why should I care if you get killed?” The aforementioned I Luv Abortion and Gul Mudin continue that tradition of questioning American methods and mores, and Stewart is similarly direct when about US politics in a presidential election year. “It’s fucked,” he declares, without hesitation. “I did not think it was genetically possible for there to be someone who was stupider or more terrifying than George Bush, but there is, and it is entirely likely that [Romney] will be the next president. I do not have a lot of hope for the future of the United States, or its role in the world; it’s very, very frightening times.” His ongoing XXL project, with Italian post-rock experimentalists Larsen, gives him a reason to


DEF DEFYING Defeater is an American band that has taken the foundations of hardcore punk, and through their own creative liberties forged a style in line with their own vision. Vocalist Derek Archambault speaks to Lochlan Watt about the coming end to their latest touring cycle.


he tour in Australia is the last tour on that record,” Frontman Derek Archambault says of Defeater’s critically-lauded second album Empty Days & Sleepless Nights, released through Bridge 9 Records in March of last year. Currently on a west coast tour of the USA at the time with Hundredth, Rotting Out and Silver Snakes, a road-weary sounding Archambault is suddenly cut short by “a homeless guy that’s giving everyone trouble right now; he’s about ready to fight.” There’s the sound of some minor scuffles before the phone call gets back on track. Distractions aside, the poetic lyricist doesn’t have a huge amount of information on what’s to come for Defeater’s brooding tunes, overarching concept, and returning characters. “Alright, so nothing’s written yet. We’re going home to write,” he states. Within their songs, Defeater have created a fictional working-class family, living in the postWWII era, and each song deals with the struggles they face in their day-to-day lives, which further builds upon a greater picture. “The whole life of the band is built around this concept, these characters. Different perspectives from everyone. It’s gonna be changed up a little bit, but it’ll still revolve around the same people. We’ll just leave that up for when the record gets released. I’ve got some ideas, but nothing I want to divulge.” Despite their successes, which include massive tours with the likes of Every Time I Die, Touche Amore, Trash Talk and more, Defeater maintains a part-time lifestyle, and “definitely don’t function like a normal band”. “We don’t have band practice and write music, and then get it tight enough to go in and record. We have always done it by the seat of our pants because we’re all so far apart. Our bass player lives in LA now, our drummer’s in Connecticut, we’re all super busy working and with Jay [Maas, guitars] having the studio, he’s got a full-time gig with that. It’s tough for us to function as a normal band - work all day, practice once or twice a week, write music, then record it. We’re fortunate to have Jay who has his own studio, so we can pretty much work at our own pace when he’s done doing stuff during the day. We have writing ability and recording ability at night.” Probed about his hardcore/punk listening habits in 2012, Archambault reveals that he doesn’t follow it as closely as he once did, and is more likely to be found listening to country, ‘60s soul and pop records. “I wouldn’t say it’s harder for me to be impressed, it’s just like I kind of... it’s not like I became disinterested, but I grew up listening to literally everything. My Dad was a DJ and my parents were both very musically inclined and supporting people, so I grew up listening to everything from jazz to country and folk and everything. I still love punk and hardcore. I wouldn’t be the same person if it wasn’t for that. I don’t know. Unless we tour with a band, or someone goes out of their way to show it to me, I don’t really check it out anymore. I guess that’s the best way to put it. I’ll still put on Unbroken, or American Nightmare, or Kid Dynamite, or Trial, the stuff I grew up listening to in the ‘90s, but it’s rare that a new band really gets me.”

So what about the top three all-time hardcore releases? “Unbroken - Love Life Regret. Kid Dynamite - Self-Titled. Ahh... I don’t know,” he says, pausing for some time, “the third one will always be changing, I guess. Right now, maybe The Hope Conspiracy - Cold Blue.” WHO: Defeater WHEN & WHERE: Wednesday 3 October, Amplifier; Thursday 4, Hq (all-ages) 16 • THE DRUM MEDIA

CAPTURED BY CAPSIS Paul Capsis is not one for boxes. He talks to Zoe Barron about theatre, music, and all the things in between.


aul Capsis does most things but fits under the umbrella of none. He sings, and has done so with the Soweto Gospel Choir of South Africa, Judi Connelli, the Australian Chamber Orchestra, Russell Crowe and Marcia Hines, among many, many others (as well as on his own), but he’s not just a singer. He acts, and has worked in film, television and with theatre companies all over Australia, as well as in various places in Western Europe, the UK, Asia and in the US, but he wouldn’t call himself an actor. He’s recently co-written a play about his Maltese grandmother and family, but he’s not a playwright. If you had to call him anything, I suppose you could call him a performer, or maybe the ever-ambiguous ‘artist’, though if it were up to Capsis, he would probably rather you just call him by his name. “I think it’s because I don’t want to be pigeon-holed in anything, you know?” he explains. “Because I have different likes of things, I have passions [for] many different things. I very early on sensed that act of people trying to put you in a box. I mean, they put me in the tiny little box of cabaret – that’s where everyone seems to put me. Really for me cabaret is just a place I can work. The music industry, the music world isn’t going to let me in, because they don’t get it. And the acting world – well I’m not an actor, strictly because I don’t just act. I love acting, and I love music. So, you know, I just do it. I just keep doing it. I don’t worry about all those things.” Another box Capsis has spent a good portion of his life escaping is that of gender. “I don’t think there’s anything strange about me but I think, you know, along the line people have sensed something else about me; there’s a femininity,” he says. He has been playing with what he refers to as that “middle place” between the genders for years, and has a great deal of admiration for others who do the same. He quotes Patty Smith and Antony Hegarty of Antony & The Johnsons as examples. This, however, has proved deeply complex at times, particularly when Capsis was younger. “I really hated being male, and I really didn’t like men,” he says of his younger self. “I didn’t like what men were about. I was attracted to men, sexually; but not interested in men. I thought that men were really kind of fucked up. Like, there was a disability about men, because men

couldn’t speak, or men couldn’t be soft, or men couldn’t allow themselves to be who they really are. But men are changing, men have changed a lot. But you still see that, especially in Australian society and culture.” At the age of 48, Capsis has settled, surprisingly, into the gender he had so much animosity for in the past. “When I perform, I’m more interested in me being in that middle place, because I feel comfortable there,” he explains. “But as I’ve gotten older, I’ve interestingly enough just naturally become more male.” In his current project, the play Angela’s Kitchen, Capsis plays characters of both genders, including his late grandmother Angela, in addition to almost every other member of his family. Although his family as a whole make up the subject matter, its main focus is Angela, who emigrated from Malta to Surrey Hills in Sydney in 1948. She and Capsis were extremely close. “I get on with everyone really well,” Capsis says of the rest of his family. “But I was really, really close to my grandmother. And that’s a relationship I’ll never have again. With anyone.” Angela passed away in 2007 of lung cancer, and for Capsis, the play has been an exercise in catharsis. But it has also been way of conjuring that relationship up again, of paying tribute to his lost grandmother. “Well, I guess I miss my grandmother’s voice, you know?” he says. “And when I’m doing the play, I hear her voice. I mean, she’s with me all the time – I feel her around me, I carry her with me.” Paul has been involved in Angela’s Kitchen since 2010 and has toured the play thoroughly, with two seasons in Sydney, a sold-out season in Melbourne, and shows in Wollongong, Parramatta, Albury Wodonga, Canberra and Brisbane. Now it’s coming to its natural end, and Capsis is ready for it. “I’m already getting sad about that, but I need to stop,” admits Capsis. “I need to stop now. I mean, I’m tired. I’m wrecked. It’s so emotional. It’s been incredible.” By the time he gets to Perth, where he’s set to perform as part of the Art Gallery of Western Australia’s Artbar series, his focus will have shifted from theatre back to music, where he seems to be especially comfortable. “I think probably my biggest passion in life is music; and rock’n’roll, rock music, old ‘60s style, late ‘60s music, you know – that’s my passion, that’s what I really love. The Doors, the Stones, Janis Joplin, Jimi Hendrix: that’s the kind of music I listen to mostly. I don’t listen to a lot of new stuff. ” He says that the rawness and passion so evident in those older forms of rock’n’roll is harder to find among newer music. He

likes ‘60s music for its clarity. “It’s tribal,” he says, “like going back to something that’s really kind of simple. Energy-wise, it’s sort of like a bashing and screaming. I relate to that. That speaks to me, that kind of thing. ” And that’s precisely what he has planned for us for at Artbar. “I’m really excited because this bunch of songs I performed once at the beginning of the year in Melbourne,” Capsis says. “It was this random festival, and the arts centre is really supportive of Australian art, which is kind of rare, and they allowed me to do a show. And I worked with this guy I really like – a musical director guy, Andrew Patterson. He’s very much into the rock, soul thing. And I said, ‘I really want to do a show where I just do songs’, you know? I don’t talk too much. I don’t want to talk too much. I just wanna sing and I just wanna move and shake my ass and kick my legs and scream. So we put together this night and it ended up being quite rocky, and Andrew sings as well, and he’s a great singer, he does great harmonies. So I’m doing Beatles stuff, and Pattie Smith, and some things I haven’t done before. Amy Winehouse. It’s really exciting. Really frenetic though – like a crazy workout.” WHO: Paul Capsis WHERE: Thursday 11 October, Artbar, Art Gallery of Western Australia

FAVOURITE HAUNTS Back together after a four-year break, TZU have crafted a “really different” concept album inspired by convicts and haunted pubs, Joel Ma (Joelistics) and Pip Norman (Countbounce) tell Kate Kingsmill.


hen TZU announced they were going on hiatus four years ago, it was easy to suspect that it might have been the end of the band altogether.

“I think we all thought that,” says Joel Ma (aka MC Joelistics). “It was never really explicitly discussed but it was the general vibe. It’s sort of like being married and then going, ‘Let’s just be friends for a while’. Which doesn’t usually work out well, but in our case it did!” There were no big issues or bad feelings, just that after eight years playing together and touring together, “We got to a point where we needed to focus on other things in our lives,” Ma continues. “The break was just a chance to catch up on all this other external life maintenance stuff.” And so, after two years of doing all of that life stuff, like having babies, travelling the world, making solo albums and producing music for other artists, the four members of TZU – Ma, Pip Norman (aka Countbounce), Shahab Tariq (aka Paso Bionic) and Corey McGregor (aka Yeroc) – started hanging out again. “It was this really soft approach to getting together and hanging out,” says Ma. “That was the basis of a really good friendship between four guys who went, ‘Let’s get together again.’ And what do we usually do when we get together? Well, we generally play music. So it wasn’t a case of consciously going, ‘Let’s write a new record’. There was no grand plan, we just decided to take two weeks to hang out and write music in the studio, and not have any other stuff going on.“ “And not have any outcomes for it either,” adds Norman. “It wasn’t like, ‘This has to produce a record’. It was just, ‘Let’s just write and if that works we’ll see where to go from there’.” “And if felt really good,” concludes Ma. And so, ten years after they started out busking on Brunswick Street, the four members of TZU were making music together again. Lyrically, the band steered steered purposefully away from the personal stories that they had come to be associated with. They have described Millions Of Moments as a concept album. The idea of a time-travelling spirit who

inhabits various characters through time and space emerged from the band’s desire to tell other people’s stories. “We didn’t stick to it like a burning compass in our mind’s eye but I remember saying to Joel, ‘I don’t want to write about my life. I don’t want to be in the first person,’” says Norman. “And that’s often what’s associated with hip hop is that you’re representing yourself, it’s very first person and it’s very real. And I was very excited about narrative, and other people’s lives and made-up lives and lives from different eras and that was definitely something that we set out to do.” Ma recalls with enthusiasm, “I totally remember you saying, ‘Let’s write convict stories as well’. We even swapped some books and shared like a bunch of stories and source material to draw from.” In particular, Ma found that there are some spots on Earth where ghosts just seem to linger, leaving an imprint of energy, like a photonegative, on a place. And so ghost stories, colonial history and stories of haunted pubs were woven into the fabric of the record. “All those old folk songs are really dark and awesome stories and really great little dramas and scenarios. We were excited about working with that stuff,” Ma says. In TZU’s downtime, Ma released a solo album (Voyager), continued to write poetry and short stories and recently spent two months working on another musical project in Berlin, a place that he reckons is definitely haunted. “There are heaps of ghosts in Berlin. The café where I used to drink coffee, the façade of the building looks really nice, and then in the courtyard there’s all these bullet holes in the wall. That whole history is right there, and it’s hard to fathom that sometimes.” Beautiful, the latest single from Millions Of Moments, is a colonial ghost story because, says Norman, “Once that banjo line came up, it was clear that it was going to be a ghost story. What else could you write over that banjo line?” “I remember when we were writing that song, lyrically, “ Ma adds. “There was a pub that we played at near Wollongong and it had the most haunted vibe that I’d ever come across. And they had a story about how they’d had a mining accident years and years ago, in the early 20th century, and suddenly this small town had all these dead bodies on its hands and they’d filled up the morgue and they had to store some of the bodies in the basement of the pub...and so when we sat down to write that song, that was one of the stories

I kept referring to. Every pub in every small town has some story that is going to keep you guessing. “ Sonically, the album is based around synthesisers and samplers and sees the band delving further into the ‘80s future-electro sounds that they began exploring on Computer Love four years ago. Indeed at one point, the new music was so different to the old TZU material that the band even considered releasing it under a different name. “It was going to instrumental, it was going to be no lyrics at all and we were going to name it something else,“ says Norman. “Because we are totally aware that it’s really different,” adds Ma. “If you were to listen to Position Correction and then listen to Millions Of Moments, there’s a progression that you can really follow, but this is clearly the furthest step away.” The difference in the sound has posed its challenges for the band in putting together their live set for the Millions Of Moments tour. “It is going to be a bit tricky but it’s still all us and still all our own music, so how hard can it be?” asks Norman. Are they still a hip hop band? “This is us, this is what these four people made and this is where we are. And let’s start a conversation. Undoubtedly there’ll be strong opinions, but fuck, it’s good. It’s a good thing to do. So let’s keep it TZU. That’s what it is.” WHO: TZU WHAT: Millions Of Moments (Liberation) WHEN & WHERE: Friday 5 October, Bar 120; Saturday 6, Amplifier Bar; Sunday 7, The Prince Of Wales, Bunbury




Paul Oakenfold may be scoring movies, and even cameoing in some, but he isn’t abandoning the clubs. The rejuvenated Brit super-DJ is returning to Australia for his first tour since 2009, and he chats with Cyclone.


akey”, who in the ‘80s introduced Ibiza’s Balearic house to England before championing power-trance, moved to Los Angeles nine years ago. There, Glastonbury’s inaugural main-stage DJ was poised to play a pivotal role in America’s EDM boom, becoming a regular presence in Las Vegas. Today Oakenfold commutes between LA and, strangely, Amsterdam, his European base. “It’s a great little town,” he says croakily. “I enjoy it here. It makes a lot more sense than being in London. London’s incredibly expensive. So I can have a little apartment in Amsterdam and it works.” Never mind that Celebrity Net Worth declared him the world’s second richest DJ, worth US$55 million...

Oakenfold, his Perfecto Records lately integrated into Dutchman Armin van Buuren’s Armada Music, is wrapping up a third ‘artist’ album, Pop Killer, to follow his Four Seasons mix compilation extravaganza. “It’s nearly finished. Funnily enough, I just recorded a song with Azealia Banks, which I’m really proud of – and that could be the first single.” Oakenfold has always been prescient in his choice of vocalists, hiring OneRepublic’s Ryan Tedder mid-decade. For 2002’s debut ‘artist’ album, Bunkka, he convinced Hunter S Thompson, the late ‘gonzo’ rock journalist, to cut vocals. “I was very lucky to work with him because a few people had contacted him and he’d turned them down. I think where me and Hunter connected was I explained to him that the electronic movement has embraced his work as a writer... I told him this, and he was very shocked.” The tragic 8 Mile starlet Brittany Murphy sang his 2006 hit Faster Kill Pussycat. “She was a very talented woman,” Oakenfold laments. “It’s a shame ‘cause she was gonna do her own album. I was gonna work on it and produce some of it. But, unfortunately, she passed away.” The gracious Oakenfold, too, now has a Hollywood profile, his first significant OST being 2001’s Swordfish. He’s contributed music to The Matrix Reloaded and Collateral.

Sipping on a bedtime martini, The Lawrence Arms vocalist/ bassist Brendan Kelly converses with Daniel Cribb about angry fans, growing up and why the hell the band’s been so quiet. Beyond that, Oakenfold has forged an enduring relationship with Madonna as a tour DJ, remixer and producer. She released his albums on Maverick. Madonna’s foray into EDM-pop, MDNA, copped a backlash from critics that Oakenfold believes is unjustified. “I’m currently on tour with Madonna and I’m doing a lot of shows with her. I don’t think [the critics are] fair, to be honest. I’ve seen the show many times. The album represents where she’s at at the moment and what she wants to do. Whatever you do in life, not everyone’s gonna like... I think at the end of the day she’s a really great cutting-edge artist.” In 2007 the DJ published Paul Oakenfold: The Authorised Biography, penned by Richard Norris of The Grid fame. It charts Oakenfold’s formative days as a rare groove DJ, youthful stint in New York, brief A&R career, fateful discovery of acid house on an Ibiza holiday, and production run with his own vehicle Grace, The Happy Mondays (Pills ‘N’ Thrills And Bellyaches) and U2 (that ultra-cred remix of Even Better Than The Real Thing). Oakenfold himself has been immortalised on screen. “It’s funny,” he says, “in the last year I’ve played myself in three movies, the last [as-yet-untitled] movie was [by director] Terrence Malick with Christian Bale and Natalie Portman. Electronic music is very big at the moment in Hollywood. There will be a few films based on our scene.” Still, he acknowledges that US dance is “very commercial”. “If you wanna be part of the scene, then it’s the same 20 records played by 50 DJs,” Oakenfold philosophises. And so he’s going back to his roots, unexpectedly re-embracing Goa’s psy-trance. “I’m really into representing the underground sound and playing new music,” Oakey says. “Coming to Australia, I wanna represent new music, I wanna encourage people to get into it and enjoy it and be a part of it – and that’s what the tour’s all about.” WHO: Paul Oakenfold WHEN & WHERE: Saturday 6 October, Villa



A small, dedicated following, one that might only like The Lawrence Arms and a few other similar acts on the Soundwave line-up, has been on social media airing their displeasure about paying $200 for a ticket. But when it comes down to it, if Soundwave hadn’t offered the band the tour, they wouldn’t have been

“For Soundwave, we didn’t have an apparatus in place to go tour Australia. It was just impossible for us, you know? It’s chalk and cheese – I believe that’s a phase you guys have down there?” For all those unaware of such a saying, it’s the equivalent of comparing oranges and apples. “That shit’s chalk and cheese, buddy.” WHO: The Lawrence Arms WHEN & WHERE: Monday 4 March 2013, Soundwave Festival, Claremont Showgrounds



“To be honest, also, another huge thing that happened was we got a new member, our new guitar player Will [McLaren], and whenever someone new comes in you have to adjust and learn how to write and react to them musically, and speaking of riffy parts, we never really had a guitar player that sort of took pride in being a guitar player and really wanted to lift that element of the band to a new level, and Will really has done that, and so I guess it’s just been a lot of different things.

It won’t be long until the dormant punk rock outfit rises from its slumber, however. The Chicago threepiece are in the process of writing their sixth record. “We haven’t even practiced the songs together, but we’ve got about half the record done.” With any luck he hopes it’ll be recorded by Soundwave.

A lot of the stigma surrounding their appearance on the Soundwave line-up stems from a secret track on the band’s most recent full-length album, Oh! Calcutta!. The tune, Warped Summer Extravaganza (Major Excellent), details Kelly’s hate for the US Warped Tour – a festival that could be seen as the American equivalent of Soundwave. “That whole thing was a very specific time and place. It was about 2000. There were so many awesome small clubs and so many awesome bands and all these bands that were super popular, like your NOFXs and your No Use For A Names and your Lagwagons, who were touring and taking all these small bands on tours around the country. It was really cool, and all of a sudden the Warped Tour comes and they suck up all those headlining bands. Now, instead of 17 nights at one cool, small club, it’s one day at a fairground and all the support bands get to either play up against the Warped Tour, which sucks, or on the Warped Tour where it’s like, ‘My shitty band is playing the same time as Rancid’. That’s even worse.

Trance and House purists might not always see eye to eye with Ferry Corsten, but as Cyclone discovers, it’s throwing curveballs that keeps the man going. iësto may have christened the hybrid of trance and house, ‘trouse’, but his pal Ferry Corsten pioneered it back in 2002 with the crossover hit, Punk. “I like to think of trouse as ‘hance’ – honestly!” Corsten quips. “It’s house with trance, not trance with house.”

ind of what this album was about was experimenting with sound and soundscapes and making sure we didn’t lose the song in the middle of that. We’re always really about the song when it comes down to it.”

“To us I guess it feels pretty natural. It’s a progression that has been slowly taking place over the seven or so years of us being in a band. I guess it’s funny with bands because when you’re looking from the outside you hear one album and in a few years there’s another album and, you know, the whole time in between that life is going on, people are discovering new things and new music and moving to other sides of countries – things change, perspectives shift and to us it felt really natural.

“Life happened,” he sums up. “We spent over a decade just bustin’ our dicks touring every single day of our lives and we finally slowed down. And it’s weird, because that’s when people actually started to give a shit about our band. It’s hard to pick it back up again. When you’ve got nothing in place it’s easy to get up and go on tour, but now I’ve got two kids… [Touring’s] where I’m most at home, that’s where I love to be, but now, as I get older, I do have a family, so it’s tough to be out there, too. It’s like the curse of family; when you’re with them you’re like, ‘Get me the fuck out of here!’ and as soon as you’re out of there you’re like, ‘God, I miss those fuckers’,” he laughs. “It’s a no-win situation.”

here for quite some time. “We haven’t done shit for a long time,” Kelly reiterates. “We don’t get offers to go to Australia, the regular promoters haven’t been beating down our doors to try and get us back.”


Delta Spirit reckon they’ve finally found their voice on their self-titled third album, as bass player Jonathan Jameson tells Michael Smith.

Delta Spirit bass player Jonathan Jameson is calling from his apartment in Brooklyn, NYC, as far from their original hometown San Diego, as you get and still be on the continent, as have four of the five members, talking about the third and self-titled album from the band he and drummer Brandon Young formed in 2005 around original guitarist Sean Walker, singer and songwriter Matt Vasquez, who they spotted busking one morning, and keyboards player Kelly Winrich, who’d originally been hired as their producer. Delta Spirit is certainly a quantum shift from their previous two albums, though that’s not necessarily how Jameson sees it.


rendan Kelly may be preparing for bed when he answers his phone, but his band, The Lawrence Arms, are just waking up from somewhat of a three-year hibernation. Their last release came in the form of ‘09’s Buttsweat And Tears EP, and since then things have kind of come to a standstill. What could have possibly drawn the three members away from something that is such a big part of their lives? “I had a couple kids, made a couple movies and I made two, three [solo] records… fuck. So, I’ve been pretty busy, I guess,” Kelly reveals. “I never really thought about it until you asked the question, but yeah, I guess it’s probably been the busiest time of my life,” he laughs.

The Rotterdam native built his rep in the trance underground. He’s still feted for his System F project, Out Of The Blue, a classic. He’d establish his own name with several ‘artist’ albums. Corsten has also remixed major pop acts, lately Justin Bieber’s dubstep-esque Just As Long As You Love Me. “The main thing that made this album feel so good to me and I think to all of us is just, we only had four members for a while and we’re so used to having five that it never really felt right to just jam and play music with four of us – it didn’t sound good to us. The last album [2010’s History From Below] before this we just kind of went into the studio and started demo-ing, which is cool and had its moments, but there’s something about just sitting in a room with, you know, the five guys in your band and playing songs until you know that you love them, and you don’t know you love them right away – it takes a while, you know, trying different things and all of a sudden something clicks and you can tell that everyone is engaged and comes to life, and when that happens, when five people get on the same wavelength, it is kind of like a magical, spiritual moment, and that was what was really exciting about making this record, three months of just laying that groundwork of finding songs and music that we all were excited about.” WHO: Delta Spirit WHAT: Delta Spirit (Shock) WHEN & WHERE: Monday 28 January, Big Day Out, Claremont Showgrounds

The DJ/producer is returning to Australia with a fresh concept that will appeal to fans of, er, hance, trance and house. Full On Hosted By Ferry Corsten involves him interacting with other DJs – in this case Swedish houser Zoo Brazil and US trancemeister Shogun. “I’m sorta like the glue,” Corsten says. They all play solo sets and, in between, tag team. “It is more like a concert show, in a way. It comes with a full production – custom-built visuals and everything. But what makes it really nice is that I think as a clubber at the Full On event you really feel that you’re part of a big family. It’s not just the crowd’s on the one side and the DJ is on the other. It’s all together, really. Even among the DJs, we all play together, basically.” The Dutch trance contingent has upped the ante for DJs everywhere with stadium shows, Corsten conceding that it’s now competitive. “I just look around and I see what’s missing sometimes or what I would do in certain situations.” In developing Full On, he realised that, Swedish House Mafia aside, the communal feeling was missing in EDM. “All the DJs are so on their own islands. This is my performance and this is me.” Corsten dropped a fourth album in February. WKND is, he says, “sort of like house meets trance – it’s very melodic but in general it’s a little slower.” The fusionist has worked more with singers, the best known of them Armand van Helden collaborator Duane Harden (It’s not the first time he’s hired vocalists – Corsten teamed with the late Guru on 2006’s LEF LP). The Dutchman admits that he wants to “reach a wider

audience,” though not necessarily via commercial radio play. “It’s just a new thing for me again.” Corsten’s desire to try new things has often raised the ire of trance purists – especially when he aired Punk (recently remixed by Russian Corsten fave Arty). “I did get a lot of stick for that; ‘How can you do this to your trance fans? We want your Gouryella [his gig with Tiësto] and System F sound!’ Yeah, that’s twelve years ago, guys, I grew up as well. You move on. I do those things not always having in mind that I wanna be innovative or anything – that doesn’t really come up in my head. It’s more like, ‘Okay, I’ve been doing this and this already for a while and I need to inspire myself and trigger myself into something new,’ just so I’m in the studio again really excited about something. I’m the type of person who, if I do something over and over again, I get really bored and I go numb. So I need a change for myself in order to stay enthusiastic in the studio. I know that some of my fans really want to keep me there in this glass box – like, ‘Okay, this is how we know you and this is how we want to keep you.’ But, if I do that, I’ll die.” Luckily, the haters usually come around once they’ve familiarised themselves with something. Corsten copped it with last year’s “very housey” single, Check It Out, but today it’s one of the tracks that goes down best in his sets. “It’s a funny sort of psychological thing that people have to go through, I guess – and myself included!” WHO: Ferry Corsten WHEN & WHERE: Sunday 30 September, Villa




Matador/Remote Control Well, it’s taken some six years, but a new record of original material from Chan Marshall, better known as Cat Power, has finally seen the light of day. And considering what she’s put her fans through, not to mention what she herself has endured, it seems the title of this new release is particularly fitting. The erratic, frequently awful live performances that she had come to be known for were a dark period indeed, but she has survived – and, thankfully, so have her musical talents – and Marshall’s reemergence is cause for celebration.

Rick Bryant


Cut the World

Suffocating In The Swarm Of Cranes

Unspk / Universal Music

Metal Blade

A man of exquisite natural talents, Antony Hegarty has differing effects on different sets of ears. Whilst there’s no contesting his compositions or heavenly voice, some of his half-baked philosophising can be a little hard to swallow. Pretentious, narcissistic, victim self-identifying; the spoken word piece Future Feminism - a protest over “patriarchal systems of governance” - crystallizes all these traits, as he makes grand assumptions and guffaws at his own jokes. The diabolical shame is that such posturing is a dangerous distraction to some aching, truly gorgeous music. A number of performances such as Epilepsy Is Dancing, The Crying Light and Another World arguably outshine the originals, whilst the cascade of pure emotion that flows through Cripple &The Starfish - with its potent mix of confused childhood imagery and wounded defiance - is oddly heroic. Taking centre stage is Hegarty’s quivering, transcendent voice, whose sheer vulnerability could halt a bloodthirsty army in its tracks. It earns all the superlatives that can possibly be thrown at it; velvety, strong yet delicate, and yes, Nina Simone-esque, and is enhanced here with arrangements by the Danish National Chamber Orchestra that are so natural and sympathetic, that after a couple of listens it becomes hard to accept that they didn’t adorn the original studio versions.

When this German quartet signed with Metal Blade in LIVE June, Suffocating In The Swarm Of Cranes was due to be released by three separate indies. Apart from that recent history, Downfall Of Gaia have grown an enviable live reputation in their short career. Up against Epos (2010) and their split with The Hearts Of Emperors, Suffocating... is in a different league. Dark, expansive and diverse, the LP is a fully realised masterwork from this relatively young band. Opening track [Vulnus] builds D Vfrom atmospheric guitar drones, culminating in a flurry of guitar tremolo and black metal drums reminiscent of the style of Wolves In The Throne Room. Drowning By Wing Beats traverses similar territory, diving into troughs of sludgy dark-crust topped off with partgrowled, part-howled vocals that complement the songs.

No doubt his theatrical impulses and ongoing fixation with everything transgender fuels his muse and provides ammunition to his detractors. Sometimes frustrating, often inspired; what else can be said at the end of the day other than it’s unequivocally, unmistakably, emphatically “Antony”? Christopher H James


For those who’ve been with Marshall for over a decade, the artist we see now bears little resemblance to the nervy performer that took to the stage with reticence in the mid-‘90s. That wonderful voice, though, which is full of soul and raspy beauty, is as stunning as ever. As the name might suggest, Sun is musically speaking a pretty perky affair, but she explores bleak matters lyrically. In first track Cherokee, for instance, she speaks repeatedly of great pain and ‘dying before her time’. This is all set against an energetic rhythm and more experimental production than we’ve seen before, though, which gives the track a brighter quality. Run is similar but better still, a simple piano line pushed forward by a thumping beat and a vocal effort which incorporates all those great tones she peddles so effortlessly. Acoustic and electric guitars pulse menacingly in Human Being, but the ten-minute Nothin But Time outstays its welcome. It’s a slip on an otherwise excellent album, though, and Sun is proof that Marshall still has plenty in the tank.






Apart from the opening and closing tracks, each song clocks around the ten-minute mark, but the arrangements never feel cumbersome. The maturity of their songwriting is something that sets Downfall Of Gaia apart from some of the current wave of post-hardcore/ metal. They don’t overwork a theme and their songs never reach that overbloated point when a listener tunes out. There are more ideas packed into a single song like Beneath The Crown Of Cranes than you can find on many post-hardcore albums, but the songwriting is not self-indulgent, nor the musicianship especially showy. The songs retain a down-to-earth humbleness that makes for a sobering listening experience. Fall Of Efrafa and Amenra spring to mind as fair comparisons, or even ISIS and Cult Of Luna, and fans of those bands will be rewarded for stumbling upon this upcoming group. Tristan Broomhall

KASEY CHAMBERS & SHANE NICHOLSON Wreck & Ruin Mushroom Music Australian country music fans will salivate over the rollicking rhythms and sing-a-long melodies that colour Kasey Chambers and Shane Nicholson’s combined release Wreck & Ruin. Available in an 18-track double CD deluxe edition as well as the 13-track standard release, the album showcases the united songwriting talents of Chambers and Nicholson on fun-size tracks, most of which are just over 2.5 minutes long. On this album, country songbird Chambers abandons her guitar for the banjo and Nicholson concentrates on harmonies while working in the harmonica, guitar, and accordion among other instruments with the four-piece band. The lyrical content of the album paints an image of a dilapidated rural setting: a dustbowl with rusted shoes, tombstones, and a hardworking farmer called Flat Nail Joe. The one salvation in this landscape is found in religious mythology and the spirituality of the music itself. The songs are arranged with the upbeat tracks surrounding the album’s musically reverent and mellow centre. Death, represented in the foreground by the skeletons on the album cover, is the subject of the first and last tracks. Despite being an album featuring a musical married couple, the songs are not romantic songs. The duo sing, not to each other, but as storytellers performing on the road to an energetic and appreciative crowd, much like June Carter and Johnny Cash in Walk The Line. Adam & Eve is the lead single from the album but the strongest track is Have Mercy On Me. The album seems destined for an Australian tour. Jake Dennis






Ivy League

Co-Operative Music

Young Turks/Remote Control

I may be a ‘90s baby, but, thanks to my dad’s extensive vinyl collection, I grew up on more Stones than Spice Girls, more Born To Run than Barbie Girl. So when I put on The DomNicks’ first full-length offering, Super Real, I knew I couldn’t listen to this ‘80s rock-inspired album without my old man. Dom Mariani and Nick Shepherd formed The DomNicks five years ago on the back of some seriously big projects, with Shepherd once a member of The Clash, and Mariani a member of The Stems and DM3. It’s rare for a Perth band to have such big credentials, so I was eager to have a listen.

Sam Margin, the gifted lead singer of The Rubens, provides the solid and arousing framework to this, the band’s self-titled debut album. Channelling Rufus Wainwright to the point where he could be his very own protégé, Margin spins lyrics around his deep and mature voice and hypnotises the listener from the offset.

The members of Two Door Cinema Club are no strangers to hype, expectation and the general abundance of credit one receives for a successful debut album. Tourist History, the Northern Irish boys’ first release, was plagued with great reviews and high worldwide acclaim. With it came massive tours and numerous festivals and any naysayers were stumped to silence by the ‘Club’s live performances.

Perhaps a more appropriate title for The xx’s second album would have been Codependence. The first reason is because Coexist is an utterly heartbroken album containing songs that appear unable to deal with love lost or lives changed. The second reason is because your enjoyment of this album will depend entirely on what you think of The xx as a group because, by and large, Coexist is a distillation of their signature sound; deafening silence punctuated by the pitter-patter of heartbeat-like drums, shimmering guitar strums, and voices that really ache (particularly Romy Madley Croft’s). It is an album that only The xx would make and more importantly, it is an album only The xx could make.

Super Real

We played the album loudly on a balmy Saturday evening and despite not being on vinyl, the CD is printed to look the part and the tunes that came from it could well have been from such an era. The opening track Cool Runnings is a ridiculously catchy, fun, summery tune and is followed by Reconcile, which could have come from a Stones record. This is the case with a lot of the tracks; the band have succeeded in making classic rock’n’roll that sounds like the giants of the genre, even if on occasion it wears those influences too closely. But then with these guys’ pedigree, they pretty much are the influence! If you’re after some good, easy rock music then Super Real will hit the spot. My favourite track was Colour Me Gone, full of sexy guitar riffs, Shepherd’s husky vocals and palpable emotion; it’s the band at their best. The album’s lyrics are simple rock’n’roll, and dad was, unfortunately, singing along in no time. I must admit, it was infectious. We will be keeping this one on rotation. Tess Ingram


The Rubens

The bluesy soul nature of this album can trick the listener into the vision of an aged group of men wearing trilby hats and donning stylish dinner jackets. The fact that the band members responsible for the sounds are indeed a young (teenagers for the most part), stylish group of brothers (drummer Scott Baldwin excepted) can be unearthed in the upbeat choruses and constant experimentation with genres. The opening track The Best We Got provides a smooth piano riff as the initial introduction to the album, a style that unfortunately doesn’t materialise elsewhere. More of the slow, soulful aesthetics of Lay It Down would be welcomed . There is a sense that The Rubens will morph into the band that we all can see shimmering in the future but for this album, although an ambitious debut, the trialling and soul searching is still evident. But you can be assured that obscurity and the rapid pitfalls that envelop so many young bands will not be an issue for The Rubens. Once their musical traits and tastes have developed, and with the bonus of Margin’s soulful voice at the helm, it is inevitable that there will be many more albums from these guys. Lynn McDonnell

Unfortunately, the music industry of late is also no stranger to the sophomore flop. Not willing to name and shame, many glorious debuts in the last few years have been followed up with over-ambitious and over-produced sequels. The good news is that Beacon isn’t necessarily a member of the flop crew and it seems to be a much more sophisticated release with tendencies akin to that of New Order.

Nevertheless, their synth and percussion aesthetic remains true throughout in tracks like Handshake and Someday. It is an album that is screaming to be played across the festival circuit where it can possibly come into its own, and highlights such as Sleep Alone and the opener Next Year could envelop an appreciative crowd.

Apparently inspired by club music, Coexist could easily soundtrack a slow-motion dream sequence featuring two ill-fated lovers dancing in the middle of a dark, dank club, showered in melting lights and muted beats. Songs like Sunset and Chained embrace this muted club vibe by taking upbeat, but gently counterintuitive, turns in the middle of their songs, like a heart palpitation caused by a false hope. Swept Away gets a bit sweatier but overall, Coexist features more of the same, fragile beauty that first brought the band to prominence. Album opener, Angels, is so fragile it could smash like china but the shards would probably just evaporate into the ether. And herein lies the conundrum: Musically, Coexist is a more refined version of their debut, which many considered to be quite the revelation. But it’s a small evolution of a style, which is inherently quite minimal and gradual. So is “more of the same” OK, if that which is the same is so lovely?

Lynn Mc Donnell

Kosta Lucas

The bad news is that the album could plea guilty for the charge of over-production (from the highly acclaimed producer Jacknife Lee of U2, The Wombats and Bloc Party fame) resulting in a disappointing level of monotony. The commercialism involved in this production leaves a small hole in the listeners’ expectations of Two Doors’ unique style and super-catchy riffs observed in Tourist History.








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he sky is falling right? This is no time to launch a new music publishing venture surely? Yet here it is ... Muso, our new monthly supplement and a brand new voice for our local musicians and the music gear industry. Why the heck not we say! The figures back us up in saying that the live music scene is alive and kicking. The Government told us that in he last year, 5.2 million people went to see a live band and that doesn’t even include major concerts. Plus a recent survey we conducted showed that well over half of our readers are musicians, and at least twenty percent are in working bands. Seems like the perfect time to ignite a new publishing spark for musos and the music trade. So what the hell is Muso? It’s a regular, up to date information source for working musicians and musicians-to-be. It’s in print, it’s on iPad and you’ll find all of the content ... the stories and reviews on You’ll also get a weekly fix of Muso over a page or two in between the monthly supplements. In Muso, you’ll read interviews with artists in their working element, in rehearsal, on stage and in the studio. You’ll learn about the gear they use and how they use it in their creative pursuits. There will be advice and news. Our experienced team of musician writers will road test the latest gear and give their honest opinion. In this launch issue, we sat down members of Redcoats, The Amity Affliction and Expatriate to chat about the creation of their albums, we visited Oh Mercy as they rehearsed for their Deep Heat tour which kicked off this week, we snuck into a recording session with British India as they laid down some tracks for their next album which they won’t be releasing until 2013, Saskwatch documented their Edinburgh trip in a tour diary for us, Richard Clapton told us about how he records his guitar parts, Tim Rogers and Catherine Britt sat down together to talk albums and tours, The Rubens’ Sam Margin road tested the new Roland Fender G5 VG Strat and kicks off another 4 pages of gear tests. There’s a heap more to read inside. Grab a drink, have a look around and tell us what you think! We hope Muso becomes your regular haunt. Oh yeah, the publisher told me I should say Muso is awesome! For any road test, gear coverage requests or editorial pleas, demands and desires, email GREG PHILLIPS

Muso Editor

CREDITS Muso. Issue 1 - September 2012 Ph: 03 9421 4499 Fax: 03 9421 1011 584 Nicholson St Nth Fitzroy 3068 Website: Editor and Advertising: Greg Phillips Distribution enquiries: Layout & design: Matt Davis iPad edition: Dave Harvey Contributors: Reza Nasseri, Shannon Bourne, Baz Bardoe, Michael Smith, Elyce Phillips, Ajay Bawden, Paul Matcott, Mark Owen. Photographer: Kane Hibberd Published by Street Press Australia PTY LTD Printed by: Rural Press


ABBEY ROAD TO ZIGGY STARDUST Abbey Road to Ziggy Stardust, is a must-read memoir of recording engineer/ producer ken Scott, who shaped the sounds loved by generations. Grammy®nominated producer/engineer Ken Scott is one of the five main engineers to have worked with The Beatles. With no holds barred, Abbey Road to Ziggy Stardust chronicles his amazing career with intimate memories of working with The Fab Four and many other iconic recording artists in music history, including David Bowie, Elton John, Pink Floyd, the Rolling Stones, and more. Seminal albums that Scott has collaborated on include Magical Mystery Tour and The White Album by the Beatles, and David Bowie’s Ziggy Stardust and the Spiders From Mars, and many other groundbreaking releases. Poised to satisfy the most ardent fans and industry insiders alike, Abbey Road to Ziggy Stardust is peppered with provocative and humorous anecdotes, and studio shoptalk, and never-beforeseen photographs. Available at all good bookstores.

THE BIG GIG: BIG-PICTURE THINKING FOR SUCCESS DV MARK TRIPLE 6 This new 2012 release of the popular three-channel Triple 6 head adds new features to the DV Mark top-of-the-line tube head. Like the previous version, it offers three completely independent channels and 120 watts of pure tube tone from two massive KT88 tubes. DV have added “hi-gain” switches on channels 2 and 3 that allow you to toggle the amp between Bad Boy 120 tonality and the more aggressive Triple 6 gain levels. They’ve also added MIDI ports to the already multi-function footswitch! The footswitch that is included with all DV Mark three channel heads (Bad Boy 120 and Triple 6) switches channels, activates the Solo function (fixed boost), and controls the FX loop... Plus it automatically memorizes the configurations you choose and stores them in memory until the next power-on. And in the new release they’ve added MIDI ports for greater switching options. The Triple 6 has a built-in system that automatically biases AND matches the output tubes (if the tubes are within 20%)! No more trips to your service tech for biasing! Our unique patent pending Advanced Tube Control System allows you to hook up to the optional DV Controller to collect cool and useful information such as power amp voltages, bias current, tube life and more!

ROLAND’S INTEGRA-7 – SUPERNATURAL SOUND MODULE Roland’s next generation sound module with the latest sounds and ambience technology. From composers to live performers, the INTEGRA-7 vast collection of premium sounds covers all music genres. In addition to the Behavior Modeling technology that enables expressive SuperNATURAL Acoustic and SuperNATURAL Synth sounds, it contains all of the sounds from the 12 SRX expansion board libraries that are widely used by professionals. Brand-new ambience effects are onboard such as newly-developed reverb and the new Motional Surround that lets you take the 16 parts, plus one more external sound source, and place them 360 degrees around the listener – resulting in an expansive sound with a lot of depth.

SPONGEBOB SQUAREPANTS MUSICAL Who doesn’t love SpongeBob Squarepants? In late September, you will be able to buy your very own SpongBob Electric Guitar kits, Drum Outfit, Percussion Pack, Acoustic or sized Classic Guitars, Percussion items and a whole host of other SB branded musical instruments. Electric Guitar kits featured in 7/8th, ¾ and full sizes come complete with inbuilt microamp or amplifier, leads, strap, carry bag, picks, plus a tuition DVD. www.musicmerch.

DP90S/90 – DIGITAL PIANO Compact and contemporary DP series pianos are renewed by latest Roland’s high-end keyboards, refined sounds and new finish variations, while maintaining their sleek, modern-furniture-like design. Now equipped with flagship PHAIII Ivory Feel keyboard (DP90S) or Ivory Feel-S keyboard (DP0) to deliver authentic and comfortable playability of a grand piano as same as the traditional cabinet models such as the LX-15 or HP500 series.

MININOVA SYNTH FOR OCTOBER Set for release in October, MiniNova is a compact, super-cool studio and live synth with the same sound engine as the; UltraNova. It comes with 256 onboard sounds that you can tweak with five knobs, or totally warp with eight ‘animate’ buttons. It has up to 18 voices with as many as 5 synth effects on each sound. MiniNova also has an onboard VocalTune effect as well as a classic vocoder so you can recreate iconic vocal sounds from hip hop, urban and electronic music. MiniNova is the latest in the ‘nova’ range of synths dating back to the legendary Supernova series. It has the same incredibly powerful sound engine and synth effects as the UltraNova which means it is capable of creating dirty-fat bass synth sounds, soaring leads, lush pads and vintage synth sounds. All this in a 37 mini-key form with a USB port and MIDI i/o so you can hook it up to your laptop and control your music software.

Internationally renowned drummer Zoro transports his experiences from the stage onto the page in an intriguing read titled The Big Gig: Big-Picture Thinking for Success. The Big Gig is a comprehensive method for musos who want to break into the highly competitive music industry. Every chapter in the 440page book includes a video interview with Zoro, accessible via QR code (traditional web URLs are also provided). Zoro has toured and recorded with Lenny Kravitz, Bobby Brown, Vanessa Paradis, and many others. Available at all good bookstores.

VOX STOMPLAB MULTI-FX PEDALS The new VOX series StompLab MultiEffects pedals pack powerful sounds into compact units featuring roadworthy metal housing and quick and easy sound selection. The series includes the StompLab 1G with dedicated guitar amp and effects modeling, and the StompLab 1B with dedicated bass amp and effects modeling. The StompLab 2G and 2B also contain an expression pedal that can be used to control wah and volume, as well as the parameters of each effect. The user-friendly top panel offers 100 preset programs (plus room for 20 user programs). All programs are named with a musical style, such as rock, blues, or metal, allowing players of all levels to easily locate the perfect sound. Effect types include amp, drive, cabinet, modulation, delay and reverb (plus noise reduction); eight effects can be used simultaneously. All StompLab pedals have a built-in chromatic tuner with a three-LED indicator that makes tuning easy. A mute function allows silent tuning. Headphones can also be connected. In addition, there’s battery operation.

DV MARK FRANK GAMBALE COMBO 112 Australian born, international guitar hero Frank Gambale’s power, character and virtuosity are immediately recognizable. DV Mark have developed this 12” signature combo to suit Frank’s exacting needs. After spending a few hours working with him, designers understood and appreciated his concept. Frank wants to make sure that the power amp is powerful enough to provide clean amplification at high volumes, without contributing to the distortion. Any distortion should come from a tube preamp that is applied to the drive channel only. This way he can control the amount of drive with his guitar’s volume pot or with a volume pedal. Specs include: Preamp: solid state (clean) / tube (drive), Power amp: solid state Power: 80W @ 16ohms / 250W @ 4ohms, Controls: Clean: gain / low / mid / high / level; Drive: gain / low / mid / high / level, Reverb: spring (Accutronics), Speaker: 12” DV Mark custom neodymium, Weight (kg/lbs): 11,7 kg / 25.79 lbs

GIBSON FIREBIRD X Despite Gibson being an iconic brand with a long and esteemed history in music, they’ve also been innovators and futurists, especially over the last few years with their robotics. Gibson now adds the Firebird model to their list of futuristic products. The guitar is made to be comfortable and amazingly easy to play. It features a lightweight body made from hand-sorted swamp ash, with a rock maple neck and curly maple fingerboard. This construction not only makes it refreshingly light, but it also allows the guitar to achieve exceptional sustain and tonal range. Firebird X is capable of very resonant and acousticlike voicing. The guitar is a bit more than six pounds in total weight. Special resonant chambers not only decrease total weight, but also allow acoustic-like tones and increased overall sustain. The guitar is louder than a typical solid body with substantial tone from lowest bass note to highest treble note. The fingerboard is curly maple. The headstock has a classic Gibson dove wing shape, and a Firebird-style truss rod cover. The look has a very classic fine furniture look with marquetry, elegant curves and smooth rounds. It is very appealing to a guitar player and non-guitar player alike. The neck has a thin “C” shaped profile with a smooth, non-stick satin finish. The neck joint is smoothly blended from neck to body with just a slight roundness, allowing maximum access to high register strings. The lower cut away cuts deeper, affording exceptional access to the high register. The fingerboard has low-profile frets and a highly polished curly maple surface. The Firebird X product uses three mini-humbuckers and a vastly improved hexaphonic piezo bridge pickup with an improved low noise, high dynamic-range preamplifier, making this a fully active guitar. The pickups are based on traditional Firebird designs, but have been significantly improved to provide more tonal range and to match the studio-grade preamplifier section. The result is that the signal dynamic analog dynamic range exceeds the specification of the high-end electronics. This guitar continues on a tradition of having electronic tuners, and a fourth generation of supporting hardware and software. What this means is that the guitar can change tunings even more quickly and accurately, with an even simpler way to get to multiple tunings. The tuners can be used manually and have been enhanced to be more robust with a better feel when used manually.

WALDEN ‘NATURA’ D550 + HARDCASE Walden’s best selling entry dreadnought features quarter-sawn solid spruce top, mahogany back/ sides, and tasteful detailing; all complete in a quality hardcase for a limited time. Sound character isn’t something you expect from an inexpensive guitar, but the D550 has it by the bucket full. Anyone looking at dropping $700-$800 on a new acoustic would be wise to test a D550 first. $499 RRP.

The fall of Allans Billy Hyde Bil Hydes.. What at does it all mean It would be remiss of us not to acknowledge the recent voluntary liquidation of the Allans + Billy Hydes retail group and it’s mother company AMG and ask what it means to the industry. By Greg Phillips.


he combination of a rise in online shopping and the poor state of the world’s economy has left Australia’s retail sector struggling to make a buck. The musical instrument industry is not immune to the conditions and that was made evident when receivers were appointed to the Australian Music Group on August 23rd. AMG encompasses Allans + Billy Hydes retail outlets as well as Musiclink and Intermusic, distributors of such high profile brands as Korg, Ampeg, Line 6, ENGL, Jet City, DW and many others (Some of those brands have already gone to other wholesalers). AMG’s voluntary administration has ramifications for the whole industry, the wholesalers who have stock sitting their stores, as well as the people who have lost or will lose

recently joined the hunt for the musician’s dollar and Con Gallin’s Musician’s Pro Shop network is always growing. The time is perfect for those chains to ramp up their activity. “We have hundreds of thousands of transactions per week. If one percent of those bought a musical instrument, it will grow the market significantly,” JB’s Nick Kanaris told us earlier in the year. “This is adding another category for the amount of traffic we have coming through. We added computers a few years ago. If you go back to the start of JB, we didn’t even have TVs. We have 165 stores nationally, all potentially could have musical instruments in them. Currently we offer keyboards in around 40 stores. That will expand into guitars and other areas. We’ll have close to 80 stores with musical instruments soon.”

their jobs. For many, it’s the day job which supports their music making activities at night. On one hand the liquidation of Allans+ Billy Hydes stores provides the chance to pick up a bargain as they sell off gear, on the other hand if you were the holder of a gift voucher with the chain, things aren’t so rosy. However, despite the retail arm of the music industry suffering a major setback, the live music scene remains reasonably bouyant. Gigging and the merch table seem to be the only real way to pay the way for a musician. What this means at the most basic level is that there are many working musicians who still need gear and accessories. They need to get it from somewhere and it’s up to those still in the retail game to step up, get clever, promote and attract musicians to their stores or online services. The conditions provide a great opportunity for independent music stores in particular … but they best get out there campaigning aggressively now as there are other retail chains with a whiff of that opportunity too. The JB Hi Fi chain has been quietly introducing musical instruments to their inventory for a couple of years now, the Harvey Norman chain has more

Harvey Norman, the newest player to the music game introduced instruments and accessories to their stock in January this year via their Big Buys stores. Their Big Buys store


through to the intermediate player. We’ll cater to the parents buying gear for their kids or the player going from their first guitar to their second.” Mark Gale, Marketing manager of Perth based retailers Kosmic Sound certainly isn’t spruiking the AMG downfall as an opportunity to benefit from. Australia’s musical instrument industry a close knit community and everyone knows somebody suffering from the situation. Rather Gale suggests that the indies should always be on their toes being active irrespective of what the opposition is doing. “Independent stores always have the advantage of being able to manoeuvre relatively quickly under changing market conditions and adjust their business models to suit customer expectations,” he said. “Unfortunately, AMG, given their private equity backing, were primarily profit focused rather than customer focused and consequently their buying and management decisions were poor. As Australia’s largest independent music store, Kosmic will continue to focus on providing the right products at great prices and with a level of service that has seen us get to where we are after more than 40 years in business.We are also tightly integrating our online and offline business to provide a seamless customer experience and meet the rapid growth that we are experience nationally. We now ship from both the east and west coasts with free delivery over $50 and with the option to pay for express shipping.” Ron from Ron Leigh’s Music Factory in Brighton, Victoria suggests that in tough economic times, independent retailers like himself need to look to their strengths. “Are they good at retailing or repairs or teaching? Establish what your strengths are and focus on that,” he said. Leigh sees his advantage as the great customer relationships he has built through his personable teaching methods.

idea was originally an online only project. “We’re expanding as we go,” said Michael PalamaraCategory Manager-Music of the music range. “We’ve got entry level guitars and ukuleles, electric pianos, print music, music technology, accessories and we’ll branch into band gear as we grow.”

A recent phenomenon he’s not fond of however, is witnessing people coming into the store, taking photos of gear with their iPhones, knowing that they will then take that photo back to their computer and search for the best online price for the product. Spare a thought for the local retailer before you pull that act of rudeness.

Palamara claims that the Billy Hydes factor has not really altered their tactics as they had planned to grow the instrument market anyway. “It just means we may do it in a larger way than originally planned,” he said. “We want to be a serious one stop shop with everything for the beginner

For musicians seeking new gear, there’s going to be some very competitive deals out there in the next few weeks and leading up to Christmas. Get yourself into a store and check it out. Muso would also like to wish all of the hard working, music loving AMG staff well in finding new employment.



Apart from the fact that all three bands have landed or landing excellent albums this year, they really have nothing much else in common… or do they? Conveniently, Neil Wilkinson from Redcoats, Ben King from Expatriate and Ahren Stringer from The Amity Affliction are sitting around a table in front of me. Why don’t I ask them? Pics by Kane Hibberd.

Muso: All three albums are excellent modern day music productions with so much in them. Did you all have specific sonic goals for the albums prior or was it a matter of recording the bunch of songs you had at the time? Neil: Yeah I suppose so. I think a lot of it came into context in the studio. The goal for us was to portray our live sound as honestly as possible.



elbourne based rockers Redcoats created a wave of curiosity with their 2011 EP release and will follow up with an up-sized, retro-tinged, progadelic self- titled album in mid October. Five years after they released their debut album, 80s-flavoured, 2012-valid electro-pop outfit Expatriate have finally released their second record, Hyper/Hearts and have been recently road testing it live in Melbourne, Sydney and Indonesia. The Amity Affliction have just released an album too. It’s a massive sounding metal-core record called ‘Chasing Ghosts’, complete with much-talked about album art which has gone straight to the top of the album charts.

We weren’t trying to build sounds which would be more than the stage sound, so it was an honesty thing more than a sonic thing. Ben: We were the opposite of that. We wanted a record that was very textured and layered. A couple of us in the band

are well into the production world and do stuff outside of music. We wanted to get a great band energy in the studio and then take that away, which we did ... 4 weeks in the studio, then took it to our home set up and kind of went up our own arse in a way! (laughs all round). We were taking guitar sounds and putting them through weird filters in Ableton or whatever else and just getting a bit more adventurous than we did on the first album.

Was it difficult to know when the new album was finished?

Ben: It was really hard, terrible at certain points. It was like, when is this going to end? When is life going to resume? It’s still rewarding because you have control over what you are doing. You can take something right to the end and see if it is worth keeping or not, you have that time.

What about Amity, Ahren?

Ahren: I guess we just wanted to do something that was on a par with our peers. We made all the demos as good as we could possibly make them. Troy, our guitarist is into all of that stuff as well and we tried to polish it as much as possible before we went into the studio. It was like, OK, now we’ve got to better this and it all worked out well.

How important was the choice of studio?

Ahren: We wanted the guy who did out previous album but he wasn’t available so we had to get someone else. We didn’t really know who he was but Roadrunner said you can do it with this guy (Michael Baskette), he’s free. We didn’t really know who he was or what he’d done.

He’d worked with Incubus?

Ahren: Yeah. He hadn’t done much stuff like us and when it came to mixing, he kind of blew it. It was all recorded on an analogue desk, which kind of got lost in what we wanted. It was all too warm so we got another guy to mix it. But combined, both of them created a pretty good sound.

Ben, Expatriate recorded in Berlin where some classic rock albums were produced. Can a town ever influence a recording?

Ben: It’s obviously steeped in a lineage of great artists who have gone there and made great records but it is also full of really crap bands and shit art! There are so many people living there and it is cheap. I mean you could fart and have an exhibition! It’s inspiring there but it’s like, everyone is doing this. We actually made half of the record in Wales. We had intended to make the whole record there but the truth is that we didn’t come out with something that we wanted. We thought it wasn’t good enough. We’re quite skilled at bedroom studios and we have a bit of gear, so we took it all back to Berlin and put the cream on top of the cake kind of thing.

And where did Redcoats record?

Neil: We recorded in Byron Bay at 301.

Ben: What’s that like?

Neil: It’s great, very comfortable… relaxing. You can live on site which is great. We were there for three and a half weeks. You had been all together somewhere with the writing too? Neil: Yeah we had been writing it over the last year at a house near Daylesford (Victoria). There’s a house on a bunch of land and there is no one around. There’s a deaf farmer in a dairy just over the hill and that’s it. We’d set up in the kitchen and do most of it there. Did a week of pre-production at Bakehouse in Melbourne and then went up to Byron and did it all mostly live. The producer Redcoats used, David Schiffman has worked with Nine Inch Nails. How did you find his style of production? Neil: Great. He is all about getting the most sincere sound throughout the whole record. It just sounds so much like us ... really quite straight up. The sound of the guitar amps, it’s just there. It’s not really effected or anything. Our EP was more ‘produced’ in a sense with effects on vocals and snare drum, reverbs and swirling shit. This is a lot more dry but the sounds are really honest.


With Redcoats and also Expatriate. there’s an element of retro in your music. I can hear 80s, Simple Minds-era music in Expatriate and the ghosts of 70s rock in Redcoats. Is there ever a discussion about how far you go with the homage to old school sounds? Is there a line you have to draw in the sand? Ben: We don’t have a discussion about it. I guess it’s just the way things evolve when the writing process

takes place and also the choice of sounds and instruments. Yeah, we love that era of music but also a lot of other genres too. I guess because I write the music and I gravitate to that way of music, it’s how I want to say it. Luckily we are pretty much all on the same page so with Damien’s keyboard sounds for instance, there’s never any of that, ‘no you can’t do that’ type of thing.

Was it the same for Redcoats?

Neil: Yeah, it’s never really intentional. It’s just what we have grown up listening to and letting in. It’s a combination of all those influences, a subliminal thing.

Both Redcoats and Amity’s bass mixes are interesting on your albums, it’s not overpowering, it’s mixed back. Was there much discussion about where bass would sit in the mix?

Ahren: Yeah it just makes it sound heavier I feel. Based on all metal-core records, it’s pretty hard to find. It takes away from the entirety a bit and makes it a bit too wide, where as you want it hard hitting. In certain parts it’s there fairly prominent though.

And that’s similar with your band Neil?

Neil: Yeah it moves around more on this record than other stuff we’ve done, where it comes in and out and moves around a bit. It accentuates different parts and pulls back in other parts to sit with drums or when the guitars go up with the vocals but there are moments where it’s really in there.

With the mixing process, there’s a lot of good work which is often resigned to the background. Is that a bummer sometimes for a musician?

Ahren: A little bit. It’s like, why would I waste so much time making this perfect when you can barely hear it. You can just turn up the kick drum and it will make the sound like it is perfectly in time anyway. Ben: It’s interesting when you hand a piece of work over to a mixer and then they hand it back. That exchange takes place and sometimes you think, why did you do that? Ahren: Everything louder than everything else and you can’t hear anything! Ben: Something that can be so obvious to you, it’s striking that it’s not to someone else but that’s the exchange that happens and you might compromise. Sometimes they’ll come back with something amazing. Ahren: And other times it can be like, how can you not see that? (laughs)

Neil: Yeah they play really well together and it is something I have done. I see no reason to change. It sounds great


Neil: Not a lot. I use a couple of fuzz pedals. In the studio I just use what I do live but obviously with more time to pull up sounds between takes. It’s pretty straight forward. A lot of it is just overdriven amp tones. For the heavier sounds, I’ll just put a fuzz pedal in. Not really a lot of trickery on the album really. There’s a few really nice Leslie tracks which is great to just slip under stuff. Just a lot of hot valves and dying fuzz pedals.

Ben, is the gear you used in the studio pretty much what you use on stage?

Ben: Pretty much but we borrowed some gear

Ben: Definitely. To be honest we really had a lot of toing and froing on this record. There were like 4 or 5 mixes of songs going on.

Because there is such a gap between albums, was it difficult to know which way to go musically this time?

Ben: Yeah I do. I have a solo thing that is happening at the moment called Lakes of Light, it’s a lot more pop ... very much a work in progress. It’s not pop in a Top 40 way but colourful, positive, pop music.

What about you Neil?

Neil: I do some acoustic shows but it’s not really a ‘thing’. It’s just a bunch of songs which aren’t rock songs. If someone asks me to play after a gig at dinner for fifty bucks, I’ll be there!

Let’s talk about the gear you guys play.

Neil: My main stage rig is a Fender Jazzmaster. I used to play a Jaguar, since High school ... just that guitar shape, it became my guitar. I stepped up to a Jazzmaster a year or so ago. I use an Orange amp, a Retro 50 head which is beautiful.

A lot of guitarists are doing that now, playing Fenders through Orange amps.

Ben: I did last night and it sounded really good.

Neil: Yeah, we don’t use any samples or clicks or anything live. We have done in rehearsal leading up to the album ... a click just for the first half of a song or even just listening to it before the intro so you can shift a bit.

Ben: I definitely agree with that. Particularly for us because we made that first EP in-house. Damian had a studio in Sydney where we rehearsed, wrote and recorded on a 001 Pro Tools thing. We took our time and

Ahren, I read that you have an electro side project?

Do you guys have side projects?

Ahren: Just to make it perfectly in time. Even when our keyboard player was in the band we still had exactly the same backing track with all the keys because he couldn’t play it in the time. God knows how he lasted so long.

Ahren: It’s huge! You’ve got to write three times as many songs. It’s hard.

Ben: It was and we had so many songs. The thing is, when we write together in a room, it is very different to when I bring songs to the band. We end up writing really cool, spacey dub music. It’s another side of the band which happens when we get in a room, we’re not thinking, just playing. We had it set up so that we could record everything and multi track demos. So we had a huge amount of material and then through a process of elimination, we got it down. Yeah it was quite nerve-racking. We put that first record out in 2007, then put it out in Europe in 2009 and toured it, so it was nerve-racking to go back in and do something new. We were really gagging for it obviously because it had been so long in between.

Ahren: It was with our ex-keyboard player, who we are not on good terms with at all. That’s the reason. Otherwise I may have been into but I’d much rather just focus on one band.

Ben: Same with us… just to fill it out.

How much of a culture shock is it going from your first recording experience, an EP compared to your first album?

But you’d all have final say anyway wouldn’t you?

Ben: What happened to it?

Ahren: Ryan our drummer will have in-ears with a click and the track playing.

And Redcoats are much more straight forward than that?


Ahren: Oh no, not anymore. I did for a bit. It was a pop thing which was pretty funny. I always used to muck around in Garageband and stuff.

Is there an element of triggering with Amity on stage?

from friends over there. My main instrument is a late seventies Tele. It’s just a beautiful sounding thing. I like a really clean tone that has body to it and the Tele seems to give it to me without being muddy or scratchy in the top end, through a Vox AC30 or Fender Bassman. I’ll drive it through a Tube Screamer or something like that but mainly I use Boss pedals. I haven’t gone down that path of buying obscure gear. Neil: It’s a can of worms!

And you like to keep the guitars clean because of the keyboards, Ben?

Ben: Damian who plays the keys but also guitar… he tends to play all the colourful, weirder stuff and he has quite an arsenal of pedals which he shares around with people. My role is just to keep it solid and keep the bed there, which sounds simple but it is hard to get it just right. The clean full bodied thing with a bit of break up is … I’m still on that journey!

Ahren, what’s your rig?

Ahren: Just a MusicMan. I used a five string in the studio. I played a bunch of guitar as well. I used Troy’s Maton and a couple of Les Pauls he had there. I play my bass through an Ampeg classic and an 8x10 Ampeg cab with a SansAmp.

built it up, mixed it ourselves and luckily our record label let us put it out. Then when it came to making the album, we went into studio world and that was a bit of a shock… actually being in a room which is built for making records.

Neil, this is probably fresher for you because you’ve just finished the album?

Neil: Yeah our album isn’t even out yet. It’s just a lot bigger project with a lot more people and songs involved. Which is great, we loved doing it. Ben: See I suck at doing vocals in a studio. I have to work twice as hard in a proper studio as opposed to being in a bedroom. I guess instead of putting money into heaps of pedals, I have set myself up with a decent home recording set up. I tend to do my own vocals in a walk in wardrobe, which I have made into a vocal booth. I am far more relaxed and get far better results that way.

Because there is so much production in your albums, how difficult will it be playing these tracks live?

Ahren: Well it is easy with the backing track! Honestly, with the backing track, all of the keys we don’t have to worry about. There is nothing that strange on the record that we can’t pull off live. It’s just guitar, bass, drums and singing. As long as we don’t get too drunk, we keep in key. Ben: Definitely very hard for us as a result of doing all of that stuff we did in Berlin and all the samples, layers of things. We run Ableton live, our drummer plays off a click to that. There’s not a lot of backing track stuff but there’s enough. We have pulled stuff out so it doesn’t sound too weird but he’s also triggering a few things to keep that live element ... we just wanted to replicate it live. Luckily our drummer survived death by click! He got through that whole stage of rejecting the click and thanks to him we can put on a show.

What about Redcoats getting the album down live, I guess it’s easier for you guys?

Neil: It’s not really an issue because we kind of worked backwards in that respect, taking what we do live and trying to capture it in the studio, with the exception of instead of kicking in a new pedal, you just set up a new tone. Consciously as well, we didn’t really want to go out and put all this shit on a track that makes the song and think, yeah that’s great, but then hang on, how are we going to do that live. Ben: It’s weird, I went to see a band a couple of weeks ago, and I swear it just sounded like a CD and I think he was even miming. It was their single, it’s on Triple J and I swear he was miming this single. It was an indie electronic band who will remain nameless but it was weird. It’s like, why? You can all play! Maybe it’s an insecurity thing maybe?

You’re all musicians and you love to play music but because you’re in professional bands you have to worry about other stuff like interviews ... and cover art. I wonder how much discussion there is about album art. I know Amity Affliction have copped a bit of flack about your cover (picturing a guy hanging himself). How much discussion was there Ahren about that cover? Ahren: It was only really between me and Joel. We sort out all the merch and stuff and he’s an artist and came up with that. I thought, yep good idea and that was it.

And Expatriate?

Ben: Damian our keyboardist came up with the art for this one. We take a lot of pride and put a lot of effort into the art. We went through so many different ideas to get this one where we got it to. It was a shit fight actually. I found all these photos of amazing natural formations and I had this whole thing in my head how it all made sense with the music. I was just kind of wafty crap! Then I’d engaged these people with the photos and they totally dicked me around for two months with licences and fees and had to scrap it right on deadline. Art is super important …videos.

Redcoats have completed the cover art?

Neil: Yes we have reached a conclusion. We work with artists who we know so they understand our vibe and we understand how they work. it can be hard though because obviously it is a representation of what is inside the record. Film clips are a shit fight. It’s a brain strain because it is such a big thing. So many people are going to see it on the internet. Ahren: So many people talk shit about it. That’s what YouTube is for… talking shit!

What are you most proud of with the album? Neil: That’s a hard one. Probably the structuring of the songs and how we have moved along as writers. We are really proud of that. The songs we had for this record compared to the songs we had for the EP, it’s a real progression for us as writers… and as players too because we have been playing for a lot longer now.

What about you Ben?

Ben: Probably just getting it done, to put it simply. Having five years between records it was a relief to get it finished. Once something is completed you can then focus on something else, the next batch of writing .. which we already are. It’s not a very interesting answer but it’s the most honest answer I can give… just finishing it.


Ahren: Probably just what people might take away from it, the message through the lyrics. We get messages from kids saying we saved their life all the time, it is amazing.


On paper, they might seem an unlikely pairing but as labelmates, indie rock icon and You Am I frontman Tim Rogers and country artist Catherine Britt, are currently touring together showcasing their new albums. Michael Smith sat in as they chatted about their guitars and the sounds that are inspiring them right now.

guitar lessons off Bill Chambers at the moment, once a week – but I cannot discipline myself to get better. When I first picked up the guitar, I swear, I never got lessons or anything and I probably should have… I probably should have got singing lessons and all that sort of stuff but I didn’t – hated being told what to do – and I was just so obsessed



hey might have been rocking hard late last year when they toured with Cold Chisel on that band’s biggest and most successful Australian tour ever, but right now their sometimes mercurial and always deftly witty singer, songwriter and guitarist, frontman Tim Rogers seems to be feeling You Am I are slipping into what he’s described as “a middle-aged men’s club”. So he’s taking the opportunity once again to step out and explore other musical and artistic avenues.

Accidental Tourists: Tim Rogers And Cathrine Britt friend Catherine Britt, featured on her new ABC Country album, Always Never Enough, it seemed obvious the pair should hit the road together to showcase their respective albums. Recorded at Cedar Creek Studios in Austin, Texas, with a crack team of American country musicians and coproduced with her Australian mentor and guitar teacher Bill Chambers, Always Never Enough is Britt’s fifth album. Born in Newcastle, NSW, she released her debut EP, In The Pines, produced by Chambers, in 1999, when she was still only 14, and spent six years living and working in Nashville.

Catherine: So Tim, what sort of guitar are you playing on this tour?

But that first guitar wasn’t anything special. It was just… a piece of shit and then I got a Maton that was a piece of shit [laughs]. I like Matons, don’t get me wrong, the right kind of Matons, but my favourite guitar I’ve ever had is the

Gibson. And I’ve had heaps of different guitars but there’s something really cool about that one. I’ve got a really good Emmylou Gibson – I’ve two but one’s really good – they’re like a mini version of the J200. Gibson in America sponsor me over there.

Tim: Well, at the moment I’m playing a Godin [5th Avenue], a Canadian brand. It’s got no tone at all and it’s just all about rhythm, and finding the sweet spots in the chords is almost a challenge. And that’s why I play. You know, that black guitar I play. I think I just got sick of hearing white guys with dreadlocks in bars singing April Sun In Cuba with these really bright guitars. I wanted to get a guitar sound like – who was the original guitarist with Muddy Waters? [ Jimmy Rogers]. No Jimmy Reed, I wanted to get a sound like Jimmy Reed. And Catherine, the hundredth reason I love you is because you turn up to a show, you plug in, you get your voice to some kind of level, and you set and forget. You’re the kind of person and the kind of singer who could play someone’s bar mitzvah. So tell us about your guitar, that fabulous blonde Gibson J200.


I used to play till my fingers bled, I would not put the guitar down, and all I did was watch Bill play at gigs. I’d go out to gigs and watch where his fingers would be on the guitar or how he would play the rhythm or how the singing would go and I’d sit there in the front row and watch. And that’s how I learnt to play guitar.

Tim: As much as I absolutely adore Angus’ playing [in AC/DC], I look straight at Malcolm. Regards rhythm players, I guess through time Keith [Richard, The Rolling Stones] is the big one, Malcolm, Lazy Lester and Slim Harpo and Jimmy Reed… Just in this particular year of just listening to a lot of R&B and soul, Slim Harpo has been really impressing me, because he’s mostly unaccompanied and his rhythm playing is unique. In other years it’s been the guitar player in [‘80s US punk band] Minor Threat [Lyle Preslar], because I used to listen a lot


The early morning call to sit on the couch in The Drum Media office in Sydney for a chat together caught Rogers feeling just a little seedy from a 4am finish at a gig in Newcastle just six hours earlier, but Britt, bright-eyed and bushy-tailed managed to discover quite a bit about her collaborator.

Tim: I’m loving your rhythm at the moment, loving your guitar playing. When we play in the band together, you’re really strong.

Catherine: I just want to be a rhythm guitar player in Tim Rogers’ band – that’s what I think. There’s nothing better than a strong rhythm guitar player, and it’s really hard actually to be a really good rhythm guitar player. I reckon it’s harder than being a good guitar player.


There have been excursions into theatre, scoring the Marion Potts production of Lorca’s Blood Wedding and performing Sydney’s Griffin Theatre production of The Story Of Mary MacLane By Herself, but right now it’s his second solo album, Rogers Sings Rogerstein, recorded at Yikesville Studios in Melbourne with producer Shane O’Mara, that’s got him back out on the road. Signed to new ABC Music imprint FOUR | FOUR, and having cowritten a song, Troubled Man, with Australian country artist and good

Catherine: It’s from an ex-lover. It’s great – my good memory from that relationship is getting the guitar. I left this person while they were on tour because it wasn’t working out and I took the guitar, and it’s been my favourite guitar ever since. I don’t know, there’s something – once again it’s not the best guitar in the world and I’m definitely not the best guitar player in the world but I just think that no one plays like me [chuckles].

the moment. I play a cleaner sound; I just try and play dirtier, and be dirtier.

Catherine: I’ve never played rhythm guitar on a record. I’ve always had a hired gun or whatever, somebody that plays a lot better than me, but on this new album, being co-producer, my first thing was I’m playing rhythm guitar on this

fucking record. I don’t care if I’m not the best guitar player in the world, I wrote these songs with me and my guitar, so if you want to make a Catherine Britt record, it’s me and my guitar – that’s the first step. And, you know, it’s not perfect,

but it’s me, and I think that’s the most important thing about guitar playing – everybody’s got their totally unique thing. Everybody plays rhythm differently. Some of my favourite guitar playing is not the best guitar playing – it’s unique. Emmylou Harris, for instance, is a great rhythm guitar player – she’s really good [chuckles], just as far as really steady rhythm guitar playing goes, you know? Tim: So what was your first guitar? Catherine: My parents bought me a really crappy nylon-string guitar, but I was obsessed. I get

Tim: I got a nylonstring as well. Mum bought me a guitar when I was 13 for ‘doin’ ma chores’. Gut strings, you’ve got to work with them. They’re not easy. Willie Nelson. He still plays gut string, yeah? His rhythm guitar playing is incredible. Oft and mistakenly overlooked instrument. I think I actually devolved into playing electric. I don’t go through when I’m playing with this band at

of hardcore punk. This year’s more… I don’t know why, it’s probably just tones for me. I’m trying to slow my playing to sound like Jimmy Reed. Catherine: All my favourite artists and stuff learnt from old black blues players, so I think a lot of my influences are very Southern blues playing. Not that I can play anything like that, but I want to, one day. I’ve got so much to learn when it comes to guitar playing. I just literally made it up and just looked at where people’s fingers were on a guitar and went, “I guess that’s a chord,” and I don’t really know what I’m doing. I just play from my heart. That’s all.

ZED_16FX_18_CX_210x297_.indd 1

29/07/2012 9:19:07 AM



Oh Mercy

Muso’s Greg Phillips gets an armchair view of Oh Mercy rehearsing their brand new album Deep Heat ahead of an extensive national tour which began this week.


ord to the wise! If you’re looking to find the same Great Barrier Grief-style Alexander Gow, writer, performer of sensitive, personal, breezy pop songs on the band’s brand new record Deep Heat, forget it. Step away from the car and put your hands in the air… Alexander’s gone dancin’! Yes indeed, with Oh Mercy’s new album, recorded in Portland, Oregon, under the production command of Burke Reid, the band has gone retro, tapping into ‘70s blaxsploitation grooves and glam rock pizzaz. Rehearsals are in early stages, with the band merely trying to work out how to interpret the newly recorded tunes for their upcoming shows. Gow played all of the keyboard parts in the studio and today at an inner city Melbourne rehearsal room, is discussing the licks with Annabel Grigg, who’ll be playing those parts on tour. The Nord keyboard is misbehaving and they can’t quite nail the flute solo on the title track Deep Heat. “We’re just trying to get the Nord to do what the piano and lots of other keyboards did in the studio after a hell of a lot of manipulation,” explains the frontman. When Gow and producer Reid were exploring pedal sounds and distorting, fuzzing and phasing every sound that had a heartbeat, they weren’t


necessarily thinking about the implications of playing these sounds live. “Some people think it’s a really important thing to only record things they are going to be able to reproduce live,” says Gow. “Albums I love, by people like Scott Walker, they weren’t thinking about how they were going to play an album in a pub when they were writing.” What Gow did know was that the album needed to be fun to play live, it needed to be groove based, with stripped back instrumentation, focussing on drums, bass and vocals… then coloured by whatever weird and wonderful sounds they could conjure. “If we’re going to go to a pub in Wollongong and play to people after being in a car for ten hours, you’re going to want to hope that the songs are fun to play. Touring definitely has shaped the way I write. I think all of these songs will hold up, even on the brink of exhaustion and all of that kind of stuff. This album is one that we can all really enjoy playing. It was kind of exhausting emotionally with the last album because it was so honest and biographical. It’s hard to get up and sing every night, all these really earnest songs, especially when you’ve got shitty foldback and been in the van for ten hours. I think this one is going to be a bit of party.”

Deep Heat is a completely different beast to Oh Mercy’s previous recordings and that will be reflected in the shows too. Significantly, Gow will not play guitar on this tour. “There’s very little guitar on the album,” he stresses. “So we only needed one guitar and I’ve gladly popped that down. I enjoy playing the guitar and I have my own naive style, but I don’t think it’s a big loss! It’s good because I have been able to lend Eliza and Annabel all of my guitar pedals to mess with their sounds. Eliza has never owned a guitar pedal prior to four weeks ago. You might have noticed here today, we’re really working on Eliza and Annabel’s sounds with the stomp boxes. It’s new territory for them and new territory for me to try to manipulate keyboard sounds and purposely we are reamping the keyboards as opposed to putting it through the PA. Eliza has her delays and octaves and phasers and all of that kind of stuff happening. It’s a completely different soundscape to past records.” The other consequence of Gow being guitarless on stage is that he now has to give more consideration to his stagecraft. “It’s weird,” he said while contemplating the issue. “I’m hoping I’ll just figure it out, once I throw myself into the deep end. But yeah, I’m definitely thinking

about that. What do you do with your hands? I don’t know! I don’t want to be the guy with the tambourine either.” In addition to introducing a cache of new pedals to the band’s live arsenal, the other main change for Oh Mercy is the inclusion of a software package to help produce some of the album sounds. “We’re using a program called Mainstage to reproduce some of the weird percussion stuff we recorded. We have spent the last four rehearsals trying to get our heads around that program. We’ve got the laptop and the interface underneath it and it takes four stereo tracks - eight in total - out the back of the interface straight into the PA. We’ve never used backing tracks before. I felt it was really important to have the percussion stuff in the live shows because it adds to that sense of joy and groove, the things that make people want to move. Otherwise we’d have to bring another four people on the road with us. I draw the line at having the guitar or anything like that through a backing track. I don’t mind when other people do it, I just wouldn’t personally. So yeah, trying to get our heads around Mainstage and there are lots of sax solos and flute solos and we’ve been trying to work out how to reproduce those.” All of the members in Oh Mercy


• Line 6 Echo Park • Ibanez Phaser

• Boss CE-2 Chorus • Boss ODB-3

Bass Overdrive

• Electro Harmonix

Octave Multiplexer

• Boss TU-2 Tuner


Delay Modeler

• T-Rex Squeezer • Ibanez TS9

Tube Screamer

• Ibanez FC10 Fat

Cat Distortion

• Seymour Duncan

Pickup Booster

• Ross Phaser

• Boss CE-2 Chorus • Morley Wah

• Boss TU-2 Tuner • Annabel (Keys)

• Line 6 Echo Park

• Electro Harmonix


• Small Stone

Phase Shifter

• Boss TR-2 Tremolo • Boss BD-2

Blues Driver

seem to be relishing the opportunity to step outside of their comfort zones for this tour. “Eliza who has never owned a pedal has gone to using about eight on her board now and it’s the same type of thing with Annabel,” says Gow. “It’s not a subtle difference either. Annabel previously only used the piano sound straight into a di and into the PA, which gives you a very crisp sound. This time we are going completely opposite in that we are running it through an amplifier and stomp boxes and stuff like that.” While Deep Heat was always going to have an element of experimentation, Gow and Reid had some specific ideas from the outset as to how this album should sound, even down to the drum mix. “With every song, we packed down the mics after we had recorded and moved the drums to a different part of the house and re-mic’d them again, so as not to have the same sound twice,” he explains. “There are certain things I dislike about the drums and we avoided those things. On the other side of the coin, Burke had a lot of fun making the drums sound they way he wanted. We were referencing a lot of that late-’70s glam stuff so the snare is more of a thud and it’s not a big aggressive stadium kind of rock and roll sound. It’s more of a tight, punchy, ‘70s disco-inspired sound. There are no cymbals on the record because I hate cymbals and so does Rohan, the band’s drummer. There’s a hi-hat and that’s a wonderful instrument but I can’t stand hearing rides and crashes and stuff.” Hearing the band run through the title track Deep Heat, it’s obvious Oh Mercy’s shows are going to be a joyous groovefest. While most of the tracks on the album will get a run, many of the older tunes will also get a new sonic paint job. “Step one is just employing the attitude of the album to the older songs, which is no rhythm guitar or piano playing, which only leaves the groove makers, the bass and the drums. We’ll dumb it right down to bass and drums, then we’ll see what we can set up with bass and keyboards through the guitar pedals and see how interesting we can make it,” Gow says of the plan for Oh Mercy live. Cliff, fill-in guitarist for Simon Okely, who is on a six month sabbatical, is giving the new tracks a more voluminous shape in rehearsals too. In the studio Gow played all of the guitars but wants a different sonic result for the tour. “Guitar tones are probably a different thing altogether from the recording to live. I am all for di-ing guitars in the studio and making it the thinnest, weirdest sound you can get. We used the Roland Jazz Chorus a lot on the record but sometimes they don’t cut it live so you have to reinterpret your sounds a bit for the stage.” The Deep Heat national tour kicked off this week.



he facility has been the scene of so many famous Australian recordings and has also guested Kanye West, The Mars Volta, The Prodigy, Lady Gaga and Jay-Z. This very day, Jebediah’s Kev Mitchell is in the room next door doing some work on a new Bob Evans album. I ran into him coming out of the bathroom.


British India

The British India guys are recording a track this afternoon with the working title of We Don’t Need Anyone, it’s a hard drivin’, rockin’ piece… the ‘shouty’ track as singer Declan Melia later describes it. At the moment Melia is laying down a rhythm guitar part. He’s asked by engineer Callum to rotate on his heels in an attempt to find a sweet spot where there’s no guitar buzz coming from his Strat. Anyone not involved directly in a take seems to be on a laptop checking emails and social media sites. Will, the bass player alerts the band to a handy fact that a member of some obscure band had been jailed for stealing golf balls from a forest. The band is maybe halfway through recording album number four. It’s difficult to tell exactly where they are at as a record company is now involved and for the first time, they’re not completely in control of the decision making process. A release seems likely in early 2013. “Since we signed to Liberation things are different,” explains Declan. “It used to be… you go into the studio on this date, you’ll be in there three weeks, and then you’ll have an album. Those days are pretty much gone in as much as that we write for a bit, record for a bit, until we eventually have an album. It’s difficult to know where you are at because things have a tendency to be half done, never quite finished off. When they approached us they were really adamant that they be hands on. They were really worried, and probably rightly so, that we would be really closed off. I think to outsiders, that’s the way we seem. They’ve definitely dictated the kind of songs they would prefer. There are lots of songs and the ones they have chosen will probably be the ones which will be on the record. They’ll have the ultimate choice. We’re not really up for debating them on that. We think it’s a case of they know best. They’ll decide what the people hear, but I mean, it doesn’t effect the writing of the songs. All the songs get written and all the songs get recorded but then it’s them who get to select the final tracks.” Despite becoming more adventurous in the studio and feeling more comfortable with the recording process, Melia still views British India as a punk band which doesn’t think too much about direction or growth. “We’re not that interested in growing that much,” the frontman states of the album they are currently working on. “British India is self aware enough to know that one of our great qualities is naivity. We wouldn’t want to give that up by growing. We’ll never be a band with particular finesse, nor do we want to be.” While that may be the conscious intention, unconsciously there is some serious musical maturity going on deep inside Melbourne’s Sing Sing studios. Glenn Goldsmith, who has been manager and the band’s producer for the last six years, agrees. “I just think the guys have developed as songwriters every year. It has just progressed and I think over time, you get a little more adventurous, not tied to what British India is supposed to be but it still comes down to good songs.” With Melia’s rhythm part done on today’s track, guitarist Nic Wilson is now using an original Roland Space Echo to lay down the lead riff to the song. Producer Glenn Goldsmith suggests he needs to bend one note just a little more to achieve the desired result. The demo had been made using a digital delay and Glenn urges Wilson to revert to the demo pedal. However majority rules and they go for the authenticity of the Roland Space Echo unit. The democracy shown is impressive. “We’re completely

Melbourne’s Sing Sing recording studios resides down a narrow street behind the glitz of a row of Chapel Street’s fashion retail outlets. The studio itself is such a rabbit warren, featuring oddly shaped corridors, nooks, cubicles, large rooms and small. British India are in the Neve Room.

democratic in that if it ever came down a decision and there was deadlock, everyone would get a vote each but it is more a case of who is most adamant. It’s kind of who cares the most,” says Melia. The Sing Sing studio vibe is contributing to the feel-good nature of the recording too as Melias attests. “With Thieves and Guillotines (the band’s first two albums), we were in Harry [Vanda]’s studio and it was kind of like, you couldn’t have your feet on the table. Here, it is like, is anyone sober enough to do a bass take? It’s been a lot of fun.” The production on the band’s last album Avalanche was more pronounced than on the first two and that fatter, layered sound ethos seems to have carried

on with the new album. “It’s the sound we are preferring. The stuff we are listening to at the moment is mostly like that,” admits Melia. “The reason that happened on Avalanche as well was that it was the first time we felt comfortable in the studio, finding our feet whereas previously we had no idea what we were doing. Now we have found all these new tricks we can exploit and as long as we find that exciting, we’ll be into layering tracks and stuff.” It seems to be the tracks most un-British India which the guys are really enjoying working on. Melia is particularly keen on two. “There’s one called Crystals which sonically is pretty interesting. It’s one of the songs which is really layered. I wouldn’t consider it a rock song. It’s really drum heavy.

It’s a weird mix, lots of acoustics and strings… keyboard strings, some sort of organ anyway. Another one is called Major Label Trash which is an interesting song. Production wise, we listened to a lot of Notorious BIG, hip hop and pop music, just that kind of slammed sound but also... I hate to use this word because people will just run with it, but it’s kind of funky in a way or it’s got a good groove and this weird kinda computer game riff. It’s a weird beast and I think it will surprise people. Bass player Will Drummond is also happy to leave the band’s comfort zone. “Crystals, I really enjoy,” he says. “It’s five minutes or something and unlike anything we’ve ever done before. It’s piano based and has really heavy drums but it’s like a ballad.

I hardly did anything on that. I played bass but it is just there for texture more than melody lines.” Matt O’Gorman is delighted with the drum sounds the engineers have captured on the album too. “It’s probably the best drum sound we’ve ever had,” he enthuses. “Aaron and Callum have done a great job capturing that really roomy sound. They use about four room mics, two on the hats, two on the snare, one on each tom. I think also what is happening is that the more I record, I am getting more comfortable in the studio and feeling more confident with playing. Especially playing to click tracks… when I first started playing, it was something I couldn’t get my head around. I was so nervous and would play something straight just to keep everyone happy and not take too much time.” O’Gorman is playing a Yamaha kit in the studio, not his own but he’s used to that, even on the road the band don’t carry their own backline, they use the support band’s gear. “I haven’t used my own drum kit in about two and a half years,” he laughs. For Melia, gear is not a big consideration. “We never feel a particular affinity for gear,” he said.

We’ve never been a big gear band. As far as guitar sounds go with this, there is still a lot to do. I’m just using my Fender, straight into the amp, no pedals, find a good tone and go. My guitar in all our recordings is never at the forefront, it’s really just wash, all gravy my guitar sound. I’ve never been a proficient player but it was a case of Nick being so lead orientated, we needed something to fill to complete the three corners of the square. My guitar could be anything, it could be keyboard pads.” British India hope to release their yet to be titled album in early 2013. www.britishindia.



Saskwatch Prior to unleashing their debut album Leave it All Behind on us, Melbourne based nine-piece soul outfit Saskwatch took their Stax-laden licks to Edinburgh, to see if they could get those renown funky Scots to bust out a jig or two. The band were kind enough to document their trip in a tour diary for us.

First Show Late ‘N’ Live - Edinburgh Fringe Festival Rolling into Edinburgh Airport after 36 hours of traveling, no sleep, and more than a couple of beverages; we’re all in high spirits. It’s been a huge year for Saskwatch, and everyone can’t wait to hit up sunny (wait...) Edinburgh. Piling nine people (along with appropriate luggage, instruments and our manager Bernadette) into three taxis, we head off to find our accommodation, only to end up at the wrong address, on the wrong side of town, due to various accent misinterpretations. Ah well, mood is still high when we arrive at our luxurious apartment in Lothian Rd, Leith. With everyone’s internal body clock already out of sync, we decide to hit the town. Visits to more than a few of Edinburgh’s late night joints result in the inevitable: Sam Boon serenading the natives with his spellbinding version of Gerry Rafferty’s Baker Street on his Alto Saxophone well after sunrise. Bed. Show Day. For our first week in Edinburgh, we’re playing the historic Late ‘N’ Live slot night after night. Late ‘N’ Live, now in


it’s 26th year at the Edinburgh Festival is the most notorious of all late night comedy at the Fringe. Involving two hours of comedy from 1-3am (a mix of world famed and up-and-coming comedians), followed by two hours straight of music (us) from 3-5am. It has been a proving ground for comedians worldwide since inception, and the crowd is a notoriously brutal one, devouring comedians whole, and completely derailing even the most experienced ones. But it has also been a measuring stick for bands as well, most notably in Australia for our own Cat Empire (who slayed Late ‘N’ Live for three successive years in the early 2000’s). So understandably we’re all feeling a little nervous watching some comedy, and preparing for the show. It’s also somewhat of a new experience (despite the musician’s late night stereotype) to be playing a show at 3am. Apart from playing Melbourne’s Pony 2am slot once, I’ve never really encountered any show as late as this. After seeing an unnamed comedian slaughtered mid-set at the hands of “Eddie” in the front row, who after stealing the microphone from the comedian and rallying the crowd to chant “Eddie, Eddie” - he saluted his victory and the comedy was over; we were on. Playing a surprisingly supportive audience, we went over quite well. Highlights including George from Cheers being in the audience, Nic emptying a prop fire extinguisher on band members, a rider of Fosters and actually making it through the painstaking two-hour set. One down, Six to go...

Album Release Day Friday August 17. Album release day. After a hectic week of playing at Late ‘N’ Live, sleeping patterns are fractured at best, but luckily the shows have been building night to night, gradually gaining momentum despite the insanely late hour. The festival is in full swing, with literally thousands of shows, be it comedy, theatre or music, on around the clock - and adding to it, it’s our album release day...Vibe is up. Recorded live to tape at Woodstock Studios in Melbourne with good friend Cam Trewin earlier in 2012, our first record Leave It All Behind’has been nearly three years in the making; beginning from loose busking sessions outside of Melbourne’s iconic Flinders St Station gradually forging our own material over countless shows in the last few years. So naturally we’re excited to be finally putting it out!

To celebrate, we head to the park for a party in the rare Edinburgh sun, put on by our new friend Simon. Downing a few Red Stripes in the sunshine and listening an eclectic mix of Tropicalia, Salsa and Cumbia from an amazing customized golf cart/DJ booth, all is good in the world.

Back to work Inspired by our recent shows with Hypnotic Brass Ensemble and in an attempt to woo some would-be punters down to the shows, we’ve go back to our old ways,

have a quick line check earlier in the day, and as soon as the comedy concludes, we’re thrust into our first number. Production-wise it isn’t ideal, but aided by some great venue staff, it’s a great attitude and camaraderie that happens to make the best show possible. The show that night is solid, the long two hour set is a really good chance to road test new material as well as thrash out a couple of old favourites - finding out what is good and what isn’t. The night (morning) ending in the now ritual wait for Tesco’s to open at 6am for an early breakfast and bedtime.

Back at The Spiegeltent Halfway through our little UK jaunt, we switch our attention to

Spiegeltents, literally “Mirror Tent” is a spectacularly glamourous and decorative venue, steeped in a long tradition of cabaret and music. For me, it is simply one of my favourite venues to play in the world. So understandably, everyone is in high spirits about returning to the tent. As we play the first couple of shows (this time in the more body-clock friendly time of 5pm) fortunately the crowds continue to grow day to day. With 10 minute changeovers, shuffling the acts in and out, the camaraderie of the staff and performers and as well as the other Australian acts over here as well (Flap, Mikelangelo), the atmosphere really is a supportive and positive experience.

at various club nights and other festival shows. Most days we have been doing two or three shows with the occasional rest day thrown in. We’ve played a few shows for the BBC compound set up at the festival, on top of the Spiegel shows, stripped back acoustic shows and busking. Probably the highlight for me though has been the opportunity to play a handful of shows at some of Edinburgh’s music clubs. I’ve always heard so much about the UK’s vibrant soul/funk club nights, but it was great to actually be involved, and in a couple of cases, play shows very similar to those we have been doing at various venues back home. One such night was the ‘Favela’ night at The Bongo Club where our new friend Francis brought us in for his night. Despite a false start where Tom (our bass player) broke a string to a crowd of 300, didn’t have a spare, and rushed off to get a replacement...we restarted 10 minutes later and it literally brought the house down. For me it was such a great event, as I couldn’t believe we’d come halfway across the world and could experience shows like that in a totally foreign place. Edinburgh, what a city.

End of the tour After a whirlwind three weeks and a grueling but rewarding 20+ shows in Edinburgh, it was time to move down to London for the final show of the tour. But not before struggling to climb Arthur’s Seat just

HIGHLIGHTS INCLUDING GEORGE FROM CHEERS BEING IN THE AUDIENCE, NIC EMPTYING A PROP FIRE EXTINGUISHER ON BAND MEMBERS, A RIDER OF FOSTERS AND ACTUALLY MAKING IT THROUGH THE PAINSTAKING 2-HOUR SET.” and busk on the street with the four horn players and drum-kit, playing stripped down instrumental numbers to passers by. It’s been really amazing the difference it makes, with people coming up and saying hello, buying a CD and then ultimately coming down to one (or most) shows. Late ‘N’ Live’s large comedy programme means that in preparation for each show that night we only

playing another week of shows, this time at The Famous Spiegeltent. Built in Belgium in 1920, the tent is one of a series made in the early 20th century and used as traveling venue for places that didn’t have major halls. The tent is actually the reason we are in Edinburgh in the first place. We played at the venue in Melbourne during their last season, and were invited over to the Fringe as a result. For those newcomers, The

Apart from a few technical glitches (reverb units that don’t work, broken pedals and trumpets), the shows start off virtually without a hitch and it’s hard not to feel comfortable playing night in, night out in such an amazing space.

Club Shows + More As the festival has gone on, we’ve received more and more offers for shows

on the outskirts of the city, and then going to see Paul and Dan Kelly play as a part of the festival. The intimate show in Queens Hall was really special, with incredible interpretations of Paul’s songs and Dan’s great guitar work - very inspiring to see half way across the world. The following Spiegeltent afterparty was terrific was well. But on to London via train. Our show was at Bedroom Bar in hipster central Shoreditch, East London. A really nice place, it was great to see the bar packed with friends and friends of friends over here coming down to see the show which was another highlight on a tour full of them. Huge thanks to everyone that helped us out in the UK: David and The Famous Spiegeltent, Late ‘N’ Live, Francis, Simon and everyone we forgot! We’ll be back next year for sure. Sweet times!







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the slide sound he had six months ago.”

Richard Clapton has never been your regular guitar gymnast but his tasteful tones and subtle use of effects has contributed to the quality of his legendary songs. Greg Phillips spoke to Clapton about his use of effects and the ideas behind his wonderful new album Harlequin Nights.


he carnivalesque title of Richard Clapton’s new album and the joyous melody of the opening track Sunny Side Up disguise the much darker and broader subject matter of the majority of the album… his recent, ‘difficult’ divorce! It’s been eight long years since Clapton’s last album Diamond Mine and the reasons for the delay are laid bare in the lyrics of the new record. “It was a fairly miserable divorce, so I just turned the album into a catharsis,” says Clapton. “That’s kind of what I like about the album because it is very real. I think it is

Richard Clapton - New Tunes & Tones good when a songwriter writes an album just for themselves. I wasn’t thinking if I was going to have a hit with it or how many copies I was going to sell.” Richard Clapton is one those rare artists who couldn’t make a dud album if he tried, and Harlequin Night is no exception; it’s a gem. Apart from displaying his usual top-shelf songwriting skills, the guitar tones are well thought out, refined and apt for each and every tune. However these were achieved not through a collection of hot vintage stomp boxes but 2012 style, using AmpliTube in Pro Tools. AmpliTube is a guitar amp and effects modelling software package produced by IK Multimedia out of Modena, Italy and Clapton and his guitar-totin’ offsider Danny Spencer used it extensively on the album.

Eric Wareheim and his comedy partner Tim Heidecker are best known for their Adult Swim show ‘Tim & Eric Awesome Show, Great Job!’ The show, with its bizarre musical interludes is unlike anything else on television and now comes to Australia live. Wareheim chats to Elyce Phillips.


lthough Eric Wareheim is renowned for his technological wizardry, creating bright and frenetic music videos, his musical beginnings were decidedly lo-fi. When asked what he listened to when he was growing up, Wareheim spins a story about his early listening experiences, informing us that they were purely of a live nature.

“AmpliTube has moved ahead in leaps and bounds during the course of this album and the quality of it is so good,” says Clapton. “Frankly, Danny and I did try guitars at Alberts studios a couple of times but unfortunately, I think the art of recording guitars has been lost

to an extent. I don’t want to sound overly critical of young engineers coming up but… for example, when we did The Great Escape, I know that Mark Opitz and Ian Moss got eleven Marshalls in before they were happy. The Marshalls were moved, not only all

over the studio but different rooms, different mics. In those days we used to take a long time getting those sounds. For Danny and I, AmpliTube... well it’s making us seasick there are so many presets and now we have a full library of our own edits. I’ll save a file like ‘Danny’s Skankytown’, which is great because in the old days if you wanted to come back to something, you’d have to go through the whole process of trying to get that sound you had two weeks before. I love this aspect of modern recording technology. You switch on Tools, and there’s everything exactly as you left it. You get AmpliTube up and there’s ‘Danny’s Skankytown’,

Pushed further about his use of effects over the years and what he might use in his shows this year, much like the album substance, Clapton is brutally honest. “I don’t use many effects,” he states. “I went through a phase a few years ago where I used a SPX500 and I got sick of it after a while. It was the late ‘80s and thought it was great because I had all of the presets. I got sick of that and went through a TC Chorus pedal and I am endorsed by Laney which gives you nice compression in everything anyway. So for a long time I was just using the TC Chorus with the Laney amp. Recently I started getting into using the Keeley compressor, they’re awesome compressors, really transparent. It gives you a little sparkle up the top and nice colouring but Danny is a real guitar player, whereas I am a songwriter guitar player. I’m sure Danny will be a lot more fastidious about his sounds than I will be. I’m trying to conduct a show and it’s hard for me, I don’t want to

These days, his musical tastes are a little more modern and his listening habits more technologically advanced.

“And I didn’t grow up with record players or tape players. I wasn’t exposed to any outside music. So it was pretty much just, like, hardcore African tribal stuff. Mainly just didgeridoos, drums. Home-made drums. Stuff like that.”

“For records, you know, I buy either vinyl or I download,” says Wareheim. “I love the artwork on vinyl and that’s sort of a lost thing… I have a pretty good collection. I moved a couple times and lost huge portions of it, but I kept all the records that have some sentimental value to them and the important ones.”

Apparently, it wasn’t until Wareheim went to Temple University and met Tim Heidecker, that his musical horizons were broadened. “It’s like I had an awakening when I left for college. I met Tim Heidecker. He started showing me all the greats… like Kenny Loggins, Santana. He really opened me up to a lot of classical rock.”

“I mean, as you can see from the videos, there’s almost zero band involvement.


“I think it’s a little bit like Stockholm Syndrome. If you’re kidnapped you essentially start to love the person that kidnapped you. And the thing with the didgeridoo, I was forced to play it, but then I started to love it, and I continue to love it to this day.

“I would say my favourite thing right now is the new Beach House record. I’m doing a song called Wishes that’s on that record, and I’m shooting that this month.” Eric has worked with bands such as MGMT, Depeche Mode and The Bird And The Bee, creating some spectacular and wildly original music videos.

The convenience of modern day digital recording technology has opened up a brand new world of possibilities for Clapton. The eleven tracks on Harlequin Nights were culled from twenty three. “If I wanted to, and there was demand for it, I could probably do a whole new album,” he says of his options. Longtime fans will be hoping Harlequin Nights is only the beginning of a new recording era for Richard Clapton.

Wareheim. “Actually, my parents have been teaching me the different ways to play didgeridoo. I’ve been playing since I was a young child, so I’m a master. So, it’s going to be great to come down to Australia. I think in Melbourne, we just added a second show, and that’s just going to be me playing the didgeridoo. Two and a half hours before we even start the show, so get ready for a really long show.

Tim & Eric’s Awesome Greatness “When I was a young boy, my parents… I grew up on a weird kind of… commune? I wouldn’t say it was a hippy commune, but it was more like a bizarre group of eccentric people, and they forced me to play as part of this big band. [The music] was mainly, like, tribal. Sort of African tribal stuff. That’s what my parents were doing,” recalls Wareheim.

get distracted trying to get the exact same sounds on the album but Danny is a lot more free on stage to do things and he has a pretty impressive pedal board. Some of his sounds that I really like are the pure ones, like [on album the tracks] Blowing Smoke Up At The Moon and Vapour Trails. It may not sound like it but we went to a hell of a lot of trouble to get those sounds. I know they are plain straight guitar sounds. What I have experienced working with INXS and Ian Moss… the sound is so critical for a guitar player.”

They pretty much come to me and they know my work, so they ask me to write something for them and I write something – whatever I feel about the music, and that’s what we do. I sort of pick

bands that allow me to do that. I don’t work with bands that have a big idea. Although, this Beach House one was co-written with Victoria, the singer from Beach House, so that’s going to be a new thing for me. Which… she’s so brilliant that I wanted to collaborate with her. However, the live music experience has always remained as a part of Wareheim’s listening habits. During his college days, he became a part of the Philadelphia punk scene, playing in bands such as

Twelve Tone System and The Science Of. And yet, despite his punk roots, Eric told us that his preferred instrument is something a little closer to home. “I play didgeridoo. That’s all I play,” says

“My favourite piece is this thing called Good Morning, Young Boy. That is something that I learned to play to my little brother when he wakes up. It’s kind of a sensual piece, but it’s also supposed to be for brotherly love, and I would wake him up every morning with my didgeridoo and he’d rise and greet me with a smile.”








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Muso’s Greg Phillips chats to Sharaya’s Shay Liza, about the band’s rockin’ debut album.

Muso’s Greg Phillips speaks with Tristan Bouillaut about his new project Dead In A Second.


rowing up as a member of an infamous religious cult is not the ideal way to spend your youth, but it’s a hell of bio story for a lead singer of a rock band. Fortunately for Shay Liza, frontwoman for Melbourne rockers Sharaya, she and her family escaped the clutches of the American sect now know as The Family and relocated to Australia, where she’s been able to pursue her love of music and use those life experiences in a positive way. “I went through hard times in my late teens, early twenties trying to come to terms with the different lifestyle


n late 2011, during downtime from his day job as guitarist for the band Thousand Needles In Red, Tristan Bouillaut had a vision for a new music project. It was as DIY a musical project as you could possibly get. “I had a real vision for how I wanted the business side of things to run, the music side obviously and also the DIY mentality,” he states of his intentions. “I don’t think it’s particularly necessary

epics, perfect fodder for FM radio and that’s exactly where the band has been acquiring some extensive airplay of late. Shay was in the studio when she heard her own music over the airwaves for the first time. “It’s a really special moment when you hear it on radio for the first time because you know there are loads of other people listening. It kind of gives you fulfilment for all those years of work. It’s hard

Alive And Well these days with the tools we have to outsource a lot of the creative work, even down to the graphic design. I wanted us to do everything in-house, not to have total control, it’s not about that… it’s so that we don’t have to wait or rely on anyone.” Fast forward to June this year and Triztan’s, or Trizo as he’s more commonly known, was in Melbourne launching Maretimo, the debut EP for his new outfit Dead In A Second. Not only had Triz written all of the songs and played all of the instruments, he produced, engineered and mixed as well, all from home, only bringing in friend Rick Hammond to sing and rap. What Triz didn’t know about production during his Maretimo journey, he studied up on using YouTube clips and Google searches. A soundproof vocal booth was created in his spare room using mattresses in a whatever-it-takes mind set. “I had my guide guitars on the demo... From the click track, you start building the drums and the bass and get the foundations down. Then I like to add guitars and production before the vocals are put down. So all the instrumentation first and all the production, then the vocals and you can just delete what you don’t need from there.” Trizo’s talent has not gone unnoticed by the gear companies and he’s been blessed with many


endorsement deals, all of which he honoured in the production of the EP. “I used a Faith 12 string, a Faith 6 steel string, a nylon which was great to have some body behind certain notes. For electrics I used mainly PRS, a couple of Gibsons, a 335. There were a few guitars. I know it’s hard to tell. When you go that little bit heavier, it’s hard to distinguish between them. I used the TC Electronic’s Nova System for my compression and delay. I didn’t use a great deal of clean guitar. The reverb from the Nova System is insane. Everyone knows TC’s reverb comes from years and years of research.”

Working on the EP from home was in one way a blessing, but as time marched on it also became a curse not knowing when to actually call it quits. “It was horrible. I have learned a lot from it though. It was hard because you wake up at four in the morning and you think, I have a record I am working on in the next room. Living and working in the same place is ridiculous.” Tristan’s attention now turns to taking his music to the stage, which will happen around November this year. Find Dead In A Second On Facebook

Road To Rock and understanding the world that we live in from being so cloistered,” Shay recalls. “Now I wouldn’t change a thing because I have this great respect for life and something to draw from when I write. A lot of the album is based on those experiences.” Shay has since immersed herself in the Melbourne music community and couldn’t be happier, splitting her time between duo bar gigs and her new band Sharaya. Initially the songs which now appear on the Sharaya album The Road To … were being prepared with a solo project of some sort in mind. As musicians were brought in by producer Ricki Rae to lay some parts down for the songs, they organically just morphed into a band. Sharaya now features Rae as drummer, hot shot guitarist Simon Hosford, Adam Surace on bass and Nik Pringadi on keyboards. The album is a collection of brooding, atmospheric, rock


to describe,” she recalls fondly of the moment. The Road To … reeks of an album that has benefitted by a lot of time, thought and effort put into its production. Sharaya now look forward to a summer full of gigs, writing for album number two, and keeping one eye open to international market possibilities.

Drums recorded mainly through a vintage Neve Broadcast console. Kick and Snares recorded through Focusrite ISA 115s. For micing the drums, I used D12 on the kick and SM57 on snare top, a AKG C414 on the snare bottom and on the toms varied condenser mics. For overheads, I used U47s and room mics, new Red Valve microphones. Bass Guitars were recorded straight into Vintec X81 and then re-amped later using an M88. For Guitar, used 3 guitar amps, through a Voodoo labs amp switcher with an array of 57s and 421s, through Neve 1073’s and Vintec X81’s All Keyboards recorded straight into the Neve 1073.

Find Sharaya on Facebook





Advice WITH


At what point does an artist need a manager? Why would you? Where do you find one anyway? Greg Phillips asks Catherine Haridy, she is one!


ong story short … Catherine Haridy began her route to artist management via this very magazine company writing for Inpress, while at the same time broadcasting on 3RRR and later doing great A&R for major record labels. Currently Cath manages Eskimo Joe, Jebediah, Adalita, and Bob Evans among a host of other talented local artists and producers. She runs a label, chairs the Association of Artist Managers, is an APRA Ambassador, board member at the Community Broadcasting Foundation, heads the Australian Music Grants Advisory and by the time this sentence finishes, Cath has probably allocated herself yet another role. The adage is so true, if you want something done, give it to a busy person! Think back to the famous music managers of the past; Zeppelin’s Peter Grant, Presley’s Colonel Tom Parker, The Beatles Brian Epstein… dodgey, ruthless bastards who were as much about themselves as their artists. Turns out the best kind of manager today is one who simply loves your music, has their shit together and has the artist’s best interests at heart. Catherine Haridy is as surprised as anyone that she fell into artist management. However on reflection, it all adds up. Working in A&R, she was basically an internal manger anyway, “managing expectations, enthusing people, working on strategies,” she says. But what the hell is a manager and what do they really do? Haridy narrows the modern day artist

more creative than ever before. Haridy herself, has been known to think outside the box when it comes to negotiating deals for her artists. One project Catherine is most proud of is the Basement Birds (a band which consists of Josh Pyke, Kav from Eskimo Joe, Kev from Jebediah and Steve Parkin) in which she managed to negotiate a deal freeing each member from the constraints of their label contracts in order to proceed with the project independently. What was most interesting however was the release method Haridy negotiated. “We did a deal direct with iTunes and released it in a way that no one else had in this country,” she says of the pioneering move. “ The guys financed it themselves, made back their money and a little bit more and had a fun time doing it and that’s all you can hope for.”

manager’s role down to four key areas. “Communication, creative and business and then there are a whole lot of peripheral things around that dealing with everyday enquiries and also managing my own business within that.” But if you’re a cocky young band just starting out and think your music is the best thing since the last thing, don’t assume managers, media and even the public are going to naturally gravitate toward you. You first need to establish a reason why a manager would want to take you on or why the media would want to talk about you or why the public would be keen to see you play. What would attract Catherine Haridy to signing a new act? “The songs to begin with,” she tells. “Are they strong songs? Is there something in the music that you feel passionate about that you feel you could work with in terms of a bigger career?” One of the hazards of being over enthusiastic about your music is that you can sometimes introduce it to the wider world too soon. First impressions are

Management WHEN, WHY AND HOW? long lasting and you want to ensure that you give yourself the best shot possible right from the beginning. Catherine agrees: “I think if you are going to step out into a public forum in a recorded sense, then you want to make sure the recording is a good recording, sufficiently mixed and mastered and that it is potentially radio playable. You want to make sure you have a plan for what you’re going to do with your music.”

In the digital age of music, the rule book is still being written. Management practices which worked in the past may not be applicable today and both artists and managers need to be

OK, so your band has got the great songs down, they’re recorded well and you’ve been playing some gigs and accumulating a fanbase via social network sites. You’re at the stage where you need management, but where do you begin to look? Haridy believes your managerial needs may well be found within. “I think a lot of new bands feel they need to secure one of the top 20 percent of managers in the country when in actual fact, those managers are so busy that they generally don’t have time to pick up anything else. My advice would be if they want to find a manager, they should look within their community and isolate a person who is passionate about their music and loves what they do, has initiative, is a good communicator and bring that person onboard to start with them from the very beginning and have them grow into their role as manager as the artist grows.” Haridy has her hands full planning a path for releases by Bob Evans, Tiger Town, Eskimo Joe and The Chemists, recordings which will emerge in the coming months into next year and is both intrigued and excited about the future of the Australian music scene. “It still excites me,” she says, “I don’t think it will ever not excite me.”

Don Bartley’s BENCHMARK MASTERING Full Analogue Online Mastering Services. 02 47395455 / 0412217779


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Roland Fender G5 VG Stratocaster



he Rubens play a style of rock which is one part timeless guitar swagger and another part modern day production groove. The Roland Corporation, the innovative company responsible for many of the world’s most iconic keyboards has teamed with Fender guitars to release The G5, VG Stratocaster, merging a classic guitar model with futuristic technology to create a versatile guitar for the times. It made sense to put one of these units into the hands of The Rubens lead vocalist and guitarist Samuel Margin to get his opinion on the meeting of these two worlds. “When I was first asked to road test and review a bit of music equipment I was quite worried. I’d never been asked my opinion on anything like that before and wasn’t sure I could pull it off. When it was suggested that I review The Fender Roland G-5 guitar I was even more unnerved. It wasn’t as simple as reviewing a pedal like I’d hoped, but proved to be much more interesting! I had the chance to play a Line 6 JTV69US while I was in America and found it had many faults. It’s quite convenient for me to have something to compare the G-5 to, and quite convenient for the G-5 to have such a weak competitor... in my opinion. Basically, Roland has taken its COSM guitar modelling technology and integrated it into a Mexican Stratocaster. This seems like a great idea in theory, but just because two things are successful on their own, doesn’t mean combining them will result in something equally successful. I’ve always been skeptical of these kinds of instruments, mainly because I feel like they are destroying the romanticism surrounding the guitar. The idea that you can now buy one guitar that can do the work of six is extremely practical, but not traditionally ‘Rock and Roll’. The first thing you will notice about this guitar when you pick it up is the high build quality. Mexican Strats can be a little bit hit and miss sometimes, but this guitar actually feels like an American Standard Stratocaster. This is really important to me especially if I was to be performing on stage with this thing. The fact that it looks

and feels like a normal Strat helps distract you from the mutant it contains and I’m sure its subtlety will be a great selling point (though the blue LED does constantly remind you that there’s something fishy going on).


Let’s take a look at the spec sheet and see what this beast consists of. The guitar features an alder body, c-shape maple neck and rosewood fingerboard. It has a vintage-style synchronised tremolo and three single coil pickups. Controls include a Mode knob which will gets you a modeled Strat, modeled tele, modeled humbucking, modeled acoustic guitar and there’s a non-modeling mode. The Tuning knob offers normal tuning, drop D, Open G, D modal, Baritone and 12 string guitar. Pretty



rom Tears For Fears and Abba to our own INXS and Icehouse, there was a time when the Prophet 5 roamed the earth and left a huge sonic footprint before suffering the fate of all dinosaurs. Melbourne Music Centre’s Brad Coates reports: In the beginning of 1978, Dave Smith, John Bowen and Barb Smith squeezed into a tiny exhibition booth at Anaheim’s Disneyland Hotel and together they formed the newly established Sequential Circuits Company. Little did anyone at the time know, they were about to change the keyboard player’s world forever with their main display item for the winter NAMM show - the Prophet 5. Described at the time as “5 Minimoogs in one box”, (somewhat incorrectly), the Prophet 5 literally stole the show as the first commercially available and viable Polyphonic Synthesizer. In actual fact the Yamaha CS80 really deserved the title and was also being demonstrated at the same show. What really created the PRO V’s success was its’ ability to play five notes at once and store all parameters for each patch in memory banks - 40 in all, a thing unheard of in 1978.

SPECS • Alder Body

• C-Shape Maple Neck

Three successive models were produced during SCI’s lifetime - designated Rev. 1, 2 & 3, (short for software revision).The Rev. 1, although extremely sought after as the earliest version, lacked the later version’s tape-dumping abilities and all-important ‘tune’ button, and whilst being the most unreliable, due to the SSM chips (Solid State Music) the Rev. 1 was also arguably the dirtiest and fattest sounding. However, only the later Rev. 2’s and 3’s are able to be MIDIretrofitted. These were the days when musicians actually PLAYED their synths, so sequencing a Prophet in those days was somewhat of a secondary concern, although the company did produce its own dedicated digital poly sequencer (non-MIDI) for the prophet , which was also included in the Prophet-10 (essentially two Pro-5’s with the sequencer onboard).

• Rosewood


• Single Coil type x3,

Divided type x1 P/U

• Vintage Style

Synchronized Tremolo

• Fingerboard

Radius: 9.5” • Scale Length: 25.5” (64.8cm) • Number of Frets: 22 • Fret Size: Medium Jumbo


• MODE knob: 5 types • Normal


• Modeled Stratocaster • Modeled Telecaster • Modeled

Humbucking Pickups

• Modeled

Acoustic guitar

• TUNING knob:

Normal tuning, Drop D, Open G, D Modal, Baritone, 12-string guitar • TONE Control knob, VOLUME knob, 5-Way switch • Connector • Guitar Jack (1/4” phone type)

POWER SUPPLY • Alkaline battery

(AA, LR6) x 4, or Rechargeable Ni-MH battery (AA, HR6) x 4 • Expected battery life under continuous use Alkaline battery: 6 hours. Rechargeable Ni-MH battery: 9 hours



impressive! There’s also a tone control knob, volume knob and five-way switch. I am easily confused by technology, and I’m a terrible decision maker. I should have been completely daunted by such a guitar, but I wasn’t. I could’ve very easily become frustrated with the complexity of the different models but the truth is, I was just having way too much fun playing it to find it draining. I slowly tried different settings and through trial and error, became pretty at ease with the system quite quickly. I must admit I did begin to favour a few settings, particularly the Telecaster. It is actually phenomenal how much it sounds like you’re playing a Tele. The baritone guitar was equally as impressive. And there was absolutely no latency issues! This guitar could really be used in a wide range of settings. For guitarists in cover bands

its surely going to become a must-have! They could go from Hendrix to Jack Johnson with the flick of a switch. Actually, the acoustic guitar is really great too with the tone knob becoming a reverb knob when you choose this setting, another fantastic feature obviously great for using live. Although I can imagine most purist producers and engineers would turn their nose up at the idea of using the G-5 in the studio, more open minded types would benefit from having this guitar as their general studio ‘work horse’. Especially because although you have an amazing array of technology at your disposal, it can all be turned off and be used as a “classic” Strat. It could also be an inspirational writing tool thanks to the tuning options. Being able to flick a switch and change from open tuning to drop-D and so on definitely helps when trying to get inspired and come up with a tune!

Looking back at this review its seems as though it has been a good one. I guess I like the G-5. I didn’t really expect to but Fender and Roland have really covered all the bases on the this one and left me no choice. I think the reason for its success is its relative simplicity. If I had to find something negative to say I’d only be able to find something as trivial as the fact that it doesn’t come with a hard case. If they are hoping for this guitar to be taken as seriously as the price tag suggests, (around $1500) they could throw in a Fender Hard-case. If I’m going to be completely honest, and I am, I wouldn’t buy one of these guitars because I don’t need one. In saying that, there are countless musicians out there whose lives will be made so much easier by this amazing mash-up of technologies and because of that, I think Fender and Roland have produced something special in the G-5.”

Although many think of the Prophet of a strictly analogue machine, in reality the Prophet was actually an analogue/digital hybrid, as were most of the polys that followed. The basic features were: five voices with two oscillators per voice; A 24db per Octave Four pole resonant low-pass filter; two ADSR Envelope Generators, one each for Filter and Amplifier, White Noise Generator (actually easily the worst-sounding noise on any synth ever! - but useful as a modulation source.), Pitch and Modulation wheels, (like Minimoogs) assignable to either Oscillator’s Pitch, Pulse Width of 2nd Oscillator, or Filter. Also a whopping 40 userprogrammable memories (1978 remember!), AND...the part that generated all the really complex waveshapes - the poly-mod section, which defined the Prophet “flavour” more than any other single sound-shaping element. The keyboard was a five octave PrattReid note on/note off affair with no Touch Response. Selling in Australia in ’79 for around $5,000 -$6,000, the Prophet came in several thousand dollars cheaper than Yamaha’s CS80, and virtually single-handedly destroyed the Solina/ARP’s String Machine market. Unfortunately, Sequential Circuits was doomed to become yet another synthmanufacturer casualty, and their R&D and other concerns were taken over by Yamaha in the late ‘80s. One of the last great synths they made was the Vector-Synthesis Prophet from which certain design elements were ‘pinched’ for the now-classic Korg Wavestation, and other TG series Yamaha synths.



Ashton Acoustic D59SCEQ NCM


ut of the box, it looks clean functional and all in one piece, which is always a great start. To test this instrument out, I played it in a writing session at my studio with a client. I played on and off for a threehour period as we wrote, discussed and tried different ideas for the tune we were writing. First port of call for any session is tuning and I’m glad to report that once the instrument was at pitch, it held its tune quite well. Sealed machine heads with a nice ratio made this part a breeze. Can it be tuned ? Yes. Does it hold tune? Yes indeed! The neck was rather thin for an acoustic. It reminded me of similar premium American guitar brand. It was easy to play, the action was good low but without rattling like a snake. Is it nice to play? It sure is. The spruce top is solid wood and sang nicely when the instrument was played, bright but not tinny or brittle. The frets were well finished and felt really nice under hand. The fingerboard wasn’t the best I’ve


ever felt but it was nothing to complain about either. As for sounding good… it does that too.

First up the Crossfire Dual-Injection After-Burner, a twin Overdrive and Distortion pedal, comprised of two circuits housed in the one unit that is able to change the order of signal flow either from distortion to overdrive or vice versa. The overdrive section features ‘Tone’, ‘Drive’ and ‘Level’ knobs, while the distortion section features ‘Tone’, Dist.’ and ‘Level’. I was keen to test the distortion first with a clean tone and a humbucker. I set the distortion to emulate a dirty rhythm sound and used the overdrive to add more gain and level for a saturated lead tone, thereby turning a single channel amp into a three channel amp (sort of ). The distortion on its own produced an aggressive crunch similar to a DS-1 (Boss), but with a harsher, filthier top end making it good for grunge. Cranking the level and keeping the tone behind 11 o’clock produced the most desirable sounds, as the tone is very sensitive and sounds brittle and thin when cranked. Going from distortion to overdrive produced a usable mid-heavy solo tone with the level cranked, the tone at 4 (o’clock) and the drive at 9. The overdrive on its own produced nice vintage break-up, with a light smooth drive, characteristic of a DOD-style OD. Going from overdrive to distortion resulted in a considerable loss of volume, but heralded in the best lead tone that was saturated and sculpted, ideal for recording.

What it lacks is depth of tone that you can only get from an all solid guitar which would be twothree times the price of this unit, so it really is a case of horses for courses. Typically in this segment of the market for solid top guitars you consistently get thin brittle tones and a glossy finish to make it look attractive. This features a natural matte finish and is well constructed, no barbs on the fret ends, nice fingerboard and I didn’t tire as I played up the neck. As for the electronics… the built-in tuner was quite handy and both accurate and sensitive, with four-band EQ on the preamp consisting of bass, middle, treble and presence plus a volume control. All were responsive enough to manipulate the sound out of the pickup with a decent amount of range cut and boost. I found it quite easy to tailor the tone to what I wanted to hear from the small PA I tested it with. The knobs were a little small and fiddly but it was no big deal to adjust the controls. Overall I found the Ashton D59SCEQ NCM a great value for money workhorse and an instrument I’d recommend for any beginner or intermediate player.

Next up, the TRM-507 Tremolo, a simple, versatile ‘Trem.’ pedal that sounds pretty darn good. The winner here (besides the price) is the ability to go from a soft sine wave to a jagged square wave by tweaking the ‘Wave’ knob, which is where two knob tremolos fail. This is a very musical trem and I liked how it sounded both in the effects loop, and in front of the preamp. Three knobs do the damage, where ‘Rate’


Tech 21 Boost Series Pedals




The Tech 21 Boost Overdrive was first under the microscope. I used this pedal with my Les Paul and Marshall Plexi to get a beefier tone out of my amp. The overdrive consists of controls for ‘Level’, ‘Tone’ ‘Drive’ and ‘Sparkle’. All the usual suspects are here except for the addition of the ‘Sparkle’, which “Adds upper harmonics for an open, snappy sound”. The overdrive did a very convincing ‘TS808’ emulation, a great ‘Top Booster’ for ‘70s drive, and good Blues overdrive when dialed in with cleaner tone. Overall I thought this pedal sounded great for older ‘70s and ‘80s hard rock/ metal tones, and using the boost on its own sounded the best with my Marshall for getting the exact kind of tone I was after.

The Boost Distortion has hints of that iconic modern Tech 21 distortion heard all over the world on some great albums (Nevermind…). It was easy to a get a thick clear distortion that emulated a modern high-gain amp, and is perfect for turning a good clean amp into a monster. This time the ‘Sag’ effect “Adds an expressive tube-like response to every pick stroke”, and did a good job of sounding like a worn in tube amp when digging into the strings, adding that tube feel even with solid state amps.



I must say overall I am really impressed with this instrument. Without knowing the price initially, I estimated around $499 and I was spot on. If I had to give it a mark, I would rate this guitar 7 out of 10. I was very impressed with its playability, tone and quality of hardware and construction and wouldn’t hesitate to recommend it to any beginner or intermediate player.

I took the same approach with the Boost Fuzz pedal and plugged into a driven amp, and what could be better than a Strat into a vintage Marshall for that Hendrix sound? The combination of a driven amp plus fuzz results in magic. Again, this pedal sees the same format of ‘Level’, ‘Tone’ and ‘Drive’, but the inclusion of ‘Sag’ adds an extra dimension “Allowing notes to bloom and sing at your command, for a dynamic, organic performance.” A wide array of tones was available from Hendrix, to Weezer. This pedal did a killer job of emulating those vintage Germanium fuzz pedals guitarists drool over.

Finally, a pedal for bass, the Boost Fuzz Bass was my favourite, as it did a number of different things really well. I plugged this pedal direct into my mixing desk as I was after that insane fuzz bass you hear on Nine Inch Nails recordings and on some electronic recordings and it delivered with unexpectedly good results. This time the secret ingredient was the “+ Clean” knob which dialed back in a clean signal making it possible to blend fuzz and clean together generating a massive doubled sound when distorted guitars are in the mix. There is so much drive on tap that it is possible to go from warm, spongy drive to insane globs of mush that would be perfect for heavier styles such as stoner rock, death metal and industrial music. Dialing back the ‘Level’, ‘Tone’ and ‘Drive’, and boosting the ‘+ Clean’ adds a bass boost to your overall tone, while turning the ‘Tone’ up keeping the ‘Drive’ midway was cool for ‘Sabbath-like’ rumble. This new line of Tech 21 pedals is great and will appeal to musicians searching for a certain sound, whilst still having the flexibility produce a variety of different tones.


one are the days where stomp boxes cost an arm and a leg with loads of budget brands surfacing which produce similar results to the big guys. Add Crossfire to this list, a company providing simple, solid tone, in a sturdy housing that’s wallet friendly. I was given a whole bunch of pedals to try out, but today I’ll be looking at my three faves, the CF-DO2 Overdrive and Distortion, TRM-507 Tremolo and DLY-303 Delay.


Pulling an Ashton acoustic out at a gig may not traditionally be a status symbol and by no means is this the greatest acoustic I’ve ever strummed, but make no mistake, this is a fine workhorse, probably best suited for beginner to intermediate players. However if Ashton continue to produce this sort of quality instrument, I think some of the other manufacture’s in this market should be worried. The back and sides are made of mahogany, adding stability and strength to the instrument, the wood-grain on this one is quite pretty to look at.

ech 21 are one of the the effects heavyweights, born in NYC, USA by Andrew Barta’s vision of the Sansamp. His legacy lives on through other killer pedals like the new ‘Boost’ series featuring a form of drive coupled with up to 21dB of clean, switchable boost.

Crossfire Pedals



The Crossfire pedals are cool; they all have solid housings and switches and are perfect for expanding your pedal board on a budget. Each effect has its limitations, but they do what they do very well and may provide you with exactly what you’re after.




Last but not least, the DLY-303 Delay, a wonderful analogue delay that’s warm and clear, and capable of producing short to medium delay times. Again the simple threeknob format for ‘Rate’, ‘Repeat’ and ‘Level’. I’d definitely say this pedal was the finest of the lot because it sounds so warm and rich, and is amazing for its price. Here you get the sound of a true analogue delay, perfect for retro slapback and clean short stabs of rhythm. The ‘Rate’ isn’t capable of ridiculously long times like some digital delay pedals but is set to allow for a bit more ‘throw’ for leads, or perfect that Foo Fighters ‘Rope’ sound if put in front of some tube breakup.


very now and then an item comes along which revolutionises the way we make music. In-ear monitoring is now an accepted format even amongst artists playing smaller gigs, but the problem is that it’s sometimes too complicated to get a decent mix or you may feel isolated because you’re not hearing the room properly. What if you could quickly set up your own independent monitor mix, fine-tune it throughout the show, and even blend in some of that essential room sound? Well this is exactly what you can do with the POSSE, a personal in-ear monitoring system that includes, a Floor Box, Belt Box, and Stand Box that allows you to blend vocal, instrument, room, and aux inputs so you get a full, natural mix directly in-ears.


controls the speed of the cycle and ‘Depth’ likewise controls the intensity of the effect.

First up the Posse isn’t limited to one sort of musician or one musical format, it can be tweaked and setup for just about any situation for singers, guitarists and beyond. The inbuilt room mics and an included condenser mic make it especially handy for horn players or acoustic musicians that don’t have pickups and require clear signal to be fed to front of house. An easy to use onboard guitar tuner located on the stand box will also keep your axes in tune all night while being highly visible in the dark. I set the Posse up in my studio with a mic and acoustic guitar and also sent some backing tracks out of my studio speakers to replicate the sound of a live band on a small scale. Jumping on the website ( made setup especially easy for me, as it had a number different configurations and uses for different musical scenarios. I attached the floor box to the stand box, screwed the stand box onto my mic stand, plugged my vocal mic in, and finally hooked up the belt box to the floor box and was ready to go. I gave my acoustic a quick tune with the on-board tuner,

which was fast and accurate and hit play on my backing tracks. Setting up a mix was fast and easy and could be done on the fly, and it was possible to go really loud without any discernable distortion. The quality of tone was nothing short of stunning, and the real winner here was the ability to blend room sounds using the inbuilt stereo room mics allowing me hear the backing tracks clearly, my guitar and vocals, as well as traffic from the main road and even the birds chirping outside. Unplugging the direct line and using the Posse’s condenser mic yielded even better tonal results for my acoustic for that classic close miked sound we all love, so I’d definitely encourage using the mic (or a blend) if you’re able to stay clear of feedback at a show. Sure you can buy inear monitors, but then you have to buy a belt pack and transmitter and even then you still might be relying on someone else for your mix. So why rely on your sound-guy when you can have your own Posse (pun intended)?


*The prices set out in this advertisement are recommended retail prices (RRP) only and there is no obligation for Yamaha dealers to comply with this recommendation. Errors and omissions excepted.

[27] 7


Mark Electronic Drum Set


ith the market for electronic drum sets running hot, it is no surprise to see a new entrant here in Australia. Mark Drums originate in Italy, and are wholly designed by the company that brought us the Mark Bass amps. I spent a weekend recently putting the Mark drums to the test, and my responses were all positive. The kit itself is lightweight, with strong components that make for a very easy set up. Not all electronic kits are easy to configure to one’s normal playing set up, but the Mark drums were particularly easy to work with. The connecting leads all use network cable connectors, and with the sounds themselves processed within each pad, the rack has many points of connection, not just one for each pad, so there are lots more set up possibilities here. The cabling is very user, with virtually no ‘spaghetti’ wiring often found with electronic kits, another big plus in a performance situation. The pads all have mesh heads, and can be tuned to suit one’s own preferences in relation to head tension.



I found the pads very responsive and their size made them easy to play. They are very durable, with solid rims, and I could quickly get the whole kit to ‘feel’ like my normal acoustic set up. The kit comes with a hi-hat attachment for use with your normal hi-hat pedal, and the bass drum trigger likewise works with your own pedal. I found both of these very good, with the hi-hat being able to track almost all of my ‘normal’ movements on this instrument. There are player specific calibrations that you can set for the hi-hat and for the snare drum to immediately get the kit feeling like your own in terms of playability.


In terms of the electronics the Mark drums are aimed at the quality end of the market: 24 preset kits with over 205 different single voices, all of which can be used to create your own user kits. The samples used are first rate and sound excellent! There is a 16 level velocity control function as well that makes for a very ‘playable’ kit, adaptable to any musical style. The controller interface is also very user friendly, with all functions easily accessed. I could quickly build my own user kit, create loops in real time to play along with, and even found time to explore the velocity settings – with just a short tweak, I could get the snare drum following my every nuance, including flams, drags, and buzzes (one of the best closed roll sounds I have produced on an electronic kit!).

The unit’s purpose is to play music from your iPod, computer, or smart phone. Operating the FOXL is easy enough, you turn it on and either connect to your audio source via the 3.5mm stereo mini jack (lead provided) or for those with Bluetooth/ wireless capabilities, via your smart phone. The folks at FOXL claim that the point of difference between this unit


ecently I had my hands on the Timberidge Mini Series-4 guitar, which I thought had a unique voice and built with quality, appeal and charm, so it was nice to get my hands on the full-bodied Timberidge (TR1SBP) and see how it stacked up. This particular model was a stock, Series 1 Dreadnaught guitar, and like all Timberidge guitars is designed in Australia and built in China making it an extremely affordable option.

Strung with a set of D’addario EXP Long Life Strings this guitar sounded bold and brilliant, with a tight bass response and a lot of presence. The tone and action made it a fingerpickers delight, and like the last Timberidge I reviewed, this guitar has more of a mid-heavy lead voice as opposed to softer, boomier acoustics with different body shapes and materials utilised. I loved what I refer to as the ‘string path’, the journey the string takes from its mounting in the bridge to the tuning post (as it’s something I evaluate more closely these days). The attention to detail and choice of materials was very good along the string path, with the X-brace under the top and a solid mounting into bridge and body being responsible for a strong attack, while the TUSQ nut, saddle and Grover machine heads kept this guitar perfectly in tune at all times.




The uses for this unit are staggering, I think it covers just about all bases when it comes to audio, you can chuck some batteries in it and take it away to the coast and record some demos with your acoustic, plug in your electric guitar or keys and make some “full sounding” demos by using the on-board drum machine, or use it to multi-mic a full drum kit, or link two units together and capture the full band. You can even use the unit live and add sequencing while your drummer jams along with an independent click track appearing only in his headphones. The Zoom R24 can record up to 8 mono inputs simultaneously, playback up to 24 mono tracks at 44.1/48kHz, 16/24 Bits. It comes with a 2G SDHC card (which can be upgraded to up to 32G), PSU, a handy little 4G flash drive, and a copy of Cubase LE 6 to top it off. There are two in-built condenser mics that sound great, another six phantom powered (+24 or 48V) channels and a Hi-Z input for direct input of electric guitars and basses (that can utilise inbuilt amp modelling). The unit also has a drum machine that’s not limited to preset patterns, so you can make your own beats by tapping them in with the drum pads. You can even sample, loop and edit like any modern DAW.

But does it work as well without the leads? I went into my smartphone preferences and configured the settings to talk to the FOXL. My Bluetooth connection took all of 20 seconds to sort. While the unit does feature a volume control, it makes more sense to set it where you want and control volume from your audio source. Once I had the sound pumping out wirelessly, I took the phone for a stroll to check the unit’s range. Despite walking behind walls a room away, the unit kept in touch with my phone.


The TR1-SBP is great value for money, and is diverse enough to make it very appealing to acoustic guitarists wanting to buy their first gigging acoustic, or musicians in need of another guitar to add more colour to their sonic palette.


T 8

Another cool thing is it’s piezo pickup, which I wouldn’t have known about had I not read the specs. You can plug a guitar lead into the input jack located at the strap pin just like most acoustic/ electrics; however, there is no onboard preamp that immediately identifies this feature. Don’t despair, because with a bit of gain into an acoustic amp or PA you’re rewarded with great tones. I actually like the fact that it has no onboard preamp, because being a sound guy I’ve had to compensate for some really poor tones and EQ coming straight from the guitar. I’m sure you’d get a great live tone if you invest in a feedback buster and threw a headstock tuner on this guitar because the stock tone coming out of the piezo is excellent.

Zoom R24 Review

he quality of home recording is so high these days it’s possible to make killer recordings right at home. Back in the day I started out with a old 4-track cassette recorder, then moved onto a digital multi-track unit after finally arriving at the PC and Mac based platforms. The great thing about the Zoom R24 is that it appeals to both the computer gurus and ‘all-in-oners’ because it functions as both an audio interface/ controller for computer-based Digital Audio Workstations, as well as a sole multi-track recorder.

and other mini speaker systems is that it packs an inordinate amount of punch for its size and can do it wirelessly. The sound is driven by two patented dual voice coil 25mm linear Magnetic Drive Twoofers (tweeters that also woof apparently). The BassBattery is both a re-chargeable lithium ion battery, and a Flatmagic acoustic bass radiator.

The sturdy construction means you can place it on a flat surface and it’s not going to fall over. If like me, you don’t have a set of speakers attached to your computer, then this little beast will be a godsend. Alternatively if you need to take your music with you, you can wear the FOXL on your belt, around your wrist or if you can bear it beating through your chest, around your neck too. The user guide suggests that a fully charged unit should have a battery life of 12 hours. At around $239 bucks for the Bluetooth model, the FOXL system is an affordable and versatile space saving sound system option.


Out of its case, this guitar looked good, with a nice selection of materials and hardware used in its construction. On closer inspection, the frets were nicely rounded and dressed evenly with the setup department doing a good job ensuring no fret-buzz was apparent at the medium action it arrived in.

The more creative functions in the controller include Player Immersion, which allows you to adjust the sound of the kit from a listening perspective – you can choose to hear the kit from the audience perspective (out front) or from a player’s perspective (behind the kit) or mix them together to get the live sound you really want. There is a Layering function that allows you to add a second sample to the main one (eg adding a hand clap to a snare sample) and there is a Kaleidoscope Function that allows you to combine sample sound variations to create ‘continuous moving’ sounds. There is a loop function as well and on-board effects. I have used a number of electronic kits over the years teaching in schools, and some recording work too, and the Mark drums stand up as one of the best such kits I have played.

I connected the unit to my computer initially using the stereo mini jack route and called up iTunes. My first impression is that something is not right… and I don’t mean that in a negative way… I mean it’s not right that such low end boom and mid clarity is emanating from this Violet Crumble (they still make those don’t they?) sized piece of metal. It’s truly amazing and the louder you turn up the volume, the better the sound gets. OK, it’s not the kind of sound you’re going to get from your regular floor bound stereo system speakers but comparatively, the unit size per output ratio for this FOXL unit is off the map. Developed by Dr. Godehard Guenther, a physicist and former NASA engineer, the acoustics achieved are quite incredible.

Timberidge TR1SBP

This guitar is simple in design, built with a solid spruce top, mahogany back and sides, rosewood fingerboard and bridge, TUSQ nut and saddle, and a lovely abalone inlay around the soundhole. The maple binding on the neck and body provides an elegant look, a slick gloss coating gives a vintage vibe, and a flamed pattern on the back of the neck adds depth and character. Six diecast Grover tuners with satin black buttons hold it this instrument perfectly in tune, a pre-installed piezo pickup and input allows you to go electric, and the guitar comes with a choice of three selfadhesive pickguards in clear, black and tortoiseshell.

FOXL Personal Audiophile Loudspeaker

’m not a fan of earphones! Not only do I dislike the tactility of buds in my ears, I also crave the bleed of surrounding life in my sonic mix. So when I was offered FOXL’s Personal Audiophile Loudspeaker unit to review, I was keen to hear some new state of the art mini speaker technology, particularly because I didn’t need to stick it in my ears. When I first viewed the size of the unit (143 x 55 x 35mm), my expectations were lowered… it would have to defy physics to give the kind of sound I’ve become accustomed to. It’s around the size of a chocolate bar, the way they used to make them anyway.




Out of the box I decided to make a quick demo to sample the quality of this unit and test its features. I pulled out an acoustic guitar and recorded two tracks with the inbuilt mics, with no compression or EQ added. Later, I recorded a vocal track by using a nice insert

preset that gave quite an impressive, slick vocal tone and added some reverb and delay on playback. The inbuilt mics sound great, true studio quality, even on the vocal track. Next up I make a bigger sounding demo with electric guitars, a bass, programmed drums and vocals. The on-board drum sounds were pretty simplistic and having to learn how to use the sequencer involved having to read the manual, but the good thing is that you can use the sample pads to play any sample so I imported some serious drum sounds by downloading free sounds off the net. The amp sims were not to bad either, especially after a little EQ, so the final product sounded slick and professional, especially after using insert effect chains, EQ and the two sends of reverb and delay to gel everything together. The Zoom R24 is a brilliant unit with a ton of features and uses. It’s perfect for beginners to seasoned professionals, especially if you need to record multiple inputs at any given time (drummers should definitely take note!).

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Behringer P16 I & M


he Behringer Powerplay 16 provides a new method for personal monitoring that sends audio to an input module (P16-I), converts the signal to 24-bit data, then runs it down a Cat-5 cable into a personal mixer (P16-M). Each input module can feed six mixers or distributors which feed (up to) a further eight mixers (like a computer router) which are even bus powered through the Cat-5 cable. Initially audio is fed to the P16-I either through 2x8 blocks of ADAT, 16 mono audio channels (¼” TRS), or a combination of the two (eight ADAT/ eight TRS). If using an analogue desk 16 high-headroom TRS inputs make for clean, loud signal with less than one millisecond latency experienced in conversion. Each channel has four gain switches to ensure level consistency, with top-notch 24-bit A/D converters providing clear sound up to 75m from the source. The P16-I also accepts 44.1 or 48K sample rates through various digital sources.


If I was mixing at a typical pub gig using 16 direct outs, I’d set up something like this for a four- to fivepiece band: Kick, Snare, Rack (tom) 1, Rack 2, Floor, for my drum channels (1-5). Bass DI, Guitar L, Guitar R, for my instruments (6-8). Vocal L, Centre, Right, Drum Vocals, for all the vocal mics (9-12). Stage Left and Right (which will only be fed to the monitor mix for room ambience) and a stereo reverb send to “wet” drums, and aid vocals (13-16). In this scenario the input module would live in a rack at front of house, Cat-5 cables would run to the stage with the multi-core, with each member having their own mixer (P16-M). Then I’d soundcheck each input, allowing all the members to set up their own private mix with different volume, panning and EQ, while at the same time tweaking my own front of house mix. After the band finishes soundcheck, all the settings can be saved and stored on the P16-M; it’s possible to save different mixes for different bands and even different songs.


The first guitar that took my eye was the lovely AX3 Guitar, based on Eddie Van Halen’s signature Axis model and finished in a gorgeous transparent blue flame top. With a 25.5” scale, featuring a solid hardwood body, maple neck and fingerboard in a smooth satin finish for firebreathing shred. Two body-mounted zebra humbuckers provide a wide range of tones, with a five-way selector splitting the pickups into single coils at positions 2 and 4. Other features include an easy to use truss rod adjuster, fivebolt neck attachment, superb cutaway and a killer ‘dive-only’ trem with a small recessed handle allowing use without a whammy bar.

The Lionheart is a made-inthe-UK, twin channel, 50watt singled-ended Class A amplifier. It’s loaded with five EL34 tubes in parallel. Some of the features include: footswitch controlled reverb, a Hi and Lo input, effects loop, as well as band pass EQ in the form of a Tone knob, and a Dynamic knob; which is basically presence.





Plugged in the AX3 fell nothing short of a guitar three times its price, sounding thick and full, funky and ‘quacky’ or richly saturated for searing solos. The winning factors on this guitar are the “hardwood” body, which sounds, responds and weighs like mahogany, two killer pickups (and their body mounting) and superb tuning stability.


In comparison to the AX3, the Silo 3 sounded completely different, much thinner and lighter in tone, making it better matched to warmer, darker sounding valve amps like certain Fender and Mesa combos. The signal was also much cleaner than the AX3 (even with the humbucker) so it was easy to achieve super-clean, chorused chimes that dominated ‘80s ballads, if that’s your thing.

Sterling has undoubtedly achieved its goals with the new S.U.B. series. Low prices, high quality, great looks and killer tones.


the most impressive thing about this amp is its dynamic ability, even with full gain it never becomes over saturated - the way the amp would open up the harder I hit my strings, for me, is a sign of a great amp; I never felt like the amp was in control. The only thing I wish this amp had that it didn’t was greater control over each channel. The single EQ control for both channels really frustrates me on any amp, and this was no different. I also found the clean a little too clinical at times, and wished that I was able to have control of the gain and could introduce a little break up. Laney have really outdone themselves in producing an amp that is versatile, well made and sounds great. And for the price, buying a Chinese made ‘British’ style amp seems crazy. Unless you are looking to buy an amp made in the UK ten years ago, this is the closest thing you will find to true classic vintage tone in a modern amp.


K, let’s break this Walden model number down to the basics. G equals guitar, 570 is the model number, CE refers to cutaway electric and TB stands for tobacco burst. Opening the case, it’s looking good. The tobacco burst, matte finish visual presents well. Nothing broken… bonus! It even comes with a few accessories such as 9V battery, truss rod/neck adjustment tool (don’t use this if you’re a newbie to guitars…leave it to the guys at the shop) and even a black walden T-shirt. A nice little touch of value.

Next was the Silo 3, (showing shades of influence from the John Petrucci model) with a single bridge humbucker and two single coils providing the tones. This particular guitar was finished in white with a black pickguard for a cool, classy white tuxedo look. There was a discernable difference in body weight and tone compared to the AX3, which leads me to believe the body is made of alder, ash or basswood.

Not only an excellent looking bass, but sounding fantastic the pickup presents strong, clean, high output tones, perfect for direct recording and DI’d tones, as well as lots of versatility with the onboard preamp, from smooth jazz, funky slap to thick midrange rock, and the absence of a neck or middle pickup makes popping, slapping, and picking easier as well.

The first thing you will notice about the amp is that it looks great, and that’s all the counts right? But does it sound great? Having only ever played a Laney 15w practice amp when I was 15 I was interested to see how they sounded, and how they would, if they could, produce a great ‘British’ amp sound. From my first slightly out of tune chord I was already digging the amp. With the amp on the dirty channel and all the settings at 12 o’clock, this amp already was warm, the break up was great, and the tone was spot on. The amp handled everything I threw at it, from a jazzy, only slightly overdriven tone, through to a full gain monster, this amp could do it all, and did it in style. The clean is bright and shimmery, the reverb is a great example of a spring reverb, and the gain is thick, warm and full of depth. For me

Behringer’s P16 Powerplay monitoring system is a bold step into the future, great for band and especially relevant to churches, school and ensembles that require multiple monitor mixes.

Finally, the S.U.B. Ray 4 bass, modeled after one the greatest basses in existence, the Music Man Stingray. Much like the real deal, this bass had the iconic Stingray pickguard, single humbucker (with active preamp), and three aside/one aside headstock. Again, even though this bass was born offshore, it had the look, feel and in some respects tone of the classic American Stingray. A couple of things make this bass really appealing, for one it’s probably the only bass in its price range with quality active electronics, solid quality woods and a sturdy six-bolt neck joint.


n the last few years there has been a trend in favour of vintage style amps. The shift has been away from brands like Mesa, Peavey, Line 6, Engl and Krank; back to the the old stalwards... Fender, Orange, Vox and Hiwatt. This hasn’t been isolated to just amps, with guitars following the same trend… ESPs being replaced with Fenders and Schechters with Gibson. This period of change has caused a few brands to go under the radar; one of these brands is Laney, and after playing a Lionheart, I don’t really understand why.

So what are the advantages of having your own mixedr for your headphones? The biggest is you’ll have complete control of your own stereo mix to aiding your performance to another level, also having no sound coming out of the wedges results in a cleaner front of house mix, and finally you save money on not having to buy a belt-pack/transmitter, or even wedges or amps. I tested the Powerplay system with various instruments at home. I sent a stereo mix from my computer to channels one and two, plugged in an acoustic guitar in channel three and a vocal mic in channel four. All sounded loud and clear and it was enjoyable playing along with a stereo mix.

Laney L50H Lionheart



The interface sends signal to the P16-M, a small lightweight mixer feeding either headphones, inears, or powered foldback. Each mixer has 16 mono channels that can be linked, grouped; EQ’d and panned at individual volumes, as well as a master bus with its own output, EQ and limiter. The EQ features a fixed bass and treble with sweepable mid cut/ boost for massive tone sculpting capability.

Sterling S.U.B. AX3 Guitar

t was great to get my hands on the new S.U.B. series of Sterling guitars by Music Man. The S.U.B. series of guitars and basses are comprised of both US and “International” models aiming at high quality and serious value for money. Today I’ll be reviewing three Indonesian models: the Sterling S.U.B. AX-3, Silo-3 guitars, and the Ray-4 bass.




This Grand Auditorium shaped guitar is designed in the USA and made in China… what isn’t these days? Sealed machine heads with a black plastic trim/binding, plastic nut bridge and string pins. This is a solid top guitar made of western red cedar with mahogany back and sides. The fingerboard is solid rosewood and it features two ring inlay rosettes. Now let’s give it a strum and see what happens. Great… it’s in tune and nothing broke. First port of call… tuning. Let’s put this into DADGAD Dsus4 tuning and see if it holds. I played Zeppelin’s Kashmir for a few minutes and then decided to tune it back to standard EADGBE and retest the stability of the tuning. It held up fine and I found the sealed machine heads to be pretty good accurate. They’re not big-branded, so don’t expect Gotoh or Grover quality, but none the less they do the job as well as one would hope.

As for tone… well this guy is bright and brittle. I have a heavy right hand (I’m right handed) and a percussive style when it come to playing, so the shimmer really stood out to me. I also tried some softer finger picked tunes to test its versatility. There was a slight buzz coming from the frets so I decide to check the position of the neck. This one is really straight, a bit too straight and an adjustment of the truss rod solved all of that. Overall this is about right for a young or beginner player. A more mature player may not get enough from the tone. The electronics worked fine, the pickup good and E.Q. (bass, middle, treble) responsive enough to do what needed to be done. Option includes Venetian cutaway style with B-band T35 EQ.



or many years the name Casio has conjured up images of products perhaps most diplomatically described as being aimed at the more entry level of the market. So I was more than pleasantly surprised when I was confronted by the XW-P1 and the XW-G1. The latter is more ‘DJ’ oriented and I will talk about it another time, but the XW-P1 is very definitely a player’s synth, aimed squarely at performers who want a huge range of features on a budget. Firstly the expected price falls below a thousand dollars, which is fantastic value. The look is extremely ‘pro’ and as soon as it fires up the sound quality is apparent. It is by anyone’s standards a good sounding synth, with a vast array of sounds. There’s four basic ways it can be used. In solo synth mode there are 100 presets representing some great vintage analogue sounds; then there’s ‘hex’ setting which allows the layering of six tones; there’s fifty drawbar organ presents in organ mode and the nine sliders on the control

Casio XW synth



surface are used in this mode to replicate the adjustments of drawbars; and then there’s a mode which has some 420 PCM melody and drum presets. The XW-P1 has a total of 311 internal synth waves based upon vintage analogue synthesiser sounds, and a total of 2.158 PCM waves. Sounds can be built up by layering waves and they can of course also be used as a basis for individual sound creation, with the sliders allowing the adjustment of various parameters. Featuring six oscillator blocks, the scope for sound creation seems endless. There are 100 preset effects which are fully editable, and space to store 100 of the edited ‘user’ effects you can create yourself. The main intention of this unit is to provide a versatile tool for the live performer and to that end Casio have packed in some pretty cool features. In the ‘performance’ function the keyboard can be divided into four zones, with different sounds in each. There is a phrase sequencer which allows you to record musical phrases for playback, and there is a step sequencer for generating entire tunes. In fact it really has everything you could need to create and perform your own music. Then there’s little features like the non slip area at the top right where you can put an iPod or some other device, and the fact that you can run external devices through it. It’s fairly light but has a durable feel/appearance. It can be run off battery power - good for busking! The control surface seems to me to be fairly intuitively laid out and features such as the sliders are multi functional, which means you still have a very tactile approach to sound control. Despite all the features it’s easy to navigate, and all seems pretty logical. The bottom line is that it looks great, it is competitively priced, and the sounds are very good. There are synths that sound better and do more, but in this price range the XW-P1 offers a complete solution for any serious performer. If you want to get out there, play and you are on a budget, the XW-P1 will not let you down. When product guru Paul Noble started belting out ‘Jump’ at EnTech, followed by plenty of other iconic keyboard sounds and riffs, there was literally cheers of approval. The sounds are BIG and Casio have delivered a lot of bang for your bucks with this one.


Larrivee OM-05



have long heard of the Larrivee brand and the high standard of instrument they produce. Unofortunately I had never been able to get my hands on one, but now that I have, they’re not getting it back! This guitar is of all solid wood construction featuring mahogany back, neck and sides; a Sitka Spruce top with spruce bracing; a beautiful African Ebony fingerboard and bridge and features an LR Baggs “iBeam” pickup system. You also get symmetrical parabolic X-bracing, hand fit dovetail neck joint, Abalone Rosette, Pearl Logo w/ Sterling Silver Border, Chrome Tuners (18:1 Ratio), ivoroid fretboard binding, Larrivee custom beveled pickguard, TUSQ nut, compensated TUSQ saddle, and Microdot fretboard markers.


The first thing that strikes me apart from the beauty of this guitar is how great the neck feels. The neck has a matte finish which makes it feel “fast”. It’s a little thing but something a seasoned player would notice and appreciate. Next thing that struck me was the TONE! It is so well balanced with just the right amount of bass, mids and treble. This guitar excels at fingerpicking with the notes ringing loud and clear across the room! There is a mid range “brashness” that enables this guitar to really cut. When it comes to strumming, more of that mid range things becomes evident, whilst not a big, luxurious type of sound, probably due to the body size, it has a nasty dirty “hill country” type of thing that I really love. I think you could probably get a little more bottom end “bloom” by raising the action slightly, but straight out of the case this one feels and sounds fantastic.

Upon plugging this baby in I was impressed by the amount of tonal adjustment you can get. The “iBeam” features a powerful three-band EQ, phase switch and notch filter for taming nasty feedback and a blend knob that allows you to blend between two different pickups! I personally found that having about 75% “element” pickup and the remainder “iBeam” gave the plugged in sound the right amount of direct signal with just a little bit of air around the sound. This instrument is incredibly stable both tuning and tone wise. It looks elegant and not overdone and at around $2,500 is well worth the investment. The craftsmanship is faultless and it is set up impeccably. As I say…they are going to have a hard time getting this guitar back out of my hands…its feels like the kind of instrument that you should be inspired to write with and perform on. Now…where to hide this thing?

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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. Blue Room Theatre, 7.30pm to Saturday 13 October. Reversals – A gala screening of new short films written, produced and directed by WA Screen Academy students. Luna Leederville, 6.30pm. Black Swan Prize For Portraiture – A showcase of over 70 finalists in this year’s art competition, which began five years ago. Winners of the 2012 Black Swan Prize For Portraiture and Black Swan Prize For Heritage will be announced tonight. Linton & Kay Gallery, exhibiting until Monday 1 October.

FRIDAY 28 On the Road – Director Walter Salles (The Motorcycle Diaries) has taken on a project that has confounded numerous filmmakers for over 50 years: Jack Kerouac’s seminal beat novel On The Road. Inspired by Kerouac’s own life, the story follows aspiring writer Sal Paradise as he sets off on a devil-may-care road trip across 1940s America. Opening with a panel discussion of the literary classic finally on the big screen. Luna Leederville, 6.30pm. AGWA Allsorts Comedy Debate – Join a host of comedians as they debate Modernist ideas inspired by the Picasso to Warhol: Fourteen Modern Masters exhibition, as part of the Art Gallery of WA’s Friday night events. Tonight Dave Callan will host the topic, ‘Do we

make more sense in our dreams?’ Inspired by Giorgio De Chirico and Joan Miró Dream’s interpretation of that blurry line between conscious reality and obscurity. Art Gallery of Western Australia, 5.30pm.

SATURDAY 29 The Perth Roller Derby – The Grand Final between the Bloody Sundaes vs the Mistresses of Mayhem. Half time entertainment will be provided by Sure-Fire Midnights. An alternative for AFL fans who prefer their athletes on wheels. Herb Graham Recreation Centre, 7pm. Boy Gets Girl – The Western Australian premiere of this play by Rebecca Gilman about journalist Theresa who gets talked into a blind date with computer consultant Tony. 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 30 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.

WEDNESDAY 3 Performprint – developed through a residency at Fremantle Arts Centre, Melbourne-based artists Joel Gailer and Michael Meneghetti work with aspects of masculinity, ego and signifiers of social communication presenting print and multimedia installations. Fremantle Arts Centre, exhibition runs to Thursday 8 November.



In a sea of chaos and disjointed Hollywood reality, oddly Russell Brand manages to stay grounded. Guy Davis finds out what it’s like to be an outsider on the inside. Stand-up comedian, actor, author and all-purpose Renaissance man Russell Brand has undergone a fair few changes in the past few years. Hollywood embraced him a bit – he landed lead roles and supporting parts in movies, some of which worked better than others. His marriage to Katy Perry raised his public profile; their subsequent split could be said to have raised it even more. But Brand’s quicksilver wit and yearning for a deeper, more meaningful understanding of life remain the same, and his recent explorations into the extremes of fame, fortune and celebrity have given him the opportunity to indulge them even further. Which is nice for us as well, right? Brand is returning to Australia for a nationwide comedy tour titled I Am A Walrus, and speaking to him from Los Angeles he admits that many recent events in his life have provided him with fascinating material. “Living in the world of celebrity, I’ve got an interesting insight – it’s such an aspirational aspect of contemporary life, innit, that world,” he says. “And when you’re part of it, you think ‘Well, this is mostly silly.’ It’s ninety-nine per cent silliness, and that provides me with really interesting stuff.” The title of his new show was inspired by his performance of The Beatles’ I Am The Walrus at the closing ceremony of the London Olympics. “There’s tens of thousands of people in the stadium, a billion people watching worldwide, and none of them know my trousers are being held

together by Sellotape and the corner of that tape is stabbing me in the testicles,” laughs Brand. “And my mate Mick thought I was singing a song called ‘I Am a Walrus’. It’s only a small difference but ‘I Am The Walrus’ implies some psychedelic messiah from the mind of John Lennon, while ‘I Am a Walrus’ is just, you know, a walrus. So you could be on top of a bus at the Olympics, singing a Beatles song, but what is your life really defined by? If you don’t have a relationship with truth, what is it? So broadly the show is about what it’s like to be famous, what it’s like to experience those things, but how really it’s just part of being a human being. Different things happen but embarrassing things happen and funny things happen and sexy things happen and stupid things happen. I want to create an atmosphere where it’s the opposite of what people feel when they read magazines that tell them they’re not thin enough or sexy enough or their hair’s not good enough. I want people to feel that everything is good, everything is perfect, everything is how it ought to be. And the stuff that isn’t? We can change that. I want an atmosphere of controlled mayhem, sexiness and chaos, hope and humour.” Brand admits, though, that he’s not out to impart the meaning of life to his audience. “Oh, yeah, there’s gonna be dick jokes,” he adds. WHO: Russell Brand WHEN & WHERE: Sunday 2 December, Perth Arena


Brazilian filmmaker Walter Salles tells Anthony Carew he tried running from On The Road with little success. It’s every 18-year-olds’ rite-ofpassage: reading On The Road. And so it went for Brazilian filmmaker Walter Salles, on whom Jack Kerouac’s beat generation landmark left a “profound impression”, given how it contradicted with life under a military rule in 1974 Brazil. “What it talked about was the exact reverse angle of what we were living,” he recalls. “I was immediately taken by those characters, who were seeking different forms of freedom.” Yet, even as he became a filmmaker, “the book was so emblematic to me that the idea of adapting it for screen never occurred to me.” Then in 2004, American Zoetrope, Francis Ford Coppola’s studio, approached Salles aboutdoing just that; the company had optioned the book in 1979, and had been searching since for someone to adapt it. Salles had just come off making The Motorcycle Diaries, a rousing road-movie tracing Ernesto “Che” Guevara’s coming-of-age trip across the South American continent The link makes sense, these twin bildungsroman travelogues both being about iconic symbols of 20th century counterculture. “They’re both about the transitions from youth to adulthood, and all of the pain and discoveries and exhilaration that comes with,” Salles explains. “They’re also about the initial steps of what would eventually become a cultural or socio-political revolution. They’re about that moment before the eruption, about what’s boiling under the surface, about to explode.” Yet, when approached about making On The Road, Salles initially baulked. He was fresh, as pointed out, from

the “insanity” of The Motorycle Diaries’ 30,000km journey, which went from 20 degree temperatures in Patagonia to 47 in the Peruvian Amazon, and unsure of tackling a text that meant so much to him. So, instead, he made the documentary Searching For On The Road, a simultaneous study of the book and its possible adaptation, which featured interviews with beatera poets like Michael McClure, Diane Di Prima and Amiri Baraka, and travelled the text’s journeys three times over. After returning to his native Brazil to make 2008’s Linhe De Passe, Salles finally set out to adapt Kerouac’s “jazz and bebop-influenced” writing, where improvisation and intuition create abstract, expressive rhythms in text. “It has this freeform quality that is very difficult to translate to screen,” Salles admits. “It is anything but a traditional narrative, with these arcs that are very identifiable.” This a late-’40s/early-’50s period piece that is about journeying into the American frontier, a frontier which, in the 2010s, no longer exists. “There’s been a homogenisation of the geography, and that obliges you to go further,” Salles says. “You have to take the backroads and go further into the hinterlands, to find places that haven’t been touched by the brands yet.” WHO: On The Road Opens Thursday 27 September We have ten inseason double passes to giveaway to the film. Enter with an email to giveaways@drumperth. with On the Road in the Subject Line.


amazing products that would make just about anyone froth at the mouth. Finally, the Cert IV design students from the Central Institute Of Technology presented their work with an extravagant runway show in the popup store Prototype – these kids have been hard at work and the result was a series of beautiful fabrics in original, tactile and unique designs that really captured the audience’s imagination. The show was excellent with banging tunes, people from wall to wall and of course lots of mandatory champagne and wine. Admittedly everyone seemed pretty exhausted by the end of the first night and no doubt the rest of the week was just as busy – here’s hoping for a great show next year, and thanks to all the local designers and Onwilliam for putting on such a neat event!

REVIEWS BAIT 3D FILM There’s a distinct possibility that being menaced by a shark would be more rewarding and entertaining than watching Bait 3D. I’m serious. If you avoided being devoured, a shark attack could give you an adrenalin rush unlike any other, a renewed lust for life and a heck of a great dinner-party story. In comparison, all Bait 3D can offer is 90 minutes worth of doldrums. It’s a soggy slog of a movie, one that’s utterly lacking in thrills, chills, laughs or life of any description, really. What sounds like a recipe for some good cheesy B-movie fun – a tidal wave floods a small coastal town, leaving a group of people (including an armed robber!) stranded in a submerged supermarket with a predatory great white shark prowling the aisles – is pretty much botched by director Kimble Rendell and a cast unable to inject any vitality into their one-note characters. 54 • THE DRUM MEDIA

Scratch that, there is one exception: character actor Dan Wyllie takes as many bites out of the scenery as his aquatic co-stars do, and his unashamedly hammy overacting, while ridiculous, is an enjoyable contrast to the blandness surrounding him. Otherwise, it’s simply a case of marking time while you guess which character will end up suffering the great Australian bite next. And here’s the thing; it’s most likely going to be the characters you think it will be. That’s how predictable, pedestrian and unimaginative this misbegotten monster movie is. So here’s my advice: Steven Spielberg’s 1975 classic Jaws has just been released on Blu-ray. The picture and sound quality are great and there are some terrific behind-the-scenes docos. And even though it’s nearly 40 years old, there’s more style and substance in any given frame of Jaws than there is in the entirety of Bait 3D. Guy Davis In cinemas now



For one awesome week running concurrently with the Perth Fashion Festival, William Street hosted Popsicle. The event saw the most indie of Perth fashionistas trot between fifteen rad locations collecting adorable free badges and sampling some of the finest local talent in fashion. On the opening night the strip was crowded with people tussling to get into the packed-out stores to see what kind of wares were on offer. While most of the stores featured live DJs, free beer and awesome designs up for sale, there were a few stand-out spectacles. Tú had the most beautiful live model posing in the window of their store, while 246 William had a collection of outstanding streetwear designers showcasing their

Olivia Gardner


international market – Samuel has a Twilight sequel to his credit, Lewis has just completed After Earth opposite Will and Jaden Smith, Tonkin recently landed a role on the hit TV series, The Vampire Diaries – and the combination of their acting talents and rising profiles helped make Bait 3D an appealing prospect to overseas buyers.

HIGH TIDE Forget snakes on a plane, now it’s all about sharks in a supermarket. Guy Davis circles Bait 3D director Kimble Rendell. There are times when a little explanation is required to outline a movie’s particular appeal. And there are times when not much explanation is required at all. The new Aussie thriller, Bait 3D, falls into the latter category because its hook can be summed in four little words: Sharks in a supermarket. The notion of a group of people stranded in a flooded shopping centre and menaced by a couple of marauding Great Whites after a tidal wave lays waste to their coastal town proved enticing enough for director Kimble Rendell to take on the project after original helmer Russell Mulcahy (Highlander, Resident Evil: Extinction) had to pull out due to international commitments. Known for his homegrown ‘90s slasher movie, Cut, Rendell had

been working as a second-unit director on big-budget productions like the Matrix sequels, Ghost Rider and I, Robot when he got the call from Bait 3D producer Chris Brown (no, not that Chris Brown) about shooting the Queensland-set thriller. “I asked what it was about and he said ‘Sharks in a supermarket,’” recalls Rendell with a laugh. “That’s what hooked me in! Then I read the script and liked it, but I was also attracted by the challenges of making it. It’s why I’ve been doing a lot of second-unit stuff – I’m intrigued by working out the logistics of shooting this sort of thing. If Bait was just two people in a room for 90 minutes, I’d get pretty bored doing that. But something like this keeps me on my toes. With the characters in Bait, it was

like a theatre production upstairs with these people trapped on top of the shelves while downstairs it was a cross between The Poseidon Adventure and Cujo for the people trapped in the car park.” Working as a second-unit director on blockbusters has allowed Rendell to hone his technical skills – “the job is to help make their film, not your own film, and you’re generally matching stuff made by some of the best directors and cinematographers in the world,” he points out – and some astute casting of established actors and young stars on the ascent help accomplish the rest on Bait 3D. The likes of Xavier Samuel, Sharni Vinson, Lincoln Lewis, Alex Russell and Phoebe Tonkin are becoming more and more well-known in the

“We did a casting session in Los Angeles and a lot of well-known actors were trying to get into this film,” says Rendell. “Their agents were hounding us but it was an Australian production and we found that the Australian actors who came in were really good. I was looking for the best performers but I was also mindful of selling the film to an international market, and people could look at the credits of these actors and be excited about their involvement.” Still, Australian audiences may notice that some of those local actors occasionally sound... well, less than local. “It’s really only Australians who notice it, though,” the director admits. “The distributors, the sales company, wanted all American accents and they wanted that because they say they find it very hard to sell films with Australian accents. Certain markets don’t understand the accent at all, so they won’t buy it! We wanted to sell the film so our actors dubbed the film with American accents but it was clear that some of it just didn’t fit. So we decided some characters could be American – Sharni and her brother, for instance – while Phoebe’s character has a backstory about spending time in the States. That’s where that came from.” WHAT: Bait 3D In cinemas now



WITH MARCIA CZERNIAK Every year around this time, it seems Australia stops in its tracks as sports-loving AFL and NRL fans go berserk for grand final weekend. While Western Australian teams are missing from the clashes, fans of both codes are bound to be clogging up the nearest pubs and sports bars to see which team will claim the titles for 2012. And if you care at all about that, I am sure you will have a wonderful weekend. Being that us lucky West Australians celebrate the Queen’s Birthday a couple of months later than the rest of Australia (except for QLD, as they too think October is a great time for a long weekend), you will even have more recovery time if you happen to go a bit too hard in celebrating/commiserating/ getting drunk just for the hell for it. But if you don’t care about men in shorts running around after a ball as they try to tackle each other to the ground all to kick it through some tall poles, then there is hope. There is life past football, and there are some different paths you could take in determining how to best spend your long weekend. You could run away to a location outside of Perth and enjoy all it has to offer, like the quokkas and beaches of Rottnest, or the wine and beaches of Margaret River. Or you could take advantage of the fact that people will be packed into pubs or at home glued to their television sets and go out and do

shopping without having to battle it out for a parking spot or having any head-on trolley collisions. Or you could partake in the age-old tradition of going to the Perth Royal Show! The memories of going to the show as a child are ingrained in a lot of our brains. I mean, who could forget the fairy floss, or rides on the ferris wheel and chair lift, or playing the clowns and those slots where you drop in 20c coins, thinking it will just take one more to make the whole lot fall down and then I will be rich, rich I say! And imagine how many Kewpie dolls wearing tutus on sticks you buy with your winnings. Now that would be the best Royal Show ever. But while the years have passed, the Show may have lost a little bit of its lustre from when we were little kids. But now, looking through the show booklet, there seems an insane sense of childlike excitement from it all, with a range of entertainment on offer like wood chopping and fireworks. And then there are the show bags, the best way to measure the commercial success of popular culture. From the Bertie Beetle staple to the new up-and-comers, show bags can make or break the Royal Show experience. So get out your black texta and start circling the bags on your hit list, because as we all know, with show bags, it is all in the research and making the tough choices… like do I want Sesame Street bag because of the cool looking Elmo beanie, or the Elmo bag because of the alarm clock?

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He’s one of our nation’s most iconic voices, one of our most outspoken artists, and one of the most hard-working musicians our wide brown land has ever seen. Yes, Xavier Rudd is once again making his way around the country, this time in support of his seventh studio album, Spirit Bird. To celebrate the release of what has already been vetted as an incredibly striking roots album, the tour will take Xavier Rudd from Airlie Beach to Albany. He rocks into Albany Entertainment Centre Friday 28 September; Fremantle Arts Centre Saturday 29; and two shows at Caves House, Yallingup on Sunday 30 (sold out) and Monday 1 October. Already producing his highest-selling single to date with the beautiful Follow The Sun, Spirit Bird is Rudd’s deepest and most explorative album, finding the ever socially-conscious solo artist delving into his musical and spiritual ancestry. Proudly supported by Street Press Australia, this is your chance to see one of the most passionate Australian songwriters in all his glory. Tickets via Oztix.



JULIA STONE: SEP 28 Astor Theatre

CAPITOL: 20/09/12

Opening tonight’s show were local synth-pop darlings the Voltaire Twins, who over several years now have carved out a niche of their own with their unique and lively electro sound. The stage was crammed full of synthesisers, percussion drums, electronic devices and no sign of any laptops, as the pure skill of this well-rehearsed act is the ability to perform tightlysequenced music entirely live. Opening their set with Silhouettes taken from the recent EP Apollo, the lazy swinging synth pads swelled throughout the brightly lit venue in a spacey, dreamy fashion. The blending of live drumming tribal beats, with the harmonies of Jaymes and Tegan Voltaire contributed to the edgy pop textures and a sense of melancholy that is their main appeal. The catchy melodies continued with more Apollo tracks: Jump Cuts and Young Adult. Ending this entertaining set with Animalia the audience were in full dance swing enjoying the driving rhythms and arpeggiated synth rolling over cow bell beats that are all part of the Voltaire Twins’ cleverly crafted sound. Bluesy riffs of slide guitar set the mood and when an American-styled Mystery Jets entered the stage the sheer excitement of the audience could be felt all

around. With frontman Blaine Harrison – in fabulous tasselled leather no less – and the rest of the five piece band all in Nashville-appropriate attire, it became obvious the Jets have moved away from their once neopsychedelic indie style to something else. Opening the set with Someone Purer from their most recent album Radlands, the fans were immediately singing full throttle to the catchy pseudo country vibe. Moving straight into early hit single Serotonin, one of only a handful of older tracks to feature tonight, a positive energy could be felt in the air. While not all of the fans may appreciate the new style, there was no denying that these talented British musicians know how to perform a tightly orchestrated and faultless performance, with captivating appeal. Four-part vocal harmonies in the track Saviour were wholesome, while the twelve-string guitar lick in Dreaming Of Another World sent shivers around the venue. The audience passionately sang along full of gusto at every opportunity to the big sounds of unison guitar and oozing organ riffs, but it was the band’s overall passion and liveliness that won in the end.


Michael Caves




THURSTON MOORE: OCT 30 Rosemount Hotel

The 2012 Perth Fashion Festival was another cracker, kudos to all involved. Who knows, maybe Warnie will even head over for it one day (see across)…

Your transformation from awesome drinking and smoking bogan cricketer to full-on twat is now complete with your appearance at Milan Fashion Week. You will be missed.


AWESOME SHOW, GREAT JOBE The fact the Brownlow didn’t take seven hours to sit through and winner Jobe Watson is probably the nicest dude in footy makes this a huge win for everyone. Especially you, reader, as you won’t have anymore AFL-related lashes to sit through til next year – no guarantees.


The Laneway Festival line-up gets us every time.



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


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


Does anyone else feel like the Greenday frontman is just trying to remind everyone the band exists because they’ve got an – admittedly pretty good – new album out.


So it’s been revealed Channel 9 is dealing with a $2.8billion debt, in the same year they decided to revive Big Brother… Coincidence? Maybe they could ask our ousted millionaire for a handout? LANIE LANE PIC BY CC HUA




Moving beyond his previous project with his band Hang On St Christopher, Sean O’Neill launches his debut EP Moving In Time Thursday 27 September at The Bird. O’Neill’s style comprises of two shots Sigur Ros, a teaspoon of Sufjan Stevens, a lather of Bon Iver, and a contemporary style that in parts nods to composers such as Jon Brion and Warren Ellis. $10 from 8pm.



Recently launching new album You’ll Turn Into Me, Split Seconds have more killer slots coming up – opening for Stephen Malkmus & The Jicks Friday 28 September at The Rosemount Hotel and playing Wave Rock Weekender Saturday 29. They’ve got some more killer shows lined up in the coming weeks so stay tuned.




Recently returning from extensively touring throughout Eastern Europe and Russia opening for guitar legend Tommy Emmanuel, Emma Hamilton will take to the stage for her first show in WA to share her special blend of French-tinged jazz/pop. It’ll be a night of music that swings between jazz, gypsy, folk and pop all with a French twist, Thursday 27 September. Tickets via


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. Their high-octane sextet of horns, strings and drums will hit Mojo’s Friday 28 September with support from Ensemble Formidable. $20 via Heatseeker, $30 at the door. They also play Wave Rock Weekender Saturday 29.


The Young Lions series continues in the last week of each month. This month sees Elbowgrease (featuring Andrew Gioia, Sean Little, Lewis Moody, Djuna Lee and Jacob Evans), a band that strives to add an electro edge to their music, headline with special guests Ben Matthews Band at The PICA Bar Thursday 27 September. $12 at the door.



Band history in brief? Me, myself and I have been together for a good five or so years. I met the other band members actually the day I was born. At first we didn’t get along, but through a good amount of time we eventually got there. I Love Hate You is my third album release. My previous release in 2010, Deep Fried Satisfied charted at number nine on USA’s Billboard Blues Charts. It also came fifth on Amazon’s Best Blues Albums of 2010.

If you’re looking for a place to celebrate your team’s win, mourn your teams loss, or want to forget the footy all together, head down to The Den Saturday 29 September for a night of unrelenting hardcore featuring Amend with support from Foul Mouth, The Captain, Deranged. These bands usually pack quite a punch and with footy fever in the air things will be insane. $8 entry.

With spring in full swing, the latest season of Sunday Piazza Live continues at Northbridge Piazza Sunday 23 September with Ricki Malet Trio and Los Chaquis. To start the party vibe, Ricki Malet Trio will kick off the afternoon with their unique brand of standards mixed with Thelonius Monk and Miles Davis Tunes, and then Los Chaquis will party on stage, performing music of the Andes in traditional costume. 1pm.

With the ability to play guitar, drums, piano and more, there’s little Reilly Craig can’t achieve with his music. He’s ventured musically in just about every avenue possible. He’s an acoustic, pop artist with a Sunday sesh vibe, which makes his set at Drum’s Gignition at The Railway Hotel Sunday 30 all the more fitting.


Describe your sound. My sound is a swamp stomp, southern rock bluesy thing with a splash of funk. My influences are generally rock music. Anything from Chris Cornell to Creedance Clearwater. Tell us about the album. I Love Hate You is a concept album - dealing with the things I love, things I hate and things I love to hate. From loved ones, great gigs, motor vehicles and treacherous trans-continental bus rides, to bad customer service, indifferent radio programmers and lazy journalists.


What was the recording process like? I do it DIY. I do most of it at home like a lot of bands now do today. I got William Bowden to master the album (He just did Gotye). A highlight was when I recorded one of the first tracks in Sun Studios in Memphis Tenesee. It was a great buzz to record at the same place as Johnny Cash and Elvis once did.


The double-x chromosome half of Angus & Julia Stone has announced a solo tour in support of her second solo album, By The Horns. Stone will bring her hushed sounds to The Astor Theatre Friday 28 September. Head to for tickets. Proudly presented by Street Press Australia.


Fresh from being nominated for the WAMi Song Of The Year award, feel-good fellows Dilip N The Davs hit the stage at Clancy’s Fremantle Saturday 29 September, supported by the debuting Pusherman. Come down and Fremantle’s busiest and most dynamic original party band will ensure no one leaves unsatisfied.


Local unplugged night Friday I’m In Love hosts Lumiere, Kucka and Husband (solo) Friday 28 September downstairs in Fat Shan’s Records. You’d struggle to find a more engaging and intimate venue to relax and enjoy an unplugged session at. $10 entry from 8pm, head down early to check out Fat Shan’s awesome music collection.


Sydney-based instrumental rockers sleepmakeswaves bring their epic soundscapes to The Bakery Friday 28 September, supported by The Silent World and Coveleski. 2012 has been a break-out year for sleepmakeswaves, with US and Europe tours and plenty of trips around Australia already, including their recent Karnivool support.


Adding the next chapter to their melodic, melancholic, mega hectic mash, Caress Your Soul is Sticky Fingers’ first single off their upcoming debut album, due early next year. Ride their loving waves at Indi Bar Thursday 27 September; Settlers Tavern, Margaret River Friday 28; Prince Of Wales, Bunbury Saturday 29; and White Star, Albany Sunday 30. 58 • THE DRUM MEDIA

Are there any colloaborations on the album? I got Chase the Sun’s rhythm section to do a couple of songs. They are an awesome Australian blues rock band who I often go the road with. They added such a great groove to the album. When are you next touring? The national tour kicks off in Perth actually on September 28. It continues up until mid-December. I fly into the west coast after having done a tour of UK and also a festival and some side shows in Poland.

Blues rock three-piece Dirtwater Bloom are celebrating the release of their new video for the single The Hard Way (666) Sunday 30 September at The Rosemount Hotel’s 459 bar. Support from Ben Witt (The Chemist) and Dux & Downtown. If that wasn’t enough, they’ll be giving the video its first screening on the night. Free entry.


International multi-instrumentalist Nathan Kaye is in WA yet again, but this time he’s with his band, The Feb 20’s. Dressed head to toe in ‘20s gangsterbootleg gear, The Feb 20’s crank out dirty slide blues over live didgeridoo-driven beatbox electronic dance grooves. They play L’Attitude 28 Bar, Geraldton Saturday 29 September and Indi Bar Sunday 30.

What can punters expect from your live show? I’m a one-man band that blends slide guitar, sitar, bass and drums to create music that invokes the best of stomping swampy traditional blues, hard rock and booty-shaking funk. I use looping technology to create a band vibe without the band. I Love Hate You is a move away from traditional blues and back to my love of rock with my childhood love of ‘80’s cock rock starting to show its influence. The signature slide is still there, along with the four-on-the-floor rhythms and gut-bucket sensibility, but new to the mix is an increased focus on guitar riffage along with a more refined approach to songwriting and production. What’s on the horizon? Touring, touring and more touring. I pretty much tour nationally until the end of the year. Then there are plans to get back overseas midnext year and record the next single. WHO: Claude Hay WHAT: I Love Hate You (Only Blues Music) WHEN & WHERE: Friday 28 September, The Velvet Lounge; Saturday 29, The Fly Trap; Monday 1 October, Perth Concert Hall

ONE DAY IN SEPTEMBER Perth Roller Derby League’s Grand Final hits Herb Graham Recreation Centre Saturday 29 September, where the Bloody Sundaes battle it out with Mistresses Of Mayhem to see who is the 2012 champion. $15 from 6pm, or tickets via Don’t miss out on the last home bout of the season!

Who are the members of Spilt Cities? Shaun Rodan – vocals/guitar, Zac Ward – guitar, James Porteous – drums, Mike Ewings – Bass. Give a brief rundown of the history of your act from day one to now: The band formed in mid-2011 and started gigging immediately. After months of gigging and the addition of a new bass player, the band started to hone its sound. In early 2012 the band went into the studio for the first time to record their single Release (Narrow Escape). In mid-2012 the band entered the studio again, this time to record their debut EP, build/rebuild. Tell us about your release. The EP is called build/rebuild and contains five tracks. How did you go about recording it? The pre-prod was fairly rushed and a lot of changes were made in the studio. Luckily the communication with Laurie at Sumo Studio was wide open and we were able to convey ideas between the band and engineer really easily. Guitar tones were very particular and we spent a lot of time getting a sound we were excited about in hopes that it would help to add to the atmosphere of the EP. Tell us about your launch party. The launch will be going down on the 28 September at The Beat Nightclub. Supporting us will be Foxes, Only Hope and Celebrator. Entry will be $15, which also includes a copy of the EP.


Melbourne soul/funk nine-piece Saskwatch are a band in demand. Hand-picked for a run of shows at Edinburgh’s Fringe Festival throughout August, this engagement is yet another impressive notch on the bedpost of what has been an enviable 2012 to date. They bring their good time stomp to Wave Rock Weekender Saturday 29 September all in celebration of their justreleased debut album Leave It All Behind.

BRUTAL BIRTHDAY It’s Nina’s Mixed Bag O’ Metal Birthday Gig at the Rocket Room Friday 28 September. What does that mean? It means that Enforce are joined by Dawn Of Leviathan, Nails Of Imposition and Memorable for one hell of a metal infused party. Once they’re done tearing the place to shreds, Extreme Aggression while DJ Cain keeps the party rolling. $10 at the door,

What’s next for your act? We have contributed tracks to a few different samplers and hope that it will help us gain some interstate notice. Right now we are glad to be out of the studio for a bit as playing live is a great experience. Hopefully we’ll be able to play some shows over east early next year. WHO: Spilt Cities WHAT: build/rebuild WHEN & WHERE: Friday 28 September, The Beat Nightclub


Following a huge month that’s seen them play headline shows in Sydney and Melbourne, appear at Brisbane’s BigSound conference and do a killer Like A Version session on triple j, Emperors are back in Perth and will be supporting Shihad this weekend. Catch the pair at Amplifier Bar Friday 28 September and at Mojo’s Sunday 30. Tickets via Heatseeker.




Saying the road to Gyroscope’s sold-out show at the Rosemount on Saturday night was one paved with trouble would be an understatement. The show – originally scheduled for June as a benefit to raise funds for burns victim Dana Vulin – had to be rescheduled after guitarist Zoran Trivic was involved in a motorcycle accident that broke both of his legs.


METROPOLIS FREMANTLE: 22/09/12 Look no further Perth, the solution to alcohol-fuelled late night violence has been found: just play Hanson. The atmosphere at Metros Freo was absolutely bubbling with love, nostalgia and excitement to see the blonde trio take the stage and transport us back to 1997. The sold-out crowd consisted mostly of 20-something year-old females bonding over mutual obsession and a few dutiful boyfriends maintaining low profiles – okay, maybe they won’t react so pleasantly to the ‘90s trio of brothers... Opening appropriately with Waiting For This from their latest offering Shout It Out, the screaming started and rarely subsided throughout the almost two-hour set. Swapping instruments and vocals throughout, the brothers cruised through tunes new and old, dishing out nothing but crowd pleasers from their 20-year history like Thinking Of You, Penny and With You In Your Dreams. Everyone present collectively accessed that area of the brain dedicated to storing song lyrics and matched Taylor Hanson word for word.

A packed-out venue early into the evening signaled that everyone was ready to give Trivic and co. a huge welcome back to the stage after their six month break. Easing punters into the night was the laid back, acoustic sounds of Boston & Chevy. The husband and wife duo, consisting of Warren and Amy Page, took turns at lead vocals, allowing each member to shine. They realise that less is sometimes more, and have utilised that to its full effect.


C5, METROPOLIS FREMANTLE: 21/09/12 Following a quite successful run on this year’s Australia’s Got Talent, local five-piece Beside Lights were ready to re-introduce themselves to the Perth scene with an intimate show upstairs at Fremantle’s newest live music venue – C5. Opening the night’s proceedings, local chanteuse Shameem Taheri-Lee warmed up an already healthy early turnout with her soulful mashup of pop, R&B and soul, singing along to her own backing tracks and playing some live keyboards. While the backing track option took away from the moment a little, she made up for it with her captivating stage presence, a cover of Michael Jackson’s Man In The Mirror going down particularly smoothly. The Alfred Gorman/Harvey Rae DJ verseoff in the gaps provided easy transitions between the acts; playing Kimbra straight after Shameem’s set feeling particularly appropriate, along with other fun tunes like the Jay-Z/Alicia Keys joint Empire State Of Mind and Justice Vs. Simian’s We Are Your Friends.

Eventually the time came and as the opening bars of MMMBop played you could practically hear bucket lists being ticked. For those lucky enough to actually be able to glimpse the stage through the sea of iPhones capturing the moment, it was obvious Hanson are still as thrilled to play the song that made them today as they were 15 years ago – which is pretty impressive in and of itself.

It was then over to Stillwater Giants – another young group on the come-up around these parts – who played a tight indie-pop-rock set with plenty of surfy swagger. Some of the slightly older crowd took a little while to warm to them, but by the time they launched into a fun cover of Daft Punk’s One More Time, there was plenty of grooving about. The rockier Ingredients and set-closer/latest single Not Like The Others definitely gave the impression we’ll only be hearing more and more from these lads.

With that anticipated moment out of the way the brothers were free to indulge in a jam session and show off the skilful musicianship behind all the pop. In a rather absurd range of covers Isaac took advantage of the raging oestrogen and serenaded the ladies with Marvin Gaye’s Let’s Get It On before closing with a cheesy salute to their down under fans with an AC/DC tribute. Rounding out the night the brothers lapped up the love and gave it back with our other favourite blonde Taylor; Ms Swift’s latest single We Are Never Ever Getting Back Together. A two-hour blast from the past that satisfied the inner 12-yearold in a lot of women at least double that age now.

Finally it was over to Beside Lights, opening with a soaring instrumental that had the now-bustling venue’s full attention from the get-go. While Perth’s music scene is filled with plenty of perhaps ‘hip’ or ‘cooler’ bands, Beside Lights seem destined for a bigger commercial stage. Their energetic take on pop-rock has a certain stadium feel to it that not many bands around here seem to aspire to, and they do it impeccably. Frontman Adrian Wilson took centre stage for a pleasant cover of Ed Sheeran’s The A Team, and with the crowd singing along was a perfect demonstration of where Beside Lights can go if they continue down this path of emotive songwriting and instantly catchy pop-rock hooks mixed with some soaring stadium-rock sounds.

Beth Parker

Troy Mutton

With a thumbs-up from frontman Paver Pickins to the sound desk, The Scotch Of Saint James began a set that bridged the gap between the ambient, laid-back openers and the intensely energetic headliners that were to follow. With guitars dripping in warped, reverbed effects, tight harmonies and erratic song structures, they executed a tight performance that few local acts could match. A causal “what’s up?” from a sprightly Trivic and the opening riff of Don’t Look Now But I Think I’m Sweating Blood drew everyone inside, transforming the beer garden into a wasteland inhabited by the few punters who missed out on tickets and smokers. Gyroscope were back in the saddle and had six months worth of energy to unleash. Frontman Daniel Sanders may have looked more tame than usual – he’s done away with the mullet, jeans and polo – but screaming relentlessly into the mic from the get-go proved otherwise. It became clear during their set that the show would be their last in quite a while – drummer Rob Nassif is moving to New York for an unspecified amount of time.

Wainwright trading operas and orchestral pieces for more glam-inspired music with an emphasis on entertainment and this was exactly what he brought to this performance. First act Krystle Warren delighted the audience with her smooth, bluesy howl. Armed only with an acoustic guitar and a great batch of songs, Warren even threw in a breath-taking cover of Bob Dylan’s It Ain’t Me Babe to the delight of the audience. Taking to the stage next, Washington performed stripped-back solo piano performances of How To Tame A Lion and The Hardest Part as well as an emotional performance of the Rowland S Howard track Shivers. After a brief intermission, Rufus Wainwright and his band arrived on stage. Opening with new song Candles followed by Rashida, he displayed his vocal strength and impressive all-white suit covered in reflective material that lit him up like a mirror ball. The 20-song set was heavy with new material as well as great performances of Cigarettes & Chocolate Milk and Going To A Town. It also featured a tribute to his dad Loudon Wainwright II and late mother Kate McGarrigle. Wainwright also jokingly dedicated his cover of the Judy Garland song The Bitch That Got Away to Liza Minnelli, noting some disparaging comments she had made in the press about his Rufus Does Judy At Carnegie Hall album from a few years back. Wainwright returned to the stage for the encore as “Rufus Apollo”, dressed in a toga, mask and golden wig completely covered in glitter, and flanked by a muscle-bound Cupid and giant panini (I’m not kidding). Getting the audience to their feet, he drove the whole night home with a rousing rendition of Gay Messiah. Say what you want, the man knows how to write a damn good song and put on a great show, which he certainly achieved tonight. Scott Aitken

It wasn’t until late in the set did Sanders finally venture into the crowd like he usually does. “Who touched his balls? Someone did,” bassist Brad Campbell queried upon Sanders arrival back to centre stage. Closers Doctor Doctor, Baby, I’m Getting Better and Snakeskin showed that their time away from the stage hadn’t tarnished their live show one bit, and an encore of Nirvana’s Territorial Pissings provided a memorable burst of energy to a set that hopefully won’t be the band’s last. Daniel Cribb


RIVERSIDE THEATRE: 19/09/12 A heavy mixture of faces attended Riverside Theatre to catch what was a stellar performance by Canadian singer/songwriter Rufus Wainwright, promoting his latest critically-acclaimed album Out Of The Game. The album itself had seen



Since ranking third in the Gozzy Rock battle of the bands, SaySky have been concentrating their efforts in spreading their music and entertaining crowds with live shows. It’s say to safe they’ve refined their set into a tight and engaging one that outdoes their third place performance, which was already impressive. They play Drum’s Gignition Sunday 30 September.



Taking stage at the Civic Backroom immediately after the Grand Final (around 4pm), The Bogan Rock Show is a hard-rocking, high energy musical tribute to old school Aussie bogan culture. So head down to the Civic, watch the game on the big screens, then head into the backroom for bogan dance-offs, air guitar and beer skulling competitions, Aussie rock triva and heaps more. Free entry.

EVERY AVENUE The brainchild of Peter Ashton, Parker Avenue will be rocking their socks off at Drum’s Gignition at The Railway Hotel Sunday 30 September. More than just a band of musicians, Parker Avenue is a location, a sound, an image, an outlook, an emotion, and a story. They are currently working on some rockin’ new tunes for a debut album due out mid next year.




Fresh off the plane from a UK tour behind the kit for Melbourne indie band Eagle & The Worm, drummer turned singer/songwriter Grizzly Jim Lawrie is gracing the west with his passionately lyric-focused songs filled with witticisms about the heartbreaks of day-to-day life. He brings his acoustic guitar down to the Indi Bar Wednesday 3 October.


On the back of their successful CD launch for the 12-track album Super Real, The DomNicks pack in some country driving this weekend. The band will perform at the Wave Rock Weekender Saturday 29 September and then zip back up to Perth to play at The Paddo on Sunday 30 from 7pm.


SENYAWA It’s a question that has dogged mankind since the dawn of the ear; the greatest 10 albums of all-time. Rully from Indoesian rockers Senyawa attempts to answer half the question and their influence.

Two of Australia’s much-loved female artists – songstress Katie Noonan and classical guitarist Karin Schaupp – have released their first full-length album, Songs Of The Southern Skies. They play Albany Entertainment Centre Thursday 27 September; Winthrop Hall Friday 28; and Mandurah Performing Arts Centre Saturday 29. Tickets via BOCs/venues.

MOON MUSIC Ash Hendriks’ electronic solo project Leure will play an intimate show at the Moon Wednesday 3 October. She’s had a huge year and this is a rare opportunity to catch her in such a unique and relaxing environment. Joining in on the action will be Slums and James Teague. Free entry, music from 8pm.

1. Ulqutushuy Vol. 1 & 2 A two-set fantastic compilation of Inca music that shows how original the traditional people sing, from the heart and not from the mic. 2. Laya Project A project that compiles the recordings of music from the people affected by the tsunami. Very personal.

5. Aziza Mustafa Zadeh – Shamans Perfect blend of ethnic tradition, jazz discipline, and the grandeur of classical music. Also, my favorite reference of vocal acrobatics. WHO: Senyawa WHEN & WHERE: Sunday 7 October, Regurgitator Support, The Astor Theatre

How did you go about recording it? Most of the tracks are written between Louise and I, and swapped back and forth until we are both happy and then I do the final production and mix. The vocals were recorded in a few different studios, including Soundfield Studio where we got our masters done, as well as our humble bedrooms. The rest of the process was me producing in my room in Cubase, with some analog processing thrown in to the mix.

What’s next for your act? Wait and see how the EP goes and what opportunities arise, and keep writing and producing and working on the live show - we’ve got a few gigs coming up including supporting Crooked Colours for their EP launch in a few weeks at Amps.

4. David Darling & The Wulu Bunun – Mudanin Kata Simplicity is the most difficult thing to achieve. This album of children choir from a Taiwanese tribe is my favorite reference to learn how to do that.

Having just played a series of explosive and energetic live shows, hard rockers AbandonEarth are now sinking their teeth into the writing process of an EP. They’re set to tear up The Railway Hotel Sunday 30 September as part of Drum’s Gignition. Track them down on Facebook for a bunch of free downloads. $8 from 2pm.

Tell us about your release: It’s a five track EP with a few new tracks and a remix I did of the title track Swim, which is nominated for WAM Song of the Year in Electronica/Dance this year.

Tell us about your launch party: It’s at Geisha Bar in Northbridge which we are really excited about. It’s a beautiful venue and most importantly the subs can take a serious beating which makes me happy. We are playing with Leure and Carl Fox which should be a heap of fun and I’ll be doing a DJ set afterwards. Cheap drinks before nine as well!

3. Sujiwo Tejo – Syair Dunia Maya Inspired me to learn how to use and explore traditional language into more progressive and powerful lyrics.


Give a brief rundown of the history of your act from day one to now: Louise the vocalist and I met at uni studying our composition degree. I heard her sing, loved her voice and helped her produce and mix a track she wrote, which has now become the title track of our EP Swim. We were both pretty excited by the result, slowly wrote a bunch of tracks together and then conned our other uni mate Chris in to do the live electronics so we could get out on stage around December last year. Since then we’ve had our debut airplay on triple j and Unearthed, played alongside Flume at a sold out Villa show.


WHO: Lilt WHAT: Swim (Independent) WHEN & WHERE: Sunday 30 September, Innerspace, Geisha Bar

After you’ve soaked up every last minute of AFL Grand Final action on Saturday 29 September, head down to Mojo’s where The Sure Fire Midnights will be rocking the night away. They’ll be joined by Cal Peck & The Tramps, The Raging Lincolns and Three Hands One Hoof. $10 from 8pm.



Known for their unique take on bluegrass, western swing, hillbilly and straight up rock‘n’ roll, Melbourne trio The ReChords return with brand new single Don’t Know Much and its accompanying video. Formed in 2009 over a mutual love of roots/Americana records, the band have since developed a live show as engaging as their music. See The ReChords at Fast Eddy’s, Morley Saturday 29 September.


Fly By NighT Musicians Club

Friday 5TH Oct Doors open at 7pm

Supported by Sheryn Binks & Bedouin Sea Tickets online at or at the door!



What song have you contributed to the CD and why? Heart Of A Lion. It may seem pretty simple at first, but the entire song is about social anxiety and how it can ruin something great because you’re physically unable to take the chance. It’s a pretty sad song actually, and people talk a whole heap about things like depression yet not a lot is known about the limitations of anxiety so I thought it’d be good to share. How does writing music help you deal with your emotions? Writing is definitely a direct output for emotion. It just gets the negative stuff out of your head and it kind of feels like you’re making that notepad deal with your issues as well if that makes sense. So from the writers’ perspective, it’s very therapeutic. What are you looking forward to most about the Soundblast event? Spreading such a message is just such a fulfilling thing, to know you’re impacting others positively.


Brief history of your band? We’ve been friends for a long time and just over a year ago we decided to concentrate our efforts and have a crack as Rainy Day Women. We released our first EP at the start of this year and it got some good radio play, and we’re just about to release the first single (Runaway) off our second EP.

What song have you contributed to the CD and why? The song we’ve contributed is Aimee. It was written during a pretty bad time for me, and the lyrics kind of resolve themselves to say that it’s okay to be floating and clarity will come in good time. How does writing music help you deal with your emotions? Why do you think music is helpful for people who are experiencing mental health problems? It’s a way of facing your emotions or ‘getting them out’. I think people can relate to lyrics or the feeling of a song and that makes them feel like they aren’t going through whatever it is that’s on their mind alone.

Why do you think the Music Feedback project is important? Music is a powerful tool. If you can activate someone’s emotions with your music then that is an incredible thing, if you can alter someone’s emotion or opinion towards something, even better. The Music Feedback project is the perfect example of using what’s available to us to potentially make a positive impact on someone. And that is the ultimate goal. What song have you contributed to the CD and why? We decided to submit a track called The Beat Don’t Judge Me because it’s a tribute to using music to deal with personal issues. It personifies the beat as a living breathing soul that will never judge you. Someone you can rely on to always be there and accept you for who you are. How does writing music help you deal with your emotions? The Beat Don’t Judge Me is a tribute to how we can shape our own emotions with our music. Lyrics from this track show how music can be used as a form of escapism. I’m not saying escapism is the answer, but this enables people to familiarise themselves with the feeling and lyrics of a song and actually form a relationship. I truly believe this can comfort people who may normally feel isolated.


Why do you think the Music Feedback project is important and why did you decide to become involved? I think there is a repulsive stigma attached to the words ‘mental health’ or ‘mental illness’. Mental illness has directly affected me, and a lot of people close to me… It’s important to make people aware that depression and anxiety are quite common and ‘normal’.

out at a party. I kicked his ass. But he’ll never admit that. Arms In Motion put his hand up for the role of permanent DJ, and although we were sad to say goodbye to our beloved discman, we welcomed him with open turntables.



Brief history of your band? We formed a couple of years ago and have put out two records since; the Sam EP last year and our debut album Stay Frosty in April this year.


What are you looking forward to most about the Soundblast event? When different genres come together to celebrate music as a whole, it’s always a good thing. We’re looking forward to meeting some of the other bands as well as the people in the crowd who might not have heard us before.

GRUNGE SAVE THE QUEEN – THE RETURN OF NIRVANARAMA Who’s playing your event and who should punters be most excited about seeing? Nirvanarama, Kill Teen Angst, Chainsaw Hookers, Mezzanine and DJ Brett Rowe. Punters should be most excited about seeing Nirvanarama. Comprising of members from three of Western Australia’s biggest rock bands of recent years, Nirvanarama is a tribute act with a pedigree like no other. Featuring Dan Sanders (vocals/guitar) and Brad Campbell (vocals/bass) from Gryoscope, Drew Goddard (drums/vocals) from Karnivool, and Chris Daymond (vocals/ guitar) from Jebediah, this is an all star line-up that delivers a mind blowing set of tunes by Seattle’s greatest grunge heroes, Nirvana. What gave you the idea/theme for this show? Since their debut show at the Rocket Room Christmas Party in December 2011, many punters have been asking if there was ever going to be another Nirvanarama show. Due to all four members having commitments to their original bands it hasn’t been possible, until now! What does your gig offer that others don’t? The extremely rare chance to see Karnivool guitar maestro Drew Goddard show his amazing chops on drums.

Why do you think the Music Feedback project is important? We believe mental health is something that should be discussed openly and people shouldn’t feel weird talking about it. Everyone has their issues or problems in life, and quite often they can be solved if you can talk about it.

What made you pick this venue? Amplifier was the perfect setting for a messy grunge show on a long weekend.

What song have you contributed to the CD and why? Be Ready When I Say Go is the song we’ve contributed. Mainly because it’s our single, but we also feel it’s appropriate because we’ve had a lot of feedback from people saying it makes them feel good.

What’s next for your band/promo company? Who knows? The chance to get all four members in the same room has only happened twice in two years!

How does writing music help you deal with your emotions? There’s a universal quality that music has that makes people react emotionally, and that’s the appeal of writing for me. It’s not so much about how it affects my emotions but how it will affect others. And if some music I’ve written helps someone feel better when they’re in a bad mood, or deal with an emotion in a positive way, that’s great. What are you looking forward to most about the Soundblast event? Playing an outdoor show in a great part of Freo with a bunch of good bands to an all ages crowd who don’t have to pay to get in… it ticks all the boxes!



Brief history of your band? I play high-energy guitar intertwined with an earthy stomp box and powerful blues harmonica, which showcases my roots/blues/folk edge. I’ve supported the likes of Cold Chisel and Ash Grunwald, and played a bunch of festivals around the state including Fairbridge and Blues At Bridgetown.

WHEN & WHERE: Sunday 30 September, Amplifier


Perth hard-hitters Emerald City will be headlining Black Bettys Sunday 30 September, loaded with new tunes and all their old favourites. Supports included new comers Room At The Reservoir, rock chicks The Sure Fire Midnights and Ragdoll (off the back of their USA tour and Rocklohoma performance). $12 entry.

Why do you think the Music Feedback project is important? Because it lets others that are going through mental health issues know that they are not alone and to not be afraid to talk about it with people. Music is one of the ways to cope. CODIE SUNDSTROM

What song have you contributed to the CD and why? Feel The Beat. It’s a catchy, foot stomping tune that I think is uplifting. It’s about when you feel the world is crashing down on you and you decide to fight back and never give up, so pretty appropriate I think.


Brief history of your band? A 17-year-old singer/songwriter. After releasing a ten track acoustic demo and doing various regional gigs with the likes of The Ghost Hotel, Ruby Boots and Panda Band, I’ve just come back to attack the Perth music scene with my debut EP. Why do you think the Music Feedback project is important? Mental illness is such a huge problem in today’s society but it sort of goes under the radar and nobody talks about it. This is where Music Feedback comes in, and so why I came on board; because I know music can have a healing quality and I wanted to aim some of mine in the right direction. 62 • THE DRUM MEDIA



Brief history of your band? The Stoops are made-up of three core members. Emcees Roc Walla and Pronto, and DJ Arms In Motion. Roc Walla and I started working together 10 years ago after a spontaneous beatbox battle that broke

How does writing music help you deal with your emotions? Music helps me more than anything with my emotions and it’s the best possible way for me to let everything out because no one judges you so it’s a great outlet to express your feelings. WHAT: Music Feedback 2012 (YACWA) WHEN & WHERE: Sunday 14 October, Soundblast 2012, Kings Square, Fremantle


Melbourne outfit Northeast Party House return with their new single Stand Tall and national single launch tour that reaches Mojo’s Thursday 27 September, supported by Sam Perry and Crooked Colours, and Speakeasy at Villa Friday 28 with support from Gigamesh (USA), Tim & Jean (DJ Set), Funilingus and the Metric Allstars.


10% OFF









Touring off the back of their debut album, Chidera “Chiddy” Anamege from Chiddy Bang talks to Bobby James about smoking blunts with Keith Richards.

Sure there’s some killer big-name acts playing Parklife this weekend, but we want you to meet a few of the rad locals showing them what we’ve got.

In a country like the United States, there are literally hundreds of thousands of wanna-be rappers trying desperately to make it and set themselves apart from the pack. For some artists, it’s a long and grinding struggle which may never pay off. For other artists (the smallest, tiniest percentage of artists) the successful journey begins instantaneously and their careers are launched into the international spotlight. Genre-bending hip hop duo Chiddy Bang fall into the latter. In 2009, Chiddy Bang (MC Chidera ”Chiddy” Anamege and producer Xaphoon Jones) released their first mixtape, The Swelly Express, with the hit single Opposite Of Adults (KIDS), which would peak in the top 10 singles charts in four different countries. What ensued was worldwide tours signing to Parlophone Records, the home of successful artists such as Coldplay, Blur, Tinie Tempah and The Beastie Boys. “The UK were the first people to really believe in us… We actually got signed on the London Eye, and that was a crazy, crazy experience,” Anamege enthusiastically states over the phone. And it didn’t take long before Australia caught wind of that infectious first single. “We’ve definitely always been taking notice of Australia… You guys were the first people to give us a platinum record and make our Mums look


DNGRFLD & BEZWUN happy and have something to hang up in the house,” Anamege chuckles. Following the success of their single in Australia, Chiddy Bang embarked on an Australia-wide tour with the Parklife festival in 2010. “The first Parklife tour was my first time in Australia… We were just two young teenagers being out in Australia, we were like 19, and we just got to see everything all at the one time. It was a beautiful thing.” After dropping two more mixtapes in 2010 and 2011, the pair released their debut album Breakfest early this year which debuted at number eight on the Billboard 200 charts in the US. The album sparked a lot of love from celebrities such as Jonah Hill, who praised it on his Twitter account, as well as ‘sparking’ something else with Keith Richards during the making of the album. “We were in a New York studio, I’m walking through the hallway and there was this old-looking British dude who suddenly emerges from one of the studio rooms, and I didn’t know who it was… He smells the aroma, ‘cause I was obviously high and faded, and he smells it and he looks intrigued; so I offer it like ‘Yo, you wanna come in and take a hit of this?’ And he comes into the room and takes all these rips of the blunt, and you know how old he is, he’s a grown ass man… Rock star shit.”

Since the release of Breakfest Breakfest, Chiddy Bang has been touring extensively to promote their new material and recently came off the Under The Influence tour with Wiz Khalifa, Mac Miller and Kendrick Lamar and his crew. When asked if Mac and Wiz party as hard as people presume, Chiddy had this to say: “I think I party harder than everyone. Schoolboy Q and Kendrick do their thing, you know, they party, and Wiz smokes like everyone thinks, but…as far as partying and stuff, that’s really what me and my people were trying to get into every night.” Having to cancel their Groovin’ The Moo festival dates around the country this year due to ‘schedule conflictions’, Chiddy Bang jumped at the opportunity to play at this year’s Parklife. “Expect a better show. We’re gonna take topics from the crowd and do crazy freestyles, we’ll be jumping around, jumping into the crowd, and crowd surfing. You just really never know, just expect spontaneous energy.” WHO: Chiddy Bang WHEN & WHERE: Monday 1 October, Parklife, Wellington Square

Brief history: Started our own night called Break The Seal, at a local pub and after playing most club nights in Perth, picked up residency at the infamous Japan 4 club nights at Ambar. B – A kid from Basso loving bass, beats and melodies! Predictions for the two most loved tracks at Parklife? Something from Plan B’s Ill Manors and Chiddy Bang – Ray Charles.

Cuban Missile Crisis; how good can you Dougie? B – Weather, name, phone numbers!


Brief history: Six white boys from Perth, who all share a passion for making sandwiches and chillin’ out, maxin’, relaxin’ all cool; shootin’ some b-ball outside the school.

Craziest/weirdest/best Parklife memory? D – Watching Mix Master Mike shredding only to realize Cut Chemist was standing next to us the whole time in the thick of the crowd, enjoying it as much, if not more, then we were. B – Seeing DJ Craze rinse the decks while standing on a flight case!

The two most loved tracks at Parklife? Flume’s Possum and Over You.

Anyone you hope to get intimate with backstage? Wouldn’t mind catching up with Rusko at 4.20.

Anyone you hope to get intimate with backstage? Labrinth. But not in a weird way, just in a spiritual sort of way.

Sell us on why punters should get down early. Separately Bezwun and I are miles apart with what we bring to Ambar, but when we get together in the sun, it’s an all-out ghetto funk jam tailored for summer.

Craziest/weirdest/best Parklife memory? This is our first time. But hopefully, after the Festival, we’ll be able to say “When Labrinth played Earthquake, and it actually caused a real earthquake.”

Why should punters get down early? Hello punters, you should get down early, ‘cause you’ll more than likely catch the worm. And because Bastian’s Happy Flight is on at 1pm!

Top 3 tips for surviving Parklife? D – Sleep the night before; Have a shot of vodka with a hearty breakfast; Don’t be a waster. B – Be happy, hydrate and dance!

Top 3 tips for surviving Parklife? Fellas, keep your shirts on; Fellas, keep your shirts on; Fellas, if you take your shirts off, it should only be to put a Plan B band merch shirt on.

Top 3 topics for bar/toilet queue chatter? D – Socio-economics; the

Top 3 topics for bar/toilet queue chatter? Wesley Snipes’ ongoing

tax fraud situation; Wesley Snipes’ performance in White Men Can’t Jump; Global Warming… And Wesley Snipes’ views on the matter.

GRAN CALAVERA Brief history: Born in 1990 in Margaret River. Brief enough? The two most loved tracks at Parklife? Tony – Elephant by Tame Impala and anything from The Presets. Lawrence – Nero –Promises and Rusko – Whistle Crew. Craziest/weirdest/best Parklife memory? Closing the boat stage at last year’s Parklife. Anyone you hope to get intimate with backstage? Tony – We always get intimate with Dr Space. Lawrence – Alison Wonderland. Why should punters get down early? You don’t bump into too many dickheads and you don’t get forced to drink weird shit at pre’s and then feel ill for the rest of the day. Top 3 tips for surviving Parklife? A good hearty breakfast, sunglasses, and a spare pair of socks. Top 3 topics for bar/toilet queue chatter? Benga’s lips; Where’s Avesta Hussian?; Got any drink tickets?






Lee Foss


The Presets


Alison Wonderland


Justice DJ Set


Nero Live


Jacques Lu Cont



Plan B



Killafoe & J.Nitrous

Chiddy Bang


Ace Basik & Kastel


Rizzle Kicks


Audageous & Lightsteed




Gran Calavera


Parachute Youth


Black & Blunt


Zeke & Kit Pop


Marko Paulo


Bezwun & DNGRFLD




Passion Pit


Tame Impala








Charli XCX


St Lucia






















Get More


Zun City


Riot Class


Stillwater Giants


The Bondi Hipsters


Shy Panther


Metric DJs


Crooked Colours




DJ Fresh Live


Metric DJs


Jack Beats Live


Morgan Bain




Paper Plane




Dallas Royal


Benga Live


Paper Plane


Art Department


Bastian’s Happy Flight

are both taken‌but strictly theoretically, Alison Wonderland!


Why should punters get down early? All before 3pm – Flume, Hermitude, Alison Wonderland, Bezwun & DNGRFLD, Parachute Youth and of course us.

MORGAN BAIN Brief history: A singer/songwriter and multi-instrumentalist, my sets feature high-energy guitar playing intertwined with a stomp box and blues harmonica. The two most loved tracks at Parklife? I’ve not seen Tame Impala live before so seeing Solitude Is Bliss will be amazing. Why should punters get down early? Punters need to get down early to make the most out of their ticket and see some local acts too! Top 3 tips for surviving Parklife? Stay hydrated, don’t forget the sunscreen and make sure you have the next day off!

MARKO PAULO Brief history: We had been mixing for a while and figured the best way to be booked was to run our own event. This culminated in a warehouse party in 2010. We booked Philly Blunt and Ben Mac and they returned the favour by giving us our first Ambar set, and since then we’ve become Boomtick residents. The two most loved tracks at Parklife? Justice – Genesis and Modestep – Sunlight. Craziest/weirdest/best Parklife memory? At the after party last year, a drunken punter attempted to bear hug Skream, but spear tackled him to the ground‌ It was DNGRFLD. Anyone you hope to get intimate with backstage? We

FLOORED couple took their vow to rock the crowd seriously, with a bit of showman/womanship to accompany the familiar heavy beats and up-front raps. Chivalry ain’t dead, and when Layla took a break, Daz combined vocals and MPC on some one man band shit. Consider the crowd warmed.


Top 3 tips for surviving Parklife? Drink more than you sweat out; Don’t bother trying to keep track of friends; Don’t try and follow a schedule – let someone you don’t know blow your mind. Top 3 topics for bar/toilet queue chatter? “Maaaaann I’m so farked�; “That Paulo guy from Marko Paulo was pasty as�; Why the girls have too much fake tan on.

RIOT CLASS Brief history: We gained early online attention with remixes of Adele’s Set Fire To The Rain, Promises by Nero and a glitch hop/dubstep refix of Knife Party’s Fire Hive. Working on our debut EP now. The two most loved tracks at Parklife? Hermitude – Hyperparadise (Flume Remix) and Rusko – Somebody To Love. Craziest/weirdest/best Parklife memory? Feed Me followed by Nero Last year was absolutely insane. Why should punters get down early? Simple: Parklife > pre drinks. Top 3 tips for surviving Parklife? Phones in festival survival mode (brightness down and 3G off). Set up a meeting point for you and your mates to regroup at, even though you probably won’t. Knowing that Riot Class are playing at 7pm on the Pilerats Stage! WHEN & WHERE: Monday 1 October, Parklife, Wellington Square


AMPLIFIER BAR: 20/09/12 It was Dave Chappelle who once said that all comedians really want to be musicians and vice versa. Maybe it was the shitty weather, perchance the anaemic crowd, but first act Ruckus Napalm had determined some cheer was needed on a Thursday night at Amplifier, cracking wise between the boombap and boisterous vocals. Announcing an imminent hiatus, Complete & Omac were next up. Sad news – they are one of the best undercard draws around. The beats were a little darker and the lyrics a touch more introverted, but they made a good sonic counterweight to the bombastics of the openers. Making every other musical husband-wife team sound like George and Mildred were Perth’s very own Dazastah & Layla. The

You know him as a Perverted Monk, a Dirty Rotten Scoundrel, and a collaborator with Group Home, Gang Starr and Groove Armada. The name rings bells with musos, and has a reserved place in the record bag of any self respecting hip hop fan. Jeru The Damaja, powered by Jamesons, launched into the provocative 99.9 Pa Cent from 1999’s Heroz4Hire as his introduction to Perth, and the theme continued – good naturedly – with his intermittent baiting of the ‘geeks’ at the front. I refer you to Chappelle’s earlier quote. The crowd hadn’t come for the banter though, they were there to hear classic tracks like Can’t Stop The Prophet and Too Perverted. The crowd, geeks included, went in when Jeru dropped the verses in sequence from his best collaborations – Speak Ya Clout into I’m The Man into Return Of The Crooklyn Dodgers. A solid set from a heavyweight of the genre, and a timely reminder of just how absurdly great DJ Premier’s beats are. Tom Birts




1. This will be my first trip to WA (WHOA, what is the hold up man?). 2. Dean Cain re-Tweeted me once when I talked about Sliders. 3. I’ve Watched every episode of Sliders. 4. My PB in Yahtzee is 419. 5. My mum got me a sweet blow-up boat for Christmas and I only just used it. 6. I never knew what H.A.M. meant until like late ’11. 7. I tan well. 8. My good pal John once watched Top Gun five times in one day. 9. In my dreams I dive a lot. Very deep dives, too. 10. I’ve got naturally straight teeth. No need for braces. WHO: Lewi McKirdy (DJ Set) WHEN & WHERE: Friday 5 October, Stillwater Giants EP Launch, Villa








Marty McFly v Tone BAA (Micah, Ben Mac, Fdel) Wish v Incey, Nyquist Freqs 


FRI 28 SEPT   







26 SEP - 2 OCT




from the likes of DJs Ruthless, Slick, Soso, Brett Costello, Angry Buda, Don Migi and Francesco.



Atif, El Dario, James A and Zel bump out some funky 4/4 beats til dawn. $8 before 12.30am, $12 after.

EIGHTOEIGHT @ NORFOLK BASEMENT Child’s Play and Resident EightoEight DJs from 8pm.

HIGH WOLF @ PICA BAR High Wolf is hitting our shores with new album Know Thyself and cosmic loops, fuzzy guitars, droney synths, mystic vocals and tribal percussion. DAS EFX

DAS EFX, BLACK SHEEP @CIVIC For the first time in Australia hip hop legends Das EFX and Black Sheep drop the old-school hip hop steez.

NORTHEAST PARTY HOUSE @ MOJO’S Northeast Party House launch their latest single, with help from Sam Perry and Crooked Colours.



The end of hibernation finally arrives this long weekend, as Australia’s festival kick-off Parklife is guaranteed to make music heads buzz and dancing feet jump. The line-up is huge, featuring the return of Aussie electro kings The Presets; French fiends Justice (DJ Set); Swedish femme fatale Robyn; dubstep/electro heroes Nero (Live), Rusko, DJ Fresh (Live), Benga (Live), Jack Beats (Live), and Modestep; Flume; dance-poppers Passion Pit (pictured); returning locals and this week’s cover stars Tame Impala; indie charmers Chairlift; buzz band Citizens!; St Lucia; Charli XCX; Alison Wonderland; Plan B; Chiddy Bang; Labrinth; Wiley; Hermitude; Rizzle Kicks; Jacques Lu Cont; Parachute Youth; Art Department; Lee Foss and the Bondi Hipsters playing Monday 1 October at Wellington Square. Head to for ticket info. Proudly presented by Drum Media, there’s also a largue local line-up featuring Black & Blunt; Audageous; Lightsteed; Gran Calavera; Dr Space; Kastel; Ace Basik; Killafoe; J.Nitrous; Marko Paulo; Zeke; Kit Pop; Bezwun; DNGRFLD; Get More; Morgan Bain; Stillwater Giants; Crooked Colours; Shy Panther; Sun City; Dallas Royal; Riot Class and Bastian’s Happy Flight. And for those keen to kick on - work be damned - Villa plays host to what they’re promising will be an epic After Party, with some special guests from the festival popping in. Who will it be? The headliner is announced at 12pm Monday. Oh yeah, festival wear cool, but no thongs.

R’N’R KARAOKE @ DEVILLES A great night out every Thursday. Free entry from 6pm.

ROSEMOUNT HOTEL Sons Of Rico DJs takes over the decks outside.

CULTURE CLASH @ NEWPORT The Mills Culture crew take over the front room.


sounds, and it rocks a vinyl edition with Marty McFly vs Tone, BAA (Micah, Ben Mac, Fdel), Wish vs Oli and Nyquist Freqs. $15 from 10pm. Inception brings all things house, future, nu-disco, garage and beyond, this week featuring Jake & Kane Winter, Allstate, Aaron Richards, Abisedon and Lazy Daze. Free before 9pm, $5 before 10, $10 after.

NEXT HYPE @ GEISHA Forward-thinking beats with Graduate, DirkDirk, Mandingo, Rekab and Sgt Kowalski bringing the fire!. $10 from 10pm.

Northeast Party House return with their new single Stand Tall and they’re joined by nu-disco demon Gigamesh, plus Tim & Jean (DJ Set), Funilingus and the Metric Allstars. $20 door from 10pm.

SOLA ROSA @ CLANCY’S DUNSBOROUGH With new album Low & Behold, High & Beyond Sola Rosa has produced a record that’s more beat-driven. Watch as it comes to life alongside previous hits. Tickets via Oztix. EIFFEL 65

Mind-massaging rhythms from 8pm with special guests PMI and Sofie Loizou, plus Ben T and Ben M.

EXTREME AGGRESSION @ ROCKET ROOM DJ Cain spins high-voltage rock and metal from midnight.

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

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

SOVEREIGN ARMS EIFFEL 65, N-TRANCE, MR.95 @ METRO FREO You’ve probably noticed that the 1990s are back with a vengeance and the re-birth continues when Eiffel 65 and N-Trance join up to play Metropolis Fremantle. Mr.95 supports with a special set of classics. for tickets.

SCENARIO @ LEEDERVILLE HOTEL (UPSTAIRS) Swaray will be performing a selection of funk/soul and hip hop grooves, with DJ Zeus Rock playing all the classics. $15 from 8pm.

BAA @ AMBAR Break-A-Holics Anonymous is devoted to old school breakbeat 66 • THE DRUM MEDIA

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.

MIND ELECTRIC @ EVE Local electro-house king Mind Electric graces the Eve decks, fresh from a massive USA/ Canada tour with Kaskade.

PARTY ROCKERS @ NEWPORT Not your usual cover band, Party Rockers play live favourites from the likes of Jay-Z, LMFAO, Guetta, Taio Cruz, Pitt Bull, Kesha, T-Pain, Kanye and many more.

Indie-dance bangers from Death Disco DJs, DJ Ryan spinning ‘80s classics upstairs and Eddie Electric indie/classics in Amps.

SOVEREIGN ARMS Retro hits from the ‘80s and ‘90s with Rockwell.

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

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

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.

CHE-FU @ CIVIC HOTEL New Zealand hip hop/reggae star Che-Fu hits the Civic Backroom for some Sunday vibes from 2pm, supported by Chad Chambers, Dj Antikz, Box Party, Ronmak, DJ Hamz and Angry Buda.

MASQUERADE @ GOLD BAR No mask, no entry for this special event featuring some of Perth’s finest DJs and plenty of class. $25 VIP/$15 GA.

THE AVENUE Az-T rounds up your Sunday Sesh.

BACKYARD DISCO @ AVIARY Chilled disco beats to ease out the weekend, free from 4pm and streamed lived to The Backyard Project.


The official Park Life After Party takes over Villa after the festival, featuring a massive headliner from the day and more. $20 plus BF via Moshtix, festival wear cool but no thongs.



NIGHTCLASS @ THE BIRD Nightclass is back for a set of serious vibes and proper business, this time featuring Clunk, Rekab, Zanetic, DYP B2B Frodo and Everyteen.

RICHARD THE SECOND @ CONNECTIONS Perth-based DJ, performance art and party collective The Monarchy bring Richard The Second, a night of regal debauchery with live performances from Voix De La Ville and sexy smooth tunes from Willy Suede, Mr Sinclair, Döepel, Son Of The Father, Jo Lettenmaier and more. Free before 9pm, $15 after.


HIGHER FYAH @ BAR ORIENT The reggae club plays host to DJs H-Mut, Cutnice and Tedro with The Empressions, Mumma Tres and Sista Che. Free from 8pm.








Kickstart play live cover tunes and DJ Mel spins rock, metal and punk post-midnight.

Karl Smart, Seventh Son, Major Steed, Doctor Soul, Big Ear Chad, Boogaloo Stu, Mr Kavebeat, Razor Jack, The Soul Purpose DJs, Bendog, Beast Lee and Javier Frisco. $15 door from 8pm.



An enveloping audio/visual experience with Petrohex, Travis Doom and J.Boxxx rocking synth, dance, witch, tech, industry, house, minimal and whatever-wave. BYO.

HAVANA BROWN @ METRO FREO Havana Brown’s Crave compilation series have spurned successful national and international club tours. She’s helping Metropolis Fremantle kick off their 20th Anniversary celebrations. Tickets via Oztix and Moshtix.

SOLA ROSA @ AMPLIFIER 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.

CHALLENGER READY? @ AMBAR Ambar’s DJ battle-off Challenger Ready? is back, featuring Benny P vs. Micah; Bezwun vs. Dead Easy; Marko Paulo; Philly Blunt vs. DNGRFLD; and Mr eD vs. Bob Noceros. $12 before midnight, $15 after.

R&B LOUNGE @ METRO CITY Level 3 of Metro City hosts Perth’s smoothest and sexiest R&B club playing nothing but the best in old and new tunes

MIST, OUTER SPACE @ NORTH PERTH BOWLING CLUB Cleveland duo Mist bring their widescreen synthscapes, rhythmic drive and visceral live show. John Elliott also presents his Outer Space project, plus Basic Mind (Tim Loughman from Astral Travel) and DJs Brett Murray and Oliver Laing support. Tickets via Oztix.

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.

WINTER WONDERLAND @ THE ATRIUM The Atrium hosts the Winter Wonderland charity event, raising funds for the Sunlight Of Dawn Foundation. A snowy white winter is the theme, with DJs Ruby Rose, Grant Smillie, and locals Audageous and Gav Trotter. Tickets via Moshtix.

FERRY CORSTEN, SHOGUN @ VILLA Ferry Corsten is returning for a special show celebrating his February-released LP WKND, joined by special guest Shogun and local supports GeRmAn and Illuminor. Tickets via totemonelove. com from tomorrow.

LILT @ GEISHA Fresh-faced three-piece Lilt are launching their debut EP, Swim, at Geisha Bar Sunday 30 September with Carl Fox and more in support.

TW!ST-UP @ GILKISONS It’s a long weekend and Tw!st returns for a monster danceparty over two rooms with DJs


British electronic outfit Rudimental have had their feet firmly planted in the underground music scene for sometime, and they’re bringing their anthemic electronic soul down under for the first time, playing an intimate DJ set at Ambar Thursday 11 October. DYP, Micah and Ekko & Sidetrack support.

BIG VILLAGE RECORDS @ SHAPE Big Village Records have announced Big Things Vol. Two – a compilation featuring exclusive new tunes from Big Village founding members Tuka (Thundamentals), Ellesquire, Daily Meds, True Vibenation and Loose Change, as well as collab tracks and solo tunes from many others. They celebrate with a national tour that hops into Mojo’s Friday 12 October; and Shape Saturday 13 (before Big Ape), and features Tuka and Ellesquire in a dual headline set with guests TBA. Tickets via Moshtix.



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THU 27 Chasing Calee Belgian Beer Cafe Switch Burswood, Groove Bar Das EFX, Black Sheep, Defyre, Slackjaw, + more Civic Hotel, Back Room Our Latin Thing Clancys - Canning Bridge The Eastern Clancys - Fremantle Courtney Murphy Como Hotel Open Mic Night Dunsborough Tavern Emma Hamilton Ellington Jazz Club Matt Milford High Wycombe Hotel LIXY Hyde Park Hotel Sticky Fingers Indi Bar Nathan Gaunt Lucky Shag Northeast Party House, Perry, Crooked Colours Mojos Nth Fremantle Kisstake Mustang Bar Mister & Sunbird, Mo Wilson & the Drivers, Polly Medlen Norfolk Basement Proof Paddy Hannan’s, Burswood Hello Colour Red, P Is For Pumpernickel, Dead Set Radio, Seer Cya Rosemount Hotel Sons of Rico DJs Rosemount Hotel, Beer Garden Clayton Bolger Rosie O’Gradys Fremantle Neil Colliss Rosie O’Gradys Northbridge David Fyffe Sovereign Arms Daisy Clover, Julz Evans, + Special Guests Swan Lounge Sean O’Neill, Rabbit Island, Solar Barge, ivory wolf The Bird Jen de Ness The Boat One Trick Phonies The Gate Bar and Bistro, Success Off the Record Universal Bar Two Plus One Woodvale Tavern Alex and Jack Xwray Café Zander Merman, Aurelia Scott, Dharshini Muru, Tiaryn Griggs Ya-Ya’s

FRI 28 Free Radicals 7th Avenue Bar Shihad Amplifier Bar Julia Stone Astor Theatre Mod Squad, Tip Top Sound DJ Bailey Bar & Bistro sleepmakeswaves Bakery - Northbridge Anderson Bally’s Bar Mike Nayar Balmoral The Blue Bottles Belmont Htl Dove Bentley Hotel Everlong Black Bettys DJ Andyy, Tommo Blvd Tavern, Joondalup Nat Ripepi Broken Hill Hotel Tod Woodward Brook Bar & Bistro Plastic Max & the Token Gestures Burswood Meridian Room D At Sea C5


Carbon Taxi Captain Stirling Pop Candy Carine Glades Tavern Aftershock Castle Hotel York Chasing Calee Chase Bar & Bistro Fitzroy Xpress Civic Hotel, Back Room Tabas.Co Clancys - Fremantle Our Latin Thing Clancys - City Beach Russell Holmes Trio Clancys - City Beach (afternoon) Sola Rosa Clancys - Dunsborough Little White Lies, The High Learys, Mr Kavebeat, Razor Jack, Dr Zaius, Seventh Son, CoasterT Devilles Pad Tiaryn, Allira Wilson, Meg Mac, Aaron Goldberg Trio, Simon Jeans Trio Ellington Jazz Club Richard Roberts Flinders Park Hall Tim Rogers Fly By Night Fremantle Greg Carter Greenwood Hotel One Trick Phonies Herdsman Lake Tavern The Damien Cripps Band, Clayton Bolger High Road Htl Riverton Astro Pig, Hostile Little Face, Paperfly Hyde Park Hotel Vdelli Indi Bar Dirty Scoundrels Kalamunda Htl Dom Zurzolo Last Drop Tavern Captn K, Simmo T Mojos Nth Fremantle Soul Corporation Moon & Sixpence Harry Deluxe, Cheeky Monkeys with DJ James MacArthur, Swing DJ Mustang Bar Party Rockers Newport Hotel Badger & The Fox, Shontay Snow, Tashi Norfolk Basement Courtney Murphy & Murphy’s Lore Paddy Hannan’s, Burswood Flyte Paramount Nightclub Midnight Rambler Princess Road Tavern Masonic Noize, Breed, The Itch Railway Hotel Enforce, Nails Of Imposition, Dawn Of Leviathan, Memoria Rocket Room Extreme Aggression:, DJ Cain Rocket Room (Late) Stephen Malkmus & The Jicks, Split Seconds Rosemount Hotel Sticky Fingers Settlers Tavern Margaret River Young Giants, Chrispy Nylon, Yes Chef, Phil Watts, Ryan Ammon Swan Basement Overload Swinging Pig Greg Carter Swinging Pig (Arvo) Steve Hepple The Admiral PMI, Sofie Loizou, + more The Bird The Organ Grinders The Boat Adrian Wilson, DJ Vicktor, James Ess, George Green The Brass Monkey

Got Sharks?, Pyromesh, Human Extinction Project, BORC The Den Hi-NRG The Shed The Charisma Brothers Tsunami, Mosman Park Nightmoves Universal Bar Claude Hay, Junior Bowles, Morgan Bain Velvet Lounge Ivan Ribic Victora Park Hotel (afternoon) Switch Woodvale Tavern The Whiskey Pocket, Thee Goldblooms, The New Beast Xwray Café Harlequin League, Shimmergloom, Starcleaner Ya Ya’s

SAT 29 Sola Rosa Amplifier Bar Dr Bogus, Tip Top Sound DJ Bailey Bar & Bistro The Mojos Balmoral Flyte Bar 120 J Babies Black Bettys 303 Trio, Sketch Blvd Tavern, Joondalup Luke & Conan Blvd Tavern, Joondalup (afternoon) The Rumble, Subject to Change, Seer Cya Brighton John & Shaun Sandosham Burswood Lobby Lounge Midnight Rambler Burswood Meridian Room Hi-NRG, Plastic Max and the Token Gesture Burswood, Groove Bar Bogan Rock Show Civic Hotel, Back Room Amend, Foul Mouth, The Captain, Deranged Civic Hotel, Den 3’s a Crowd Funk Duo Clancys - Canning Bridge Dillip & the Davs, Pusher Man Clancys - Fremantle Tiaryn, Aaron Goldberg Trio, Anea Duratovic Ellington Jazz Club Claude Hay Fly By Night Fremantle Cargo Beat Greenwood Hotel Losing Julia High Road Htl Riverton Meg Mac and the Squeeze Hyde Park Hotel Blue Shaddy Indi Bar Hot Suga Kardinya Tavern Jonny Taylor Lake King Tavern Nathan Kaye L’atitude 28 Bar Steve Hepple Leopold Htl Bicton Six60 Metro City Sure Fire Midnights, Cal Peck & the Tramps, The Raging Lincolns, Three Hands One Hoof Mojo’s Nth Fremantle Flash Nat & The Action Men Moon & Sixpence Marco & The Rhythm Kings, Milhouse, DJ James MacArthur, Rockabilly DJ Mustang Bar Gravity Newport Hotel Kizzy Newport Hotel (afternoon) Child’s Play, Resident DJ’s Norfolk Basement Sticky Fingers Prince Of Wales Bunbury Kickstart, DJ Mel Rocket Room (Late)

The Government Yard, Neutral Native, One Armed Scissor, Mat Cammarano Rosemount Hotel Blue Gene Rosie O’Gradys Northbridge Zarm Settlers Tavern Margaret River Psychonaut, Silent Knight, One Too Many Camel, Empire Of Ants Swan Basement Clunk, Rekab, Zanetic, DYP, + more The Bird 11:11 The Boat Amend, Foul Mouth, The Captain, Deranged The Den Everlong Acoustic The Whale & Ale Soul Corporation Universal Bar Daren Reid and the Soul City Groove Woodvale Tavern Bryan Rice Dalton, The Galloping Foxleys, Fergal Troy Xwray Café Leafy Suburbs, PUCK, Mayor Dadi, Chief Richards Ya-Ya’s

SUN 30 Deuce 7th Avenue Bar Nirvanarama Amplifier Bar Russian Circles, Eagle Twin Bakery - Northbridge Annabelle, Trojan John Blvd Tavern, Joondalup Matt Milford Broken Hill Hotel (afternoon) Local Heroes Burswood Meridian Room Fear Factory Capitol Wesley Goodlet Jamboree Scout Carine Glades Tavern Che Fu, Chad Chambers, DJ Antikz, Box Party, Ronmak, + more Civic Hotel, Back Room The Zydecats Clancys - Fremantle Special Brew Clancys - Dunsborough Empire, Danny Martin, Masina Miller Ellington Jazz Club Open Mic Fly By Night Fremantle Lilt, Carl Fox Geisha Bar Karl Smart, Seventh Son, Major Steed, Doctor Soul, Boogaloo Stu, Big Ear Chad, + more Gilkisons Dance Studio Nat Ripepi High Road Htl Riverton (Afternoon) The Organ Grinders High Wycombe Hotel Nathan Kaye’s The Feb 20’s & Guests Indi Bar The Caravan Club Kulcha Shihad, Emperors Mojos Nth Fremantle Shiny Joe Ryan, Blokes In Coats Mojo’s Nth Fremantle (afternoon) Grant Hart Murphys Mandurah The Continentals Mustang Bar Custom Royal, + Guests Newport Hotel Tim Nelson Newport Hotel (afternoon) Flyte Paddy Hannan’s, Burswood Gignition: St Jude’s Hostel, SaySky, Parker Avenue, Abandon Earth, Reilly Craig Railway Hotel

Bill Chidgzey, Neil Colliss Rosie O’Gradys Northbridge DJ Anaru Saint Howie Morgan Project Saint (afternoon) Prita Grealy Settlers Tavern Margaret River Atacama Giants, Tempest Rising, Nightmare Effect, Idle Eyes, Amadeum, Let The Evil Go East Swan Basement Mudlark, Blokes In Coats, Elli Schoen The Bird Sticky Fingers The White Star, Albany Retrofit Universal Bar Damien Cripps Victora Park Hotel (afternoon) Wave Rock Weekender feat., Sola Rosa Wave Rock Caravan Park, Hyden Good Karma Woodvale Tavern The Charisma Brothers, Click Brown Fox Xwray Café Calactesia, The Midnight Mules, Limping Dave Foley and the Straight Legged Freaks, The Crooked Cats Ya Ya’s

MON 01 Pop Candy Burswood, Groove Bar Jonny Taylor Dumbleyung Tavern Open Mic Night, Bruno Oliver Booth Mojos Nth Fremantle Marco & The Alleycats Mustang Bar Joe Bonamassa Perth Concert Hall Nathan Gaunt The Brass Monkey Plastic Max & The Token Gesture The Deen MC Lars, 10 Past 6, Faim The Den Big Thommo’s Open Mic Variety Night Ya Ya’s

TUE 02 Something Savoy Blvd Tavern, Joondalup Christian Thompson Lucky Shag Danza Loca Salsa night Mustang Bar Simon Kelly Paddo Nekromatix, Chainsaw Hookers, Blazin’ Entrails Rosemount Hotel The Tom Tale Jazz Quartet Xwray Café Cram Family One Man Jam, Mr F, Yarhkob, Wa$abi Pea$ Ya-Ya’s

WED 03 Andrew Winton Balmoral Fenton Wilde Hale Rd Tavern Grizzly Jim Lawrie, Mama Boots, Natasha Shanks, Vive Oldham Indi Bar Howie Morgan Lucky Shag Blue Gene Mustang Bar Nat Ripepi, Rose Parker, Annabelle Harvey Paddo David Fyffe Rosie O’Gradys Northbridge Jay Grafton, Quick Brown Fox Xwray Café Ha Ha’s at Ya Ya’s Ya Ya’s

TOUR GUIDE RUSSIAN CIRCLES NORTHEAST PARTY HOUSE: SEP 27 Mojo’s EMMA HAMILTON: SEP 27 Ellington Jazz Club HIGH WOLF: SEP 27 PICA Bar TOBY: SEP 27 El Questro Station; SEP 29 Boab Tavern, Derby; SEP 30 Divers Tavern, Broome THE EASTERN: SEP 27 Clancy’s Fremantle; SEP 30 Wave Rock Weekender KATIE NOONAN, KARIN SCHAUPP: SEP 27 Albany Entertainment Centre; SEP 28 Winthrop Hall; SEP 29 Mandurah Performing Arts Centre STICKY FINGERS: SEP 27 Indi Bar; SEP 28 Settlers Tavern; SEP 29 Prince Of Wales; SEP 30 White Star SPEAKEASY: NORTHEAST PARTY HOUSE, GIGAMESH: SEP 28 Villa SLEEPMAKESWAVES: SEP 28 The Bakery JULIA STONE: SEP 28 Astor Theatre STEPHEN MALKMUS & THE JICKS: SEP 28 Rosemount Hotel THE WOOHOO REVUE: SEP 28 Mojo’s; SEP 29 Wave Rock Weekender SOLA ROSA: SEP 28 Clancy’s Dunsborough; SEP 29 Amplifier; SEP 30 Wave Rock Weekender XAVIER RUDD: SEP 28 Albany Entertainment Centre; SEP 29 Fremantle Arts Centre; SEP 30 & OCT 1 Caves House, Yallingup 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 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 + CATHERINE SUMMERS: OCT 2 Ellington Jazz Club; OCT 13 Wembly Downs Shopping Centre; OCT 14 The Naked Fig MIST, OUTER SPACE: OCT 3 North Perth Bowling Club DEFEATER, BLACKLISTED: OCT 3 Amplifier; OCT 4 YMCA HQ

SLEEPMAKESWAVES 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 + TIN CAN RADIO: OCT 4 Prince Of Wales; OCT 5 Settlers Tavern; OCT 6 White Star; OCT 7 Indi Bar 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, PURO INSTINCT, HTRK, HIGH TEA, NEW WAR and locals: 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 THE PAPER KITES: OCT 19 Mojo’s 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 ASH GRUNWALD: OCT 25 Settlers Tavern; OCT 26 Prince Of Wales; OCT 27 Premier Hotel; OCT 28 Redcliffe On The Murray; OCT 31 Indi Bar; NOV 1 Karratha Tavern; NOV 2 Fly By Night SHELLAC: OCT 25 Rosemount Hotel TINPAN ORANGE: OCT 25 The Bakery; OCT 26 Fly By Night THE TOOT TOOT TOOTS: OCT 26 Devilles Pad LEB I SOL: OCT 26 Charles Hotel MARK WILKINSON: OCT 26 Ellington Jazz Club ROCKWIZ: OCT 26 & 27 Riverside Theatre LISA MITCHELL, ALPINE, DANCO: OCT 26 Astor Theatre; OCT 27 Prince Of Wales GREENTHIEF: OCT 26 Rocket Room; OCT 27 Prince Of Wales; OCT 28 Newport Hotel + SUZANNAH ESPIE, LIZ STRINGER, CHRIS ALTMANN: OCT 26 Velvet Lounge; OCT 28 Redcliffe On The Murray SOMETHING FOR KATE, BEN SALTER: OCT 27 & 28 Fly By Night + ALL FRUITS RIPE: EASY STAR ALLSTARS, BLUE KING BROWN, TOMORROW PEOPLE: OCT 27 Fremantle Arts Centre




• till



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27 Jack

• •

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with from

late Alex 7pm

Fri 28 • The Whiskey Project / The Gold Blooms / The New Beast • ($5 from 8pm) Sat 29 • Bryan Rice Dalton / The Galloping Foxleys / Fergal Troy • ($5 from 8:30pm) Sun Click

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Tues Quartet Wed Brown Lot •


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13 •

Essex St Fremantle




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Drum Media Perth Issue 307  

The Drum Media entered the Perth landscape with a view to bring the ethos of its iconic East Coast brothers to the vibrant music scene that...

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