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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 1 1 O C TO B E R 2 0 1 2 • 3 0 9 • F R E E

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Beth Orton

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6 • THE DRUM MEDIA


THE DRUM MEDIA • 7


FOREWORD LINE

NEWS FROM THE FRONT

IN BRIEF

TRIPOD

Fremantle singersongwriter St. South (Olivia Gavranich) has won her category in the Bon Iver Stems Project. Her song, We Washed Texas scored her $1,000 and the remix will be released on Bon Iver’s Stems Project album at the end of the year.

BLOC PARTY

BLOC TO THE FUTURE The Future Music Festival piñata has officially popped! This time, they’re headin’ south of the border and gettin’ freaky Mexican style for a day of the Dead Set Awesome. Next year’s festival will play host to The Prodigy (curating the Warriors Dance Arena), The Stone Roses, Bloc Party, special guest and Gangnam Style phenom PSY, Dizzee Rascal, Azealia Banks, Rita Ora, Boys Noize Live, Hardwell, The Temper Trap, Fun, Madeon, Ellie Goulding, Steve Aoki, Gypsy & The Cat, Rudimental, Kill The Noize, Feed Me Live, Zeds Dead, Zane Lowe, Nervo, Borgore, The Stafford Brothers, Timmy Trumpet, Tenzin, Sven Vath, Richie Hawtin, Ricardo Villalobos, Seth Troxler, Magda, Cosmic Gate feat. Emma Hewitt, W&W, Andy Moor, Super 8 & Tab and Ben Gold, with more TBA. It all goes down Sunday 3 March at Arena Joondalup – don’t worry, Monday’s a public holiday. Tickets via Ticketmaster and the usuals from midday October 18, presented by Drum Media.

2MANYDJS

2BROTHERS For over ten years now, 2ManyDJs have reigned as the undisputed kings of electro in the hallowed halls of music blogs and summer festivals around the world. At the centre of 2ManyDJs are the Dewaele brothers, who you may recognise as the brothers that formed electro-rock band Soulwax. Head down to Villa Friday 30 November and see the brothers that changed the face of dance mix compilations forever. Supported by Blend, Audageous and Metric DJs. Ticket $35 plus BF via Moshtix. PNAU

RTRFM are looking for a new Development Manager - head to rtrfm. com.au for all the info and apply to Jason Cleary (jcleary@rtrfm.com.au) before Friday 19 October. Melbourne rapper 360 has led the nominations for the 2012 ARIA Awards, picking up six nominations ahead of Gotye and The Jezabels who secured five apiece. Styalz Fuego has already won the Best Producer award for his work on 360’s Falling & Flying, while Gotye has won Best Cover Art and his engineer Francois Tetaz won Best Engineer for his work on Making Mirrors. The Summadayze Party Bus offers you and 29 friends exclusive merch packs, tickets to the festival and a lift there on a fully-loaded party bus. Head to the fest’s Facebook group for all details, the comp closes Monday 12 November. Pond are the only WA act out of 26 (so far) to make the Official Entrants list for this year’s Coopers Australian Music Prize, which will be whittled down to nine and the winner announced early 2013.

THREE TIMES TWO Due to overwhelming popular demand, Tripod have announced a second and final show Saturday 10 November at The Quarry Amphitheatre as part of Live At The Quarry performance. The three-piece comedy act will perform a rare ‘greatest hits’ style show, taking in bits of all their favourite shows. Highlights from their latest hit show Men Of Substance will feature as well of a selection carefully randomised classics from their back catalogue. Their Friday 9 November still has a few seats left, and you can get ticket to both shows via Ticketmaster.

WILLIAM ELLIOTT WHITMORE

HARVEST TIME Hailing from a farm along the banks of the mighty Mississippi River, William Elliott Whitmore has developed an intense love and spiritual understanding of the land, which he has flawlessly conveyed through his latest album, the pastoral epic Field Songs. He Returns to Australia in 2013 and plays a one-off show Saturday 23 March at Mojos. With live performances that leave one completely stunned in silence, Whitmore is one of the most interesting contributions to today’s diverse collection of musical ingenuity. Tickets via Oztix. HUSKY

Vicki Gordon has launched Oxygen Music Group (OMG), a new Australian independent label. Something For Kate and Grinspoon have both debuted in the top ten of the ARIA album charts with their new LPs, at numbers five and eight respectively.

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PARTY LAND Delay those 2013 New Year’s resolutions by a day for Wonderland has announced a smashing New Year’s Day line-u!. Elton John’s good buddies Pnau headline, supported by Bag Raiders (DJ Set), Flume, Tim & Jean, Grafton Primary, Alison Wonderland, Elizabeth Rose, What So Not, Indian Summer DJs, Shy Panther and more, welcoming 2013 at Belvoir Amphitheatre Tuesday 1 January. Tickets via Ticketmaster from October 15, starting at $0 - yep, check wonderlandnyd.com for details.

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8 • THE DRUM MEDIA

Taylor Swift has been confirmed as one of the international guests to perform at this year’s ARIA Awards, alongside The Jezabels, 360, Hilltop Hoods, Jessica Mauboy and The Temper Trap. The Avalanches, Sarah McLachlan, Justice, Robert Del Naja from Massive Attack and Guy Garvey from Elbow will all lend their songwriting talents to the new Global Creatures stage production of King Kong.

MITHCELL JONES, DARREN GUTHRIE, TROJAN JOHN AND SPOONFUL OF SUGAR DOORS 7PM/$5

THE GEORGIANS

Elefant Tracks, I Oh You!, Inertia Recordings, Jazzhead and Stop Start Music are all in contention for the inaugural Best Label award at this year’s Independent Music Awards.

GONE FISHIN’ Don’t even begin to think the ‘90s touring revival is done and dusted yet: there’s still more nostalgia to come, this time in the skin of legendary tongue-in-cheek, Hawaiian shirt-rocking party ska-nimals Reel Big Fish, circle-pitting punk fiends Goldfinger and Californian pop/punk/rap/prap/runk party starters Zebrahead, all on the same bill. Yes, it’s your beer-swilling slacker alter ego’s dream gig. Do the fish at Metro City Wednesday 5 December. Tickets via Oztix.

themusic.com.au

Drummer Josh Freese has left A Perfect Circle after 13 years ahead of their appearance on Soundwave 2013 and says he has no intention of returning to the band. Freese will still be playing the festival with his band The Vandals.

WAVE OF SUCCESS When Husky announced their Tidal Wave Tour, WA was nowhere to be seen. Luckily they’ve revised their schedule, and after coasting along endless highways in the US, Europe and the UK they’re returning home to Australia and will play Mojos Wednesday 12 December and The Bakery Thursday 13. Tidal Wave is their latest single and with its hum-along harmonies and surprise psychedelic midsection, the song captures time gone by and looking back at one’s past. Tickets via Moshtix and Now Baking. BEN SIMS

THE AGE OF TECH From early formative days earning his stripes spinning hip hop, house and rave on pirate radio, and at parties around Essex and East London, through the ‘90s as an ever more in-demand DJ, and on into the new millennium as a label boss, producer and internationally-recognised techno legend in his own right, Ben Sims has spent all his conscious life exploring all facets of underground dance music. The techno hero brings it to you Friday 16 November at Ambar for The Likes Of You. $25 via Moshtix


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FOREWORD LINE WORD OF MOUTH Not slowing down since they formed in 1998, Queensland’s Mouthguard are heading to WA to launch their split 7” with Perth’s own Worst Possible Outcome. The pair play the Rocket Room Friday 7 December with The New Husseins, Blazin’ Entrails, The Bob Gordons and Agitated and The Den Saturday 8, in support of Miles Away’s Tenth Anniversary tour. The Violent System/Don’t Waste My Time split is six tracks of pure working class Aussie hardcore.

THE NEW BEN Prolific Australian singer-songwriter Ben Abraham has been hand-chosen by Emmylou Harris to be the supporting act on her Australian tour this November. Since deciding to follow his heart and pursue a career in music just over five years ago, he has performed a slew of great shows and his eclectic style has enchanted many fans. He’ll appear at the Perth Concert Hall Tuesday 6 November.

SOUR GRAPES Last week it was announced that The Original Wailers had cancelled their Australian tour, and thus their appearance at All Fruits Ripe Reggae Jamm. Easy Star All-Stars stepped up as a replacement, but unfortunately the show has been cancelled. Promoters felt the new lineup and resultant venue change jeopardized the ethos of the event, set to take place Saturday 27 October. Refunds from point of purchase.

NEWS FROM THE FRONT

LOCAL LOVIN’

There’s some mighty fine happenings going down soon in WA, and we don’t just mean dusting off the cricket gear as the days heat up. Six months after the put the final touches on their sophomore record, Coming Home, Davey Craddock & The Spectacles launch it at Fremantle Arts Centre Friday 2 November with support from Ben Witt (The Chemist) and The High Learys. Tickets via Heatseeker. To preview tunes off their forthcoming album The 500 Year Tenancy, Government Yard play the Velvet Lounge Friday 19 October alongside The Painkillers, The Order Of The Black Werewolf and Neutral Native. $5 entry. Rounding out a 28-date WA tour, Margraet River’s New Soundland play the Indi Bar Thursday 25 and Friday 26 October and Clancy’s Fremantle Saturday 27. The long-awaited debut album Lantern Slides from Sir Thomas is being launched Friday 26 October at The Bakery, with the help of Beside Lights, Lilt and Vive. Bring their fiery live show to Amplifier Friday 26 October, The Arsonist will be joined by Bastian’s Happy Flight, Archer & Light, and Lights Of Berlin. Once again The National DNB Mix Competition has teamed up with the biggest crews from around the country in order to crown one DJ Australia’s Homegrown FreQ. The Perth final will go down Friday 26 October at Shape Bar and features 2011 winner DJ Mercenary. $10. Ghouls, ghosts, goblins and all sorts of nasty creatures will reclaim the streets of Fremantle Friday 26 October when One Thousand Years launch their single This Is How The Zombies Take Control/Demoness at the Norfolk Basement with Palatial Digs and Cult Of Addiction. $10 entry.

SANTIGOLD

M A R L E Y

Supporting Def Repplica in WA with his band, Urban Cowboy will play some of his own shows while in the state. You can catch him at the Boulevard Tavern Thursday 25 October, Ravenswood Hotel Friday 26 and The Charles Hotel Saturday 27. Tickets via Heatseeker. A quick stint over east and Tangled Thoughts Of Leaving will finish up their national tour at Amplifier Bar Saturday 27 October. Support comes from Foxes, Förstöra and Antelope. Taking over Mojos Sunday 28 October, Bodega hosts Simmo T, Rae, DNGRFLD, Ol Wright, The Empty Cup and Philly Blunt. $5 entry before 6pm, $10 after with BBQ’s and live street art repainting Mojos beer garden. After returning to their second home, the USA, for a run of 12 dates, The Stanleys play a homecoming show Thursday 1 November at the Leederville Loungeroom, Leederville Hotel. A night filled with love for David Lynch’s classic TV Series Twin Peaks hits The Bakery Saturday 3 November. Usurper Of Modern Medicine have wanted to do such a thing for ages, and have rallied up Kucka, Weapon Is Sound, Mayor Dadi and Doctopuss to help. $15. DAVEY CRADDOCK & THE SPECTACLES

be darting over to Perth to play one show only at The Astor Theatre Monday 12 November. Formerly running at midnight, Dexys have returned to the music world that they left all those years ago, not just with equal relevance but with all the style, soulfulness and emotional honesty that saw them already leave their mark on so many. Tickets via ShowTicketing.

A tiger amongst pigeons, Philadelphia’s Santigold takes dub, rock, new wave, punk and pop to places of alchemy where they all form something new, golden and aggressive. She’s playing Harvest, but has also announced a sideshow at Metro City Wednesday 14 November. Joining Santigold to do exactly what they do best will be UK live performance legends, Crazy P, brining their live disco styles to Perth for an epic double-bill making us less and less jealous of Harvest-goers over east. Tickets via Oztix.

BOUND FOR GLORY

BREAKFEST-BFF

Boxing Day means a few different things to Perth peeps, but for many it’s one thing and one thing only – Breakfest, and the country’s premier broken beat festival returns Wednesday 26 December with a classic line-up featuring the likes of Krafty Kuts, A-Skillz, DJ Yoda, Lady Waks, High Contrast and many more. Drum Media are combining forces with organisers Boomtick for a rad comp that will see you and your Best Festival Friend (BFF) opening the Amphitheatre Stage at Breakfest – taking control of the decks for the first three tracks to welcome punters to Breakfest 2012! In addition you’ll be treated to some AAA lovin’ and a Breakfest prize pack. To win simply post a photo of you and your BFF enjoying festive times on Drum’s Facebook wall stating: “I’m playing up with (Tag you and friend) at @Breakfest.” Be sure to tag the festival and you’re good to go!

LED ZEPPELIN Celebration Day finally brings to the screen the legendary O2 Arena Led Zeppelin reunion concert from 10 December 2007 – the band’s first headline show in 27 years. The film will be released in Australian cinemas as a special event on October 17, and you can be in with a chance of winning one of FIVE DOUBLE PASSES up for grabs. Just email giveaways@drumperth. com.au with “LED ZEPPELIN” in the subject header. 10 • THE DRUM MEDIA

DEEP EMOTION

It’s just under a month until The Living End kick off their massive 39-date Retrospective Tour, and the band are now ready to reveal the huge list of special guest bands and DJs who be joining them on the road. Sons Of Rico, The Growl, The Novocaines and DJs Brad & Zok (Gyroscope) will be lending their seriously super tunes to the weeklong show, where The Living End will play one of their albums each night, Thursday 1 to Wednesday 7 November at the Rosemount Hotel. Hit up thelivingend.oztix.com.au for tickets and full details.

TEAM TEEN All that psychedelic USA/Amsterdam house-duo Teengirl Fantasy (AKA Nick Weiss and Logan Takahashi) ask of their audiences is that they party. Simple. This very young duo are making house music completely free of pressure, standards and stigma, and they play Gilkisons Saturday 24 November with Cosmo Gets, Everyteen, Clunk, Andrew Sinclair, Ben T and Nik Ridikulas supporting.

GOLDEN TICKET

GIVEAWAYS

Hailing from the tiny town of Temagog on the mid-north coast of NSW, guitar genius Joe Robinson has been wowing crowds with his playing ability since he was 13, drawing praise and admiration from his industry heroes for his prodigious skills. Still at the tender age of 21, yet now based in Nashville, he has a list of credentials that would make most musicians three times his senior envious. On the back of his new EP Toe Jam, Robinson plays Blues At Bridgetown on Saturday 10 and Sunday 11 November, tickets via bluesatbridgetown.com.au.

RETROSPECTACULAR

www.houseofmarley.com.au

KRAFTY KUTS

HEY JOE

In the early months of 2012, singer-songwriter Saritah packed her suitcase and acoustic guitar and flew across the globe from Melbourne to California, where she went into the studio and created a beautiful album of original songs. The result is Dig Deep, a vibrant, rich album that unites roots reggae, dancehall, pop and nu-soul flavours on a courageous journey through joy, loss, inspiration and faith. She tests it out here Friday 9 November at Fly By Night and Saturday 10 Settlers Tavern, Margaret River.

FESTIVAL NEWS

BERTIE BLACKMAN

JOE ROBINSON

It’s October and the countdown to Southbound is well and truly on. With that in mind, they felt it was time to announce another batch of seriously high quality artists to add to the Southbound 2013 bill. Stellar acts Bertie Blackman, DJ Nu-Mark Toy Set, The Jungle Giants, Loon Lake, Oh Mercy, Rodrigo Y Gabriela and San Cisco join the already amazing line-up featuring the likes of Beach House, Best Coast and SBTRKT at Sir Stewart Bovell Park, Busselton Friday 4 and Saturday 5 January 2013. Tickets via southboundfestival.com.au.

CUSTOM ROYAL

DOWN THE LANE Not only is Fremantle one of the most unique places in the world, it is also home to Australia’s longest running festival. Now in its 107th year, the Fremantle Festival is packed with special events and heaps of great local bands. The music side of things goes down at the Norfolk Lanes Youth Music Festival and will see Tim Gordon, Codie Sundstrom, Sonpsilo Circus, Yokohomos, Custom Royal, Mind Mischief, Edie Green, The Love Junkies, Bass Reflex, Three Hands One Hoof, Oakland, Fellow Or Foe and Hey Hurricane grace the Norfolk Lanes stage Saturday 10 November from 12pm. Fremantle.wa.gov.au/festivals for all the details.

MIDNIGHT RUN It’s been almost three decades since Dexys graced Australia with a headline show. When they’re in the country for Harvest Festival, they’ll

CREDITS

SUPER SESSIONS Fremantle Arts Centre’s critically acclaimed Sonic Sessions series (hosted by Grammy Award-winner and ABC Radio National presenter Lucky Oceans), returns for another season of music and conversation. Paul Kelly kicks off Sonic Sessions Friday 26 October with an already sold out performance. Monday 10 December acclaimed country singer Shane Nicholson takes a break from his national tour with wife Kasey Chambers and drops by, before The Tea Party’s Jeff Martin closes out the series Thursday 20 December. Tickets via fac.org.au.

THE DARK SIDE Sweden black metallers Marduk will be invading our shores, headlining the Serpent Sermon tour this summer. Joining them on the crusade will be Melbourne’s blackened horde Order Of Orias. Together they play Amplifier Thursday 10 January. Marduk are without doubt one world leaders in the art of black metal. They return for their first tour of Australia in over five long years, on their current World crusade spreading the word of their latest opus of darkness, Serpent Sermon. Tickets via Oztix.

CONTRIBUTORS EDITORIAL

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

ADVERTISING Sales & Marketing Director Leigh Treweek Sales Executive Matt McMullen

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 D’Alonzo, Kitt Di Camillo, Daniel Cribb, Naomi Dollery, Cameron Duff, Cam Findlay, Tomas Ford, Chantelle Gabriel, Olivia Gardiner, Eli Gould, Baron Gutter, Rueben Hale, Ellie Hanratty, Simon Holland, Craig Hollywood, Tess Ingram, Christopher H. James, Jason Kenny, Angela King, Kosta Lucas, Lynn Mc Donnell, Mac McNaughton, Tom O’Donovan, Nic Owen, Simon Rundin, Michael Smith, Andy Snelling, Aimee Somerville, Callum Twigger, Anthony Williams

EDITORIAL POLICY

DESIGN & LAYOUT Matt Davis, Nick Hopkins

ADMINISTRATION Accounts Loretta Carlone

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. ©

DEADLINES

PHOTOGRAPHERS

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

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

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THE DRUM MEDIA • 11


6 • THE DRUM MEDIA


THE DRUM MEDIA • 11


KINGS OF THE ROAD

GENTLEMEN, START YOUR ENGINES

Smack in the middle of Mumford & Sons’ massive Australian tour is a date in Dungog. “Where?” you ask. Don’t worry – you’re not the only one. It’s a tiny town in the upper Hunter Valley of NSW – a small dot of dairy country with a little over 2,000 townsfolk, and one of seven lucky locales in various parts of the world being treated to Gentlemen Of The Road stopovers. These dates, spliced in between the Mumford lads’ regular touring schedule, are an inspired undertaking, creating a complete experience for punters while injecting a healthy bit of revenue into some small town economies. Not only do they allow the band to connect with fans who otherwise might never have had the chance to witness one of their shows, but it also lets the Brits introduce ears to some new music that they think deserves to be heard on a bigger platform.

Those dapper English Mumford & Sons lads are at it again, inviting Australia to join them at the largest campfire singalong you could imagine. As Ted Dwane tells stories, laughs at bad jokes and generally charms, Benny Doyle wonders if there’s a more affable band in music.

W

hen Mumford & Sons arrived on the scene in 2009, this well-dressed, better spoken collective of period-styled Londoners didn’t seem to fit any existing box. They were too trendy to be folk, too refined to be deemed an indie group and far too progressive to be considered a Country and Western band. But while music press around the globe were left scratching their heads trying to coin a new niche genre, the general public swooped, not so much interested in which category the quartet’s songs fell into but, more importantly, what their first single sounded like. Like Kings Of Leon’s Sex On Fire before it and Gotye’s Somebody That I Used To Know following, Little Lion Man became more than just a song. Their banjo-led pop smash became a snapshot of 2009, one that will be entrenched in popular culture forever, like it or loathe it. Since that initial explosion of popularity, success has been unwavering for the band, and now after a three-year wait, Mumford & Sons are ready to deliver their fans a second helping by way of Babel. Ted Dwane is making a cup of coffee in his kitchen at home, a scene that the 28-year-old multiinstrumentalist describes as, “all quite civilised”. He concurs that on the eve of Babel’s release, the band were feeling a different kind of excitement in comparison to the weeks leading up to the release of their multi-million-selling debut, Sigh No More. “We definitely feel like we owe them one,” Dwane concedes, referring to their passionate fanbase, a collective that has helped position Mumford & Sons as this generation’s most popular folk band. “We’ve battled with the idea of being a prolific band and releasing a lot of records, and also our love for the road, but the two don’t really go hand in hand. This album came together by writing all the songs between tours. We’ve had a few weeks scattered about the last few years writing in various locations, but generally it’s been soundchecks and dressing rooms, so it’s a great feeling to have it done because it’s been a busy three years since Sigh No More. And some of those big festival slots that we’ve been playing, they’ve got you up there for 90 minutes, so to have twice the material out there is just going to be great to broaden the window [through] which people look into Mumford & Sons – it’s just a bigger picture for people to see what we can do.” Against every trend in music and bucking every established idea of what should be topping the charts,

14 • THE DRUM MEDIA

these four unassuming Brits – Dwane and fellow buttonedup bandmates Marcus Mumford, Country Winston Marshall and Ben Lovett – have attracted a fanbase without demographic boundaries or national borders.

obvious rhyme, but I’ve got to finish this song because I’ve got to write ten tracks in six hours.’ So you just get it all done, and when you turn off your brain a little bit and just write from a more intuitive place it just comes straight out.”

“We’re endlessly surprised,” Dwane admits. “We get absolutely everyone and it’s such a great thing. I remember when we were first setting out in London and we were a bit trendy and you’d get all the kids in their crazy uniforms, and that was really exciting, I thought, ‘Fuckin’ hell, here we go!’ But that’s very fickle isn’t it? That’s a moment. But there’s nothing more real than two or three generations of family coming together to a gig – that’s the dream.”

Introduced to Mumford & Sons by a group of writer pals in London, Dwane calls the ten-song game “the only formal exercise we’ve ever done”, and admits it worked well.

Babel is the sound of the open road. There’s the expected Mumford warmth across the record’s 12 tracks, but it’s driven by romance, drama and restlessness. Not that they’d planned for any such things. “Not a lot of what we do is very intentional, to be honest with you. And it’s an amazing thing for any sort of artist to have the acknowledgment of peers and to receive any sort of success, it does give you confidence. But when it comes to our creative process, I think it’s the most un-cognitive thing in the world. We work within our parameters with the instruments that we play and our ability; we all have various roles that kick in when we are writing or recording together. It’s just the band dynamic: It’s four people that write music trying to help each other and look after each other to create the best songs we can.” Wanting to really capture the immediate feelings that the band were harbouring and mould them into workable songs, they gave themselves a fresh challenge – the ‘ten-song game’. Played during a farm stint in Somerset, it was a creative process that highlighted Dwane as the murder balladeer of the group. “It’s true,” he laughs. “I shouldn’t be confirming that but, yeah! It’s true. It’s there hidden underneath the jovial exterior.” To play this game, the band had to open the doors to their workshop; however, it’s far from the typical sense of the word. “We always refer to the Mumford & Sons workshop, which is a place full of half-finished songs and ideas that haven’t been fully developed, and I think with the ten-song game you just pull all that stuff out and get it done – you clear the workshop. It’s a really fun and healthy thing to do. When you focus on quality it completely shuts out your inner critic, like [you think], ‘Okay, that’s a really

“The idea is that at the end of the day you play all the stuff to the other people playing the game. It’s not a competition. You end up just hearing lots and lots of other people’s work and I think in every creative venture, whether it’s music or visual art or whatever, if there’s a bit of a scene it spurs you on.” The band had begun writing for the record in earnest before this, mind you. After a solid 18 months crisscrossing the globe, standing in each other’s shadows, they separated in December 2010. A month later, they reconvened in the heart of Tennessee to begin work on what we now know as Babel. “It was exciting,” Dwane begins. “The Nashville sessions were just writing – we borrowed someone’s house and just lived there and wrote all day long, so quite a few of the songs got solidified and finished there. And it’s always exciting, like, the writing process for us isn’t at all set in stone – there’s no method at all. Someone will bring an idea in and anyone’s suggestion isn’t theirs by the time we finish with it and by the time it becomes a Mumford & Sons song it’s embellished with everyone’s creativity. And that’s a really important thing. It keeps all of us loving the songs forever. The Nashville week was certainly the first of the intentional time that we gave ourselves towards making the next record, but that was last January so a lot happened after that. We kept touring, kept writing and the album was just made between tours.” This stop-start cycle, Dwane says, is typical for Mumford & Sons, and it perhaps points to a reason why their music, especially on Babel, sounds like it’s being created by old heads with young hearts. “The creative stuff always happens on the road with us when we’re together. I mean, there’s a lot of travelling and a lot of sitting around and that’s where a lot of playing gets done. When we get into the studio we hope that the ideas are pretty well developed and we just work on getting a great sound.”

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“I spend a lot of time explaining it to people and very few of them seem to pick up on that being fundamental to the day,” Dwane admits in a rather chuffed manner. “For us, as Mumford & Sons, it’s been such fun, and I think the reason that we’ve always loved touring so much is that we’re very selective about who we tour with. We can’t go out and really deliver a great show unless the support band is someone that we love and gets us really psyched up and ready to play a gig, so that’s always been integral. “As we’ve grown as a band and we play these bigger shows, it’s been a hard thing to try and maintain [that intimacy] – a lot of the bigger venues can be quite cold and vibe-less. The GOTR stopovers are the perfect opportunity to play to ten to 15,000 people but very much do it in our own way. We create a whole day – we find the location, make it look nice and the bands are all our favourite bands. We make sure the food is good and the beer is local. We play a lot of festivals now and we used to go to a lot when we were kids and we know what makes a good day, and we’re in a lucky position to try and create that experience, one that we’d enjoy, and it’s been a big hit so far.” Such an initial burst of success can afford a band a certain creative freedom to extend themselves on their second record. It’s a point of liberation for many artists, but a position that some inevitably abuse, deserting the sound that made them worthy in the first place. Babel avoids such a bump in the road. Mumford & Sons have paved the way for this album by doing what felt natural to them from the outset. Now, they’ve simply kept on paving. This time though, the results are bolder and more robust than ever before. “You always want to better what you’ve done before – you never want to do something that’s not as good,” Dwane emphasises. “On this record, I think we’re expressing ourselves more effectively and in the studio we recorded a lot more live. Originally, we were mapping click tracks and building the songs out like that, and then we realised that it wasn’t right so we just started smashing it out live and now it works a lot better. We just wanted it to be a snapshot of Mumford & Sons in 2012. A lot has happened in the last few years and that honest representation is Babel.” WHO: Mumford & Sons WHAT: Babel (Dew Process/Universal) WHEN & WHERE: Friday 12 & Saturday 13 October, Belvoir Amphitheatre


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THE DRUM MEDIA • 15


After chatting to Russian breakbeat belle Lady Waks, Troy Mutton learns you’d be hard pressed to find someone more excited about Breakfest than the one-woman empire herself.

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alling Lady Waks the first lady of breakbeat around the globe is almost a cop-out. She basically is breakbeat in her Russian homeland, and the diminutive DJ, producer, record label owner, clothing label owner, radio host… (you see where this is going) stands tall alongside some of the pioneers of the genre like A-Skillz, Krafty Kuts et al. So who better to join in on the fun of arguably this country’s finest broken beat festival than the Lady herself? That’s exactly what will happen when Alexandra Seriogina joins the likes of the abovementioned breakbeat maestros at Breakfest this coming Boxing Day. She’s no stranger to the festival, and you can tell it holds a special place in her heart – a pretty standard response among most (if not all) the world’s best. “My first gig in Australia was in Perth, and that was already five years ago,” she begins via email correspondence from home in Saint Petersburg. ”Before coming to Australia I had heard from many DJs that Australia is indeed a breakbeat country, so I expected a massive rave, but the gig I played first was just a little pub. And because

it was the first one from five or six shows, I was quite shocked; I couldn’t believe how small the parties were in the breaks country!”

Almost shocking to hear, right? As you can imagine though, things quickly improved on return visits. “But other shows were much bigger, and the year after I had been playing in Perth at Ambar. Two years after I had been playing at Breakfest and it was a real blast. Dom Stanton [of Warriors fame] and I arrived by helicopter and after this we had a great set and [partied] with all the people ‘til the end. Nowhere in the world I saw such a cool stage as the main one at Breakfest. It’s a place where you can charge yourself with energy, and the amphitheatre with dancing people. I just love it! And I can’t wait to come back this year.” Let’s rewind a little first though. After spending half a decade in Germany, Seriogina returned to Russia and began what still continues today; a career as one

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of Russia’s most loved radio broadcasters. Initially starting out with a hip hop show in 1999, the turn of the millenium saw her shift her attention towards the now world-renowned In Beat We Trust brand, starting as a club night in which she’d play the warm-up sets herself. The name has since become synonymous with breakbeat worldwide, and is now an independently-owned record label run by Seriogina herself. Not bad, really. “I run the In Beat We Trust company and we [have been] doing events around Russia for the last 12 years. That’s a long way and on this way we learned the Russian taste of breaks. Different parts of Russia are into different styles of breaks. As we are the biggest breaks promoter crew in Russia, we are trying to represent the Russian crews [and] the mixture of whole genres. From 140bpm like Pyramid to the 110 A-Skillz, with some 130 from Stanton Warriors, some of Plumps, Jay Cunning, Westbam, Atomic Hooligan, Slyde and so on…” Over the course of that past decade-plus, in which she’s also become a respected producer and clothing label owner, a lot has changed. “I’m into the music industry for more than 13 years now, and of course there are a lot of changes. The saddest thing about this is that a lot of good producers stopped making breaks and switched to dubstep, house and other music styles, which have better sales than in breaks. The good thing is that there are still some very talented

DJs are an entrepreneurial bunch, and you can be dang sure Lady Waks ain’t the first and definitely won’t be the last party rocker to launch a clothing line. Here’s a few more if you’re trying to think of what’s ‘hot’ this festival season.

CLVB LIFE Of course Dutch mega-DJ Tiësto is already in on the act, and his exclusive fashion line Clvb Life is pretty much what you’d expect from one of the world’s highest earning DJ/ producers. The men’s and women’s t-shirts are said to be inspired by dance music culture, along with his own performances including light, colour and symmetry. Sells itself really.

DIM MAK Just announced as part of next year’s Future Music Festival, Steve Aoki launched his Dim Mak Collection in 2006, named after his record label. In a recent interview Aoki also revealed plans to launch a new fashion range with half sister and Sin City starlet Devon Aoki.

artists [coming] up, and if you’re into the breaks scene you can always find something new,” she tells, before revealing how it’s been for Lady Waks specifically. “If you are asking about my personal feelings, I’m still in love with broken beats and bass music. I try to progress in everything I do, whether it is work on my Breaks Arena Festival or In Beat We Trust parties in general. In May, next year we are celebrating the thirteenth birthday of the IBWT event company… [And] after a break I’m finally back to production. Working on a couple of new tracks at the moment, I enjoy myself and really love what I do.” Oh yeah, forgot to mention the whole Breaks Arena thing – the world’s first breakbeat festival. She’s still rocking the radio station as well. “I love my work at the radio. I host a weekly radio session at Record, the biggest dance radio station in Russia,” she extols, although admitting it can be a little difficult with her busy touring schedule. “This is clear that sometimes I can not be present in the studio because of tours and gigs, but I will have a guest mix

from the name I would like to represent to the Russian audience.” It’s all part and parcel of the one-woman industry that is Lady Waks. Plus it helps her find a heap of new tunes. “[The] radio show is a good thing for me, because I’m going through so much new music and have an opportunity to represent the music I like.” The clothing line – along with the IBWT label – is going okay too: “We [have done] three collections ‘til now. [I’m] working on an online store at the moment and then I have some time for painting. I’m doing some sketches for the new collection, even when I’m on tour. I wouldn’t do it alone anyway; of course there are people who help me with organising the process and running the In Beat We Trust Wear. Same about the label. After a year’s break we come back on track with the new release coming out in November. We have some nice music for ya!” That previous year’s break seemed to coincide with something of a lull for the genre itself. With the omnipresence of ‘bass music’ in 2012 (way cooler than ‘EDM’), and the

blurring of boundaries (you’re hard pressed to find a pure breaks set these days that doesn’t feature some dubstep), are there any names Seriogina sees that are ready to take the mantle from your Krafty Plump Warriors? “Stantons, Plumps, Krafty, Freestylers… [They’re] the names everyone knows. In my generation they are the pioneers and they are still here and still producing breaks. That’s great and of course breakbeat lovers give them the most respect. People around the world know and love them! “But we shouldn’t also leave out names like Deekline (no one produces so much as he does, everyone of us play his tracks), DJ Icey, even if he is so far away [Chicago] and doesn’t really like to travel. He is one of the names which should be the cream of the crop as well. Marten Hørger [also playing Breakfest] from Germany, Colombo and Baymont Bross from Spain. They should all receive more attention from the crowd.” What we are seeing a rise in is the number of female DJs, and while Seriogina doesn’t really pay much attention to them in particular, there are some she admits who are getting more attention, but for the wrong reasons. “Truly speaking, I don’t trace the statistics about female DJs,” she responds when quizzed on if she’s noticed an insurgence of female DJs, particularly ones who generally have some kind of background in modeling. “I have no idea what’s going on with the models. I have recently seen pictures of Paris Hilton DJ though. “I can imagine that a girl DJ gets more attention from the crowd as a man, but to get attention is just 20 percent of the whole work. The most difficult thing is to hold this attention and to get respect from the crowd. If you are a woman it’s more difficult to get respect, rather than if you are a man. Lets get back to Paris; she is a perfect example, she did get the attention, but couldn’t hold it.” No such problems for breakbeat’s belle of the ball, though. She’ll be keeping our attention now, and you imagine well into the future. “I’m working on some new tracks at the moment. One of them is a collaboration with Marten Hørger and lyrics from MC Darrison,” she tells, before revealing, “I will represent some new tunes at Breakfest this year.” WHO: Lady Waks WHEN & WHERE: Wednesday 26 December, Breakfest, Belvoir Amphitheatre, Upper Swan

DIRTY COURTURE With Ed Hardy’s popularity stakes dipping quicker than you can say “we got a Situation here”, Pauly D found an obvious whole in the market and started up Dirty Couture. Packing more swagg than any one person will ever know what to do with, expect big star emblems, skulls and well…pretty much Ed Hardy.

NEFFMAU5 In July of this year Canadian egomaniac Deadmau5 launched his first official clothing line – a collaboration with Neff Headwear – featuring t-shirts, hats and hoodies and plenty of mau5heads combined with the snow/skate/surf company’s signature suckerface design.

ASHBA SWAG Alright so DJ Ashba in’t actually a DJ, rather the lead guitarist of some band called Guns N’ Roses, but he nevertheless has a rather impressive clothes line, which covers such essentials as stage clothes, scarves, kids ranges, leather jackets, jewellery, flannels (of course) and… iPhone covers. Insert devil horns here.


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THE DRUM MEDIA • 17


THIS MESS WE’RE IN Before writing her second record, the ecstatic and eclectic Bless This Mess, Lisa Mitchell first had to get back in touch with what it meant to be a songwriter in the first place. She tells Chris Hayden about how she got there.

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isa Mitchell is inspired. By everything. Music, film, books, art, the universe, infinity, even vegetables. She wants to discuss it too. In fact, we’re about halfway through our allotted fifteen minutes before the realisation hits that she’s still answering the first question. It’s an endearing and somewhat unexpected trait, especially as the perception of Mitchell is more left of centre girl next door than words per minute land speed record contender. She’s not just wasting air though and she certainly has something to talk about in her second record - the cosily titled Bless This Mess. Coming three years after the breakthrough success of her debut Wonder - a record that took her from Idol also ran to Australian Music Prize winning folk pop princess - Bless This Mess is another triumph for Mitchell’s increasingly recognisable brand of wide eyed, pastel

tinged pop. For the majority of the record Mitchell sounds downright thrilled just to be a full time occupant of our little patch of the solar system, and in explaining the songs that fill it she’s no less effusive. As a record, Bless This Mess sounds so much like a carefree labour of love that’s it’s hard to believe any level of stress or anxiety could have gone into its genesis. For Mitchell though, spending years on the road on the hard sell for Wonder had steeled her so resolutely to the touring cycle that on return to her home town of Melbourne she found it hard to re-engage with what brought her there in the first place. “With my first record I was so delighted that it did quite well and that a lot of people connected with it, which is so cool,” she explains, her tiny frame giving everything it has into the emphasis of the word ‘cool’. “But I guess also knowing that there was an audience psychologically changed how I felt about writing and how I felt when I looked at a guitar - which was pretty heartbreaking because songwriting is my outlet, it’s how I digest the world. I found it really confronting feeling like that had been taken away from me. There was a real expectation for everything to be really good and I think if there’s one way to cripple someone it’s to tell them ‘if you have to write something it has to be amazing’.” To combat what sounds like something of a writers block/existential crisis cocktail (don’t drive after a few of those bad boys - or try to write a follow up to a platinum selling debut) Mitchell initially tried a bit of old fashioned stubbornness. As she’d only spent roughly one of the last four years at home, she found solace in simple everyday things like frequenting a local cafe, or starting her own vegetable garden. Eventually though, just as the sheer weight of expectation began to get the better of her, she stumbled upon a choice piece of literature. “I read this book called The Artists Way [by Julia Cameron] which is an incredible, amazing and real book about the creative process,” she explains. ”For anyone - for journalists, for writers, for tap dancers, for chefs. For anyone that’s doing anything creative it just explains this beautiful idea that we are not the ones doing the art. The art is the universe and we are just soaking it all up like a little sponge and letting it all out again. I just found that such a beautiful, liberating weight off my shoulders. It was like, ‘Oh my God it’s not about anything else other than listening to the universe and when you feel full, just letting it out’.”

There’s more to this story on the iPad When that time came then, and Mitchell felt that she was finally full and ready to release her ideas into the stratosphere, she turned to the one man she trusted in the producers chair. Dating right back to her early EP’s Mitchell has always worked with Evermore’s Dan Hume, who acts as something of a personal sounding board as well as a general soothsayer and creative partner. The temptation to go overseas or even to a bigger name locally must have been present but there seems to be an element of ‘if it ain’t broke, don’t fix it’ at play here. The partnership worked a treat on Wonder, so there was no need to head in any other direction. “Dan and I work so well together. It’s just so comfortable but we also really push each other,” Mitchell enthuses. “We both put so many ideas in - then just go through them all to sort them out. I think a big thing about us working so well together is that our influences cross over a little bit. His oldest influences are The Beatles and Bob Dylan, and mine are more Cat Stevens and folkier Dylan stuff. I love The Beatles but I don’t really know that much about them. I think you can feel all of those old influences on this record - you can feel the Neil Young guitar lines on a song like The Present and there are a few Beach Boys moments on there - a bit like (starts singing an unknowable Beach Boys song) ‘la laaa’. I reckon it must happen to everyone (note: Mitchell changed her train of thought fairly abruptly here – an apparent habit), like if you’re a writer you might remember old books and you keep echoing them as you get older. I just think that when you’re at that young age… I don’t know… I guess when you get older you still remember certain atmosphere’s and sounds and feelings from when you were younger. It’s amazing how that happens.”

:E;NFBGLMHK>LGHP TOURING NATIONALLY THROUGHOUT OCT / NOV Featuring single LNKK>G=>K _Z\^[hhd'\hf([ZeeiZkdfnlb\mpbmm^k'\hf([ZeeiZkdfnlb\ _Z\^[hhd'\hf(lmhilmZkmfnlb\lmhilmZkmfnlb\'[eh`lihm'\hf 18 • THE DRUM MEDIA

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So here she is – Lisa Mitchell. A little bit star crossed, endearingly absent minded, extremely talented, equally passionate and totally in love with the idea that she gets to be the kind of singer we all want her to be. Her latest single, the title track to Bless This Mess, is a pretty good example of these traits. If ever an artist were to have a theme song – this would be Mitchell’s. An altogether more muscular effort than her previous singles, there’s a lot of Springsteen swagger in the way the chorus takes off as the syncopated (and stadium sized) drums put weight behind Mitchell’s declaration that “there’s nothing like infinity baby”. It seems like this idea of infinity is something that’s been running tracks through her head for a while, waiting to get out, and Bless This Mess has given her a centimetre perfect easel. “That song just called for that energy - it called for something epic you know? For everyone to be bashing the drums and thrashing away at the piano and all that kind of stuff,” she says, gathering speed and enthusiasm as she goes. “It’s just so full blown and it just opens up your chest and, I don’t know, makes you think that this is real. I’m alive and isn’t it crazy and so messy how everything’s changing all the time but... oh my God isn’t it beautiful – isn’t infinity beautiful? Isn’t it all just so scarily fucking beautiful?” WHO: Lisa Mitchell WHAT: Bless This Mess (Warner) WHEN & WHERE: Friday 26 October, The Astor Theatre; Saturday 27, Prince Of Wales, Bunbury; Friday 4-Saturday 5 January 2013, Southbound Festival, Sir Stewart Bovell Park, Busselton


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THE DRUM MEDIA • 19


SHINY, HAPPY PERSON With a smile on her face, Clare Bowditch explains to Danielle O’Donohue how she has found happiness in the creativity of her work.

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couple of weeks ago, a woman came up to Melbourne singer Clare Bowditch on the street and, wearing a big grin, told her that she hated her. In fact, the woman said with glee that she and her friends took great delight in hating the affable songwriter. But rather than back away slowly, Bowditch was rapt. She is getting used to, it after all. And to be fair, the woman wasn’t talking about Bowditch herself, but Rosanna - the character Bowditch plays on Australian drama Offspring. Like Bowditch, Rosanna is a musician and a mum and her role in season three of the Network Ten hit threw her in the path of young married singer Mick, played by Eddie Perfect. For a few weeks there, around the country, fans of the show were struggling with the internal dialogue of liking this warm creative woman, not dissimilar to Bowditch herself, but hating the homewrecker.

“I saw Eddie live actually,” Bowditch explains.“I went to Adelaide Cabaret Festival. I was getting some funny looks. That was the week it was all up in the air, whether Rosanna and Mick would get it on. It was quite uncomfortable. But Eddie’s festival show was great.” For the Melbourne musician acting was quite a big step out of her comfort zone. “I’m really pleased I did it. But I was very scared and it was very challenging. Because you’re talking about John Waters and Norman Gunston and Deborah Mailman and Asher Keddie, not just Eddie and Kat [Stewart, who plays Mick’s wife Billie], these amazingly talented, craftful actors. So yeah, I did have a mild panic when I realised they were serious. Eddie was very kind. He gave me lots of good coaching in the make-up mirror each morning.” While it was an unusual step for Bowditch, it was part of a concerted effort the singer/songwriter has been making over the last few years to build a sustainable career out of being an artist. Though the perception is often that successful Australian musicians are raking in the dough like the big earning US charttoppers, the reality is always quite different. So Bowditch has learnt to diversify, whether that be by acting, writing the occasional magazine article, or hosting an in-flight radio channel for Qantas. “I was always going to be a lifer,” Bowditch says of her decision to pursue music. “But before I didn’t know how to make a consistent living as an artist and that was really frustrating and heartbreaking. I knew that, as a band, we were making unusual, good music. I knew that it deserved a chance. My frustration was, ‘How do you let people know about it?’” Bowditch says a big part of unlocking that secret was learning that the closer your public persona is to the you your friends and family know, the more you’re able to find an audience, something that Offspring bears testament to. The song that Bowditch worked on with Perfect for the show, You Make Me Happy, has become Bowditch’s very first Top Forty hit. It’s also a great way to introduce her new album, The Winter I Chose Happiness. Though the album has all the trademark Bowditch features - the sharp, intelligent pop, Bowditch’s rich, warm voice - there’s a deep beauty here that suggests an artist finally finding the voice she wants the world to hear. Where last album, Modern Day Addiction, was Bowditch critiquing the world and all its flaws, The Winter I Chose Happiness is a much more personal journey.

There’s more to this story on the iPad “I think I needed to go through what I went through on Modern Day Addiction to be able to come to a place where it was actually important for me to have some peace, to find myself. We spend a lot of our lives trying to get other people to tell us we mean something, and there’s a certain point in our lives where it no longer matters what other people think and we ask ourselves, ‘What do I mean to myself? What do I say to myself last thing at night and first thing in the morning?’ There was a lot of blame on the last album. “These are songs that explore alchemy in a way. How can we transform whatever it is that we go through as human beings, which is suffering, into something that is inspiring, something that is heartfelt? Are we going to allow ourselves to do that when it’s so much more attractive sometimes to keep writing songs that allow me to feel comfortable where I’m at? This to me was a more radical choice than writing a traditional folk album.” At first, Bowditch says she resisted the idea of writing an album about happiness. But the theme was persistent, constantly asserting itself, just as addiction (Modern Day Addiction), lust (The Moon Looked On) and grief (What Was Left) had come to inform previous albums. And like with Modern Day Addiction, once Bowditch realised the idea couldn’t be shaken, she embraced her topic. “This album there’s a lot of research,” she explains. “The research never directly feeds into the album lyrics as such. It’s really just me exploring around the topic. It was really a personal challenge for me to step out of the story that I’d always told myself about needing to suffer to create art.” As part of her research, Bowditch listened to a lot of Dixieland jazz and there are definitely moments on the album that celebrate the style, but The Winter I Choose Happiness isn’t a retro record by any stretch. Second track, Thin Skin, even ventures into Arcade Fire territory. “I was looking into the kind of music that sounded obviously happy,” Bowditch says explaining the Dixieland connection. “I found it ironic that Dixieland music was made between two major world wars and out of that experience of war came this exuberant music.” A more surprising aspect of Bowditch’s research saw her study to become a life coach. “I thought, ‘What’s the most uncomfortable thing I can do? Oh, I’ll do life coach training.’ I found it really confronting. I did it while I had a back injury basically. I did it online while I was holed up in bed in April, May and June this year but I’m really glad I did it because it’s given me so many more tools to work with artists.” For Bowditch it’s a small step from finding happiness to passing on what she’s learnt to fellow creatives. So next up, after she takes these new songs out on the road for the first time, is her Creative Business Mentorships. Though she’s been mentoring young artists for a while now, Bowditch’s new skills have prompted her to take a more formal approach to passing on her knowledge. But first she has to answer the million dollar question; whether all this research and ruminating on the topic of happiness has really made Bowditch any happier? “I can’t even tell you how much happier I am.” WHO: Clare Bowditch WHAT: The Winter I Chose Happiness (Universal) WHEN & WHERE: Saturday 20 October, Astor Theatre 20 • THE DRUM MEDIA

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BORN TO BE WILD For the making of their latest record, the triumphant Lake Air, Australia’s favourite psychedelic pop geniuses Dappled Cities had to go back to go forward, stripping back the layers to get to the heart of the songs. Tim Derricourt explains the process to Chris Hayden.

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n the gap between their breakthrough record, the cacophony of noise that was Zounds, and their latest sun-drenched effort Lake Air, Dappled Cities have gone and done some growing up. Having been together since they were fourteen, the Sydneybased sonic adventurers decided that to move forward in the most effective way possible, they’d have to spend some time apart. As the Zounds touring cycle ended, the four members scattered themselves to all corners of the globe – all with a mandate to write, but with no real agenda beyond that. This separation proved to be the genesis for some interesting stories, but mostly acted as the starting point for their newest record. An altogether breezier effort than the almost vampirish sounds of the past, Lake Air sacrifices none of Dappled Cities’ trademark mischief and knack for melody. According to co-lead vocalist Tim Derricourt though, this laid back approach wasn’t always the plan. “We actually wanted to make this completely wild sounding, experimental record after Zounds,” Derricourt explains. “Big drums and everything going completely mental and that sort of thing.

same time I don’t think we’ve ever been good at being that kind of band that puts everything into the one record, and comes out with this complete vision. We’re always learning, and I think that’s the opposite to a lot of bands that come out strong and maybe fall away after a while. Honestly, I could make a Dappled record right now, and I’ll make another one after that. We’ve just never been creatively stifled. We just always feel like we’ve got more in us.” WHO: Dappled Cities WHAT: Lake Air (HUB/Inertia) WHEN & WHERE: Sunday 14 October, Amplifier

“So we took off to London and started writing that album. When we’d finished our time there though, we all sort of split off to different places. Dave [Rennick, Guitar and Vocals] by that time was living in Paris, Alex [Moore – bass] got married by an Elvis impersonator in Vegas and I was at the beach – so we were all living our own dreams in that way and kind of ignoring the band. Then when we all came back we’d written these happy, relaxed, not intense, not completely experimental songs and realised that was the album we wanted to make.” This sea change may have been prompted by some time apart, but it seems it was a wealth of experience and knowledge gained from ten years in the industry that gave Dappled Cities the impetus to change their ways. “I think there are stages of a band’s career. I think we’ve realised that we can probably make as many records as we want, if we want to,” Derricourt says. “There’s nothing actually stopping us anymore. When we were faced with this choice between a wild psychedelic record or this really beautiful record full of pop songs we’d just written, we just said to ourselves ‘Well, next time we’ll put out the crazy record’.” Dappled Cities have always been known for their adventurousness and refusal to be tied down to one particular genre or sound. From the pulsating chaos of The Night Is Young At Heart to the almost disco bent of their latest single Born At The Right Time, they always seem to be following a different muse – yet have a level of consistency that belies their seemingly scattered influences. It is interesting to learn then that when the time came to make the decision on a producer for Lake Air, Derricourt and co found themselves reneging on a few of their own promises. “After Zounds we vowed never to use a producer again,” he explains. “We wanted to do it ourselves and we trusted ourselves most of all, so we started doing that. Then we met this guy Jarrad Kritzstein and said, ‘Well, yeah rules are made to be broken, so let’s work with him’. We met him on an Internet dating site, we weren’t really looking but he was just hanging out. We typed in ‘Long walks on the beach and making records’ and we got a match. “I guess because we are capable and initially wanted to do everything ourselves, Jarrad’s role was to bring everything together and to keep us from putting too much on because, as is well known with us, we’re pretty tempted to throw about a million ideas on the one song,” Derricourt says, explaining the exact influence that Kritzstein had on Lake Air, and on the Dappled Cities sound in general. “We love filling up our sound, and his role was just to say to us, ‘Is it necessary?’ to which we’d say, ‘Well… No, but it’s fun’, and he’d say, ‘Well, why don’t you leave it off and see if the song is better without it?’ Almost every time it was better. In a sense, our aim with this record was to believe that we could write a record without all the bells and whistles.” Bells and whistles aside, Lake Air showcases some of the strongest songwriting seen on a Dappled Cities record. Without too much studio tomfoolery, the real essence of Derricourt and Rennick as tunesmiths and lyricists is revealed, not least on glossy-eyed cracker Real Love. “That one was me sitting down and really wanting to write a song quickly for once,” Derricourt reveals. “Mostly because that never happens to me. They usually take like a year. With Real Love I just told myself that I had to write a song in ten minutes – and it just kind of floated down from nowhere. It’s pretty much identical from how I first put it down to how it sounds on the record. “There were a lot of thoughts on this record about youth and time. Time passing, what we were like, what I’m like now, what I wanted to be when I was young compared to what I am now,” he continues, explaining the motivations behind the track. “All of those questions that you think about as time passes.” Real Love isn’t too lost in it’s own hazy memories though, as Derricourt jokes when asked how he managed to sum up all of this turmoil in only ten minutes. “My mind is constantly abuzz with rich questions mate,” he laughs. “Great thinkers should delve into my mind because I’m truly an interesting thinker.” The truly important things though, for Dappled Cities, are the relationships held within the band. Speaking to Derricourt about Lake Air, you really get the impression that he sees the record as just another step in a life-long journey of musical discovery. At one point he actually puts a number on it, stating: “We’re going to make, probably 10 more records in our lifetime,” and you can’t really help but believe him. Always slightly on the fringe, but never compromising their integrity or ambition, Dappled Cities are one of those rare outfits that will continue to exist and thrive beyond all the hype and circumstance. “We are this odd band that kind of suck at being a band,” Derricourt quips. “We’re good friends and we play good shows but at the

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HIGHS AND LOWS Prepping for an end-of-the-world party, All Time Low frontman Alex Gaskarth gives Daniel Cribb the lowdown on an album nine years in the making.

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aving put the final touches on their fifth studio album, Don’t Panic, All Time Low are squeezing in a few more games of football on friends’ front lawns and saying goodbye to pets as they pack their suitcases in preparation of the album’s touring cycle, which will see them on the road for months, travelling all around the world as well as appearing at Soundwave Festival next year. The shows kick off in the US with The Rock Show At The End Of The World tour. At face value, the title comes off as a simple reference to the world supposedly ending this year, but as frontman Alex “10 minutes late to everything” Gaskarth shares, it’s meaning runs far deeper. “It’s a few references wrapped into one. The [new] record is called Don’t Panic, so there’s a reference there to Douglas Adams and the book Hitchhiker’s Guide To The Galaxy. In those books there’s another story called The Restaurant At The End Of The Universe, so it’s kind of a reference to that,” Gaskarth reveals. It might seem like an odd story to reference their most heartfelt record yet to, but you’d struggle to find a better theme to sum up the way All Time Low has evolved in the short time since 2011’s Dirty Work. “I was thinking about the book and I was sort of thinking about how the theme of the Hitchhiker’s Guide is ‘don’t panic’ and I find it ironic how fitting that sentiment was for where we were as a band and where we were with this record. What came together was this realisation of, ‘Shit, this makes so much sense to sum up the whole album’, because the entire cycle of us leaving our last major label, Interscope, and then making this record and resigning with Hopeless and stuff, there were a lot of times where we could have freaked out. It was sort of one of those things where we held it together, we made it through, so it’s kind of a testament to not panicking and keeping your cool.” The band took a risk when they cut their contract with Interscope short, but it also left them in a position of power – they have a strong worldwide following, a knack for writing catchy tunes and the means to fund their own projects. “Through

the cycle of [Dirty Work] we realised a major label just wasn’t the right fit for us, and so we were left in this place where we didn’t want to be on that label anymore. Fortunately, they let us go, and then we were in an even more unique place where we were completely unsigned. We had no one backing our music and no one advertising our band, other than us touring, so it was definitely like, ‘Shit, are we done? Should we keep doing this? Is that it?’ There were a few moments where we were like, ‘Maybe this is it for the band’, but we decided not to go that route, we decided to make a record and do it ourselves and show off the best side of All Time Low.” On the band’s previous records they’ve jumped from studio to studio and had numerous producers and writers work with them. “I think a big part of [that] was the desire to learn,” Gaskarth explains. “A lot of what we wanted was to kind of take the best aspect of what other people could offer, you know? Go in with different producers, go in with different writers and see what made them great; see what made them tick as far as successful writers. I don’t claim to be a knowledgeable writer by any means – compared to some of the people out there so it was important for me to put myself in a room with these people and really pick their brains and be like, ‘Well, what can I walk away from this experience with? What can I learn from you that will benefit the band later on in life?’ I think that was a big reason for it; we just felt like it was going to give us the tools to do this more professionally later on.” This time around it was about proving that they could produce a killer record with just the four of them sitting in a room, throwing ideas around. Don’t Panic is solid proof that they’ve taken all those lessons on board and channelled the best parts of each previous album to create something that’s unique. “Writing and spending time with [writer] Butch Walker, I learnt a lot of his sensibility and his writing style,” Gaskarth says of the man behind tracks

from Avril Lavigne, The All-American Rejects and Fall Out Boy. “He sort of pulled me into my own as someone who can write pop-influenced rock music, but give it like an edgy twist and give it attitude and give it balls and have it still be cool. That’s something he’s always been good at so I learnt a lot from him. Writing with Rivers [Cuomo, of Weezer], I learned the same kind of thing. I even did a song with Tricky and Dr Dre, who are hip hop producers, and that taught me a lot about the way they approach writing music, which is more fluid and little more vibey. I sort of write with a lot of intent and they write very fluidy, like, ‘Here’s a bunch of ideas – what doesn’t suck?’, and they would pick and choose and put the best things together.

“I think what’s really important is taking what you learn, but then also applying it to yourself. Not completely emulating what those people do, but applying your favourite aspects to what is it that makes you unique as a writer, and I think that’s what we really tried to do on this album; take the best of all of it.” WHO: All Time Low WHAT: Don’t Panic (Hopeless Records) WHEN & WHERE: Monday 4 March 2013, Soundwave Festival, Claremont Showgrounds

EVERYBODY WANTS SOMETHING TAKING FLIGHT Tim Steward from Brisbane’s We All Want To tells Chris Yates that while the new album may not have turned out exactly how he expected it to from the beginning, the end results are more than he could have imagined.

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hen the time came to record the second album for We All Want To, Steward had in mind a raw and stripped-back affair. Anyone who’s heard Come Up Invisible can attest to the fact that this certainly did not happen! Instead, the record is a deliberate and carefully thought-out collection with nods to Steward’s past certainly, but also showcasing a mix of influences from different members of the band, plus an outside contributor whose impact on the album is obvious and thorough.

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“The thing is, when we recorded and especially when we mixed I was always wanting to keep it sparse,” Steward says of his early intentions. “With the [2010 self-titled debut] We All Want To album I really wanted to record an album that we could represent live that really sounded honest and like a band. And it kinda worked to a little extent, but with the new one again I really wanted to take that minimal route in mixing.” While it would be great to hear a stripped down version of We All Want To, it’s a blessing that producer Darek Mudge’s big vision was given an opportunity to shape the record. It’s not surprising he knew what to do, having played in Steward’s landmark band Screamfeeder as a second guitarist for a period when the band was a four-piece, as well as playing in more than a handful of other Brisbane bands. Also on his list of recent achievements is recording Steward’s partner from Screamfeeder Kellie Lloyd’s highly acclaimed solo album. Despite Steward’s time in Screamfeeder, a hesitation to play live by himself is actually what led to the formation of We All Want To. He was admittedly nervous of permorming solo due to the inherent responsibility of 22 • THE DRUM MEDIA

With a new EP in the bag and a highly touted live show, Melbourne’s latest indie folk stars The Paper Kites prepare to bring their national tour west. Singer, multi-instrumentalist and songwriter Sam Bentley talks origins and expectations with Kitt Di Camillo.

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the role. He eventually put together a Tim Steward band to help him play his solo work live in a way that he wanted to hear it, and this led to finding new players, who became the first line-up of the band. “We started writing all this new stuff which was way better than the stuff we’d been doing from my solo album,” he says. “We just started putting the new songs in and suddenly we were like, ‘Oh wow, this is good!’” While he doesn’t write off the idea of Screamfeeder getting back together at some stage down the track, he cites drummer Dean Schwereb’s indefinite relocation to the UK as a factor that makes the possibility unlikely any time in the immediate future. Screamfeeder fans could do a lot worse than exploring the new albums from both Tim and Kellie’s new projects, as it really shows off a very different side of both of them as performers, while the hooks and pop magic that made Screamfeeder so beloved are still there in abundance. Even so, there may be something else quite interesting on the horizon to look forward to for those who want to indulge in some good, honest nostalgia for the much loved Brisbane icons. “When I was doing those solo gigs recently I did a bunch of Screamfeeder songs and I played them really soft,” he tells, “and I thought it was kind of great. So I’m actually kind of toying with the idea of doing a solo album of Screamfeeder songs. A lot of the songs actually worked way better really, really quietly than I imagined they might, so that was pretty interesting.” WHO: We All Want To WHAT: Come Up Invisible (Plus One/MGM) WHEN & WHERE: Thursday 18 October, Prince Of Wales, Bunbury; Friday 19, The Bird; Saturday 20, Indi Bar

he recent finale to the eighth season of Grey’s Anatomy was a typically emotional ending to the long-running soap’s latest year on air. The medical drama’s usual weekly commotion and declarations of love sat comfortably amid the heartbreaking death of a main character, sending the show’s many fans into a breathless sobbing hysteria. As the episode reached its impassioned crescendo though, the series’ soundtrack took a surprising turn. Where previously the likes of Snow Patrol have been used to star making effect, season eight’s key moment instead ran to the alternative folk sounds of Melbourne’s emerging indie five piece The Paper Kites. The quintet of Sam Bentley, Christina Lacy, Dave Powys, Josh Bentley and Sam Rasmussen have gradually been making waves over the last twelve months, with the release of their debut EP Woodland followed by consistent gigging and radio-play across the country. The appearance on Grey’s is another thing altogether. “It was really unusual and really cool at the same time,” admits the band’s main songwriter Sam Bentley. “I think the fact that it was the season finale and it was played in the bit that everyone starts tearing up towards the end. And they used the whole song, which was really cool. We were really quite flattered to be asked to do that.”

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Bentley is quick to put the achievement into perspective though. “I think you definitely don’t wanna put all your eggs in one basket and hope that a television show’s gonna launch your career. I mean it just doesn’t always happen like that... It’s just something really cool that’s happened to us.” The group’s success so far is a testament to the strength of their material and a burgeoning live reputation. The five members switch instruments throughout each set, making touring a

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customs nightmare but each show a highlight. And their latest EP Young North is another step forward, and has already been placed on high rotation on triple j. Success has come quickly since their humble beginnings. “We were all playing in different bands at the time,” explains Bentley. “Christina and myself were just doing random shows around Melbourne, just at cafes and stuff. We were sort of used to middle age women talking over us while we were trying to play and stuff like that. But we had applied for this festival and we got accepted and we wanted to pull together a band for it. I had a few originals, so we asked Dave and Sam to join, and Josh is my cousin, I liked his drumming and asked him to play as well. There was never really an official conversation, and there still hasn’t been! It was a very natural progression. We look back now and think ‘How did we really get to where we are?’ I should probably ask them all if they wanna start the band.” With plans for a debut album on the way, the next 12 months could be a defining period for Bentley and his friends. The notoriously crowded Melbourne music scene has claimed many a band over the years, but The Paper Kites are one set for big things. “One of the advantages of playing quite pleasant music is that you know people are always wanting to come out and hear it. We’re pretty chilled about the fact that there’s a lot of bands out there, and I don’t really feel a competitive nature at all. I think it’s because we’re not trying to compete with any band, we’re just doing our own thing - and it seems to be going okay.” WHO: The Paper Kites WHAT: Young North (Warner) WHEN & WHERE: Friday 19 October, Mojo’s


SAE OPEN NIGHT Friday 26th October 6-9pm Level 1, 3-5 Bennett St, East Perth, WA 6004

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LIVING WITH OUR GHOST

IKONOCLAST In town for boutique alt.festival This Is Nowhere, Ikonika is Sarah Abdul-Hamed, a British producer who fuses UK garage, grime, and dubstep into a potent new sound. Callum Twigger talks with her about Skream, video games, and vaginas.

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ear reader, if listening to They Are All Winning The War from Ikonika’s debut LP Contact, Love, Want, Have is the only action that results from your reading this article, it has served a noble and higher purpose. If a robot had a heart and that heart had an attack, it would sound like They Are All Winning The War. “I still preach emotion on the dancefloor, but it’s camouflaged, as my sets can seem vibrant and energetic,” explains Sarah Abdul-Hamed (aka Ikonika). A lazy deconstruction of Abdul-Hamed’s music could simply reduce it to dubstep, but the influences on her two EPs and LP are varied and tangled.

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“I grew up listening to a lot of UK garage, but also early dubstep like Skream, DMZ, stuff on Hyperdub. And a little bit of grime got me thinking about music production and DJing,” she explains. “Recently I’ve been into guys like Omar S, Levon Vincent and Legowelt. I’m really into stuff that has a similar vibe to classic Chicago house.” As with the now-defunct electroclash movement of which Legowelt was an integral part, Ikonika’s sound is chimerical. Legowelt’s house roots can be pulled from the background of a track like the I Make Lists EP’s PR812, Omar S’s more readily Catch Vibes. Ikonika’s distillations are informed by “paranoia, romance and diegetic sounds” that alternate between the ambitious and frantic UK garage tempo, and instances of depopulated dubstep more reminiscent of Burial’s orbital Loner. The otherworldly chill of Hyperdub kingpin Burial is epitomised in Contact, Love, Want, Have; an LP that furnishes an entire landscape of electronic production and application. Yet the Ikonika sound is built from broader influences still. “I feel a special connection with video game

Everclear are returning to Australia for the first time in 14 years to right some long-standing wrongs. Frontman Art Alexakis tells Steve Bell about pain, redemption and feeding the emotional hunger.

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soundtracks and their sfx. Bit music has a certain warmth, it’s great nostalgia. I grew up playing games like Sonic and Streets Of Rage,” says Abdul-Hamed. Certainly, video game soundtracks (particularly those of ‘90s yore) are replete with complex rhythms and time signatures that get concealed by the obvious distraction of the game itself. Given Abdul-Hamed acknowledges video game soundtracks are a conscious influence on her sound, it was necessary to confront her with the hypothetical: if you could score a game, which videogame would that be? ”I think maybe Shadow Of The Colossus would sound great with loads of Moog arpeggios and strings, but I don’t know. I wouldn’t want to ruin any of the classic games,” she says. The relatively reclusive Abdul-Hamed has vented her frustration with music journalism’s gender bias to The Guardian, telling the British publication “I hate this ‘first lady of dubstep’ shit. Do they think I go around consciously thinking about my gender?” Googling any act with a couple of girls in it confirms the ridiculous gender preoccupation in music writing. The absurd impression conveyed by the general music writing body politic is that ‘girl’ is some inexplicable sub-genre of music: girl-pop, girlgroup, and getting almost ludicrous, ‘girl-step’ (like, a bad play on dubstep); and that it’s necessary to include gendered identifiers like ‘songstress’, ‘muse’, ‘first lady’ in mentions thereof. “I only want to be known as a DJ/producer/label owner without my vagina getting a shout out,” says Abdul-Hamed. WHO: Ikonika WHEN & WHERE: Sunday 14 October, This Is Nowhere Festival, University Of Western Australia

Ahead of their DJ set at Ambar tonight and just-announced slot at next year’s Future Music Festival, Troy Mutton chats to DJ Locksmith from UK superstars Rudimental about just how massive the past year has been.

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However it’s not like the quartet from Hackney, London just one day decided to make a track and there it was; Piers Agget, Kesi Dryden, Amir Amor and DJ Locksmith have been at it for a couple of years now, although share a much longer history. “Yeah it has been a really big year, there has been a few pretty difficult times but the good times definitely outweigh them,” begins Locksmith on another busy day of interviewing. “I mean directly we’ve grown up with each other since we were very, very young, so we kinda know each other inside out, we know our weaknesses we know our strengths.” Locksmith recognises the opportunities Feel The Love has now given the group, and is excited at the prospect of taking their sound outside of London. “The international stage is something we have always wanted to take on. Now we’ve got an opportunity…” One you sense they’re not going to pass up on. The duo’s second release in Australia, Spoons, took a markedly different turn from the anthemic first single, and while it’s obviously not been embraced with mass sing-alongs on the dancefloor, its chilled vibes have been no-less appreciated. “When we get to the studio we never ever sit down and say we need to make a drum’n’bass beat today or we need to come up with a house beat today. We come from a sort of eclectic listening music background. “For example four members of us, we all listen to different types of music so you got myself who listens to old school garage, you got Kesi who is into hip hop, Amir was into hip hop and R&B, Piers used to love his jungle… Mix all those together once you get to the studio we come up with different vibes, different flavours, that’s pretty much how we go about it.” Their latest single, Not Giving 24 • THE DRUM MEDIA

The Everclear returning to Australia this month for the first time since that tumultuous experience are a new outfit – only Alexakis remains, former bassist Craig Montoya and drummer Greg Eklund having since been replaced by a seemingly fluid roster of musicians – and should be unsullied by the prior experience.

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“It was crazy, we were touring so much, and there were certain members of the band drinking and drugging too much, and just the travel caught up with us as well,” he reflects of their previous Australian sojourn. “For a few years we did really well [in Australia] – the first time we came down there was like 500 people waiting at the airport, I was like, ‘So this is what it’s like!’ It wasn’t quite like The Beatles, but for us it was pretty close... I’ve wanted to come back. We just needed to put out the right record, and now’s the right time.” The record he’s referring to is Everclear’s seventh studio effort, Invisible Stars. “Musically I wanted it to be a rock record,” Alexakis admits. “I was writing rock songs and

I wanted to have an added touch to it, but I didn’t want to go to the organ or use the soft strings that I’d been using recently – that really doesn’t work well with heavy guitars, it kind of softens everything and waters it down. “I didn’t really write a lot for a long time – just a few songs here or there – but I hadn’t been in the mood to write a record until about two years ago, and I just started writing, mostly on electric guitar, and I think that helped shape what I was writing and put a certain edge on it... I’m not hungry like I used to be physically, but emotionally I am, and I think the record shows that. There’s a hunger there, and I feel empowered again and excited to play music. Anything gets old after a while – I feel bad for porn stars, if you’re doing that every day, where’s the fun in it?” he guffaws. “I guess, I don’t know...” Having harked back to Everclear’s glory days, Alexakis reflects on Sparkle And Fade – he didn’t know at the time that he was writing a special batch of songs. “I didn’t know that [it was special] per se, but I knew that I had made the best record that I could make, and I knew that it was a better record than a lot of people gave us credit for making,” he reminisces. “I remember the night we mastered it with Bob Ludwig – who’d worked with U2 and Springsteen, and he was so helpful, he worked with me all day and was so patient – and going to my hotel room and popping the mastered CD, all sequenced and sounding like the record, into my Discman and listening through headphones and it just sounded like a rock’n’roll record, like a big label rock record. I just remember my heart pounding and calling the guys in the band, and we were all freaking out and screaming over the phone while I’m playing it over the phone in the hotel – it was like an epiphany, a real exciting moment.” WHO: Everclear WHAT: Invisible Stars (Entertainment One) WHEN & WHERE: Sunday 14 October, Capitol

TO YOURSELF BE TRUE

FEELING LOVED

ou’d be hard-pressed to find a bigger crossover hit in 2012 than Rudimental’s good time drum’n’bass banger Feel The Love, featuring the vocals of a Cee Lo Green-esque John Newman. It’s been smashed on all kinds of airwaves, debuting at #1 in the UK and #3 here, and before you know it they’re a household name.

verclear’s inaugural tour to Australia back in 1998 should have been a triumph, but was instead an unmitigated disaster. At the tail end of a hectic world tour promoting their 1997 third album So Much For The Afterglow – and only a couple of years since their 1995 sophomore effort Sparkle And Fade had become a huge hit in Australia on the back of ubiquitous radio singles Heroin Girl and Santa Monica – the Portland trio’s Australian shows were plagued with bad luck from the outset: frontman Art Alexakis was hit by a shoe in Wollongong and cracked some teeth, a ‘fan’ disrupted the Melbourne show by letting off explosives onstage, gear was stolen at the Gold Coast and eventually – amid much in-fighting and acrimony – the tour was cancelled so that the band could limp back home to lick their wounds and recuperate.

Three years of living the highs and lows of the American Dream have given Mia Dyson her new album, The Moment, and some stories to tell Michael Smith.

“I

In – again featuring Newman and also Alex Clare - has ramped it back up with a chorus line and big brass section. Of course this sharp increase in attention has led to them needing to get their shit together when it comes to Rudimental live – almost a necessity in the current age of dance music festivals. It’s had a few run throughs, but remains a work in progress. “We are definitely thinking about our live shows. We actually just did a live show in Hackney in East London where we’re actually from, so that was something special. So we are looking to build off that, building some more tracks into our live show so we can show everyone that,” he tells. “On a programming level we will be using Ableton and then working through – Kesi and Piers on keyboard and Amir on bass. We was thinking of implementing a lot of brass into it but don’t know quite how it’s going to happen and obviously we don’t have a finished product yet. If we was going to go off the back of our last live performance, we had three brass players there, we had trumpet, saxophone and trombone so that was pretty cool.” Until they sort that out for Future Music Festival next year, there’s their current DJ tour of Australia, and then finalising what will be their debut album. “Yeah, the album is coming to completion, just getting into the synching of the tracks on there so I think it’s going to be really special. I’m really excited about it. As you’ve witnessed with Spoons and Feel The Love, two completely different genres, it’s going to be like that across the board of the album, it’s going to be something for everyone we hope. The vibe of it is pretty cool.” WHO: Rudimental WHEN & WHERE: Thursday 11 October, Ambar; Sunday 3 March, Future Music Festival, Arena Joondalup

worked harder on these songs than I’ve ever worked before,” Melbourne-based blues-rock singer, songwriter and guitarist Mia Dyson admits of the ten songs that make up her fourth album, The Moment, recorded in California in January this year. “And when I say ‘harder’, I don’t mean ‘gruelling over a hot stove,’ I just mean I took the time and I didn’t leave lines that I thought were weak unexplored. I mean, you can’t always make yourself find something better, but I got some really constructive criticism from the producers that I worked with, and we both had the same ideas about which parts of the songs needed work.

There’s more to this story

on the iPad

“So it was really good. Like, normally there’s a place that I get to with a song where I’ve kind of mined all the inspiration out of it and that’s as far as I can go. [Patrick Cupples and] particularly Erin Sidney, the drummer/producer, he just encouraged me and was sure that I could do better and left me with suggestions. I just went away and did another round of work on the songs after they were all finished, and I’d never really done that before. I’d never let anyone give me any sort of feedback and I think it was really beneficial thing to do. I’m really proud of this record. I don’t have the same regrets that I have about certain songs on the other records, which I won’t name,” she chuckles. The Moment was the perfect and happy outcome of a three-year journey that saw Dyson relocate to Boston in order to immerse herself in the country that has shaped her musically as a writer and performer. It didn’t always prove quite what she’d hoped or expected. “I did have an agent who booked me some shows heading over there, but other than that, I didn’t know anyone, I didn’t have a plan, I didn’t have a budget,” Dyson laughs. “I didn’t have any of the things that a sensible person would have, and maybe if I’d had those things I would have realised that it was a bad idea and not gone. So, in some ways, I’m glad I didn’t

themusic.com.au

look too closely, but I went, on a wing and a prayer, on that pull I had to go and live over there and explore the American music culture and history and everything. “I didn’t survive particularly well, especially the first year. I had no money and I couldn’t afford a band. I thought I could go over there and just play with a band like I had here, and the reality very quickly came upon me that the cost of touring – it’s cheaper over there to tour, but still, if you’re only making $100 a night from a gig, you can’t really pay three people and all of that. So I had to learn how to play solo. I’d done it just occasionally when absolutely forced to back here, but I had to set my mind to it and rearranged my songs so that they would work solo. Again, that amazing surprise of something seemingly bad, i.e. not being able to have a band and then learning how to play solo and discovering this is a great skill to have, meant I got to tour with Chris Isaac, [where] I could never have taken a band with me.” It was the opportunity to move to Los Angeles and work with inspiring musicians that saw The Moment eventually pull back on track. “Coming out the other side I feel glad that I had that experience and it just solidified my belief in the idea that it’s not success that’s going to make me happy. Not that it’s not worth pursuing, but that the first goal is be creatively fulfilled, and if success comes out of that, then great. So I ended up staying in Los Angeles and strangely, unexpectedly, I loved Los Angeles and met [Erin] and a whole raft of musicians there and it became quite a home.” WHO: Mia Dyson WHAT: The Moment (Black Door/MGM) WHEN & WHERE: Thursday 8 November, Mojo’s; Friday 9-Sunday 11, Blues At Bridgetown


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THE DRUM MEDIA • 25


SINGLES/EPS WITH DANIEL CRIBB

ON THE RECORD

GAY PARIS

The Demarcation Of Joseph Hollybone

Going Home Records If you’re going to listen to these guys, get your headphones out and find somewhere quiet to sit down. Recorded live to tape, Craddock and co have really utilised the no-frills traditional recording method, and it’s paid off. Instantly the sound of this recording captures the listener’s attention, and offers something more fluid and organic than the usual over-produced, autotuned ProTools recordings that seem to be quickly driving tape towards extinction. Keep On Waiting is accompanied by B-side Ruby St, a tune that’s better than most band’s a-sides.

CHAOS DEVINE

Africa: A Tribute To Toto Firestarter Toto’s sound is so ridiculously dynamic that tackling a tribute of one of their most recognisable songs is a mammoth task. Luckily, Perth’s Chaos Devine have nailed it, right down to the last little detail. The song sounds good; the production quality is awesome and they in no way put their heroes to shame. But ultimately, when it comes down to it, they’ve failed to inject new life into the song, and at best this release acts as a great pre-album buffer to keep them on punters’ radars whilst they work on their album. Perhaps single B-sides Beautiful Abyss (acoustic, and almost better than the original) and the remixed Astral Plane would have been better suited to front the release.

CASTLE BRAVO Castle Bravo Independent Whoa! Where did this come from? The debut EP from Perth’s Castle Bravo packs more punch than most punk bands kicking around Perth (and every other state for that matter) at the moment. Straight off the bat, opener Self Hatred shows others how it’s done. Tight drums, Bodyjar-esque vocals and the right amount of technical guitar sit nicely throughout the EP’s seven tunes. The photography accompanying this release is haunting to say the least. Taken by Kieth Fishwick (that’s vocalist/guitarist Todd Fishwick’s grandfather) during the Second World War, it’s the kind of imagery that you could easily stare at for hours.

DAVE

Red Eye Independent “I’m so alone,” vocalist James Sprivulis sings in the chorus of Red Eye, but this single sounds like four musicians who spend a lot of time together and are far from being alone. The Divinyls’ Mark McEntee was the perfect man for the job of producer, and his fingerprint on Red Eye is more than apparent. “Dave aspire to one day receive either success or a cease and desist order,” the band have stated. Judging by this tune, the former is more likely. With their melancholy-drowned pop, they’re Perth’s answer to R.E.M. and The Cure (there’s a fade-out at the end that reinforces those vibes perfectly) and a mighty fine example of British post-punk rock. 26 • THE DRUM MEDIA

COLLARBONES

Hub/Inertia

Sony

Two Bright Lakes/Remote Control

Winter People’s A Year At Sea is haunting, evocative and as cool as their namesake season. As first offerings go, it’s hard to fault this one; the seasonal Sydney sextet have really outdone themselves here. Dylan Baskind is the brainchild behind Winter People and has spent many years putting this release together; that A Year At Sea is so cohesive and endearing is a testament to how he truly got it right. The album can be loosely divided into ornate acoustic numbers with lots of multi-part harmonies and moody rockers that build into a passionate wall of sound.

“I wanted to be Stevie Wonder, but I have to settle for this vanilla thunder,” Mr Folds passionately wails on Draw A Crowd, before imparting some sound advice: if you can’t draw a crowd, draw dicks on the wall. Yes, the piano-driven power trio of Ben Folds Five are back, and have dragged the suburban white-boy ennui that framed their previous releases so perfectly out of the ground.

The Sound Of The Life Of The Mind

Opening track The Banker’s Lament is somehow indicative of the rest of the album and showcases the talents of all six band members. Like the majority of songs on the album, the lyrics are dark and deep, describing a corporate suit as he marauds his way around the city after hours. Standout singles and triple j favourites, Wishingbone and Gallons also feature beautifully crafted melancholic lyrics hidden behind Winter People’s – what soon could be signature – layered music. Five out of the six band members are vocalists on the album, and the harmonies they lend to Wishingbone are spectacular. Similarly to Sigur Ros, Winter People tend to intertwine classical elements into their sound, a fusion that’s evident in my favourite track Two’s Company. Gentle female harmonies are met by a soft snare and then crash into a full, guitar-heavy track reminiscent of Silverchair’s more orchestral songs. A Year At Sea is of a calibre rarely seen in debut albums, and easily ranks as one of the best releases of the year for the genre. Appreciate it as a whole over a long, stormy evening with a bottle of scotch. Tess Ingram

The years since 1999’s emotionally-gripping The Unauthorized Biography Of Reinhold Messner saw a lot of work from all three members of the band. Now, as they reunite once more in the live studio setting, the inevitable effects of age have matured their sound slightly, but not at the risk of ruining the angst and poignant melody that enamoured so many fans in the first place. It’s a near-perfect return to form, as Folds’ piano melodies (he obviously still worships his metronome) ride all over Robert Sledge’s deep, earth-shaking bass and Darren Jessee’s jazzy drums. Do It Anyway, the first single off The Sound… is a huge, rollicking statement of free will and motivation; it’s tempered fervently by tracks like Hold That Thought and Thank You For Breaking My Heart, which revitalise the harrowing personal moments evident on any record Folds has had anything to do with. Tracks like the aforementioned Draw A Crowd and On Being Frank inject some characteristic and almost cynical humour into the whole thing.

Two lads. One from Sydney. One from Adelaide. The distance is perhaps a contributing factor in the spacey LIVE void that their music creates; a remote, isolated kind of feeling that surfs along with Marcus Whale’s impossibly smooth vocal lines. A paradox ensues, however, as the beast that is Collarbones’ sophomore album Die Young gets impossibly close, breathing down your neck and crawling under your skin. Job well done then, as the duo set out to explore the much-probed realm of teenage love and heartbreak. The slow-burning R&B of Die Young is immersing, broken up with beats VD that foray into various realms of EDM and hip hop; at times racing along at rave tempo, and giving reprieve from the dense swell of synth and vocal layers.

D

D

VD

Die Young

Yes, the album does bring up the old lost-love moments of previous works, but the almost symbiotic interplay between these three musicians has been sorely missed. Welcome back, you lovely tear-jerking bastards.

D

Keep On Waiting

BEN FOLDS

A Year At Sea

VD

DAVEY CRADDOCK & THE SPECTACLES

LIVE

WINTER PEOPLE

D

Sydney “dirty fucking rock band” Gay Paris sound like four bands crammed into one. That may sound like a chaotic listen, and it is, but every second of their latest chunky rock’n’roll single is intensely engaging. The tune’s gritty bass corners its listener and smothers to the point where the victim has no alternative to (at least) nod their head. The song comes from their forthcoming album The Last Good Party, which will see them in town before the end of the year. If the world is going to end this year, rocking out with Gay Paris wouldn’t be a bad way to go.

VD

Independent

On the surface Die Young follows in the footsteps of first album Iconography, with it’s chopped-up vocal samples and glitchy beats playing host to Whale’s melodic crooning, which seems to reach in and create sense and order in the mess of layers. But dig a little deeper and the playful melodies are betrayed by the words, revealing the latest effort as somewhat darker in nature. “And I’m losing in love every day/And I don’t know how to start feeling my way”, Whale sings on Losing, his often visceral lyrics slipping in seamlessly and hiding behind the shimmering synth lines. Die Young is an intriguing collection of songs that rewards repeat listens; probably even moreso with the impending release of a companion short film about teen ghosts caught in limbo adding weight to the album. Andy Snelling

Cam Findlay

DINOSAUR JR

GILDED

GRIZZLY BEAR

Liberator Music/Mushroom

Hidden Shoal

Warp/Inertia

Can it be? Yes, it most certainly is – a great, big breezy synthesiser opens Dinosaur Jr’s tenth album. Have the long-toothed, fuzz-rock icons turned ‘80s revivalists? Whilst 2009’s emotionally epic Farm was an exemplary summation of the band’s sound and outlook, even its most ardent supporters would have to concede that it didn’t exactly shatter new ground. I Bet On Sky doesn’t redefine Dinosaur Jr, but it does feature the occasional experiment, as the band seem to be trying to wriggle their way out of the mould. I Know It Oh So Well has a funky wah-wah edge to it. Some suspiciously flute-like sounds emerge halfway through Watch The Corners. But for the most part, the tried-and-tested formula remains intact. No matter what diversions the band try out, you can rely on the fact that nearly every song will showcase another of J Mascis’s rangy, magnificent guitar solos that seem to draw their extraordinary power from some heavenly source, and the solo that closes Watch The Corners arguably resides alongside his best. Sticking to their usual topics of being dazed, confused and occasionally resentful, age is becoming to them. Mascis’s cracked vocals have become increasing frail, as he sounds – and looks to some extent – like a sun-damaged hobbit.

Two old hands, post-rock deconstructor Adam Trainer and ambient guru Matt Rosner, have come together to form something new as Gilded. Whilst clearly not setting out to reinvent the wheel of experimental music, the merging of their two sympathetic skill sets – Trainer’s versatility as a musician and Rosner’s perceptive ear for texture and detail – have staked out a previously undefined sector of the map.

Four years. If, like me, you are one of Grizzly Bear’s diehard fans, that’s how long you had to wear out your copy of 2009’s excellent Veckatimest. What was the four-piece’s most accessible record has been stretched to Shields, with the same softly-spoken melodies underpinned by lush orchestral arrangements phasing in and out like the cosmic atmosphere that their music frames.

Trainer has described this record as having a “summer” vibe to it, and many parts of it certainly radiate warmth; an atmosphere augmented by closely-observed field recordings of insects clicking in the pulsating heat. The science of applying such supplementary sound effects is done in a delicate way that accents, rather than distracts from, the vital essence of the many carefully arranged instruments. Although, on Expand/Contract the groaning of the steel beams of a warehouse structure warping as the temperature changes arguably take centre stage over the chiming piano and vapour trail of barely-there vocals.

Being a continuation on what they established those four years ago, Shields is not a great sonic departure. The acoustic strum from second track Speak In Rounds is almost a carbon copy of the riff from Veckatimest’s opener Southern Point, while the vocal harmonies still rely on the verbose storytelling of Ed Droste and Daniel Rossen. What is an evolution in Grizzly Bear’s sound is the sounds that sit on the periphery; rhythms and melodies are predictable, but the group’s ongoing infatuation with electronic and pedal trickery raise the album as a whole to the next tier. Single Yet Again serves as a good example: a simple interplay between piano and guitar is treated to church hall-style acoustics, giving it an ethereal flavour. The Hunt and A Simple Answer fill gaps with an interesting mix of jarring French horn and string arrangements. A clear standout, though, is Gun-Shy; opening with a simple-yet-punchy percussion beat (insert Rilo Kiley connections here), it stands out from the rest of the album due to its slight groove.

I Bet On Sky

Terrane

A decent shot at trying to overturn a few expectations, although it’s all a little sad when you consider that the lo-fi experimentation that made early albums such as You’re Living All Over Me such a success is now just a historical remnant. Christopher H James

As complex as the final product is, there’s never any clutter. The value of silence, or at least near silence, is not forgotten as each element is allowed ample space in which to breathe. As a whole, Terrane is finely balanced and reveals something new with each listen. What’s most impressive though, is that despite the long gestation and complex configuration of elements, the music always sounds fresh. Recorded over two summers, one might have expected the odd, overly studio-processed flat spot. That never happens on a journey into sound that ripples with life at every turn. Christopher H James

themusic.com.au

Shields

Whilst Veckatimest may have been a statement of connecting to a broader audience, Shields is the continuation of what has seemed to become a comfortable, yet satisfying space for Grizzly Bear. Cam Findlay


IN HEARTS WAKE Divination Warner/UNFD In what has fast become an overcrowded scene with so many hardcore/metal bands throughout Australia and the world, it is becoming increasingly harder to stand out and create a unique sound. However, Byron Bay’s In Hearts Wake is the perfect example of defying this trend and seems certain to follow in the path laid by fellow Byron boys Parkway Drive. Their 34-minute, 11 track debut, Divination (recorded in Michigan, USA), is a solid sounding record.

KATIE NOONAN & KARIN SCHAUPP

LEURE

VARIOUS/ONEMAN

Songs Of The Southern Skies

Inertia

fabric/Balance Music/EMI

Kin Music/Universal

Ash Hendriks’ rapid evolution from the crooning, guitar plucking girl-half of Wolves At The Door to the skeletallysimple electronic artist Leure is good news. Leure’s debut record, Holland Sky, sounds like a heartbeat trapped in a refrigerator. It’s an album delivered with polish and intelligence; a good omen for Perth experimental/ electronica, and a triumph for Hendriks herself.

There’s a literary clichĂŠ that sees a middle-aged couple wistfully reminiscing over travels past, sighing, “Ah, Paris‌â€? I do that thinking about Fabric, having had the good fortune of cutting my clubbing teeth at the London institution. Since those halcyon nights the cavernous superclub has only grown in stature and reputation, largely thanks to forwardthinking DJ bookings and a consistently excellent mix series. The latest release, Fabriclive 64, sees renowned Rinse FM DJ Oneman giving a lesson on precision mixing and peerless selection in UK bass.

Fabriclive 64

Holland Sky

Katie Noonan and Karin Schaupp are two equally regarded yet disparate artists, Noonan of George fame and Schaupp a renowned classical guitarist. This debut is the first recorded pairing of the duo, seeing them delve into subdued and sometimes inspired versions of local classics.

Tightly produced and whittled down to the fundamentals, Holland Sky is worth comparisons to the icy sensibility of Lykke Li and the sparse, minimalistic direction of Atlas Sound. It’s submarine sound; cold, aquatic, full with muted scratching and synthetic sound that conveys lonesomeness and distance. Hendriks’ voice is kept to a glacial purr across the album, and it’s impressive she maintains such gravity and discipline with a sound that originates so close to her self. Ghost Fire, Tired and Waiting are recognisable from Hendriks’ Soundcloud, and their presence is both welcome and anticipated. Battles is Holland Sky’s best new contribution to Leure’s music, but it’s difficult to isolate the album’s individual tracks from the sum of their parts.

While Divination at its peak is not a groundbreaking release, it is a very consistent sounding record that offers many highlights through its entirety. Although it shows the influence of other bands in the same genre, they have created their own hard-hitting sound that should see In Hearts Wake join the cream of Australia’s metalcore crop.

Beginning with Into My Arms, Noonan’s voice takes centre stage as she delivers the song through a smooth songbird interpretation in antithesis to Cave’s original. Into Temptation follows the same interpretive elements, and again it’s the quality of the two musicians that raises the cover above what would be saccharine in lesser hands. Noonan and Schaupp then tackle Gotye’s Hearts A Mess with added strings and double bass that take the track from the quirky emotion of the original and turn it into a classical ballad. Noonan’s voice is again sitting in a high register with clarity and control, but this does prompt yearning for some grit to lodge in the vocal chords. The grime never arrives, yet the choice of guest vocalists – such as the duet with Iva Davies on Man Of Colours – shows thoughtful choice rather than commercial sales behind the star appearances. The guitar-only interpretation, however, of I Hope I Never needs no additive elements and distinguishes Schaupp as a guitar player of talent as she portrays the lyrical melody as emotively as Finn’s original. With only three original tracks, this is essentially a covers album, but one that manages to tread new ground in interpretation. The softness of delivery may be acquired rather than required listening, but it’s sure to appeal across a wide audience.

Black Light is concise and gloomy, built on a droning series of synthesised notes and a broken beat. Capture is anticlimactic, and perhaps an additional track at Holland Sky’s conclusion would have added some warmth to what is a harrowing experimental album. But as it stands, Holland Sky is a beautiful record. You will feel like a better person for forwarding Holland Sky to your friend on Spotify/loading it onto their iPhone/breaking into their bedroom and slipping it under their pillow before the cops find out it was you who had the back-door key all along.

Given there are 24 tracks crammed in that time, it’s safe to say the mixing is breathless, to occasional monotonous effect. The music lacks the more obvious build and release structure of most genres, though there are plenty of shutup-and-dance standouts, like the claustrophobic Salsa from Doubleheart, or the thumping club-ready four-four of Boddika’s Soul What VIP. Depending on the ability of your soundsystem to deliver toe-tickling bass, the impact of the set can be muted. But for anyone seeking a thorough rundown of a burgeoning sound, this is a must listen.

Eli Gould

Chris Archibald

Callum Twigger

Jeremy Carson

Although it may at first sound like a generic metalcore release, after a few listens you can grasp at the direction the band has gone in mixing the elements of hardcore/ metal with clean vocals, which makes you want to keep on listening. There are many highlights; none moreso than Survival (The Chariot) where the screams of “Motherfucker bounce!â€? offset one vicious breakdown. The guest vocalists featured on the album include the aforementioned Parkway Drive’s Winston McCall in the track Departure (Death), one of the heaviest tracks. The band’s softer and more melodic capabilities are showcased perfectly in the track Inertia (The Hermit) – a soft and slower song with pianos and clean vocals taking the lead, with not one scream to be heard and lyrics that grasp: “Take time move forward‌for what?â€?

SIC, L MU A N O AL TI ERNA YLE FEST IV 25-28 T N I T 4 DAY LIFES - JANUARY AND S A I T R R A ICTO V , T FOR BEAU

Given the ill-defined and constantly mutating nature of UK bass, compiling a release as a snapshot of the genre is an exercise in premature aging. Oneman circumvents this, as he has done to repeated acclaim in his radio and club gigs, by melding old school garage and 2-step with the cutting edge. And with great aplomb, too – once the low-end drone of Mark Pritchard’s ? is punched out by the snares of Night Hunter by Fis-T, the pace is without relent for the following 60 minutes.

MASSIVE INTERNATIONAL LINEUP INCLUDING:

 

  

   

 

        



     

         

         

       

      



       

   

 

  

       

      

 

   

  

      

        

        

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THE DRUM MEDIA • 27


FRONTROW@DRUMPERTH.COM.AU

THIS WEEK IN THURSDAY 11

ARTS

Welcome To The North – The opening night film of the Italian Film Festival, directed by Luca Miniero. This comedy is about north/south stereotypes with the Cilento and Milanese dialects, an Italian box office sensation with Claudio Bisio, Valentina Lodovini and Angela Finocchiaro. Cinema Paradiso, 7pm.

FRIDAY 12 Man Of Mode – A play written by George Etherege and directed by Rachel McDonald. The world of 17th century social behaviour complete with sexual intrigue and eternal faux pas delivered in the most embarrassing situations. Performed by second year WAAPA acting students. WAAPA Enright Studio, 7.30pm to Thursday 18 October.

SATURDAY 13

Spring Awakening – Based on Frank Wedekind’s controversial play of 1891, this bold musical tells the tale of a group of teenagers embarking on the thrilling, turbulent transition from youth to adulthood. Directed by Crispin Taylor and performed by second year WAAPA music/theatre students. WAAPA Roundhouse Theatre, 7.30pm to Saturday 20 October. The Entrepreneur – Giuliano Montaldo’s multi-award winning taut drama tells the story of factory owner Nicola Ranieri, who is struggling both professionally and emotionally. Part of the Italian Film Festival, Cinema Paradiso, 9pm.

MONDAY 15 One Day More – A film based on the bestselling novel by Fabio Volo, a romcom about a thirty-something man falling for a confirmed bachelorette who has her sights set on moving to New York. Part of the Italian Film Festival, Cinema Paradiso, 1.30pm.

TUESDAY 16 Australian Poetry Slam Heats – Speak, scream, howl, whisper

or even sing your poems. Poetry reaches its climax when performed by the human voice. A live literary performance competition where the audience is the judge, heats are being held across Australia until mid-November for the state slam held in Sydney. WA heats are every Tuesday night in October, The Bakery, 7.30pm.

WEDNESDAY 17 Diversify – Link Dance Company are joined in performance by five choreographer/dancers in a site-specific performance through the historic grounds and buildings of the Fremantle Arts Centre. Designed for an audience of just 30 people, this intimate promenade performance is a series of short dance vignettes. Fremantle Arts Centre, to Saturday 20 October, 7pm.

COMING UP IN ARTS Pop up Cinema – The first screening in Australia of The Fourth Dimension, starring Val Kilmer on Friday 2 and Saturday 3 of November. This film brings together a trilogy of directors from across the globe; Harmony Korine, Alexey Fedorchenko and Jan Kwiecinski. Each filmed a 30-minute short movie in their home nations, following an identical creative brief set by Eddy Moretti.

CASTING CALL TropFest 2013 – Entries to the world’s largest short film festival, Movie Extra Tropfest, will open at the end of this month. Films must not exceed seven minutes and, in long-standing festival tradition, must contain the Tropfest signature item, which for 2013 is “Balloon”. Last year’s winner Alethea Jones (Lemonade Stand) is heading to LA next month for casting sessions on her new US feature film. Entries for 2013 will open in late October and close January 3, 2013. For more info head to tropfest.com.au SLAM FINALIST PERFORMNG AT NATIONAL STATE FINALS

A STAND UP GUY

Making his Australian debut, American comedian and actor Aziz Ansari puts a microscope over couples his age in Buried Alive, as Guy Davis discovers. For stand-up comedian Aziz Ansari, the age of 30 is on the horizon. And he’s started to notice that friends and acquaintances – actually, pretty much everyone – of a similar vintage is starting to tie the knot and begin producing the next generation. “But to me it all just seems so far away, that idea of getting married and settling down,” says Ansari. “I turned twenty-nine a few months ago, and that’s the way it seems to be.” And it’s this phenomenon that Ansari is exploring in his new stand-up show Buried Alive, which he’s bringing to Sydney, Melbourne and Brisbane this month in his first Australian performances. As the title might indicate, Ansari isn’t that keen on taking the plunge into domesticity just yet – in a recent Los Angeles Times profile, he referred to himself as an “indecisive commitment-phobe” – but he’s still fascinated by those who have, especially the ones who seem ill-equipped to do so. “Friends of mine who are really dumb are having kids, and I’m like ‘Whaaaat?’” he laughs. “You know? ‘There’s no way this is going to work!’ I don’t know if it’s the same way in Australia but where I’m living in New York and LA you just start seeing it happen constantly with people of this age.” Ansari is not just intrigued by people taking the plunge but by the connections that seemingly give them the courage to do so. “That’s what else I talk about in Buried Alive – how hard it can be to find people you connect with that much. Finding that deep, deep connection is tough because a lot of people from my generation… they’re kind of bozos. You talk to women, ask them what they’re looking for in a man, and

they’ll say ‘Oh, you know, a nice guy who’s got a job and who makes me laugh sometimes.’ I’m like ‘There must be plenty of those around.’ There isn’t! There’s, like, three! It’s so hard finding someone you really like and can connect with.” Still, Ansari shrugs off the notion that his busy work schedule – when he’s not playing would-be mogul and ladies’ man Tom Haverford on the popular US sitcom, Parks & Recreation, he’s appearing in movies like Funny People and Observe & Report or performing stand-up – might keep him from finding that special someone. “It doesn’t change it that much,” he says. “It’s still a job.” (Admittedly it’s a job where he can appear in a music video alongside buddies like Jay-Z and Kanye West.) It’s one he takes very seriously, though. He’s done plenty of formal and informal research into marriage, parenthood and divorce for Buried Alive, and he’s spent time in comedy clubs around LA, “to make sure it’s all tight before I come down to see you guys. “I feel like stand-up is a really interesting art form,” Ansari. admits “It’s like a one-man play – you do a one-hour set that is very tightly scripted and constructed and honed. But people don’t always treat it like that. They go ‘Oh, that guy is up onstage talking about funny stuff,’ like it just popped into the comedian’s head at that moment. Yeah, stand-up is often really misunderstood.” WHO: Aziz Ansari WHAT: Parks and Recreation season four is currently out on DVD.

SPRING HAS SPRUNG The controversial musical Spring Awakening has its WA premier this weekend, and director Crispin Taylor chats to Olivia Gardner about what we can expect. Dealing with a plethora of contentious issues including homosexuality, abortion and suicide, the second year kids of WAAPA are pretty excited to bring the Tony award-winning musical Spring Awakening to WA for the first time. The musical, an adaption of a play written in 1891 by German playwright Frank Wedekind, has come a long way since its original production. When it was first performed in 1906 it was slandered, censored and banned due to its subject matter. “It was controversial then, but I don’t think the issues haven’t become any less relevant, they’re still taboo areas in our society,” says director Crispin Taylor. Fortunately, the youth of today can’t get enough of Spring Awakening. This musical adaption combines the text with rock music. “It has a very grungy, very young, contemporary feel to it,” relays Taylor. “I suppose what I would call it is in-your-face theatre. It’s not a comfortable ride. “It deals with almost every terrible issue you can imagine; abortion, incest, rape, sexuality, suicide. It is very tragic but it also has lots of humour [to it],” says Taylor, emphasising that the show has been revolutionary in the way it has developed almost a cult youth following. “I think what is revolutionary about the show is that it’s developed a huge young audience, a non-typical theatre

audience, because the songs are like dropping into a garage band.”

TIM & ERIC: AWESOME SHOW, GREAT JOB!

unfamiliar with Tim & Eric would have been left in a state of shock. The show consisted of numerous segments, each featuring different characters from the Tim & Eric Awesome Show, Great Job!. At the show’s climax, hotdogs were pelted into the audience before Heidecker projected a mouth full of oats onto the front few rows. The only notable characters missing were the Beaver Boys and Jan & Wayne Skylar. With that said, it’s surprising they managed to squeeze in as much as they did. These guys take comedy to the next (weird) level. Great Job!

With a cast of seventeen students performing in the intimate Roundhouse Theatre, the musical shifts between dramatic scenes and contemporary songs. “The show works in two worlds,” shares Taylor. “The scenes take place in 1891 and when you break away into song it really turns into a rock kind of feel. There’s neon lights and the band is very present in the middle of the stage.” The musical is about a group of young characters that live in a repressed society. “We now know that ignorance isn’t bliss. Young people need to be educated about sex and sexuality,” says Taylor. “Overall, it helps young people and their parents understand or appreciate the need for more open, more forthright communication. That’s the problem with many young people, the lack of communication; people not being available to talk in an open way, in a courageous way, I suppose. I’m piecing this as a very dire piece, but it’s not! There’s a lot of humour in it and there’s hope at the end,” he chuckles. WHAT: Spring Awakening WHEN & WHERE: Saturday 13 to Saturday 20 October, The Roundhouse Theatre, Edith Cowan University

REVIEWS THE WORDS FILM

One choice can have a profound effect on countless people. That’s a lesson Rory Jensen (Bradley Cooper) learns all too quickly when he makes a rather large error in judgement that he’ll have to live with forever. Without giving too much of the plot away, The Words shows us there’s a fine line between fiction and reality, but, unfortunately, it just simply isn’t captivating. It’s a very tangled web, but not one that the audience cares about unravelling.Three intertwined stories are told, and although each story begins promisingly they quickly fall flat, leaving the 28 • THE DRUM MEDIA

audience bored and looking at their watches. There is plenty of emotion in The Words, but it doesn’t seem authentic, because of both the writing and performances. Cooper’s success in the Hangover films and even in The A-Team makes it’s a little difficult to take him seriously in dramatic roles and you’ll forget this performance before you leave the cinema. As brilliant as Jeremy Irons is, he cannot save this film alone, especially when the melodrama is so high. It’s quite ironic then that a film titled The Words has relatively little to say. Chloe Sesta Jacobs In Cinemas Thursday 11 October

COMEDY THE WORDS

TIM & ERIC

Some people love DJs, others hate them, but DJ Dougg Pound is a DJ that everyone can enjoy. Splicing awkward puns with dubstep and excerpts from Kelly Clarkson songs, his take on musical comedy is refreshing. “Diarrhoea!” sung Tim Heidecker and Eric Wareheim as they danced and sung their way onto stage dressed in attire that featured oversized genitals and large, hairy nipples. Anyone

Daniel Cribb


FRONTROW@DRUMPERTH.COM.AU

From the north-eastern suburbs to the world and back, Beechboro dancer Leanne Stojmenov is returning to the Crown Theatre stage in one of ballet’s most iconic roles as the doomed heroine in Graeme Murphy’s Romeo & Juliet. Indeed, since joining the Australian Ballet in 2001, Stojmenov has danced in classical ballet’s biggest shoes; as Odette is Swan Lake, Aurora in Sleeping Beauty and the title role in Manon. It’s a glittering CV, one that has earned her the mantle as principal artist with the nation’s flagship company. It’s a big rep to bring back home. “It’s pretty amazing because, y’know, I have done a lot of shows around Australia and internationally, but it’s really special when I get to come home,” she declares. “I get to perform in front of my family and where I’ve come from, and there’s just a special edge to it.” However, rather than confessing to extra hometown nerves, Stojmenov says, “It’s quite a surreal experience being on stage. Y’know, you’re not really focusing on the audience or thinking about who’s out there, you’re just focusing on the show. Perhaps beforehand things like that might go through my mind, but once the curtain goes up it’s usually just about doing the job.” The job in this instance is bringing Australian choreographer Graeme Murphy’s re-imagined Romeo & Juliet back to life. Murphy’s place in Australian dance is absolutely pivotal. It’s fair to say that he’s the only local dance creator that many Australians have ever heard of. For Leanne Stojmenov his signature is his ability with narrative. “I think that Graeme very much produces a piece of theatre, so

reveals. “Y’know, pretty risky stuff to do on stage.” For his reworking of R&J, Murphy may have dressed the cast in contemporary Akira Isogawa costumes, but he has kept the original Prokofiev score and, of course, the classical heart of the piece. “Well, I don’t want to give too much away,” Stojmenov teases, “but I think he has kept the integrity of the tragic love story. Y’know, that story will still unfold; but really he’s experimenting with the idea that love is eternal and it’s happening everywhere.”

WHEREFORE ART THOU, JULIET? As the 50 year-old Australian Ballet returns to Perth, local girl Leanne Stojmenov will dance the lead role in Rome & Juliet and, as she tells Paul Ransom, she’s getting ready for some hard partnering. the story is the biggest thing in each of his ballets that draws in the audience, especially for people who are technically trained or know about ballet.”

As a dancer, Stojmenov is also privy to Murphy’s technical and choreographic proclivities. “He always seems to have lots of hard partnering, lots of hard lifts,” she

As much as the choreographer has room to re-interpret, so too do the dancers. For Juliet, Stojmenov not only watched plenty of previous productions but spent time workshopping, note taking and refining, much like an actor. “Ultimately, I think you have to draw on your own life experience,” she states. “It might not necessarily be literally, but from what you imagine those situations might feel like … It’s your energy and your feeling of that situation, the feeling you have in your body movements. If a dancer is doing their job correctly and they’re giving off those feelings an audience should be able to feel that.” While the company celebrates its fiftieth anniversary and Perth patrons cheer on the home favourite, Leanne Stojmenov is still busy pinching herself. “It really is all I thought it would be,” she admits. Audiences will doubtless be hoping the same. WHAT: Romeo & Juliet WHEN & WHERE: Wednesday 10 to Sunday 14 October, Crown Theatre

C U LT U R A L

CRINGE

MARCIA CZERNIAK Ciao! Parli inglese? Bene grazie. Ah, scusi for my bad Italian catch phrases. It seems that even with being half-Italian, my ability to converse in one of the most beautiful languages we have is pretty half-arsed. But what is not half-arsed is the program for the 2012 Lavazza Italian Film Festival. So get ready to indulge your Italian sensibilities and bring out the vino and pasta as we embrace all things Italiano. As a national film festival, screenings have been and are still to be held in Melbourne, Sydney, Brisbane and Adelaide. So with much of the country getting in on the Italian love, the festival is set to treat Perth audiences to over 30 films that are said to encapsulate the spirit of Italy. Kicking off the festival is the opening night selection Welcome To The North (or Benvenuti Al Nord if you speak Italian), which is a follow-up to the 2011 film Welcome To The South. Welcome To The North is directed by Luca Miniero and was a massive smash hit at the Italian box office, using comedy to throw around the north/south stereotypes and, as my Nonno used to tell me stories of, the well-known disdain the northerners have for their southern counterparts and vice versa. And yes, he was a southerner. The program comprises of quite a few comedies (some saying the laughter is a distraction from the financial woes in Europe…

or maybe they are still trying to wipe out any memories of Silvio Berlusconi) and one to watch out for should be Reality. Director Matte Garrone (whose film Gomarrah won the Grand Prix at Cannes a few years back) brings us another Grand Prix winner with this satire on reality television (aka Big Brother) and Italian culture. With the re-launch of BB here in Australia recently, the film is timely and is set to bring us a hysterical look at the concept of reality. For a more serious take, The Entrepreneur brings us an awardwinning drama about a man on the brink of ruin as he faces bankruptcy. Or Terraferma may be more your style, with the film set in a small fishing town near Sicily where a boatload of African immigrants are found by a family when they are out on a fishing run. Hmm, maybe some of our politicians should watch this so they can affirm that other countries have asylum seekers, too. Closing off the festival in Perth is Piazza Fontana: The Italian Conspiracy, a Machiavellian drama directed by Marco Tullio Giordana. The film looks at the Piazza Fontana bombing in 1969, which resulted in 17 deaths and many injuries. This complicated story is a real-life take, which makes it ever the more gripping. So with these and many others, get in the spirit with your short blacks and gelato and start rolling those r’s, because this is one festival that is bound to be eccellente.

THE DRUM MEDIA • 29


Thank you to everyone who subscribed during Radiothon 2012. But it’s not over yet! Pay your pledges by Friday 12th October for your chance to win The Broome Bounty, a perfect Piaggio Scooter, The Feature 250 and much, much more. WWW.RTRFM.COM.AU | 9260 9200 1ST FLOOR, 642 BEAUFORT ST, MT LAWLEY

30 • THE DRUM MEDIA


THE RUBENS BY CALLAN GIBSON

TOUR GUIDE GIG OF THE WEEK

GRAILS

THIS IS NOWHERE @ UNIVERSITY OF WA

A boutique event catering to like-minded music lovers, This Is Nowhere is breathing fresh life into the music festival landscape Sunday 14 October at the University Of Western Australia’s Somerville Auditorium, Dolphin Theatre and Lawrence Jackson Court. The Auditorium hosts the sounds of Tortoise, Xiu Xiu, Tenniscoats, Grails (pictured), HTRK, Holy Sons, Puro Instinct, New War, High Tea, The Bank Holidays, Mayor Dadi, Chris Cobilis and Some Lover DJs Adam Trainer, Claude Mono and Andrew Sinclair. The Inglorious Buskers take over LJ Court for the afternoon, featuring Rachael Dease, David Craft, Alex Griffin, Andrew Ewing, Peter Bibby and Amber Fresh. And for those down to boogie, the Dolphin Theatre d-floor sees Jimmy Edgar, Ikonika, Slugabed, d’Eon, Dro Carey, James Ireland, {MOVE} Crew, Rok Riley, Travis Doom and Jo Lettenmaier. All this for $99 plus BF via thisisnowhere.com.au, lifeisnoise.com and the usuals, or $120 door. Keep flicking through LIVE for the map, times and a chat with The Bank Holidays, plus there’s a Dolphin Theatre preview in Members Only.

DRUM MEDIA IS PROUD TO PRESENT SHOWS INCLUDING:

THE RUBENS RAINY DAY WOMEN CAPITOL: 05/10/12

It was a busy weekend for music lovers in Perth with many a gig to choose from and it seemed quite a few chose to come see The Rubens on Friday night, with Capitol packed to capacity. Local five-piece Rainy Day Women opened up the night with their catchy blend of indie-pop. The shoeless band rock a strong set and demonstrated that the busy year they’ve had has helped them to develop an impeccable chemistry on stage. Vocalist Dylan Ollivierre came on stage wearing a sombrero that he found in lost property which he threw off and into the crowd a few songs in, commenting that it seemed like a good idea at the time. The band interacted with the crowd, entertaining the growing audience from the start and getting them in the mood for things to come. After a lengthy break in between the sets, The Rubens strolled on stage, dressed in matching white shirts and black jeans. If Rainy Day Women are one of Perth’s brightest up and coming bands, then The Rubens are in the running for the national title. Forming early last year, The Rubens have exploded in popularity over the

FRONTLASH FUTURE FUN

The Stone Roses, Prodigy, Bloc Party and…one of last week’s Backlash recipients PSY! We take that one back – Future Music Festival has done it again. ADALITA

130 YEARS YOUNG

Who cares if Guinness didn’t officially recognise it, vale Antisa Khvichava who this week died at the spritely age of 132, born the same year Ned Kelly was hanged.

BAM BAM

Lighten up everyone! Bam Margera was being funny when he put a gun to his puppy’s head – there truly is a first time for everything.

past few months, and with their debut album coming in at #2 on iTunes the week it was released, it seemed all the fans came out to enjoy the music live. Kicking off the set with The Best We Got, the band launched straight into proceedings as they played Be Gone and Elvis, two of the lesser-known songs from the band but absolute standouts - especially live. And then seemingly out of nowhere, they played the opening chords of their epically catchy single, My Gun, which was delivered with perfection. While the placement of the track mid-set was a little unexpected, the crowd reacted as expected with a massive sing-along and cheers, almost proving that these three brothers and their childhood friend can do absolutely no wrong. I’ll Surely Die was another track that went down well and vocalist Sam Margin’s voice shone during the beautiful Paddy. Lay It Down was last, and the crowd reacted with cheers and whistles as they sang along, finishing off a night that honestly seemed to end all too soon, with the set absolutely flying by. Guess time does fly when you are having fun. Marcia Czerniak

BACKLASH

PAUL CAPSIS: OCT 11 Artbar, Art Gallery Of WA MUMFORD & SONS, EDWARD SHARPE & THE MAGNETIC ZEROS, WILLY MASON: OCT 12 & 13 Belvoir Amphitheatre DAPPLED CITIES, JAPE: OCT 14 Amplifier TIGERTOWN: OCT 18 Ya Ya’s; OCT 19 Norfolk Basement CLARE BOWDITCH: OCT 20 Astor Theatre BASTARDFEST: ASTRIAAL, FUCK… I’M DEAD, DESECRATOR and more: OCT 27 Civic Hotel THURSTON MOORE: OCT 30 Rosemount Hotel GYPSY & THE CAT: NOV 2 Capitol BILLY BRAGG, JORDIE LANE: NOV 2 & 3 The Astor JORDIE LANE: NOV 4 Ya-Ya’s JOSH PYKE: NOV 8 Artbar, Art Gallery Of WA THE BEARDS: NOV 15 Prince Of Wales; NOV 16 Settlers Tavern; NOV 17 Rosemount Hotel; NOV 18 Indi Bar BALL PARK MUSIC: NOV 16 Prince Of Wales; NOV 17 Capitol BLAZE BAYLEY & PAUL DI’ANNO: NOV 24 Civic Hotel BRITISH INDIA: NOV 29 Prince Of Wales; NOV 30 Metropolis Fremantle; DEC 1 Capitol NATURAL NZ MUSIC FESTIVAL: SHAPESHIFTER, KORA, LADI6, TRINITY ROOTS, MAISEY RIKA, DAVID DALLAS, P-MONEY and more: DEC 1 Red Hill Auditorium PRIMAL SCREAM: DEC 11 Astor Theatre JEFF MARTIN: DEC 21 Clancy’s Dunsborough; DEC 22 Mojo’s; DEC 23 Indi Bar

EVAN DANDO & JULIANA HATFIELD, BAMBINO KORESH: DEC 22 Rosemount Hotel BREAKFEST: KRAFTY KUTS, A SKILLS, DJ YODA, LADY WAKS, THE NEXTMEN, JAGUAR SKILLS, SPECIMEN A, PYRAMID, MARTEN HØRGER, HIGH CONTRAST, CAMO & KROOKED, SPY, MC WREC: DEC 26 Belvoir Amphitheatre SOUTHBOUND: BEACH HOUSE, BEST COAST, BOY & BEAR, COOLIO, THE FLAMING LIPS, SBTRKT, THE VACCINES, BOMBAY BICYCLE CLUB, FIRST AID KIT, MAXIMO PARK, MILLIONS, HILLTOP HOODS, TOTALLY ENORMOUS EXTINCT DINOSAURS, ANGUS STONE, BALL PARK MUSIC, COSMO JARVIS, DJANGO DJANGO, THE HIVES, JINJA SAFARI, LISA MITCHELL, MATT CORBY, SHARON VAN ETTEN, TWO DOOR CINEMA CLUB, BERTIE BLACKMAN, DJ NU-MARK TOY SET, THE JUNGLE GIANTS, LOON LAKE, OH MERCY, RODRIGO & GABRIELA, SAN CISCO and more TBA: JAN 4 & 5 Sir Stewart Bovell Park, Busselton + FUTURE MUSIC FESTIVAL: THE PRODIGY, THE STONE ROSES, BLOC PARTY, DIZZEE RASCAL, AZEALIA BANKS, RITA ORA, PSY, BOYS NOIZE (LIVE), HARDWELL, THE TEMPER TRAP, FUN, MADEON, ELLIE GOULDING, STEVE AOKI, GYPSY & THE CAT, RUDIMENTAL, KILL THE NOIZE, FEED ME (LIVE), ZEDS DEAD, ZANE LOWE, NERVO, BORGORE, THE STAFFORD BROTHERS, TIMMY TRUMPET, TENZIN, SVEN VATH, RICHIE HAWTIN, RICARDO VILLALOBOS, SETH TROXLER, MAGDA, COSMIC GATE FEAT. EMMA HEWITT, W&W, ANDY MOOR, SUPER 8 & TAB, BEN GOLD and more: MAR 3 Arena Joondalup

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

POLITHETIC

Tony Abbott’s rehash of the shame remarks, Julia Gillard’s ‘stirring’ retort following initially supporting Slipper’s idioicy… It all just further highlights how embarrassing our political situation is.

BIRD BUCKS

Star Wars and Angry Birds join forces, George Lucas’ pockets get increasingly fatter.

GAGA FOR JULIAN

Maybe Lady Gaga can appear in the next boring Julian Assange telemovie. LANIE LANE PIC BY CC HUA

PSY

themusic.com.au

THE DRUM MEDIA • 31


PROUDLY PRESENT

HOLIDAY TIME

Assisting the first edition of PROUD in their quest to raise awareness of diversity are indie alternative band The Insatiables, who claim to take inspiration from the likes of Fleetwood Mac among others. Joining the line-up, set to play at Norfolk Basement Saturday 13 October, are fellow local artists Nevada Pilot, The Gypsie Howls and Robo. $10 entry.

On his way back to Perth for the This Is Nowhere festival, The Bank Holidays’ Nat Carson chats to Drum Perth about where the band disappeared to, Wayne Swan and children’s songs.

SUNNY DAYS

After leaving Perth and heading to Sydney to further her musical career, Cathrine Summers returns to WA and plays Wembley Downs Shopping Centre Saturday 13 October (12.30pm) and The Naked Fig, Swanbourne Sunday 14. Show your support for live music, jazz music, local musicians and local venues as the charismatic, powerful and dynamic singer plays a unique and enrapturing set.

EMOTIONAL REUNION

It’s been a long awaited comeback for Perth trio OPIA since their debut album Emotion Evolution, and they’re marking their return with some launches for the new video for their single Undone. They play Rocket Room Friday 12 October (with The Meaning Of, Hyte, and Goat); The Prince Of Wales Saturday 13 (with Brutus and Hyte); and The Newport Hotel Sunday 14 (with The Meaning Of and Buzz Kill Vamps).

ISLAND CULTURE

BOYUP BROOK REVIEW

At the end of the September long weekend, country music fans gathered at a 200-acre property for the Boyup Brook Country Show. Featured bands were Vicki Lee & Her Outback Country Band, Tommy James, Slim Pickens and Ian Simpson (Tamworth Golden Guitar winner) featuring Jane Germain. Gordon Lee, 75 and two years in to his musical career, won the songwriting award for his album 50 Years On – 11 tracks of local stories including the hanging of Fremantle boy Bob Thomas in the 1960s and The Bloke That Beat The Bloke That Beat Danny Green. He also took out the Singer’s Trophy. Fans were entertained from Friday through to Sunday with bands, solo acts and bush poetry. Gordon recently returned from winning, a silver medal in The World Veteran Table Tennis Championships in Stockholm, Sweden.

RETURN OF THE ROGERS

With both melancholy and excitement, Tim Rogers recently postponed his September tour after getting the chance to play the AFL Grand Final. But don’t fret; Rogers now plays (with original support Catherine Britt still joining him) Clancy’s Dunsborough Thursday 11 October; Fly By Night Friday 12; and Rosemount Hotel Saturday 13. Original tickets still valid, Heatseeker and the usuals otherwise.

HEAVENLY VOICE

What drew you guys to reforming specifically to join the This Is Nowhere party after such a long silence? Well rather than breaking up we let other parts of life take over. So having a good offer plonked in front of us brought us out of our slumber. There’s a chance we’ll do more after this, depending how things go. At this point, I can’t imagining us doing anything as official as breaking-up.

Four boys from northern Australia have taken the Rasta grooves of reggae and added a distinctly Australian style to create Oz Island and their debut album, Better Life. This young band has already shared the stage with the likes of Christine Anu, Troy Cassar-Daley and Mary G, and are joined by the Bartlett Bros and rising star Angela Rule at Kulcha, Saturday 13 October.

KINGS OF THE ROAD

Continuing their massive October, Emperors hit the road this week in support of US rockers Everclear across the country. The Perth show happens this Sunday 14 October at Capitol. Earlier the same day, the band also plays the free all-ages Soundblast show at Kings Sqaure in Fremantle. Tickets for the Everclear show via Heatseeker.

DOMINATING

As part of a two-week residency, The DomNicks play this Thursday 11 October at The Mustang Bar. Friday 12 will see the feisty four-piece perform at Settlers Tavern, Margaret River. Copies of their new full-length CD Super Real will be on sale at both gigs, so don’t miss out on seeing one of Perth’s best belt out their new stuff.

What’s been happening with everyone over the past couple of years? It was mainly a geographical problem. I moved to Toronto shortly after the launch of our last album, and Stuart had already moved to Melbourne before the album was released. I’m now living in Melbourne, so we’re all based in Australia again, which makes it much easier to get together. Have you been hitting rehearsals hard? I hope it will all come back naturally, but we will be bunkering down solidly for rehearsal boot camp prior to the gig. Some of the songs from the last album weren’t played much live, so they need the most love and attention! It will be hard if we decide to pull out some songs that we haven’t played since the early days… I would be interested to see if we can meet that challenge! How have you noticed the Perth scene has changed since you guys were a bigger fixture on it two years ago? Having been away from Perth for the last two years, excepting the occasional short visit, I’m very much out of the loop. The last Perth band I saw was the ‘supergroup’ that played my wedding. They did a magical version of Born To Run that would have impressed even Wayne Swan.

NEW NOISE

Kick off the weekend a day early when Nu-Melange play the Leederville Loungeroom Thursday 11 October. Nu-Melange play current releases and remixes of vintage-pop songs, generating a cool, Euro-vogue and cosmopolitan sound. Support from Riley Pearce and Alfred Gorman, with DJ Tomas Ford steering the night. Music from 7pm.

19 year-old winner of The Voice, Karise Eden, plays an intimate show in Perth with fellow show favourite Lakyn Heperi as part of the Heavenly Sounds Tour. Hailing from the Central Coast in NSW, Eden has already topped the charts with six singles achieving top 10 success – a first since The Beatles set this record in 1964. St Joseph’s Church Tuesday 16 and Wednesday 17 October. $62.50, doors 6:30pm.

RED ROCK

Firm favorites on Perth’s live scene, young rock quartet Dave will be following the positive reception they got from their debut single Tumbleweed with the launch of a video clip for their new single Red Eye. Joining the four-piece on the night will be Place Of Indigo, Runner and Rachel & Henry Climb A Hill at The Bakery Friday 12 October. $8 from 8.30pm.

WALK HARD

Road warrior, poet and legend, Don Walker is back in WA this weekend, 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). Free entry to all shows.

PRESS PLAY

WHO FRAMED ROGER ABBOT

With a new music video under their belts for their single Excuse Me, The Decline wrap up their national Abbot Proof Fence Tour at The Den Friday 12 October. This show will be the last live performance from the band for a couple of months and will feature support from FAIM, Burning Fiction, Tikdoff, Worst Possible Outcome, Got Sharks? and Steadfast. 32 • THE DRUM MEDIA

After a few month’s break, melodic heavy rockers Foulplay return to the live scene Friday 12 October at the Norfolk Basement. They’ve been busy writing so this show will be the first opportunity for fans to soak up some fresh new material. Support from Sleepfreak and Silver Grenade, $8 entry.

TRAMP STAMP

Delivering a healthy dose of garage rock to Perth punters, Carl Peck & The Tramps play The Beat Nightclub Friday 12 October with The Shakeys, Custom Royale and Paul McCarthy and The Brighton Hotel Saturday 12 with Axe Girl and Dirtwater Bloom. Peck and co will be releasing singles Leave Me Be and Didn’t Know Why before the end of the year.

themusic.com.au

Which acts are you particularly looking forward to catching on the day? The double-drummers of Tortoise. Shows at Somerville are always made better because of the venue. It’s always great see a festival in an interesting location. Is there any chance of some new material for the group coming out of this ‘tour’? That’s not something we’ve talked about, I think we’re just happy to be doing the gig. We’re taking it one week at a time! What about any individual music projects? When I was in Toronto I wrote a bunch of songs, which I’m just starting to record. Stuart is involved with that too. It’s still very melodic, a little different to The Bank Holidays stuff but perhaps an extension of our last album to some degree. James is still part of Sea Of Tunes, flexing his falsetto vocal muscles around town on Beach Boys songs. He also recorded an album of kids songs a couple of years ago when his first child was born – the songs were brilliant! WHO: The Bank Holidays WHEN & WHERE: Sunday 14 October, This Is Nowhere, University Of Western Australia


NOMINEES LIST BLUES & ROOTS

John Read Band – Bitter Tears Dilip N The Davs – Driller Matt Cal – Kimberley Moon Mister & Sunbird – My Baby Must Be Blind Ego Libido – Too Much Information

COUNTRY

Polly Medlen Band – Banged Up Jonny Taylor – I Won’t Be Too Far Behind Wes Snowball – Love Songs David Hyams & The Miles To Go Band – Shifting Sands The Ghost Hotel – Take Me Home

ELECTRONIC/DANCE

DeadCollection – Blanket Ylem – Incandescence Ylem – Slew Lilt – Swim (Winter Sleep Rework) The Brow Horn Orchestra – We Are Home Again

EXPERIMENTAL

TheIntensoBand – Mollusc Kucka – Polly Cycle~440 – Rumination Christopher de Groot – Tetreplegiah TheIntensoBand – Zip Up Jacket Combination Lock

HEAVY

Goat – Bury The King Castle Bravo – Honorary Member Of The First High Society Chainsaw Hookers – Never Sleep Again Sleepfreak – Sleazebag The Sixth Extinction – Walk Away

POP

Sheryn Binks – Connect Five Jake & The Cowboys – Don’t You Forget Bastian’s Happy Flight – Relationshipdenial The Ghost Hotel – Sing It Rainy Day Women – Sleigh Bed

Konny Taylor – Brighter Than You Feel Reverend & The Deathbed Conversions – Colour Me Real Jude Iddison – Dreams Codie Sundstrom – Heart Of A Lion Dave Taylor & The Groove Unit – Need A Little Love

The Shallows – 7 Harlequin League – Charlatan Patient Little Sister – Nothing Left To Prove Husband – Ordinary The Ghost Hotel – Take Me Home

SCHOOLS – 14 YEARS & UNDER Sophie Costello – Fly Lucinda Nicholls – Inside & Out Zoe Roberts – Please Brittany Freeman – Sinking Ships Splinta – We Shall Not Fall

URBAN/HIP HOP

Rainy Day Women – Aimee Helen Shanahan – Driftwood Sugarpuss – Falling Outta Love Warning Birds – I’ll Tell The Water Of You Patient Little Sister – Priority Tree

Brayden Sibbald – Apple & The Worm Jennifer Renee Hannam – Bumpy Ride Morgan Bain – I Think I’ve Got You Codie Sundstrom – Megalomaniac Julia Nicholls – Somebody Else

Andrew Horabin – Affirm Your Masculinity Slackman – High Life FG feat. Wisdom2th – Jobbed FG – The Ego-Dystonic Blues FG – Worldstop

WORLD/FOLK

Grace Barbe Afro-Kreol – Afro Sega Darama – Isfahan Spoonful Of Sugar – Jump Brayden Sibbald – Mother’s Petunias Rachel & Henry Climb A Hill – Old Brown Piano

Can you please give us a brief history of your act? I’ve been hitting the country and adult contemporary scene extremely hard over the last couple of years. I’ve been a full-time musician since 2012 and have recently had a single hit #5 on the iTunes chart. How important do you think WAM is in WA? WAM is a great platform for people to network and learn about the industry and events. How do you think WA music compares to the rest of the nation? WA seems to have a lot of very clever songwriters. I think the isolation works to A muso’s advantage because we can reach out further to new territory and spread our wings as people and as musicians.

ROCK

JAZZ

LOVE

JONNY TAYLOR

REGIONAL

SCHOOLS – 15 TO 17 YEARS

Rick Webster – Fade Away Abbey/Foster/Falle – Maelstrom Tal Cohen Quartet – Roessle Chris Foster Trio – The Busker Tal Cohen Quartet – There’s More Fish In The Sea

Ahead of tonight’s WAM Song Of The Year Awards at the Fly By Night, we chat to a couple more nominees.

Kris Kingwell – Grey Days Claire Moodie – Milliner’s Song Slackjaw – Talk About It Dave Taylor & The Groove Unit – That Makes You Feel Better Yabu Band – Petrol Paint & Glue

INDIGENOUS

Oz Island – Blue Stranger Jake & The Cowboys – Born On The River Jake & The Cowboys – Crash Yabu Band – Petrol Paint & Glue Baby Kool – Some Boy

WAM SONG OF THE YEAR AWARDS

MENTALLY HEALTHY

What does it mean to you to be nominated for this prestigious award? It means a lot. To me it’s the recognition of hard work and focus. A lot of emotion and energy goes into writing a song so to be acknowledged for that is a fantastic thing. Please tell us about the songs that you have been nominated for: I Won’t Be Too Far Behind was written for my grandfather who recently lost his wife of 67 years (my Nanna). Pop has said on a few occasions that he wouldn’t be far behind Nanna when she passed so this one’s extremely close to my heart. It’s a story of this amazingly proud man who has lived for his wife and has cared for her and remained strong for our family despite his own illnesses and ailments. Brighter Than You Feel was written for a family friend who’s struggling with depression. It’s a message of hope to let people struggling with depression know that there’s more to life than what they’re going through and that it’s ok to let people know how you feel. The message for WAM Song of the Year 2012 is “Music talks about mental health, so can you.” How does writing music help you deal with your emotions? Songwriting is a way of expressing what I’m feeling and also a brilliant way to get out of my own head and my own emotions to get into somebody else’s to see the world and tell a story through their eyes. I also like to write about topics and issues that concern me but aren’t necessarily directly related to me. What are you looking forward to most about the awards night? To be brutally honest I’m hoping to hear my name called. It would mean so much to be recognised at this level at such an important event. It’s an honour to even be nominated and to be rubbing shoulders with such amazing songwriters.

themusic.com.au

JAKE & THE COWBOYS

Can you please give us a brief history of your band? Jake & The Cowboys met whilst touring the Andes during their mountaineering days. Since then, we have continued to build on our loyal fanbase, received airplay on triple j, Qantas and Virgin inflight radio, performed at the Australasian World Music Expo (2011), BIGSOUND 2012 and at the Queen’s BBQ event to a crowd of over 100,000. How important do you think WAM is in WA? WAM has been essential to the development of some of the best young and upcoming bands in WA. How do you think WA music compares to the rest of the nation? Perth seems to have some great acts and there are a handful of bands that have managed to breakthrough, however breaking through isn’t the easiest thing to do with Perth being where it is. What does it mean to you to be nominated for this prestigious award? For us, it somewhat validates the hard work that we have put in over the last couple of years. If we are to win anything it’ll be a great stepping stone to hopefully bigger and better things. Please tell us about the songs that you have been nominated for: Crash is a ballad about love and loss whilst Born On The River is essentially about remembering your roots and where you come from. Don’t You Forget is a track that we initially recorded as a demo. It probably better showcases our current sound more so than the other tracks. The song itself is about being desperate and reckless, not thinking about the consequences and taking a chance. How does writing music help you deal with your emotions? For me music is a massive release of emotions and its probably one of the best ways that I can translate how I am feeling in a particular moment or situation whether or not people do or don’t understand me. What are you looking forward to most about the awards night? Seeing Kav make an appearance! At least that’s what my girlfriend is looking forward to… For the band it would be getting the chance to network and have a drink with some fellow musos, maybe even Kav. WHEN & WHERE: Thursday 11 October, WAM Song Of The Year Awards, Fly By Night

THE DRUM MEDIA • 33


FEEDBACK It can be hard to muster enthusiasm on a Sunday night, when the thought of having to wake up early for work the next day can be nauseating. However, when Peter Combe hit the stage with his Quirky Berserky Bellyflop In A Pizza Band a strange feeling washed over the crowd. Combe was here to promote his latest album Quirky Berserky, The Turkey From Turkey, and whilst new songs can often go down like a lead balloon at live shows, Combe’s running commentary and turkey dance moves were infectious and proved that the children of Australia are still in safe hands. Combe’s new songs were happy, witty and even a bit educational. By the time he rolled out favourites such as Chopsticks, tearjerker Down In The Bathroom and Rain Keeps Tumbling Down the crowd was dancing and singing like they were back in their living rooms without a care in the world. It wouldn’t be too off to say the crowd went ‘berserk’ when favourites such as Spaghetti Bolognaise, Toffee Apple and Wash Your Face With Orange Juice were played and rightly so. It is clear that Peter Combe is still young at heart and full of talent. While he may not have the fancy production and big bucks of The Wiggles, he proved that some things, like children’s songs, are best kept simple. Melissa Coci

DAVE GRANEY & THE MISTLY, THE MORNING NIGHT, BEN WITT SUGAR ARMY PIC BY BRAD SERLS

SUGAR ARMY, RED JEZEBEL, USURPER OF MODERN MEDICINE, LEURE

THE ROSEMOUNT HOTEL: 05/10/12 The early arrivals at the Rosemount tonight were treated to the majestic aural sounds of electronic soloist Leure (of Wolves At The Door fame). Brandishing a Gibson ES-3 series blues guitar, Leure sang enchanting, melancholic melodies in a trip hop style to sequenced electronic backing tracks, which set the night off to a pleasant start. Following her, Usurper Of Modern Medicine took to the stage with an intensity that never had a dull moment. The short set of tracks from their Turbo Handshake and Acid Chess releases was full of pounding high-energy drums and driving bass over haunting electro/analogue warbles. Usurper’s audio assault set the stage nicely for a rare live show from perennial Perth faves Red Jezebel. Opening with Wide Open Spaces, the full sound resonated around the room with crunchy guitar wails and distorted overdrive. Lead singer Paul Wood made comment on how infrequently the Jezebels play shows these days and thanked the main act for giving them the opportunity to perform. Looking like genuine rock stars they proved song after song that they haven’t lost any of their flair, and fought admirably through a few technical difficulties. Playing through tracks taken from the first studio release Revelations and the 2007 album How I Learnt To Stop Worrying, Red Jezebel finished an enthusiastic set with the single Kicking Deadly Sins, much to the delight of devoted fans. Finally the room was packed out and suitably fuelled up for Sugar Army. Opening with Future Spark – the first track from the new album Summertime Heavy – singer Pat McLaughlin’s distinct vocals cut through the rock guitar riffs and thumping bass perfectly. The indie-rock vibe continued with Will You Follow and its catchy keyboard and guitar riff. Performing a seriously tight set the band looked the part throughout, paying more attention to getting on with songs than conversing with the audience, whose appreciation was obvious when the first of the older songs Tongues In Cheeks rolled out with more solid vocals and anthemed guitar mangling. Ending the show appropriately with the new album’s title track, the at-times conventional rock sound was well received and scored rapturous applause from a crowd thrilled to have Sugar Army back on stage. Michael Caves

PETER COMBE, DE GRUSSA BAND FLY BY NIGHT: 07/10/12

Stepping into the Fly By Night Musicians Club for the Peter Combe’s ‘Big Kid Show’, the nostalgia hit you immediately and you could tell the crowd all had a special place for the upbeat Combe tunes of their youth. The de Grussa Band kicked off proceedings in a decidedly different way. Describing themselves as ‘an extravagant piano-based Glam Rock band’; this was a band with their tongue firmly placed in cheek. A piano covered in pink fur, a wireless guitar and some banging double bass action created a party vibe. Songs ranged from originals about White Shoes to a medley of the Monkey Magic theme song, Eye Of The Tiger and She’s A Maniac. As you do. The highlight was when the Mill Point Quartet joined the band for a hilarious rendition of Gangster’s Paradise. 34 • THE DRUM MEDIA

THE BIRD: 06/10/12

HOLLY THROSBY

SPIEGELTENT, NORTHBRIDGE: 07/10/12 You may remember Holly Throsby from such delicate, emotive and beautifully-written albums as Under The Town and Team. Well, in 2010, while she was recording Team for her adult listeners, she also recorded See!, a full-length album for a younger audience. This year, her show of the same name featured as part of the Awesome International Arts Festival for children, though unfortunately only for two days last weekend. In it, Throsby and her band played songs from See! in the spectacular Spiegeltent Tent, singing about motor boats, echos, animals and sparkly things, and just generally about the wonder of being alive and staying young. Throsby is a beautiful singer who writes beautiful songs, and this show was no exception. The music is engaging for kids and complex enough to hold the attention of the parents. There was even beat-boxing. It was just a band onstage, though, without the costumes and gimmicks and bright colours of your average kids’ show, so some attention spans did waver, and there could have been better efforts at crowd participation (though this was also up to the crowd). The simplicity of the show carried it however and made it lovely. See! was refreshingly gentle and very cute, a wonderful daytime show in a venue that’s good with light. It’s just too bad it didn’t get a longer run. Zoe Barron

When I arrive in the sea of haircuts and non-committal facial expressions that is The Bird at half past eight on a Saturday, The Chemist’s Ben Witt has already started his set of solo electric guitar. Less pop and plenty more abrasive than his day job, it’s nice to see him embracing his idiosyncrasies. The Morning Night are up next, whose floaty pop sits somewhere between Suede and The Panics and has the crowd gently bobbing their heads. The Bird’s live room fills with more mature faces and hardcore music heads in time for Dave Graney & The MistLY to play. After introducing themselves with their now standard overture We Don’t Belong To Anybody, the gig properly kicks off with songs from their new album You’ve Been In My Mind. Graney and band have perfected the detached take on ‘70s Australian boogie music they explored on 2008’s We Wuz Curious; this time around the band hit grooves much harder, to the point where the entire thing threatens to become straight up disco. This is helped by a great sound mix that emphasises the playing of bassist Stu Thomas. Old songs are brought into the band’s current style, with Night Of The Wolverine’s bluesy reworking from the Rock N Roll Is Where I Hide LP funked up to the point that I start awkwardly dancing. Some of the haircuts head in from the beer garden. Graney is having a blast, with the songs allowing him a bit more physicality than the more cerebral efforts showcased on recent tours. This reaches a crowd-pleasingly hammy peak on encore My Schtick Weighs A Ton, before closing with a hard rolling Rock N Roll Is Where I Hide. The audience head home satisfied and surprised; nobody expected a funk gig tonight, but we got a really good one.

BLUEJUICE PIC BY AARONVERSIONTWO

Tomás Ford

OH MERCY, MILLIONS, SPLIT SECONDS

HYPERFEST

Bobby James

CANNIBAL CORPSE, DISENTOMB, ENTRAILS ERADICATED CAPITOL: 09/10/12

There are some hulking titans in the world of death metal, bands that unite old and new fans alike, and in 23 years Cannibal Corpse have cemented their place as a progenitor and a driving force in the genre. Opening fell on the shoulders of local technical death metal group Entrails Eradicated and they had plenty left for the home crowd after taking it to the other states in the week prior. For a band that’s been sans-bass for so long the addition of bass guitar would require some serious restructuring but the newly minted quintet have reinforced an already heavily fortified sound with an even tighter rhythmic assault than previously possible and the impact was evident on the faces around the crowd. Disentomb got some of the crowd moving ahead of the headliners and the Queensland quartet fired through a set punctuated with breakdowns and sheer heaviness. They’re a fresh band on the scene but cuts like Cystic Secretion and Forced Adornment Of The Funerary Crown are evidence of a new powerhouse in Aussie death metal. Could the energy at a Cannibal Corpse show it be quantified as an equivalent to Hiroshima bombs? Two, three, more? No band brings carnage like Cannibal Corpse and tonight was a demonstration for all that this band is the best at what they do. Demented Aggression opened the set and it was one of several tracks off this year’s Torture LP. Two more cuts from that album followed and that served to show a crowd hungry for classics that any Cannibal Corpse album, new or old, is equally brutal. Disfigured took things back to the ‘90s, then Evisceration Plague back to ‘09 and by the end of the set there was barely an album in their catalogue left untapped, all the while George Fisher lorded over the stage with the presence only he can hold. The misogynistic masterpieces you’d expect were dedicated to the ‘ladies in the house’ and after an hour on stage things started to wind up. Hammer Smashed Face and Stripped, Raped & Strangled where the final offering to an audience who, at the behest of George, slammed their way through to the final note. Tristan Broomhall

MIDLAND OVAL: 07/10/12

THE BAKERY: 06/12/12

Starting things off to a smallish crowd, Split Seconds took to the stage and delivered a great set that treated the audience to All You Gotta Do and Bed Down. Giving the band more reason to celebrate was the birthday celebrations of guitarist Rhys Davies, which vocalist Sean Pollard made mention of to the crowd. As Top Floor rounded things off, the band finished up a very early but solid set. Next up was Brisbane band Millions who delivered the goods to a slightly growing crowd. But it was set closer Slow Burner, which has been getting a fair amount of airtime on the radio, that got a slightly inhibited crowd moving. As Oh Mercy took to the stage, frontman Alexander Gow wore a gold jacket that tied in beautifully with the gold foil streamers hanging as a backdrop. Opening the night up with Deep Heat, the set was funk driven from the beginning, with a large proportion of the crowd dancing as Gow entertained them, and it was literally Gow doing the entertaining with the other members of the band not really putting too much input into any crowd interaction. With My Man, Rebel Beats, Pilgrim’s Blues, Fever and Suffocated representing the band’s new album, it was a slightly altered Keith St. that was played for the audience. As Millions came back on stage to sing happy birthday for guitarist Cliff who is filling in for Simon Okely, they stayed on to play Drums, with the Bakery stage packed with dancing and singing, creating quite the party for themselves and wrapping up a set that was all about the fun(k). Marcia Czerniak

Heroes For Hire kicked the day up a notch with their own crowd favourites such as Bright Lights In Paradise and No Apology. Seth Sentry proved to be a big hit with the youngsters, coming out on stage firing his Nerf gun into the crowd with a string of “motherfuckers” and “shit yeah’s”. Dropping a stack of tracks off his most recent album This Was Tomorrow such as My Scene and Float Away, it was The Waitress Song that really got the crowd screaming the most. Bluejuice were to follow, and kept the crowds energy levels high with popular tracks Broken Leg and Act Yr Age. And as Purple Sneakers DJs rounded out the underage festival with their eclectic party jams, it seemed apparent that the change of venue to an outside stage for this year’s Hyperfest was a poor choice due to the fickle weather somewhat dampening spirits.

There’s not an amazing list of things for underage teenagers to do in Perth city… Sure, they can go to the skate park, go to the beach, and throw their “out of control” parties, however, they always seem to miss out on the good gigs – touring artists usually opting for 18-plus shows. Enter: Hyperfest. Year after year they are looking out for the young’uns by throwing their annual all-ages event in Midland. Although the weather was less than ideal for the day with black rain clouds and constant drizzle, local lads Monuments didn’t seem to mind, entertaining the early crowd with their pop-punk-rock sounds. Sound The Rescue; a five-piece rock outfit who could be likened to a local version of Evanescence, unfortunately had to stop a couple of tracks short as the guitarist somehow managed to dislocate his knee mid-song. In between acts an extremely un-funny lady called “Shazza” was on MC duties on the main stage, trying a little too hard to crack jokes whilst introducing the bands. Perth spitter Marksman was the first dose of hip hop on the main stage, and managed to engage the crowd well and command their attention. As the day went on with solid performances by Beside Lights, and indieelectro kids Sun City, it was apparent that the crowd was happier to just sit on the grass and listen, rather than raging with their fists pumping in the air. Whether it was the weather or another factor was not clear; however the teens seemed a bit dull and lifeless to say the least. Grey Ghost put in the hard yards during his set to get the crowd on board, and largely did a fantastic job – freestyling, jumping on speaker stacks, and dropping triple-j faves like Space Ambassador.

themusic.com.au

CANNIBAL CORPSE PIC BY AARONVERSIONTWO


11

ents v e c i s u all age m

13/10 King’s Justice 10/11 Perth Sound-Found

Free to p lay! City of Melv ille Main Ha ll, 10 Almondbu ry Rd, Boora goo

n

yac@melville.wa.gov.au lvilleyac e /m m o .c facebook

THE DRUM MEDIA • 35


MENTAL MUSIC

HOT LOCAL GIG SPOTLIGHT MAKE SOUNDS

Sydney alternative rockers Sound Of Seasons’ second EP, Make Believe, is out now, and they’re hitting the road to celebrate. The EP demonstrates a hard-hitting and emotional, synth-layered slice of alternative rock heaven. Hear it yourself Friday 12 October at C5 (upstairs Metro Freo 8pm); Saturday 13 at Amplifier; and Sunday 14 at YMCA HQ (all ages).

ALBUM FOCUS

THE FLOORS WITH LUKE DUX (VOCALS/GUITAR) Band history in brief: Ryan and I were introduced through our Mother. We stole our drummer Ash from a band we used to play in called Will Stoker & The Embers. We promised him blast beats and hotels. Last tour we let him sleep in the laundry of a hotel. Blast beats are still pending. Describe your sound. Being trapped inside a bass cabinet. Tell us about the album. Our album is called Dead Beat. It features 11 drunk adventures told through a fuzz pedal. Recording process. We turned up really loud and Rob Grant (Poons Head) pressed record. It was recorded live to 2-inch tape. We destroyed two amplifiers and broke Rob’s tape machine. Adam Round came in and mixed the mess we created. Collaborations? Timothy Nelson played the 88 and Downtown Dave Benck blew a tin sandwich. Their efforts are drowned out by our guitars. Tell us about the launch. We have old mate Will Stoker & The Embers, The Painkillers and Dirtwater Bloom joining us. The entire cast will be performing Captain Beefheart’s Trout Mask Replica while being lowered into the Amplifier Bar via a cherry picker. What’s on the horizon? A hangover and a national tour. We’re big in Adelaide. WHO: The Floors WHAT: Deadbeat (Cybernaut Records) WHEN & WHERE: Friday 12 October, Amplifier

Drum’s new intern Ellie Henratty casts her youthful eye over the WA aspect of the Music Feedback 2012 CD, ahead of its launch at Soundblast this Sunday.

FREYA HANLEY

LOREN

MURRAY KYLE

CHARLIE MGEE

WHAT FOUR? WITH LOREN Who’s playing your event and who should punters be most excited about seeing? The band is called What Four? This is a special one off collaboration of four songwriters from different corners of Australia, Loren (NSW), Freya Hanly (Melbourne), Murray Kyle (NSW) and Charlie Mgee (WA). Freya is my sister and although we have both been playing the festivals and touring Australia for many years, we rarely get to share a stage together. What gave you the idea/theme for this show? We love each other’s music and we have all wanted to experiment with a collective of songwriters where we equally bring songs to the table and back each other up, swapping instruments and playing with layers of vocal harmony. What does your gig offer that others don’t? Being a collective, there will be a massive variety and dynamic in the song styles as we take turns leading our tunes and jumping on different instruments. There will inevitably be a large element of spontaneous jamming, which is always as much fun for us as it is for the audience. What made you pick this venues? They’re are all great venues we’ve individually been playing in for years and most of them are like second homes for us… I was playing in most of these venues when I first started performing in 1995, so there’s a lot of history in them for me. I was even sneaking into the Indi Bar when I was 15 to watch bands play, it used to be my local. What’s next for your band/promo company? Charlie Mgee is bringing out a ukelele-based funky album of tunes about permaculture and sustainability. Freya and Murray are both recording new albums that should be out soon and I’m putting together a bunch of songs for a couple of different album ideas I have. WHEN & WHERE: Friday 12 October, Prince Of Wales, Bunbury; Saturday 13, Settlers Tavern, Margaret River; Sunday 14, Clancy’s Dunsborough; Wednesday 17, Indi Bar; Thursday 18, The Paddo; Friday 19, Clancy’s Fremantle; Sunday 21, Redcliffe On The Murray, Pinjarra

ROCKTOBER

in not having all the answers, and places emphasis on the importance of acceptanc. Beagle Bay’s, Albert Wiggan, features with Life, progressing slowly at first with solemn lyrics, highlighting the universality of human problems. Following this, a reggae style, foot-tapping melody is introduced, along with a vibe of resolute optimism – “Today is the day I’m going to kiss my troubles goodbye”. Music Feedback’s message “Music talks about mental health, so can you” is projected through music on this awesome 19-track CD, featuring 19 tracks from the likes of Missy Higgins, Ash Grunwald, Matt Corby and Dappled Cities, but also some of this state’s finest: Emperors’ Be Ready When I Say Go really resonates with the purpose of the project with lyrics like “share our bruises in the glow” promoting the ultimate premise of the CD; give support to those suffering. Annie Orangetree, a contribution from Pond, conveys the message early through the lyrics, “embrace that you survived”. The song celebrates strength and fearlessness, making it not only catchy and uplifting but also highly appropriate. Fremantle’s San Cisco provide their popular track Awkward, and in turn some light-heartedness with their bright, catchy hooks and refreshingly honest lyrics (“Get out of my life, you’ve been stalking me for days”). True to The Brow Horn Orchestra’s customary style, their track Fade offers listeners a combination of genres including electro, hip hop and pop. Aimee, a song that sits close to the heart of Rainy Day Women frontman Dylan Ollivierre was written ‘during a pretty bad time’ for Ollivierre, and the most noteworthy element of this track is the lingering lyrics. The track projects a sense of calmness found

STRONG SOUNDS

Jazz diva Lois Olney is a Pilbara Aboriginal woman who has risen above being stolen generation, seeing her brothers die in custody, experiencing continuing racism in this great country and a severe disability to be acknowledged as a remarkable performer inspired by the great Billy Holiday. She plays The Ellington Jazz Club Thursday 11 October.

TONKY TIME

Indie piano pop rockers Louis & The Honkytonk will bring their psychedelic mayhem to Hyde Park Hotel Friday 12 October. Constantly working on new material and never too far away from the stage, these guys have figured out how to gel perfectly with one another in a live environment. Support from Archer & Light, David Craft and Ben Macri. $10 entry.

17-year-old singer-songwriter Codie Sundstrom contributes with her track Heart Of A Lion, inviting listeners to indulge in the highly personal, poetrylike lyrics of Sundstrom throughout the track; “I’d tell her she’s special, but I’m too careful” – which collectively can be seen as a vehicle for her ideas surrounding the issue of social anxiety. Feel The Beat is a high-energy, predominantly guitar-based, contribution by Morgan Bain. The fast-paced, catchy track with its folk inspired harmonica section and soulful vocals has no shortage of positive vibes. The fresh hip hop/electronic style associated with The Stoops is particularly evident in The Beat Don’t Judge Me. The track makes explicit reference to the accepting nature of music and the way it can help individuals deal with personal issues. Finally, Voltaire Twins provide listeners with a spirit-lifting synth-pop song in the form of Young Adults. This track, with its catchy synths and major pop-charm, successfully utilises the charisma and appeal of the young band members, whilst adding some indie-dance vibrations to the CD. WHAT: Music Feedback 2012 (YACWA) WHEN & WHERE: Sunday 14 October, Soundblast 2012, Kings Square, Fremantle

SOMEWHERE TO PARTY

You’ll probably be suffering from a pretty big case of post-This Is Nowhere blues once the festival’s over. To combat that, Life Is Noise are putting on a party at Mojo’s Tuesday 16 October that features Melbourne’s High Tea and Perth’s own The Long Lost Brothers playing their first show since demolishing Wave Rock. $10 entry.

POWER PROS

With a wide array of homemade instruments, Mental Powers launch their new album, Pro Bono, at Mojo’s Saturday 13 October. Shambolic and ordered, rhythmic and drone - Mental Powers make new music sound fun rather than it being purely an intellectual pursuit. Andrew Sinclair Band and Leafy Suburbs support. $5 entry.

BYE BYE BIBBY

To celebrate the release of his full-length album Soulful Reason, roots/rock/reggae musician Ben Merito will be hitting the road with his band. Catch Merito with his band at the Indi Bar Friday 12 October ($10) and at Elmar’s Oktoberfest Saturday 13 & Sunday 14. With a full band, Merito’s sound is bigger and better than ever.

Before Peter Bibby leaves the country for a wellearned change of scene, he is releasing a selection of his hits on very limited edition handmade CDs at The Bird Saturday 13 October. Come down, party the night away and get your hands on these aural delights. Fucking Teeth and Dust support. $10 entry.

FREE

STARS IN THEIR EYES

Currently in the process of putting together their debut album, Those Wretched Horses will be launching the second single from the record, What Are Stars? Friday 12 October at The Bird. Support by Stereoflower, Kill Teen Angst and The Witches, and the first 50 payers will receive a free copy of the single! $5 entry.

THIS WEEK’S ISSUE NOW LIVE 36 • THE DRUM MEDIA

themusic.com.au


THE DRUM MEDIA • 37


WINNING BY PROXY

At last year’s annual Jägermeister Independent Music Awards, artists not in attendance delivered an inordinate amount of acceptance speeches via video message. Bryget Chrisfield makes some predictions based on the assumption that this trend will continue (with a little help from the 2012 RSVP list). Breakthrough Independent Artist Of The Year nominees: Chet Faker, Husky, San Cisco, Royal Headache, The Rubens.

his fantastic theMusic.com acoustic session. And he also has (marginally) better hair.

Not attending: Husky, San Cisco, The Rubens. Last year this one went to Emma Louise, whose radio smash Jungle penetrated global consciousness through savvy syncs on Grey’s Anatomy, The Slap and US MTV’s Awkward. Much like San Cisco’s catchy tune Awkward, which makes the Vodafone Infinite TXT ad so memorable. Let’s go with the charming and youthful Perth quartet then, shall we?

Best Independent Hard Rock Or Punk Album nominees: Dancing With A Dead Man – Calling All Cars, Bloodstreams – DZ Deathrays, Smoko At The Pet Food Factory – Frenzal Rhomb, Crooked Teeth – House Vs Hurricane, The Peep Tempel – The Peep Tempel.

Best Independent Single Or EP nominees: Boys Like You – 360, Gasoline – Alpine, Thinking In Textures – Chet Faker, Drums – Oh Mercy, Awkward – San Cisco. Best Independent Artist nominees: 360, Ball Park Music, Chet Faker, The Jezabels, Royal Headache.

Since San Cisco are the only band in this category who will be MIA on the night, our theory makes them a shoo-in for this award also.

We have it on good authority that both The Jezabels and Ball Park Music will not present at the seventh Jägermeister Independent Music Awards. The Jezabels won in absentia last year, so that means Ball Park Music could very well score this year.

Best Independent Hip Hop Album nominees: Falling And Flying – 360, The Quickening – Funkoars, Deep Impressions – Katalyst, Future Shade – The Herd, Standing Strong – Yung Warriors.

Best Independent Album nominees: Falling And Flying – 360, Bloodstreams – DZ Deathrays, Prisoner – The Jezabels, Royal Headache – Royal Headache, The Temper Trap – The Temper Trap. Missing in action on the night will be DZ Deathrays, The Jezabels and The Temper Trap. The Jezabels collected two transparent square trophies last year, so shouldn’t be greedy. The Temper Trap’s previous album was better than this one. Whoo-HOO! DZ Deathrays! Deserving winners in this category and also worthy ambassadors of the herbal digestive we’ll all be consuming on the night. For evidence, check out the Bris Vegas duo’s video for The Mess Up, which follows this basic premise: “two guys, one bottle of Jägermeister, three minutes.”

38 • THE DRUM MEDIA

DZ Deathrays or Frenzal Rhomb both had better offers for Tuesday 16 October. In 2009, The Nation Blue got up in this category for Rising Waters, which was a popular result, and so perhaps this is an opportunity to give the heritage-listed some love? DZ rule though, so let’s allow for joint winners here. Best Independent Dance/Electronica Album nominees: HyperParadise – Hermitude, Thinking In Textures – Chet Faker, Twirligig – Jonti, Dreams – Oliver Tank, Dance Music – T-Rek, Doomsday Deluxe – Sampology

So ‘werd’ has it that Katalyst and The Herd are keeping their distance from the JIMA ceremony this year. The Herd took out this very same category in 2008, so put your hands together for Katalyst! Ashley Anderson is one of this country’s most criminally overlooked DJ/producers, so this result should attract thunderous applause. Best Independent Blues And Roots Album nominees: Troubles Door – Ash Grunwald, Tin Shed Tales – John Butler, To The Horses – Lanie Lane, Leave It All Behind – Saskwatch, Spirit Bird – Xavier Rudd. Ash Grunwald, John Butler and Xavier Rudd haven’t RSVPed. Butler’s already got two of these see-through statuettes in the poolroom – Best Performing Independent Album (2007) and Most Popular Independent Artist (2010). If we had to pick one, it’d be Rudd after

The only possible confirmed sightings you’ll have on JIMA night 2012 are of Jonti and/or Oliver Tank. This category historically favours artists who are making their mark abroad – Midnight Juggernauts (2010) and Pnau (2010). Considering Jonti’s been supporting Gotye on his recent US tour – ‘nuff said. Best Independent Dance/Electronica Single nominees: Terms And Conditions – Chet Faker, Sleepless – Flume, Can’t Get Better Than This – Parachute Youth, L.G.F.U. – Tom Piper and Daniel Farley, Go – Tonite Only Flume and Tonite Only will not be hiring suits and heading to Revolt for the ceremony this year. The BIGSOUND buzz on Flume was massive. So give the young lad his trophy, already! The Jägermeister Independent Music Awards winners are announced October 16

themusic.com.au

HOT LOCAL GIG SPOTLIGHT

RED OCTOBER – RED ROOM LAUNCH WITH TOM FISHER (CLANCY’S ENTERTAINMENT DIRECTOR) Who’s playing your event and who should punters be most excited about seeing? We’ve got a big month planned featuring Tim Rogers (pictured), Dave Warner’s From The Suburbs, Don Walker and more. What gave you the idea/theme for this show? Red October is to launch the exiting new performance space the Red Room within Clancy’s Fish Pub Dunsborough. What does your gig offer that others don’t? A chance to see some of Australia’s greatest songwriters in an intimate, classy south west venue. And two of the shows are free! What made you pick this venue/s? Our aim was to make an intimate, accessible, great looking venue space to provide the south west punters with more opportunity to embrace original music be it national or local. What’s next for your band/promo company? Plenty more shows over the summer, including Jeff Martin – watch this space. WHEN & WHERE: Thursday 11 October, Tim Rogers; Friday 12, Dave Warner’s From The Suburbs; Saturday 13, Don Walker; Sunday 14, What Four; Saturday 20, Mama Kin, Clancy’s Fish Pub, Dunsborough


THE DRUM MEDIA • 39


10 OCTOBER

2012

GORILLA WARFARE

FLOORED

PAUL MASTER

Made up of some of Perth’s finest bass music peeps, Gorilla Tactics is a new record label and live act. Ellie Henratty gets the lowdown from MC Assassin. Who does Gorilla Tactics consist of? The crew is kinda like a little Perth supergroup! MC Stylee is from the mighty Loaded Dice camp. Stylee has MC’d for almost every international d’n’b DJ you can name and in 2011 was chosen to be Andy C’s personal MC on his Aus’/NZ tour. MC Seeka tours internationally in duo Q-Bik & Seeka. J Ded, our newest member of the crew, is the female voice that can belt out like a jet engine, or smooth the mic into silk. She has performed solo for Michael Jackson in 1996 at the age of 10 and has been classically trained. El Waldro, our guitarist and midi-bass man, has been playing in bands from London to Sydney and everywhere in between. Breakbeat royalty Lo Key Fu controls the live electronic elements with his now famous Ableton rig. Assassin – that’s me. I don’t like to blow my own horn… Ok, yes I do. Seven times PDMA Best MC winner, nominated for best tune, Greg Packer’s partner in crime with over 20 international releases together. For over 14 years I’ve been in love with d’n’b, jungle, breaks and hip hop, and have decided its time to mash these together. How did Gorilla Tactics come together? Originally El Waldro and I had been talking at the pub about jamming together some time. He was into rock, and was curious about d’n’b. Eventually he rocked up to my house with his Fender and a beautiful Maton acoustic. I ran a little hip hop beat on Ableton Live

GORILLA TACTICS

andd plugged l d him hi iin, nekk minut i t we had something amazing beginning to evolve. The result was No Deity, still our best track. Then MC Bear and I had a recording session one night that turned out amazing (our next release Soul Rydaz) and a few weeks later Stylee, Seeka and myself, drunk at my house from the Andy C after party decided it would be a great idea to make a song – All Night Rockstar, which was just released. When and why did you decide to start your own independent record label? It kinda started in July but was registered and bonafide by August. None of the music we were making was really your traditional drum’n’bass that can be played and mixed at a club. Greg Packer was loving some of the tracks we made but we agreed they weren’t really the Interphase sound, so we toyed with the idea of making a sub-label. Name drop alert – Kenny Ken and MC Stamina are both like my “big brothers” in d’n’b and I turned to them for advice and to get their opinions. Add to this the schedule Greg already has on his plate, I decided to create my own label to give myself complete musical freedom and control. Who/what provided you with inspiration for your blend of d’n’b, hip hop and breaks? We’re all established d’n’b artists, we all have a big hip hop influence and long-time love for the culture.

B kb t wellll apartt from Breakbeat, f Fu F being the God Of Breaks, I’m a closet tear-out breaks head. Love the stuff. El Waldro is the only one not from a broken beat background, but the sounds we’re producing aren’t your average bass music, so he’s feeling it. He’ll be wearing a Phetsta t-shirt soon, don’t you worry about that. Do you think being located in Western Australia influences your musical style in any way? Of course, it’s a breeding ground for bass music. Pendulum, Drapht, Optimus, Phetsta, Packer, Shockone, Philly Blunt, Get More, Voltron, Micah… I’ll run out of space listing Perth’s pedigree. I have no idea why, maybe there’s sub-bass in the water here. Sub-bass is a chemical right? What’s the plans for both the label and Gorilla Tactics the act in 2012/13 and beyond? Right now it’s all happened so fast, so we’re just trying to find a rhythm and get as much studio time in together as possible. We have a fair bit on our plate doing this and organising the live show as well, but we’ll be looking at having enough good material for the album by March when we plan to release it. WHO: Gorilla Tactics WHAT: All Night Rockstar (Gorilla Tactics)

PAUL OAKENFOLD, JASON CREEK, MAKITAN VILLA: 06/10/12 In spite of his indisputable standing as a pioneer and stalwart of the global dance scene since those revelatory Balearic nights in Ibiza, I had almost completely written Paul Oakenfold off. His disastrous set at Future Music three years ago not only being tediously tepid in track selection but riddled with trainwrecks. But after listening to

SWIMMING WITH DOLPHINS D’EON (7-8PM) If your parents buy you synthesizers and a sequencer at age four, you’re bound to become a musical genius right? Not necessarily, but d’Eon sure is. He was one of the most talked-about acts at SXSW last year, performing in pitch black after the visual guys had gone home.

SLUGABED (6-7PM)

JIMMY EDGAR

JIMMY IMMY EDGAR EDGAR. TIME PLAYING 9-10PM Jimmy Edgar makes the kind of smooth beats you want to shimmy up to at the end of the night. The Detroit Native will be closing the Dolphin Theatre with his psyched-out electro-funk.

IKONIKA (8-9PM) This down-to-earth British lass has been tearing up the UK with her brand of forward thinking, highly melodic underground dance music, and she is sure to bring the dancefloor action to the Dolphin Theatre. 40 • THE DRUM MEDIA

You might know Slugabed from his remix of Roots Manuva’s hit Witness (1Hope). His tracks are emotive, humorous and really well produced and have been gathering accolades across the globe.

DRO CAREY (5-6PM) A 19-year-old Sydney producer who has quickly made a very big name for himself with releases on labels such as Ramp, Hum N Buzz and Trilogy Tapes, Dro Carey is one to watch.

JAMES IRELAND (4-5PM) This guy is going to be something big – Perth’s answer to Flume? We’re callin’ it. Ireland’s highly anticipated debut EP is due out sometime later this year.

{MOVE} CREW (3-4PM) Want to lose your dignity dancing to something new and edgy? The

{Move} Crew have you covered. This collective headed by Ben & Ben bring some of the best underground electronic acts to our fair city, but are also incredible music selectors and DJs.

ROK RILEY (2-3PM) RTRFM royalty Rok Riley has won the last two Most Popular DJ Awards at the WAMi awards. The host of the station’s Full Frequency show and local DJ extraordinaire, Rok Riley is a well-respected Perth institution not to be missed.

TRAVIS DOOM (1-2PM) The slick, goth styled DJ and musician loves his dark, minimalist electronics but give him the chance and he will surprise you with a bit of pop and trance thrown in.

JO LETTENMAIER (12-1PM) Perth girl Jo Lettenmaier will kick off proceedings at the Dolphin. Between sharing her taste on RTRFM’s Out To Lunch and supporting the likes of Clark, Balam Acab and Seekae, it has been a busy ride for Jo. WHEN & WHERE: Sunday 14 October, This Is Nowhere, University Of Western Australia

his superb Fluorescence Essential Mix in July I came around to the possibility that he had found his finger on the pulse again, and last Saturday proved this concession to be correct. Opener Makitan was setting a welcome tone as the chattering crowd started filtering into Villa, spinning tastefully restrained melodic yet pumping house. Jason Creek followed up with an extended set that gradually brought in the harder, driving kick drums of main room trance with the likes of Above & Beyond’s Air For Life and On My Way To Heaven. The steadily intensifying vibe

The legend was greeted with hands in the air and a visceral roar, to which an emphatic response was given; some ripping trance that made full use of the booming and crystal clear sound system. Paul Oakenfold tore through the big tunes at a rapid pace, rinsing out a number of tracks that featured on his Essential Mix like John O’Callaghan’s Big Sky, Future Disciples’ Nail The Nile and Flesh & Bone’s remix of Snow Patrol’s Called Out in The Dark. It was plain to see, even with the flashing lights and alienating height of the DJ booth, that the he was defying his 50-plus years and performing with unbridled enthusiasm. This unfortunately went momentarily awry when Oakenfold had an Aoki moment, accidentally shutting off the music in an attempt to stand on the decks at the peak of Delerium’s Silence. Paul, no good has ever come from imitating Steve Aoki’s shtick. Farcical displays of superstar DJing aside, this was a supremely enjoyable set. What it lacked in a progressive journey it made up for in canny tune selection that kept the crowd enthralled. Welcome back to the fold, Mr Oakenfold. Jeremy Carson

MC BOOTH: TUKA TUKA

Sure there’s some great indie/alt-rock acts playing This Is Nowhere on Sunday, but here Tess Ingram previews the Dolphin Theatre’s stellar beat line-up.

around the busy club was reaching a peak as Creek’s set drifted over Oakenfold’s designated start time (by an hour eventually), but no one was aggrieved to be listening to the warm-up DJ’s finely judged and flowing lead-in to the headliner.

PAUL OAKENFOLD BY CALLAN GIBSON

Daytime (real) name: Brendan Tuckerman. From: Sydney. What crews do you belong to? I’m one-third of Thundamentals and I also go solo under Tuka. How did you get your MC name? My last name is Tuckerman, so yeah… What you rhyme to… The universe and beyond. What makes your MCing unique/different or ahead of the rest? Not telling. Career highlights: I’ve been able to release six studio albums and I don’t plan on quitting any time soon. First time MCing out; what was most memorable for you? In high school there was this thing called The Basement Bash that was my first performance ever, it was memorable of sorts. I think I was in some kind of trance, I just remember my crazy “MC” hands exerting all my nervous energy. All-time fave rhyme on a produced track? Atmosphere – God’s Bathroom Floor: “Do you know who the fuck Billy Ocean is?” Fave MCs and why? I don’t really have a fave. I really like Kendrick

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Lamar, Slug, Blackstar, Jehst, KOS, etc… the list is endless. I like them because they are not trying to be someone else. Do you? Fave producers and why? Hermitude rock, full stop. Best MCing performance by an Australian you’ve ever seen? I don’t know about best, but I’m a big fan of Mantra, I’ve seen him a bunch of times and I always learn a thing or two when he’s on stage. Funniest thing you’ve when up on stage? Seen? My ex-girlfriend flashed once, now that was funny… Gosh I miss that woman. Most memorable battle experiences? I entered a battle when I was younger. I was chosen to go head-to-head with a mate, before we started we decided to big each other up rather than diss. I went first and held up my end of the bargain… Let’s just say he won the battle. #selloutmufucker. I dance like a…monkey. I MC like a…monkey. In 2020 music will be… something I enjoy. In 2020 I’ll be…making music. Your club/dance scene needs more or less of? You tell me, I can’t say I know what you’re talking about… Weirdest thing you’ve seen in a nightclub? People acting normal. Best all-time gig? These best questions are killing me – Thundamentals hometown albums launches are always mad fun! Worst ‘spit the dummy’ on the mic? I don’t dummy spit on the mic. Funniest record you’ve ever

MCed over? Can’t remember. How much is freestyled, how much is memorised? These day kids don’t understand what a freestyle is; if I’m going to freestyle none of it is memorized. I may throw in a few phases I dropped in the past, but that’s the nature of the beast. MC’s freestyle, rappers rap – simple. Worst MC performance you’ve ever seen? Watch footage of me when I was younger. Rhyme something with duck: I’m ugly as fuck. Spend more on music than you earn? No doubt. Production releases: Rumpunch self-titled; Thundamentals self-titled EP (Obese Records); Thundamentals Sleeping On Your Style (Obese Records); Will Rap For Tuka (Big Village); Foreverultion (Obese Records); Feedback Loop – out October 26 through Big Village. What does MCing mean to you? I don’t like to overthink too much... What makes hip hop such an important element of music and culture to you? It is yet another cog in the machine of the universe not to be ignored or taken for granted, yet not to be propped up or over-glamourised; it has its pocket of awesome and it fills it perfectly. More info? Head to facebook. com/willrap4tuka for updates. NEXT GIGS IN PERTH: Friday 12 October, Big Village Records Tour @ Hussle Hussle, Mojo’s; Saturday 13, Big Village Records Tour, Shape


HOT LOCAL GIG SPOTLIGHT great music, a huge selection of drinks through several bars, a high-class VIP area with a twostorey marquee right overlooking the river and so much more. Tickets SOLD OUT in November last year, so keep an eye out! After NYE On The Foreshore we are looking at dropping a

SUN CITY

TEN THINGS YOU DIDN’T KNOW ABOUT

new event on Aussie Day at the Scarborough Beach Amphitheatre. We’re thinking plunge pools, water pistols and great value for money‌ WHEN & WHERE: Saturday 13 October, Supreme Court Gardens

HOT LOCAL GIG SPOTLIGHT O t k f t IIn Th Octokerfest The Garden With Ross Drennan (Director, Nokturnl Events) Who’s playing your event and who should punters be most excited about seeing? Brow Horn Orchestra, Voltaire Twins, Sun City, Stillwater Giants, Rainy Day Women, Sonpsilo, Circus, Crooked Colours, Flyte (cover band), Sandy Jones and DJs Ace Basik, Craig Hollywood and Darren J. More details at www.oktoberfest2012.com.au What gave you the idea/theme for this show? We identified Oktoberfest as an event that had been run poorly in the past and decided it would be a great idea to bring the event back into the city and build it up to a size where it would rival the likes of the famous Munich festival.

Wh i offer ff Whatt ddoes your gig that others don’t? The true Oktoberfest experience. Commemorative event steins handed out for free to the first 5,000 punters through the gate. The largest beer hall constructed in Perth to date, inside a huge big top lined with festoon lighting and filled with table seating for thousands. Two huge stages showcasing some of Perth’s hottest talent. What made you pick this venue/s? It’s great in terms of access and provides an absolute picturesque setting with the trees and city skyline backdrop. What’s next for your band/ promo company? NYE On The Foreshore will be back this year. After two amazing years of soldout events we have something truly special in store this year. It’s the best event Perth has on offer for NYE; expect fireworks,

SOULFIST

ODETTE MERCY

Who’s playing your event and who should punters be most excited about seeing? The Houstons, featuring Odette Mercy on vocals and backed by the crème de la crème of Perth’s soul/funk scene. Disc Jocks – Agent 00 Soul, Little Franco Berry and Herman ze German.

SAMPOLOGY

What gave you the idea/ theme for this show? Having a full night of stompin’ ‘60s soul with no filler, just killer tunes.

1. My favorite colour is Red.

What does your gig offer that others don’t? The Houstons setlist was especially selected for this gig, handpicked tunes for dancin’ plus Southern Soul-styled smoked BBQ pork buns. Perfect soul food.

4. In June this year I released my debut album Doomsday Deluxe.

What made you pick this venue? The Devil made an offer we couldn’t refuse.

2. I don’t have a middle name. 3. I’m one of four Brisbane DJs born on Halloween. 5. I worked at a record store for four years.

SATURDAY @ AMPLIFIER CAPITOL

FRIDAY @ AMPLIFIER CAPITOL

SATURDAY @ METROPOLIS FREMANTLE

9. When I was 12 I built my own aviary, it was huge. 10. I’ll be releasing my own limited edition coloured 7� in November. Next show in Perth: Friday 12 October, The Manor

HALLOW EEN DRESS-U PP FEATURING

ARTY

FTW v BENNY P, BLEND v DNGRFLD, MARTY MCFLY v TEE EL, BLACK & BLUNT, MARKO PAULO v OLI

            

 

8. I have a remix coming out soon of Twinsy’s tune Water Bombs.

THE SWITCH @ SHAPE

DOUSTER LIGHTSTEED, OLI, AUDAGEOUS      

  

7. I just got back from my first tour of Canada, I didn’t see one bear/moose.

WHEN & WHERE: Friday 19 October, Devilles Pad

FHF @ METROPOLIS FREMANTLE

FRI 26 OCT

6. My favorite type of DJ booth involves a white grand piano (nudge nudge).

Wh ’ next ffor your bband/ What’s d/ promo company? A lot more soul and funk gigs throughout the year.

              

themusic.com.au

SAT 27 OCT

     

  THE DRUM MEDIA • 41


11 NOV - 17 OCT

2012

THURS 11/10 RUDIMENTAL @ AMBAR

DANCEFLOOR OF THE WEEK

British electronic outfit Rudimental have arrived since their massive single Feel The Love, and they make their Perth debut supported by DYP, Micah and Ekko & Sidetrack. $40 plus BF via Moshtix.

Ru Kas, James Smith, Valle Zoo and El Dario bump out some funky 4/4 beats til dawn. $8 before 12.30am, $12 after.

THE LOVE TRAIN @ HONEY LOUNGE

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

Fine grooves and good vibes thanks to a vinyl blend from Tizer & Mik, plus Bongo Loco.

BASS CULTURE CLASH @ NEWPORT HOTEL

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

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

THE AVENUE Jon Ee gets you ready for the weekend.

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

FRIDAY 12/10 TAPEHEADS

DEVILLES PAD Special Brew bring new wave ska dancefloor action, DJs, GoGo and more from 6pm.

THE ASTON SHUFFLE @ VILLA

Returning from a year in the studio with the first taste of their sophomore album release, The Aston Shuffle have just released their latest single Can’t Stop Now. Only a year-and-a-half ago the duo cemented their place as the next wave of Australia’s emerging electronic elite with their debut album release, Seventeen Past Midnight, with Rolling Stone Australia ranking it in their top five Aussie albums of 2011. Featuring popular singles Start Again and Won’t Get Lost, the boys ambitiously explored a more accomplished songwriting approach – equal parts emotive, inclusive and anthemic – all in perfect balance with their trademark dancefloor sensibility. Not only that, they backed it up with an impressive live show that now returns – revamped – to Villa Friday 12 October. Keeping the live vibe going are cracking supports in Sun City and Crooked Colours, along with DJs Paper Plane and Audageous. $15 plus BF via Moshtix, $30 plus BF for VIP. J. Nitrous, Killafoe, J Switch and Jaydee Fordee. Tickets via Moshtix.

BIG VILLAGE RECORDS @ MOJO’S Big Village Records have announced Big Things Vol. Two – a compilation featuring exclusive new tunes from Big Village peeps and they celebrate with a national tour that features Tuka and Ellesquire in a dual headline set with guests. Tickets via Moshtix.

The next edition of Fresh Produce is a Double Trouble affair, featuring Lemon Lime & Love Town, Benny P & Genga, 4by4, Tapeheads and CK RUCKUS v StrangerThanDigital. $12 before midnight, $15 after. LANGE

Fresh and forward-thinking beats with All-State, Craig Hollywood, Dirkdigla, Everyteen, Graduate and Mental Groove bringing the fire. $10 from 10pm, drink discounts early.

HIGHER FYAH @ BAR ORIENT The reggae club plays host to DJs Tich, Mwas and Ray, with The Empressions, Mumma Trees and Sista Che. Free from 7pm.

MONDO @ GINGER Shazam, Kit Pop, Aslan, Jeffery Annert, Dr Space & Naughty B, Thom Om Fom and the Metric DGays bring tropical vibes and floral shirts. $10 from 10pm.

LANGE @ SHAPE (DOWNSTAIRS) Globally recognised as a highy influential dance artist for the past decade, Lange’s eclectic, stimulating and driving sets pull influences from trance, progressive, techno and electro. BOMBS AWAY

DEVILLES PAD Fab Four play classic early Beatles hits, plus DJs The Taxman and Lil’ Franco Berry, GoGo and more. $10 from 6pm.

BOMBS AWAY @ EVE Perth duo and Aussie hit-makers Bombs Away will bring their chart-topping tunes and party boy antics to Eve from 9pm, $20.

SAMPOLOGY @ THE MANOR Following the release of his debut album, Doomsday Deluxe in June, Sampology has announced the record’s second single, Around The Globe, and a DJ tour to coincide with its release.

DOWNLINK @ SHAPE Punishing dancefloors all over the planet with his heavy brand of dubstep, Canada’s Downlink is headed to Shape, supported by

42 • THE DRUM MEDIA

SOVEREIGN ARMS Dylan Hammond fires up with dancefloor destroyers ‘til late.

THE AVENUE The Friday night party rocks till the sun comes up with Dale Ingvarson.

CLAREMONT Jon Ee lays down the funk and fires up for the start of the weekend.

James Nutley rocks ‘On Tap’ house music all night long.

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

THE AVENUE

THE WEMBLEY

SAT 13/10

THE CRAFTSMAN

Once again Lokie Shaw fires up the Saturday night soundtrack. DJ Shortz delivers the music for the masses in Cannington’s fave night spot.

ELLESQUIRE

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

SUNDAY 14/10

BIG VILLAGE RECORDS @ SHAPE Big Village Records have announced Big Things Vol. Two – a compilation featuring exclusive new tunes from Big Village peeps and they celebrate with a national tour that features Tuka and Ellesquire in a dual headline set with guests. Tickets via Moshtix. The Big Ape crew take over afterwards.

PIMPS OF SOUND

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.

UPCOMINGS CROOKED COLOURS EP LAUNCH @ AMPLIFIER

Local synth duo Crooked Colours launch their debut EP Friday 19 October at Amplifier with Carl Fox and Lilt.

SYRUP 2D @ IRWIN ST LANEWAY A midnight movement so manic it’ll have you swerving, hustling, moving and bustling. Syrup 2D kicks off at its Irwin Street Laneway locale Friday 19 October with Zeke, Clunk, Saxon, Boy P, Ben T, Bolsty and Bazil Zemplys.

MICKY SLIM @ AMBAR 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.

THEESATISFACTION @ BAKERY Funk-psychedelic lady duo THEESatisfaction play The Bakery Saturday 20 October. Seattle, Washington’s Stasia Irons and Cat Harris-White’s funkadelic show is equal parts the afro-uturism of Sun Ra and the soulful jazz of Dorothy Ashby with more than a hint of Erykah Badu. Savoir, Raaghe, Ben Taaffe & Ben Mifflin and Claude Mono support. $20 plus BF via Now Baking.

COLOURSPLASH PAINT PARTY @ COURT HOTEL

SMOOTH SUNDAY @ THE BIRD Ladywood and Pimps Of Sound deliver some sweet, soulful liquid drum’n’bass and hip hop live. $5 from 6pm.

EDDIE ELECTRIC

MULDER

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

HEAVYWEIGHT SOUNDZ @ METRO CITY

DEATH DISCO/PURE POP @ CAPITOL/AMPLIFIER Indie-dance bangers from Death Disco DJs, DJ Ryan spinning ‘80s classics upstairs and Eddie Electric indie/classics from midnight in Amps. MOT3K

INNERSPACE @ GEISHA Electronic duo Mulder spend their last night at home before venturing out into the unknown with Mudlark and Doctopus. $6 from 8pm.

THE AVENUE

PARTY ROCKERS @ NEWPORT HOTEL 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.

THE GENEROUS SQUIRE

DJ Cain spins high-voltage rock and metal from midnight.

Jamie Mac spins indie/alt classics from midnight at Amps, while Caps satisfies your ‘90s desires with DJs from 11pm. It’s the Frat House Friday Oktoberfest Edition with the Death Disco DJs rock bangin’ indiedance, plus red cups, cheerleaders and college-themed craziness.

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

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

AMPLIFIER/CAPITOL

FHF @ METRO FREO

METRO FREO

EXTREME AGGRESSION @ ROCKET ROOM

NEXT HYPE @ GEISHA FRESH PRODUCE @ AMBAR

The sounds of Blend, Marty McFly, Tee EL, Dead Easy and Wish bang into your mind at the home of the underground. $12 before midnight, $15 thereafter.

ELEMENT @ GEISHA

HIP HOP KARA”YO!”KE @ THE BIRD

For lovers of dubstep, drum’n’bass, wobble and a good night, free with Death Disco’s Anton Maz in the back room and the Culture Clash DJs in the front room.

JAPAN 4 @ AMBAR

Az-T rounds up your Sunday Sesh.

BACKYARD DISCO @ AVIARY FILTER @ VELVET LOUNGE A new techno night, this week launching with MOT3K bringing some live beats and new productions, Krule, Sully & Size and Mike-A. Free/donation, 8pm-2am.

HIGHS & LOWS 7TH B’DAY @ THE BAKERY Highs & Lows celebrate seven years deep in style with Parisian Onra and Detroit’s 14KT, supported by Cosmo Gets, Knoe FM and a live re-twerk of Ta-ku’s Re-Twerk by Kit-Pop & Zeke.

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

WED 17/10 HONEY @ GEISHA

A new weekly night playing the best R&B, hip hop and dance hall from the likes of S-Man, Kyte Kutter, Angry Buda, Bounce, Ruthless, Rony Roland and more. 10pm til 3am, $10 before midnight, $15 after.

themusic.com.au

Head honcho of Hospital Records, London Elektricity is showing no signs of an early retirement and he’s bringing more surprises with him this time round for another Australian-only exclusive tour along with Dynamite MC. He’ll be joined by special guest from Audioporn Records Xilent at Metro City Friday 2 November.

DEADWEIGHT! B’DAY @ THE BAKERY 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.

UPCOMINGS RUDIMENTAL: OCT 11 Ambar DOWNLINK: OCT 12 Shape SAMPOLOGY: OCT 12 Manor BOMBS AWAY: OCT 12 Eve LANGE: OCT 12 Shape THE ASTON SHUFFLE: OCT 12 Villa BIG VILLAGE RECORDS: TUKA, ELLESQUIRE: OCT 12 Mojo’s; OCT 13 Shape EMALKAY: OCT 13 Shape ONRA, 14KT: OCT 13 The Bakery THIS IS NOWHERE: JIMMY EDGAR, IKONIKA, SLUGABED, D’EON, DRO CAREY, HTRK and more: OCT 14 UWA MICKY SLIM: OCT 19 Ambar THEESATISFACTION: OCT 20 The Bakery VIPER RECORDS: MATRIX & FUTUREBOUND, SMOOTH, PHETSTA: OCT 20 Villa NICK THAYER: OCT 20 Ambar JAY SEAN: OCT 25 Eve DOUSTER: OCT 26 Ambar DOCTOR WEREWOLF: OCT 27 Shape COLOURSPLASH PAINT PARTY: AJAX, STARFUCKERS, ROYALSTON: OCT 27 The Overflow MADLIB, J ROCC, EGON: OCT 27 The Bakery SWANKY TUNES: OCT 31 Villa SPIT SYNDICATE: NOV 2 Ya Ya’s; NOV 3 Mojo’s HEAVYWEIGHT SOUNDZ: LONDON ELEKTRICITY, XILENT, DYNAMITE MC: NOV 2 Metro City COURT FULL MOON STREET PARTY: WYNTER GORDON, NINO BROWN, DAN MURPHY, BOY & GIRL, KITTY GLITTER: NOV 3 Court Hotel SNAP!: NOV 3 Villa ARRESTED DEVELOPMENT: NOV 3 Metro City + SANTIGOLD, CRAZY P: NOV 14 Metro City + BEN SIMS: NOV 16 Ambar PREFUSE 73, TEEBS: NOV 17 The Bakery FLOATING POINTS, ALEXANDER NUT, FATIMA: NOV 22 Ambar STEREOSONIC: TIESTO, GESAFFELSTEIN, DILLON FRANCIS, DESTRUCT, CALVIN HARRIS, AVICII, EXAMPLE, CARL COX, MAJOR LAZER, LAIDBACK LUKE, MARTIN SOLVEIG, CHUCKIE, JFK MSTRKFT, MR OIZO, DASH BERLIN, INFECTED MUSHROOM, MARKUS SCHULZ, SANDER VAN DOORN, ALY & FILA, SIMON PATTERSON, MARLO, LOCO DICE, ADAM BEYER, JORIS VOORN, PORTER ROBINSON, BASSNECTAR, TOMMY TRASH, BRODINSKI, ZEDD, FOREIGN BEGGARS, DIPLO, FLUX PAVILLION, EXCISION, CASPA, DATSIK, VAN SHE, KAZ JAMES, TREASURE FINGERS, ALVIN RISK, FEENIXPAWL, BART B MORE, MC STRETCH, MC GUNNER: NOV 25 Claremont Showgrounds + 2MANYDJS: NOV 30 Villa NATURAL NZ MUSIC FESTIVAL: SHAPESHIFTER, KORA, LADI6, TRINITY ROOTS, MAISEY RIKA, DAVID DALLAS, P-MONEY and more: DEC 1 Red Hill Auditorium EPROM: DEC 1 The Bakery THE KNOCKS: DEC 2 TBA PERTH DANCE MUSIC AWARDS: DEC 2 Court Hotel SETS ON THE BEACH: DEC 2, JAN 13, MAR 24 Scarborough Beach Amphitheatre


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THE DRUM MEDIA • 43


THU 11 Warbringer, Malignant Monster, Devour The Martyr, Enforce, Cold Fate Amplifier Bar Belleville Gypsy Jazz Clancys - Canning Bridge Tim Rogers Clancys Dunsborough Courtney Murphy Como Hotel Hi-NRG Crown Perth, Groove Bar Rock n Roll Karaoke Devilles Pad WAM Song of The Year 2012 Awards Night Fly By Night Fremantle Chris Murphy High Wycombe Hotel Bex’s Open Mic Night Indi Bar Nu-Melange, Riley Pearce, Alfred Gorman, + more Leederville Lounge Nathan Gaunt Lucky Shag Tyto Kings, Bedouin Sea, Death & A Cure, Shontay Snow, + more Mojos Nth Fremantle The Domnicks, DJ James MacArthur Mustang Bar Bass Culture Newport Hotel Dr Bogus Paddy Hannan’s, Burswood The Southwicks, Lights Of Berlin, Queens Blvd, Lillium Stargazer Rosemount Hotel Sons of Rico DJs Rosemount Hotel, Beer Garden Bill Chidgzey Rosie O’Gradys Fremantle Neil Colliss Rosie O’Gradys Northbridge David Fyffe Sovereign Arms Darren Guthrie, Christopher Nicholas, Siren of Sound Swan Lounge Hip Hop Kara “Yo!” Ke The Bird Jen de Ness The Boat Lois Olney The Ellington Jazz Club One Trick Phonies The Gate Bar and Bistro, Success Off the Record Universal Bar Two Plus One Woodvale Tavern Kathleen Ann, Tashi Hall, Moustache, Reilly Craig, Bryan Rice Dalton Ya Ya’s

FRI 12 Midnight Rambler 7th Avenue Bar The Floors Amplifier Bar Mod Squad, Tip Top Sound DJ Bailey Bar & Bistro Dave Bakery - Northbridge Karin Page Duo Balmoral The Empressions, Mumma Trees, sista che, + more Bar Orient - Fremantle Electrophobia Belmont Htl Mumford & Sons, Edward Sharpe & The Magnetic Zeros, Willy Mason Belvoir Amphitheatre Dove Bentley Hotel Everlong Black Bettys Matt Milford Broken Hill Hotel Sound of Seasons C5 Pretty Fly Captain Stirling Inferno Castle Hotel York 44 • THE DRUM MEDIA

Chasing Calee Chase Bar & Bistro House of Shem, Ngati, DJ General Justice Civic Hotel, Back Room The Decline, Faim, Burning Fiction, Worst Possible Outcome, Tikdoff, Got Sharks?, + more Civic Hotel, Den Don Walker & The Lucky Strikes Clancys - Fremantle Russell Holmes Trio Clancys City Beach Dave Warner’s from the Suburbs Clancys Dunsborough The Fab Four, The Taxman, Lil Franco Berry Devilles Pad Nymph Honey Dunsborough Tavern Aftershock Dusk Lounge Bar Adrian Wilson East 150 Bar Sugarfield Edz Sports Bar 1 Tim Rogers Fly By Night Fremantle Billy Neal Gascoyne Hotel The Flying Piranhas Gloucester Park Damien Cripps Band, Neil Colliss High Road Htl Riverton Dr Bogus High Wycombe Hotel Ben Merito Indi Bar Trio Alegra Kulcha Connie Kis Anderson Last Drop Tavern Brett Hardwick Band Lesmurdie Club Hussle Hussle, Tuka, Ellesquire, The Stoops, Delirious, + more Mojos Nth Fremantle Captn K, Simmo T Mojos Nth Fremantle (afternoon) Soul Corporation Moon & Sixpence Adam Hall & the Velvet Playboys, Cheeky Monkeys, DJ James MacArthur, Swing DJ Mustang Bar Party Rockers Newport Hotel Foul Play, Sleep Freak, Silver Grenade Norfolk Basement Shouting At Camels, Cothe, Rag n Bone, The Cabarets North Fremantle Bowls Club Flyte Paramount Nightclub What Four? Prince of Wales Bunbury Free Radicals Princess Road Tavern Carbon Taxi Publican Bar Axe Cane, Adverse Reaction, Wicked Wench, Naked Flame Railway Hotel Opia, The Meaning Of, Hyte, Goat Rocket Room Extreme Aggression:, DJ Cain Rocket Room (Late) Blind Highway, Blackjack Rosemount Hotel Stray Dogs of Athens, Rotaxus, Big Chillum Swan Lounge Steve Hepple The Admiral Those Wretched Horses, + more The Bird The Organ Grinders The Boat Christian Thompson, DJ Vicktor, James Ess, George Green The Brass Monkey Meg Mac and the Squeeze, Ali Bodycoat Quintet, Graham Wood Trio The Ellington Jazz Club

The Charisma Brothers Tsunami, Mosman Park Nightmoves Universal Bar PUCK, Dead Owls, The Disappointed, Bishi Bashi, Man The Clouds Velvet Lounge Ivan Ribic Victoria Park Hotel Flash Nat & The Action Men Woodvale Tavern Electric Toad, Zealous Chang, LocusTrio, Ron Pollard Ya Ya’s

SAT 13 Sound of Seasons Amplifier Bar Dr Bogus, Tip Top Sound DJ Bailey Bar & Bistro Onra, 14kt, Ta-Ku, Cosmo Gets, + more Bakery - Northbridge Flyte Bar 120 Mumford & Sons, Edward Sharpe & The Magnetic Zeros, Willy Mason Belvoir Amphitheatre J Babies Black Bettys Jonny Taylor Bootleg Brewery Pop Candy Burswood Lobby Lounge Prescient, Pyromesh, Xenoniotic, One Too Many Camel Civic Hotel, Back Room Eris, The Hunt, Helta Skelta, The Grief Contest, + more Civic Hotel, Den Minky G, Rosco Clancys - Canning Bridge Oates Supply 80s Party Clancys - Fremantle Zukhuta Clancys City Beach Don Walker & The Lucky Strikes Clancys Dunsborough Switch Crown Perth, Groove Bar Special Brew Devilles Pad House of Shem Fly By Night Fremantle Cargo Beat Greenwood Hotel The Charisma Brothers Gypsy Tapas House Highgate Crt Dakota High Road Htl Riverton Zarm Indi Bar The Worx Kardinya Tavern B.O.B Lakers Tavern Steve Hepple Leopold Htl Bicton Mental Powers, Andrew Sinclair, Leafy Suburbs Mojos Nth Fremantle Flash Nat & The Action Men Moon & Sixpence The Continentals, Milhouse, DJ James MacArthur, Rockabilly DJ Mustang Bar Gravity Newport Hotel Kizzy Newport Hotel (afternoon) The Insatiables, Nevada Pilot, The Gypsie Howls, RoboAnt Norfolk Basement Electrophobia Quarie Bar & Bistro Parker Avenue, From The Dunes, A Martyr’s New Pitch, Salv Railway Hotel Kickstart, DJ Mel Rocket Room (Late) Tim Rogers, Catherine Britt Rosemount Hotel Mod Squad Rosie O’Gradys Northbridge (afternoon) What Four? Settlers Tavern Margaret River

Huge Shed Flyte Supreme Court Gardens Easy Tigers Swinging Pig Greg Carter Swinging Pig (Arvo) Pete Bibby The Bird Acoustic Licence The Boat Odette Mercy & her Soul Atomics, Ben Vanderwal, Howie Morgan, Saffron Sharp Trio The Ellington Jazz Club Dirty Scoundrels The Gate Bar and Bistro, Success Everlong Acoustic The Whale & Ale Soul Corporation Universal Bar MOT3K, Krule, Sully, + more Velvet Lounge Slim Jim & the Phatts Woodvale Tavern DJ Pup & Dan Ya Ya’s

SUN 14 Deuce 7th Avenue Bar Dappled Cities Amplifier Bar Sapphire Demure Bakery - Northbridge Nathan Gaunt Breakers Bar (Geraldton) Jonny Taylor Broadwater Bar Switchback Broken Hill Hotel Everclear Capitol The Zydecats Clancys - Fremantle Loren, Freya Hanley, Charlie McGee, Murray Kyle Clancys Dunsborough Open Mic Fly By Night Fremantle Don Walker & The Lucky Strikes Fremantle Arts Centre Courtyard Doctopus, Mulder, Mudlark Geisha Bar Nat Ripepi High Road Htl Riverton (Afternoon) The Organ Grinders High Wycombe Hotel Andrew Winton Indi Bar Emperors, Rainy Day Women, The Stoops, Morgan Bain, + more Kings Square, Fremantle Swing Set Kulcha Earthlink, Paul Gamblin, Simmo T, Busha D, Corby Mojos Nth Fremantle Paddy’s Welcome To The Week Mojos Nth Fremantle (afternoon) Peter Busher & the Lone Rangers, DJ Rockin Rhys Mustang Bar Opia, The Meaning Of, Buzz Kill Vamps Newport Hotel Tim Nelson Newport Hotel (afternoon) Jason Shaw, Tristram Corbett North Fremantle Bowls Club Sugarfield Pig & Whistle Kevin Conway Pink Duck Lounge Neil Colliss Rosie O’Gradys Northbridge (afternoon) Ivan Ribic Sovereign Arms A Nameless Fear, Adverse Reaction, Medusa’s Gaze, Mirror Mirror Swan Basement Rae, Pimps of Sound, Ladywood The Bird Jonny Taylor The Deck, Busselton (afternoon)

De Ness Jazz Kabaret The Ellington Jazz Club This Is Nowhere Festival feat., Tortoise, Xiu Xiu, Grails, + more Uni of WA, Crawley Retrofit Universal Bar Jonathan Dempsey Victoria Park Hotel Good Karma Woodvale Tavern The Charisma Brothers Xwray Café Dylan Roggio, Mithcell Jones, Darren Guthrie, Trojan John, Spoonful Of Sugar Ya Ya’s

MON 15 Wide Open Mic, Bruno Oliver Booth Mojos Nth Fremantle Marco & The Alleycats Mustang Bar James Wilson The Brass Monkey Plastic Max and the Token Gesture The Deen WAAPA Graduation Recital The Ellington Jazz Club Damien Cripps Woodvale Tavern Big Thommo’s Open Mic Variety Night Ya Ya’s

TUE 16 Poetry Slam Bakery - Northbridge Deep Blue Soul Band, Cliff Lynton, Dom Zurzollo Charles Hotel The Stage Door Johnnies, The Schlep Sisters Fly By Night Fremantle The Tome Tale Quartet Indi Bar Ben Merito Lucky Shag High Tea, Long Lost Brothers Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Barefaced Stories The Bird

WED 17 Fresh Faced Follies Bakery - Northbridge Exhumed Fly By Night Fremantle Fenton Wilde Hale Rd Tavern Loren Indi Bar Howie Morgan Lucky Shag Fremantle Blues & Roots Club, James Willing, The Whistling Dogs, Patient Little sister Mojos Nth Fremantle Going Solo, Rachel Dease, Todd Pickett, ivory wolf Moon Café Sophie Jane, Alistair Hunt, Gerard Mcartney Paddo Mattress Security, Creature, Gutter Drakes, Split Cities Rosemount Hotel DJ Anton Maz Rosemount Hotel, Beer Garden David Fyffe Rosie O’Gradys Northbridge (afternoon) Cam Avery, Friends DJs The Bird Simon Barker The Ellington Jazz Club

themusic.com.au

TOUR GUIDE

JAPE STEEL PANTHER, THE ART: OCT 11 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 NICK & LEISL: OCT 12-14 Nanga Music Festival, Dwellingup 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 CATHERINE SUMMERS: OCT 13 Wembley Downs Shopping Centre; OCT 14 The Naked Fig 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 CATHERINE TRAICOS: NOV 15 Ellington Jazz Club 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 Mojos MAMA KIN: OCT 19 Nannup Town Hall; OCT 20 Clancy’s Dunsborough; OCT 21 Mojos ELAINE PAGE: OCT 20 Riverside Theatre CLARE BOWDITCH: OCT 20 Astor Theatre CHARITY ROCK FEST: ARCANE SAINTS and more: OCT 21 Newport Hotel DECLAN KELLY & THE RISING SUN: OCT 24 Mojos; OCT 25 Prince

MAMA KIN Of Wales; OCT 26 Settlers Tavern; OCT 27 White Star Hotel; OCT 28 Indi Bar CHARLES JENKINS & THE ZHIVAGOS: OCT 25 Norfolk Basement 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 + PAUL KELLY: OCT 26 Fremantle Arts Centre; OCT 27 Astor Theatre (two shows) SMASH MOUTH, KID MAC: OCT 27 & 28 Metropolis Fremantle BASTARDFEST: ASTRIAAL, FUCK…I’M DEAD, DESECRATOR and more: OCT 27 Civic Hotel HARRY JAMES ANGUS: OCT 28 Fremantle Arts Centre ROCK-IT: THE BLACK KEYS, ROYAL HEADACHE, JOHN BUTLER TRIO, BIRDS OF TOKYO, THE PANICS, LANIE LANE, LAST DINOSAURS, SAN CISCO, GRAVEYARD TRAIN, BROTHERS GRIM, THE TOOT TOOT TOOTS, KILL DEVIL HILLS, EMPERORS: OCT 28 Arena Joondalup THURSTON MOORE: OCT 30 Rosemount Hotel KARMA COUNTY: NOV 1 Clancy’s Fremantle HOT CHELLE RAE, CHER LLOYD: NOV 1 Astor Theatre THE LIVING END: NOV 1-7 Rosemount Hotel ALI PENNEY & THE MONEYMAKERS: NOV 2 Charles Hotel; NOV 3 Mojos; NOV 4 Stirling Club, Albany; NOV 5 Burlington Hotel

GYPSY & THE CAT: NOV 2 Capitol BILLY BRAGG, JORDIE LANE: NOV 2 & 3 The Astor BLKOUT: NOV 2 The Beat Nightclub; NOV 3 Vineyard Auditorium; NOV 4 YMCA HQ AT THE GATES: NOV 3 Capitol JORDIE LANE: NOV 4 Ya Ya’s EMMYLOU HARRIS & HER RED DIRT BOYS, BEN ABRAHAM: NOV 6 Perth Concert Hall MELISSA MANCHESTER, JOE LONGTHORNE: NOV 7 Regal Theatre TOUCHE AMORE, MAKE DO & MEND: NOV 7 YMCA HQ; NOV 8 Amplifier JOSH PYKE: NOV 8 Artbar, Art Gallery Of WA MIA DYSON: NOV 8 Mojos; NOV 9 Blues At Bridgetown + SARITAH: NOV 9 Fly By Night; NOV 10 Settlers Tavern, Margaret River SCOTTIE MILLER: NOV 9 Blues At Bridgetown; NOV 13 Perth Blues Club; NOV 14 Ellington Jazz Club; NOV 16 Indi Bar JOHN WAITE, KERI KELLI: NOV 9 Metro City REFUSED: NOV 9 Metropolis Fremantle LIVE AT THE QUARRY: TRIPOD: NOV 9 Quarry Amphitheatre ROCK FOR RECOGNITION: DAN SULTAN: NOV 9 The Bakery; NOV 11 Fly By Night ELTON JOHN: NOV 10 Perth Arena + NORFOLK LANES YOUTH MUSIC FESTIVAL: NOV 10 Norfolk Lane, Fremantle CHELSEA WOLFE, HEIRS: NOV 11 The Bakery SWAMP THING: NOV 11 Fremantle Arts Centre MATCHBOX TWENTY, INXS: NOV 11 Perth Arena + JOE ROBINSON: NOV 11 & 12 Blues At Bridgetown + DEXYS: NOV 12 Astor Theatre ELTON JOHN: NOV 12 Perth Arena SILVERSUN PICKUPS, THE DANDY WARHOLS: NOV 13 Fremantle Arts Centre BETWEEN THE BURIED AND ME, ANIMALS AS LEADERS: NOV 13 Amplifier SIGUR RÓS: NOV 13 Belvoir Amphitheatre


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46 • THE DRUM MEDIA

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BENGA & YOUNGMAN FLYING LOTUS THE GASLAMP KILLER FRICTION & MC LINGUISTICS ED RUSH SHOCKONE GOLDIE SPACE DIMENSION CONTROLLER[LIVE] GEMINI PEARSON SOUND BROOKES BROTHERS SKISM DELTA HEAVY WILKINSON DMZ [COKI & MALA] JAKES DILLINJA INSPECTOR DUBPLATE BEN UFO MARKY & STAMINA DARK SKY MENSAH SIGMA

PARIAH BAR 9 XXXY DODGE & FUSKI BARE NOIZE METRIK DISTANCE NEW YORK TRANSIT AUTHORITY DC BREAKS OM UNIT Tickets available now from TheOrigin.com.au

For more information head to www.theorigin.com.au


Drum Media Perth Issue 309  

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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