Page 1

WA’ S H I G H E S T Q U A L I T Y S T R E E T P R E S S • T H U R S DAY 2 5 O C TO B E R 2 0 1 2 • 3 1 1 • F R E E







DISCOVER WHERE YOU FIT IN THE CREATIVE MEDIA INDUSTRY SAE INSTITUTE OPEN DAY December 8 – 11am - 3pm COURSES IN: Audio Production Film Production Live Sound Production Electronic Music Production

1800 SAE EDU | FEE-HELP Available








IN BRIEF Perth beatmaster Ta-ku has started a new record label/ collective called Sunday Records. Head to where you can get a free download of their first official release, Noyce’s EP Moment’s Good.


ELVIS IN THE PARK In keeping with the exuberant musicality that has defined his three-decade career, Elvis Costello has some tasty treats in store for audiences when he plays An Evening On The Green at Kings Park & Botanic Garden on Wednesday 6 February. The unabashed showman will be backed by his trusty Imposters – keyboardist Steve Nieve, drummer Pete Thomas and bassist Davey Faragher, plus the gig also sees the reformation of the legendary Sunnyboys, along with Joe Camilleri’s mighty Jo Jo Zep & The Falcons and The Sports’ Stephen Cummings. Tickets via Ticketmaster from next Monday.

After rocking in at number four on the ARIA Album chart last week, Tame Impala’s Lonerism has debuted at #34 on the Billboard Top 200 Album Chart. In 720ABC’s Exhumed competition at the Fly By Night Musician’s Club last week, The Coburn Sound proved victorious in the competition giving ‘backyard bands’ a shot on the big stage. They win a day’s recording at the ABC Perth music studio. Stolichnaya Vodka has launched ORGNL.TV, a creative online project showcasing talent from the fields of art, music and fashion. Head to facebook. com/stolivodkaaustralia to enter before October 29. Local artist Anya Brock is one of the WA hopefulls.


PUNKS & SKUNKS With so much history, so many big names and so much talent in the long line of punk rock and ska bands that have now and then graced Aussie shores, the inaugural Hits & Pits Festival has managed to distil a line-up of some of the best into one awesome lineup. The mini-fest hits Metropolis Fremantle, Monday 1 April with Mad Caddies, Good Riddance, A Wilhelm Scream, pictured, Voodoo Glow Skulls, The Flatliners, Diesel Boy (acoustic), One Dollar Short (acoustic), Jamie Hay, Jen Buxton, Totally Unicorn and Paper Arms. Early birds via from tomorrow.

Brother Michael, bassist and keyboardist of Mama Kin, has been seriously injured in a motorcycle accident. While he is expected to make a full recovery, he missed Mama Kin’s shows here last week, and will do so for the rest of the tour dates.









DAP CITY FREO Now in its fifth year, the annual Fremantle Arts Centre New Year’s Day Concert is becoming an institution not to be missed – an awesomely appropriate venue to bliss out to some of the worlds finest music on New Year’s Day. The event takes it up a notch this year with Brooklyn soul stalwarts Sharon Jones & The Dap Kings, along with Spanish surf rock legends Los Coronas, and locals The Sunshine Brothers, Cosmo Gets and DJ Paul Gamblin. Tickets through FAC, Mills, Planet, Star Surf, Live Clothing and Heatseeker. EMPERORS










British rock band Gomez have revealed that it is time to go on a short hiatus following the release and global tour of their seventh record, Whatever’s On Your Mind. Sir Paul McCartney is back in the studio working on a new project that includes collaborations with Mark Ronson and Ethan Johns. The Australian-based Future Music Festival will be heading to Asia next year with Armin Van Buuren’s A State Of Trance show to headline the Malaysian event. It will take place Friday 15 and Saturday 16 March. Australian comedian and television personality Adam Hills has signed an exclusive deal with the UK’s Channel 4 to develop ideas for the network.


ÁNDALE! This year’s New Years Eve Fiesta at the Rosemount Hotel is set to be a big one. Indie-rock faves Sugar Army return with their new album Summertime Heavy just released, joined by triple j and RTR faves Emperors, pictured, Nashville slammers Ruby Boots; Boys! Boys! Boys!, recent WAM Song Of The Year winners Rainy Day Women, Timothy Nelson & The Infidels and young two-piece Dead Owls. Last year’s show sold out early in the night, so presale tickets via Oztix, Heatseeker and the usuals are advised for the show, Monday 31 December.

8 • For more news/announcements go to

GUEST HOUSE ON THE BEACH Having built up a solid reputation for quality acts to ring in the New Year, Club Paradiso’s fifth New Year’s Day outing continues in fine form Tuesday 1 January at Salt On The Beach, with international superstars Friendly Fires spinning a DJ set of deep goodness in the Techno Temple with the Habitat and Maiko DJs, while Kaz James of Bodyrockers headlines the Big Top Beach Bar with DJ Helena and Mr Wilson, along with The Halo Effect, Zelimir, KNO Agents and Ace Basik. $85+BF via Moshtix.


UNDERGROUND CABINS A new night operating out of the newly refurbished C5 at Metropolis Fremantle, The Academy’s unofficial brother Underground is set to be a leg up for artists looking for the chance to break out in one of the toughest industries in the world. And since the first Undergournd night will be held on Halloween – Wednesday 31 October – they’ll be transforming the venue into a horror hideout. Taking the stage will be a heavy set featuring Cabin Fever, Dyatlov, pictured, and Truthseeker. Doors 9pm.

Triple j’s Like A Version 8 has topped the ARIA Digital Album Charts this week, ahead of Pink’s The Truth About Love and Guy Sebastian’s Armageddon. (III), the third album from experimental synth punk outfit Crystal Castles, will drop on Friday 9 November in Australia and New Zealand, ahead of its international release.



Chet Faker was the only multiple award winner at this year’s Jagermeister Independent Music Awards winning two gongs. The inagural Electronic Music Conference has announced applications for their Emerging Artists Showcase program have now opened. Head to ther website to enter.


TRIPLE M Acclaimed US pianist, composer and bandleader, Myra Melford is in Perth for two concerts at The Bakery on Tuesday 6 &Wednesday 7 November. The two gigs will present two different versions of Melford’s prowess; the first sees her play a solo improvisational piano concert, before Wednesday sees her joined by bassist Mark Dresser and drummer Matt Wilson in their collective project, Trio M. A part of Tura New Music’s 2012 program, tickets through Now Baking.

NIGHTKLUBBIN’ It’s been almost a year since Kid Kenobi’s last release but that’s not to say he’s been laying low – far from it. The Kid has been busy running his label Klub Kids, as well as writing hits as one half of Too Fresh with his brother, Hugga Thugg. He’s now ready to unleash his latest EP Music For Klub Kids, and he bass-drops into a fave venue of his Ambar, Saturday 1 December. If you want a taste Kid Kenobi is piling out free tracks from his Facebook page.


LOVE IS A CHRISMICAL After a multifaceted year that included the operating of an underground speakeasy venue in a bookshop in Melbourne, living in a bread truck in Portland and brief jaunts playing his songs for audiences in Europe and America, Darren Hanlon will stop in our little town this December to play his ritualistic Christmas shows. He plays solo, stripped-back versions from his extensive catalogue with a little help from some guests TBA, Wednesday 19 December at Mojos. Tickets via

44 T YDEMAN RD, NORTH FREMANTLE PH: {08} 9335 2732

Saturday October 27 (BEER GARDEN)

Boom! Bap! Pow! + The Toot Toot Toots (VIC) + The Morning Night

25th OCT

Mister & Sunbird with guests Charles Jenkins and Nevada Pilot. Doors 8pm.

26th OCT

One Thousand Years launch new single ‘This is Halloween’ with Palatial Digs and Cult of Addiction. Doors 8pm.

27th OCT

BASEMENT PARTY featuring DJs Joe Macc, Lady C, Sparklehaus, Cooker and more. Fun from 8pm.

(8pm, $10 entry) Sunday October 28

“Gignition” feat. Reign + Branches Of Berlin + Colour Of Indigo + Miranda and Gordo + Andrea Tal (2-6pm, $8 entry) Sunday October 28


Def Replica 7-10pm, $20 + BF from



& PATIENT LITTLE SISTER Thurs 3rd Nov > Carus

www.facebook. com/norfolkbas ementlounge

Thursday 25 October


@ SWAN BASEMENT 201 Queen Victoria St, North Fremantle 9335 2725


Friday 26 October


2-6PM, ENTRY $8



Saturday 27 October








BLUE SHADDY Sunday 28 October

DECLAN KELLY Monday 29 October





THURSDAY NOVEMBER 8TH The Love Junkies W/ Dead Owls & Mitch Mcdonald (Solo) THURSDAY NOVEMBER 15TH Vida Cain W/ The Stanleys & Ragdoll



There’s some fighty mine happenings going down soon in WA, and we don’t just mean getting among all the awesome Pridefest events over the next couple of weeks. Ahead of Jordie Lane’s solo show at Ya Ya’s Sunday 4 November (he also supports Billy Brag Friday 2 & Saturday 3 at The Astor Theatre), Felicity Groom and James Teague have been announced as his supports. Tickets via To scratch up some funds for their upcoming national tour and also launch their new video for Lipstick Cigarettes, Shy Panther play Mojo’s Thursday 1 November, supported by Leure, MF Groom and DJs Bleeding Colours and Felix Baumgartner. $10 from 8pm. Following the screening of the Hunter: For The Record documentary at Luna Leeerville Thursday 1 November, the Rocket Room hosts the official After Party, featuring more unseen footage from the doco, plus a set from Defyre launching his new mixtape. $5 from 9pm. Saturday 3 November The Civic Den hosts Branches Of Berlin who launch their new single Insomniatic, supported by Misty Mountain, Sully, The Crossbars and Juan Don Rocco. $5 from 8pm with free single. Student-run label Richmond Street Records launches at The Bird Monday 5 November, featuring Empty (The Empty Cup), Saint Ravine and Belle Harvey, plus two new bands from Central Institute’s Music Performance course, Found Trinity and Slinky J. $5 from 7pm, with a free double-A-side CD from the latter two acts.



Red Chin Music are hosting an intimate evening of local acoustic music at The Elizabethan Village Pub, Bedfordale Saturday 8 November called WA Songwriters Volume One. Jill Birt (The Triffids), Richard Lane (The Stems), Robbie Jalapeno and Salvage Driver take the stage from 7-10pm. $15 via Classic Sounds, Kelmscott, $22 door. The Decibels crew have partnered The Backyard Project for Decibels: The Revival, Saturday 10 November at Eliot Street Bar, Bunbury, and featuring DJs Jaspa, Sumtymz Blake, Princi, De Judge, Chekrah and Baden M. $10 via$15 door.

The Flower Drums and Dianas are both heading over east to play a bunch of shows soon, but realised they have no money. Help them out Saturday 10 November at The Bird when they play a show with Gunns and possibly another band supporting. $10 from 8pm. Pure OldSkool sees a night of nothin’ but the best from all the old favourites at Bar 138, Saturday 10 November. DJ Tito takes the decks with a special guest TBA. $10 from 7pm. Unknown Treasures records in Morley will be hosting a record fair at Coventry Square next to Centro Galleria Morley Sunday 11 November from 10am til 3pm, featuring a huge selection and new/used vinyl, live music and entertainment and prizes to be won. Like Unknown Treasures on Facebook for more info. Ocean-themed art will go under the hammer at Salt On The Beach Saturday 17 November to raise funds for the ongoing work of the Sea Shepherd Conservation Society. The night will also feature a solo set from San Cisco’s Jordi Davieson. 7-10pm, $80 via With a new album just over the horizon, things are looking up in a big way for Babyjane. They launch Make It Sick at the Rocket Room Friday 16 November. On Monday 19 November School Of Creative Arts (SOCA) Cert IV music grads Johannah Grace, Brad Green, Carolyn Thomas and Hunter Carpenter launch their debut EPs. They’ll each be performing at Kulcha in Fremantle, starting at 7pm. $10/$30 families via The Painted Bird are taking a break from working on their debut EP (due 2013) with a show at Ya Ya’s Friday 23 November, their first headline show in five months. Race To Your Face and James Hall support.


PLUG IT IN Before Perth Arena opens officially, there’s a ‘little’ warm-up show called Plug Into Perth, going down at the venue Friday 2 November. Hip hop star Drapht headlines the night, joined by WA rock’n’roll faves Sugar Army and Split Seconds. Head to pertharena. to go in the running for free tickets, otherwise we have a heap to giveaway - simply email with “PLUG IN PERTH” in the subject header, for your chance to be a part of Perth Arena’s first ever live show!

A BIG FAN…CIULLI Having had an incredible 12 months which saw him quickly shoot to fame on the back of some stunning releases, Mark Fanciulli is on a roll. His 2011 release The Tide caught the entire industry’s attention, with Joris Voorn’s edit being one of the most charted tracks on Resident Advisor last year. He drops into Geisha on Friday 2 November with support from Flex, Darren J, Valle Zoo and Chris Aird. $20 via Habitat, more on the door.

GET YOUR HORNS OUT season with their awesome line-ups, but the two fests have one more card up their collective sleeves: the Future Twins pass. $230 gets you a ticket to both festivals, saving you $39 off even early bird prices. Be quick though – there’s only a limited run of twin tickets via





BIG DAY BITE Big Day Out has always championed great artists from the musical world, but in 2013 they are also embracing the art of great festival food. Chow Town is named after Michelin star chef Graham Elliot’s work at BDO’s sister festival, Lollapalooza, and it will provide music lovers with another dimension to their Big Day Out – a taste experience. Head to Claremont Showgrounds, Monday 28 January, to now feed your mouth as well as your ears.

SONIC BOOM If you hadn’t already noticed, this year’s Stereosonic line-up is huge, hosting the likes of Tiësto, Avicii, Calvin Harris, Example, Carl Cox, Major Lazer and so many more. You can now add Strange Talk as fellow compadres, as well as an equally impressive list of local acts gracing the stages on the day. That list is simply too enormous to list here; to get full details for the festival, including all locals and ticket info, head to

Future Music Festival and Summadayze have both added some killer acts to the summer festival



GYPSY & THE CAT Melbourne’s indie/dream pop duo Gypsy & The Cat have returned with their latest offering The Late Blue. Hot on the heals of its release the boys are about to embark on another national tour that will bring their tunes to Perth Friday 2 November, playing Capitol with special guests New Gods. Proudly presenting the show, you can read our chat with them in the mag next week, and we are giving away a bunch of DOUBLE PASSES. To enter simply email us at with “GYPSY & THE CAT” as the subject heading.

BLOODFEST After years of intense writing, months in various studios across Australia and a few hundred beers later, NSW punk-rockers Local Resident Failure are ready to cough up their debut, A Breath of Stale Air. They bring it with fellow Sydney-side punkers Ebolagoldfish Friday 16 November at the Swan Basement with FAIM, Latch Key Kids and Mattress Security; Saturday 17 for Blood Rock Fest (which features another 26 punk/rock/metal acts) at the Civic Hotel; and Sunday 18 at the Newport Hotel, Fremantle with Blindspot, Them Sharks and Ben David (SA).


Local crew FreQualizer have spared no expense in creating another epic party. Earlier this year in February, Hedflux tore Geisha apart with his tight production and flawless mixing creating a vibe second to none, and he returns to the same venue Friday 16 November, joined by Lot49 heavyweight Vandal, along with Joe Revell, Bezwun & DNGRFLD and Stranger Than Digital. $30 through

Known as the little legend from Uruguay and a monster party starter, DJ PP (aka Gabriel Rocha) is headed to Geisha Saturday 17 November. Named by Mark Knight as one of the most important DJ/ Producers of 2010, Rocha’s burgeoning remix portfolio includes the like of Knight, Funkagenda, Chris Lake, Deadmau5, Umek and many more. So get ready to shake your moneymaker when he’s supported by George Green, Oli vs. Tone and Ryanair. Discount presale tickets via Habitat’s Facebook page.

TWO APPLES A DAY With a string of huge releases and a world tour under their respective belts, the Adana Twins and Dr Dru are two of Germany’s hottest exports right now and we get the chance to see these incredible artists when they play the Honey Lounge, Friday 30 November. Their collab Juicy Fruit raced up the EDM charts and did big things for their Black Juke Box label. This will be the first time both acts have hit our shores, and Honey Lounge will be beefing up the sound system with some serious gear in accordance.


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

ADVERTISING Sales & Marketing Director Leigh Treweek Sales Executive Matt McMullen

DESIGN & LAYOUT Matt Davis, Nick Hopkins

ADMINISTRATION Accounts Loretta Carlone

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

10 • For more news/announcements go to





Known for his unique blend of folk, rock, punk and protest songs, English musician Billy Bragg is heading over to Perth as part of his Aus’ tour and will be playing two shows Friday 2 & Saturday 3 November at The Astor Theatre, supported by Jordie Lane. In celebration of this Drum Perth are giving away a few four-disc CD sets of Bragg’s work with Wilco, Mermaid Avenue. To enter simply hit us at au with “BILLY BRAGG” in the subject header.

The streets of Leederville will light up and come alive on Saturday 8 December as the inaugural Light Up Leederville Carnival, a free event that takes over the Leederville precinct from 1 to 8pm, culminating in the “lighting up” of Leederville’s first-ever Christmas lights. But before that, there will be free entertainment for all ages. Food, music, fashion, art and children’s entertainment will take over the streets, alleyways and hidden nooks of Leederville, bringing the local and larger Perth community together for a very special evening. Check back in future weeks for band line-ups and more.

The incomparable and unstoppable King of the honkin’ sax, Big Jay McNeely, is once again making a visit to his second home of Australia, and swings into the Fremantle Arts Centre Friday 14 December. Following two sell-out tours in both 2008 and 2011, McNeely is set to blow you away once more with his great skill on the ol’ horn, this time bringing along some friends in Adam Hall & The Velvet Playboys. Tickets via

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

PUBLISHER Street Press Australia Pty Ltd. 1/205-207 Bulwer St Perth 6000 PO Box 507 Mount Lawley 6929 Phone (08) 9228 9655 General Editorial Arts/Film Editorial Club/Dance Editorial Gig Guide Live Editorial Advertising Sales Accounts/Administration Artroom Distribution Office hours 9am to 6pm Mon to Fri.


+ -,-+






BASS AGENDA VOL. 1 ***&&"&$!##! '#(    , + &&"!% )!##%! '#(&$(




INTERGALLACTIC PLANETARY Kora’s Light Years channels the galaxies and cosmos that circle above us. They’re certainly not the first to be inspired by the heavens above.

DAVID BOWIE Let’s face it, there’s no artist more extra terrestrial than the space oddity himself. A discography that includes Life On Mars, Ziggy Stardust, Moonage Daydream, Starman and Space Oddity – released five days before the Apollo 11 launch – is surely qualification enough. And within three years Bowie seemed to be done with the cosmos and the interplanetary rock, until Loving The Alien popped up in the mid-‘80s.


New Zealand dub metal explorers Kora explore the outer reachers of the sonic galaxies on their second record. Jason Kenny sets the controls for the heart of the sun wit Dan McGruer and Francis Kora. s 2012 races towards the end of the Mayan calendar, heads have been turning towards the Land of the Long White Cloud with keen expectation. Admittedly, much of that expectation has been Middle Earth and Tolkienrelated, but for those in the know, the intergalactic feast of Kora’s second album is the true prize.


It’s been four long years since the release of their debut. In that period there’s been a lot of time on the road, loads of shows and the band that deliver Light Years find themselves very different to the band that released Kora. “We have refined our style and sound,” says Dan McGruer, the one non-Kora brother in the band. “We now have more of a collective direction, accepting that we are eclectic, trying not to fit into a mold and accepting who we are.” “The biggest changes have been the production of our music,” says Francis Kora. “We have spent a lot of time crafting our sound in the studio, experimenting with a bunch of toys and working on a new live show.” A teaser single, Story Ain’t Over, was released in March 2011. It’s a slice of synth-driven pop, different to the groove-based tunes the band have been known for. It’s been a long wait for fans since then. “To be honest, it was a case of a teaser,” Kora says coyly, “but mainly a case of bad planning for our tour to America. We have changed our management team since then, and have a really solid foundation and plan of attack for this album.” Most lead singles don’t come out 20 months ahead of the album, but as ahead of the album as it was, it signaled a change for the band. There were more ‘80s pop sounds and synth sounds than on their eponymous debut. “Actually, [Story Ain’t Over] was our nod towards ‘80s pop, unashamedly,” McGruer says. “That’s where the inspiration for that one comes from. But that’s not indicative of the whole of the album.” The four years have seen them take their dub metal reggae to all corners of the globe. One of the more bizarre experiences was playing in Denmark after a

12 • For more interviews go to

spate of riots in the country’s capital. “We were touring through Europe,” says Kora, “and were playing in this awesome place near Copenhagen, just a couple of days after they had huge riots in the area. The energy was raw and fresh and the people there were so amped and friendly at the same time. The riots were so full-on that the police had run out of smoke bombs and had to get neighboring police stations to bring in more.” Amped and friendly sounds like the perfect crowd for a metal-infused dub reggae show. This time around, the band were focused on creating a world in sound on the record, more than blending influences like some sort of mad scientist. Synths aren’t a new thing to the always eclectic group. It might just be more prominent on Light Years as the world of the cosmos, ‘80s pop and ‘70s sci-fi sounds stand out. The fivepiece have always been known for their blending of a variety of genres and tastes. Although eighty per cent of the band grew up as brothers, that doesn’t guarantee a unity in tastes. It might even make the arguments more fierce. And that eclectic approach came together in a tumultuous way in the studio. “Everything we do is now more of a sub-conscious thing,” says McGruer. “There’s no laws or rules to what we do – everything is put down to our subconscious. When we play, we play without thinking about genres, and just trying to capture an emotion or a feel, rather than a genre. If there is a genre, you could call it future funk. I suppose that is what we’re aiming for.” This release also marks a confident and bold new step for the band. They have a clearer idea of who they are, and are even more willing to put their personalities in the music. The Kora brothers of Laughton, Brad, Stuart and Francis have been making music together for a long time, and McGruer has been part of that for over a decade now. That close-knit relationship gives rise to more confidence. And that’s certainly required for extended time in the studio when cabin fever and moon-madness set in. “We were more of a live band,” says Kora, “but now we have learnt

to marry the two together. However, I believe the power will always be in live performances.” The last four years spent on the road, and the experience of previous studio releases, meant they knew what they were looking to create. “I guess we’re more experienced,” says McGruer, “and over the last four years we’ve really been enjoying the studio, and we’re really spending lots of time recording, and enjoying the process.” “Absolutely nailed it on the head there,” Kora adds. “This time around we have created a theme or a world, and it has allowed us to really show our personalities. We have invested a lot of time, money and learning into the engineering side of things and allowed ourselves time. However long it takes to get it how we want it.” Kora’s debut was a reggae dub beast heavy on the grooves. There were elements of metal and flashes of all other kinds of things. When Kora hit the stage, it’s a set built around grooves as much as anything. “With the albums,” McGruer says, “we always work hard on our songs, and both groove and sound are important. In our band, when we write, everything comes off the groove, but the lyrics are completely important as well. We’re known as a vocal band, and we’re known as a groove band. And we’ve worked hard on both.” Kora agrees. “This is the trickiest question of all. Every song has a different process. I guess the key to Kora’s sound and songwriting is that we have no rules, but we all have in our minds what is us and what is not. There are five people that have five different feels, live in different parts of Aotearoa, and are into very different things. Approaching an idea to the boys and watching it morph in the mixing pot is very unique and exciting to witness.” On this record, the ideas evolved in the heat of a black hole. Pictures of the cosmos and the interstellar galaxies were hung around the studio. The world they’ve created on Light Years is all-encompassing. It’s reflected on tracks like Galaxy Express, Bring The

Long time Bowie collaborator composed and performed the album Apollo: Atmospheres & Soundtracks in 1983 for a documentary on the Apollo 11 landing. Eno recorded all the music with his brother Roger, and producer Daniel Lanois. Though the documentary was rarely seen after its release, the music also appears in 28 Days Later, Drive and Trainspotting.

PINK FLOYD If Bowie is the original starman then Pink Floyd must be mission control. Or Michael Collins. Set The Controls For The Heart Of The Sun is an early favourite, blurring the line between psychrock and improvised jazz-rock. And it must be one of the most played videos by rage guest programmers. There’s also Point Me At The Sky and a little album called Dark Side Of The Moon.

FLAMING LIPS Not only have The Flaming Lips released sci-fi themed titles like Transmissions From A Satellite Heart and Yoshimi Battles The Pink Robots, they also released an entire cover album of Dark Side Of The Moon with Henry Rollins and Peaches. And you thought the original album was trippy enough! It doesn’t stop there. Wayne Coyne co wrote and produced their own sci-fi film, Christmas On Mars. It was created over four years, apparently at times shot in Coyne’s backyard, and is as tedious as it is outright trippy. Sun and Little Star. The beds of synths only further the space exploration themes with sonic nods to ‘70s sci-fi. “If you listen to the album from the beginning to the end,” Kora describes, “you are invited into a world, a futuristic fresh sound and you are taken on a journey. Some of the boys have been studying astrology, Maori myths and legends which reference the universe, and we are coming to an end of an age. I just like the fantasy realm and how there is no limit to the universe. And stars and the cosmos are just cool!” It’s world-colliding, cosmos infused future funk. Kora are boldly going where no band has gone before. WHO: Kora WHAT: Light Years (Remote Control) WHEN & WHERE: Saturday 1 December, Natural New Zealand Music Festival, Red Hill Auditorium


Making friends with Bloc Party is just one of the triumphs of 2012 for Last Dinosaurs. Frontman Sean Caskey recalls some of the events so far to Tyler McLoughlan ahead of The Satellites Tour.


SET TO LAUNCH Rock-It Festival 2012 keeps things simple with two stages, keeping the quality up and clashes to a minimum – start planning!

MAIN STAGE 8.30-9.55pm THE BLACK KEYS 7.00-8.00pm BIRDS OF TOKYO 5.20-6.30pm JOHN BUTLER TRIO 4.00-4.50pm THE PANICS 2.50-3.40pm LANIE LANE 1.45-2.30pm LAST DINOSAURS 12.40-1.25pm SAN CISCO 11.40am-12.20pm ABBE MAY

KONG’S ROCK’N’ROLL SHACK 7.10-8.10pm ROYAL HEADACHE 6.05-6.50pm GRAVEYARD TRAIN 5.00-5.45pm BROTHERS GRIM 3.55-4.40pm ollowing a lengthy incubation period spent honing their danceable indieguitar pop, Brisbane’s Last Dinosaurs kicked into overdrive with the release of debut record In A Million Years this March (the album was just recently re-released as a tour edition, featuring remixes from Grum, What So Not and Yacht Club DJs), and they’ve been steadily consolidating their Australian fanbase whilst paving in-roads to the European market since.


‘[We’re] pretty happy,” says Sean Caskey of the response to their album. “The UK stuff’s just about to happen now, like they’re about to release our song [Zoom] and our album’s gonna get released after we come back [from a European tour], so that’s gonna be exciting to see how it goes. And obviously we’re in a different phase in Australia – we’re about to do an Australian tour and that tour’s selling like crazy, so everything’s really good and everyone’s happy,” he states, clearly chuffed. At first Caskey interprets

enquiries about the record’s response in terms of sales, though it’s not something he likes to focus on. “I actually don’t know how it’s gone to be honest; I don’t want to concern myself with those things ‘cause it will make me either big-headed or depressed. I’d rather just keep doing what I’m doing. Generally we sort of stay out of that stuff; we probably should be more aware, but I dunno, we’re just lazy. And we’ve got other things to think about anyway,” Caskey says, mentioning that reviews are something he generally steers clear of too, though every now and then one will get him thinking. “I ended up finding [a review] that I already knew about, and I read it and I was like, ‘Ohhhh,’” he says with a drawn out groan. “It was, like, not even that bad – it was not even harsh or anything, and everything he said was definitely correct and

There’s more to this story

on the iPad

I agreed with everything he said. I just felt like an idiot though, like I should have – I wish they’d told me these things before I did it, not after!” Some momentary misgivings from the odd review are merely trivial, though, for Caskey and co when placed alongside the unexpected yet ongoing public encouragement from Bloc Party, particularly the Twitter props of guitarist Russell Lissack. Considering the shared appetite for riff-heavy guitar-rock melodies, it is high praise indeed. “It’s insane – I think about it and I’m like, people dream of this stuff and this just happened for us. I’m very, very grateful though because the things that he’s said have been so useful because it’s sort of like leverage for us in the UK, like it makes people give a shit slightly because Russell’s playing [our album], you know. And I said that to him, I’m like, ‘I really appreciate what you’ve been doing’,” he says humbly. Visiting Australia this past winter for Splendour In The Grass, the British heavyweights backed their online ruminations by inviting Last Dinosaurs to support their intimate warm-up show at The Zoo in Brisbane and spending time with the up-and-coming youngsters. “Oh, it was the best thing man. The Zoo was sick,” Caskey says with sheer joy. “I saw all the Bloc Party guys were watching us and I was like, ‘Fuck, that’s awesome!’ And Russell was saying he

insisted everybody came back early so that they could all watch us because he is so keen, and then afterwards he was talking to Lach [Caskey, guitarist/ Sean’s brother] and he was asking if he could teach him to play Zoom and stuff. After Splendour he got us and their band to take us to the after-party and then I drunkenly gave him my email, and we’ve been keeping in contact and stuff, which has been awesome.” Having just returned from their second UK trip for 2012 – which this time extended into France, Germany, Belgium and Holland – Caskey is aware of the difficulties of breaking foreign territories from Australia. “It’s exciting; the only thing is that it’s completely out of our hands ‘cause we can’t build it up ourselves. We can’t go around to these cities time and time again and try and impress these people. But we do have an amazing label: Fiction are awesome, they’re doing a very good job, but it’s completely up to them to get us played on the radio so that we can play to people. But we can do our side of the job; we know we can do that. Like, we can play a good show.

We’re just gonna try very hard to impress these people…” And thus far, even prior to the release of In A Million Years in the UK, Last Dinosaurs have been doing just that. “The Guardian – that was intense,” says Caskey seriously of the influential Band Of The Day accolade from the British press that used Last Dinosaurs to support the argument that indie-guitar rock is still relevant. “When we first got there everyone was over the moon because the most critical guy there who apparently just tears people to pieces, he wrote something really, really good about us on like the second day that we arrived, so the whole label was so happy. So hopefully that continues.” Back in Australia, audiences can expect a well-oiled Last Dinosaurs machine to roll through the nation on The Satellites Tour. “We always open the set in Australia with Satellites, and it’s just like a trip to walk onto so it made sense to call the tour Satellites,” Caskey says of the tour namesake, a mid-album, dreamy segue track that also marks the first real opportunity for Last Dinosaurs to give their underage crowd a turn.

“I can’t wait, because we’ve had a following for a while and we’ve never been able to cater to those audiences, because it’s sort of a risk booking for underage shows, because a million kids will say they’ll come and then two kids will show up, you know? Children these days are too unreliable! It’s gonna be good though,” he says, looking at the run of dates scheduled before exclaiming: “The Metro [in Sydney] is sold out, which is fucking crazy ‘cause that one’s huge… I can’t believe it actually.” Amongst all the international happenings for Last Dinosaurs that will keep the momentum of In A Million Years rolling on for some time yet, Caskey continues to write new material. “Well it’s weird,” says the frontman, attempting to describe the vibe of his new work. “Like, we don’t know because I’ve just been making songs just for the sake of making songs… I’ve been trying to make Dino songs and nothing happens, so I’ve just decided to make whatever’s in my head. I dunno, some of them are like Deerhunter-ish, which the other guys like,” he admits, stating the challenge of writing on the road has added a new dynamic. “I don’t really have time to sit down in a hotel room and set up my amp and my pedals to do the loops and stuff, which I normally do, so it’s all been chordal-based with lyrics. So some of the new stuff’s been more about the chords and the lyrics rather than the melody, which has been interesting, but it’s not really working ‘cause they turned out to be country songs. It’s not even exaggerating – that one in particular turned out to be a country song!” he laughs, surmising that it could make for an interesting B-side at some point. Either way, Caskey is keen to outdo his efforts second time around. “I’m actually really excited to do a second album, itching to do a second album. Not that I’ve got it up my sleeve or whatever – I’ve still got to write it – but I seriously think it will be, not way better, but I think we can definitely step up and do something a bit better than what we did before. ‘Cause we’re still really young… I feel like the next years we’re just gonna keep going up, and I’m lookin’ forward to that.” WHO: Last Dinosaurs WHAT: In A Million Years: Tour Edition (Dew Process/Universal) WHEN & WHERE: Sunday 28 October, Rock-It Festival, Arena Joondalup



AVAILABLE NOW “Owing as much to Kurt Cobain and the Ramones as buddy guy and John Lee Hooker, indebted to hip-hop and psychedelia, his shape-shifting calling card EP is grounded in tradition while standing on the brink of change.” – Rolling Stone Magazine “This singer-guitarist may be the next Hendrix…churning his distorted strings into a euphoric moment of psychedelia.” – The New York Times




TRIFORCE As Australia’s premier (and probably only) three-part harmony geek comedy act, Tripod are almost an institution. Yon, the shortest of Tripod’s three mighty limbs, has a chat with Callum Twigger about being in a band, the Internet, and Dungeons & Dragons.


lthough they’re ostensibly a comedy trio, Tripod’s act is entangled in nerd culture. “Scod was always a big Dungeons & Dragons player. I’d played it a little bit at school, and so had Gatesy. The only time we all ever played it was when we stated writing our show about it, and we thought some good ideas could come out of it. I wouldn’t do it as a thing I’d do every week, because I like the idea of it being special. Like drugs. In the right state of mind, at the right moment.” Yon pauses to clarify, before adding, “don’t do drugs, kids”. Their most recent major production, Tripod Versus The Dragon, was taken all the way to the United States, and was originally intended

as a tribute to the seminal role-playing game system. “When we went to America in 2010, what became Tripod Versus The Dragon was still called Dungeons & Dragons: The Opera, says Yon. “At the start, we were going to call it that. We were kind of hoping to get permission from the people who own it, and it was really annoying because we had no contact from them. “We were in the middle of nowhere, doing this sort of Arts Development at the Massachusetts Institute of Contemporary Art where we were Artists in Residence,” he explains. “And even though we were out in the middle of nowhere, after people heard about the name of our gig, they flocked in from all over. We had almost 500 people at the Massachusetts Institute in the middle of nowhere watching Dungeons & Dragons: The Opera”, Yon says, evidently glowing with pride. “We didn’t really have a profile in America,” he insists, and yet, the trio have character namesakes in a Star Wars novel called Force Heretic II. “Oh, that? It is pretty awesome. It’s pretty damn good. I haven’t actually read the whole book,” he admits. “We actually just found out about it. Someone drew our attention to it. “Apparently the fella who wrote the book is a Tripod fan; he thought he’d just sneak it in. thought it would get under the radar of the almighty George Lucas, and it did. Who knows. Maybe even George Lucas saw it. That would blow me away.” Alas, according to Wikipedia, the canonicity of Yon, Gatesy and Scod in a galaxy far, far away is disputed. Sketch comedy is an intense mode of performance; musical sketch comedy even more so. But Tripod have maintained a relentless touring and performance schedule that – in addition to their solo shows, feature skits on national television, and studio recording – sees them tour the country at least twice a year. “I really don’t know,” Yon responds when asked about where the three performers draw their material from. “We just get together and try and think of something that makes each other laugh. Sometimes its stuff that happens to us – my stuntman was a woman, for example. Other things are just completely made up, or just bullshit we’re mucking around with.” Would Yon have anticipated the band lasting for over 15 years? “I would have gone, ‘Oh cool, that was kind of what I would have hoped would happen’,” Yon replies. “But… I also remember thinking at the time that this has only got five more years left in it. That’s generally what I think at any given time. And here we are, five years later, five years later, five years later.”


Having spent over a decade performing on TV shows like Channel 10’s Skithouse and ABC’s Sideshow, touring the country, and writing songs for live performance on radio in less than an hour, Tripod’s Scod (Scott Edgar), Gatesy (Stephen Gates) and Yon (Simon Hall) are veteran entertainers. “How did we form? We were all involved in amateur musicals, in the suburbs of Melbourne,” Yon explains. “I met Gatesy through another friend. We were forming a band, and we needed someone who played guitar. You get treated like shit when you’re a musician and you’re just starting out. You’ll take any gig, and they don’t pay you, and then they’ll double-book you. A year or two after that, I met Scod. The character Scod was playing in the musical had a guitar. It was Man Of La Mancha, a play about Don Quixote,” Yon recalls. “We just started busking and not taking it that seriously. Just doing it for fun, because we had other things that we were doing. Gatesy rejoined the two of us in ‘96. He’d just finished a job at Draculas (the restaurant), and he thought, ‘I want to keep doing lots of singing, so I’ll join these guys’. And that’s when started to get a bit more serious about it I suppose. There was chemistry between us, because we’re each quite different”. Triple j’s now-defunct Merrick & Rosso program had the band composing an entire song in less than an hour based on a couple of key elements submitted by the audience, every week for two years. The best of these improvisations were collated into About An Hour Of Song-In-An-Hour. Following the success of both About An Hour records, 2004’s Fegh Maha and Middleborough Rd, are probably Tripod’s best studio records. The trio’s fifth and sixth albums are each a fairly ridiculous almanac of sketches, anecdotes, and occasional poignant excursions into perhaps deeper questions. Boobs’ premise, for instance; “I typed my own name into an Internet search engine/and all I got is boobs/there goes my day again/there goes my day again”, pretty much sums up the three days spent procrastinating instead of writing this article. From a geek culture standpoint, Hot Girl In The Comic Book Shop is both poignant and relevant almost 10 years later; likewise with On Behalf Of All The Geeks, a track that anticipated the shuffling emergence of geek culture into mainstream popular culture’s bright sunlight. “I do have a theory about that,” says Yon of the popular revival of dork literature like The Avengers and Lord Of The Rings. “I think it’s the Internet. Everyone knows how to use a computer. In the early ‘90s, if you knew how to use a computer, you were a complete nerd. Whereas now, everyone has to use one. It’s easier for nerds to meet each other, and they’re more confidant. I remember in the early Tripod days, people at our gigs, the only thing they had in common was that they knew Tripod. The Internet helped nerds unite,” he concludes. WHO: Tripod WHEN & WHERE: Friday 9 & Saturday 10 November, The Quarry Amphitheatre, City Beach

16 • For more interviews go to

ROYALE WITH KEYS One of the breakout Australian bands of the year, Sydney punk rockers Royal Headache prepare to unleash their frenetic melodies on WA audiences for the first time at Rock-It this Sunday. Kitt Di Camillo speaks with guitarist Law ahead of their upcoming national tour with The Black Keys. he self-titled debut album by Royal Headache left the band surrounded by the kind of hype most groups spend their entire career trying to create. Hype recently cemented with their Best Independent Album win at the Jagermeister Independent Music Awards. In a thriving Sydney garage rock scene, the four piece of Law [guitar], Joe [bass], Shortty [drums] and singer Shogun have felt the international music spotlight shine down on them recently, with everyone from The Black Keys to Pitchfork jumping on the bandwagon. Fast, stinging punk rock headed by Shogun’s strikingly soulful vocals, Royal Headache are quickly becoming one of the most exciting acts in Australia.


Keeping the balance between maintaining their happily lo-fi origins and entertaining the temptations their burgeoning success brings them has been a difficult act to get right so far. “As soon as people start offering you large amounts of money to play a certain show somewhere or do certain tours and stuff like that it becomes like ‘Well, I guess I could take two or three weeks off work and do that’,” admits Law. “We had a couple of labels come at us recently and yeah, it kinda made your head scratch a little bit like ‘Wow, we could really go into this, do this as a full-time job if we wanted to’. We’ve got the opportunity to but we’re just not sure if we wanna do that at the moment.” The band are about to embark on their biggest tour yet – supporting US blues rock heroes The Black Keys on a stadium tour across Australia. For a band renowned for their sweaty, smaller venue punk shows, the tour represents the biggest change yet for the band. “This is pretty much our first really big tour,” ponders the laid back guitarist. “We haven’t really thought about it too much actually, just going about it the same way we usually prepare for a tour… It’s gonna be pretty surreal playing all those entertainment centres and stuff like that. Just wait and see what happens I guess!” Following the tour, plans are already in place for recording to begin on the second album. After the difficult gestation of their debut, the Sydneysiders are hoping for an easier outing secondtime round. “Hopefully it’ll be out by the end of our summer, about February/March,” offers Law. “[The new songs are] sounding really good. They’re sounding a little bit more matured. There’s a couple of slower songs coming in, not as fast and not as rushed as our first album. We’ve still got the fast punk songs, but we’ve got a more laid back kick now as well. Which is really nice.”

are quite comfortable where they are. All four go by their one-word nicknames and are almost proudly unfashionable. “There’s no pose at all”, he explains. “I can’t see us changing. I can’t see Shogun changing, I can’t see Shortty changing. We are who we are. We’re never gonna wear the same outfit or go get sponsored by Puma – It’s never gonna happen. The way I see it we’re still four punk kids playing punk music, and it’s always gonna be like that. If it ever stops being like that, we’ll probably break up.” WHO: Royal Headache WHEN & WHERE: Sunday 28 October, Rock-It Festival, Arena Joondalup


Dj Set

There’s more to this story on the iPad The evolution in the new material comes as no surprise. The hectic punk-rock of their debut only barely scratched the surface of the group’s wide range of influences, with each member’s distinct tastes creating a smorgasbord of music to draw from. “Personally, I’ve just been listening to a lot of disco,” enthuses Law. “A lot of ‘70s, a lot of that. I’m not sure it’s gonna translate into Royal Headache or anything like that. Everyone’s really got their own thing going on; Shogun loves his metal and his punk, and Joe loves all his cock-rock and glam and his power-pop. There’s a whole fuse of things going on. We don’t all listen to the same style of records really; it’s kind of all over the map, which is really good.” One of the key drawcards for Royal Headache is the voice of lead singer Shogun. With Law’s frantic guitar playing and the subtly pummelling rhythm section behind him, Shogun croons out front with a set of vocals unlike anything else in punk rock. Critics latched onto his Motown-esque singing from the outset, and it’s something Law himself is clearly in awe of. “Shogun really comes in a lot with his vocal delivery that comes through in a lot of the songs. Like that Motown sound is mainly Shogun’s. His vocals are in some ways like a really strong, powerful African-American lady, like it’s incredible! I mean there’s not really many other bands that have that sort of voice, you know? That really powerful voice that’s got such a good range. It’s just a really powerful asset for a band.” It’s something that has helped bring the band to the attention of the infamously picky Pitchfork. The US indie music website stamped the group as one to watch from early on, and later gave the album a high score. Pitchfork has been known to make and break bands in the US, and the significance of the good review wasn’t lost on the band themselves. “It was pretty flooring,” suggests Law. “I guess it’s one of those websites where it’s like a badge of honour if you get a high score or something. But to be honest we don’t really pay attention to that stuff, those reviews and stuff like that. As long as we’re happy with the record, I’m more than happy.” Not everyone in the group were as thrilled when the news came through though. As befitting their laid-back outlook, drummer Shortty initially had never heard of the site and couldn’t understand the fuss. “Yeah, Shortty our drummer, he’s not big on the Internet I guess,” laughs Law. “He’s a little bit older than us as well, so he’s just a little bit confused about why there was all this hype about Pitchfork and stuff like that. He was like, ‘Well, what is Pitchfork? What’s it meant to be?’” The US in general is a place that continues to warm to Royal Headache. The band toured there for the second time this year, and noticed a marked change in the response. “It was a big contrast, ‘cause the first time we went there no one knew who we were and we were playing to maybe five or ten people. I remember one night we played to pretty much no one, we started playing and there was no one in the crowd. But this time we went there maybe six months or five months after that first tour and it was the complete opposite – everyone knew who we were, we were getting really good responses everywhere and it was fantastic.”

VILLA Doors open 10pm with

Blend, Audageous, Metric DJs Early birds: $35+bf from Moshtix VIP: $50 from the Boomtick SHOP Management reserves the right to refuse entry. 18+ ID required. | | |

The band are refreshingly down to earth, and unlikely to change. According to Law, each member still works nine-to-five jobs, and

For more interviews go to • 17

HIGH FIVE With a reunion everyone can get behind, North Carolina trio Ben Folds Five is back, making music, touring and helping the world evoke 1996. Ben Preece chats to bassist Robert Sledge ahead of their Australian tour. nless you’ve been living under a rock this year, you’d notice on many a gig guide band names that you haven’t seen in over a decade which probably thought you’d never see again. On one hand, there are some absolutely cringeworthy mentions – Vengaboys, Aqua, Eiffel 65, S Club and so on – that are quite clearly a money grab, but also on the opposite end of the spectrum are older names that are a welcome “comeback” – Prince, Radiohead, Nada Surf, Cake, Beck and, of course, a name that evokes something beyond joy itself; Ben Folds Five.


Aside from a brief encounter here and there, it’s been a good 12 years or so since the three – Ben Folds, bassist Robert Sledge and drummer Darren

Jessee – last made proper music together, breaking up amicably after the tour in support of their third (excepting 1998’s outtake compilation Naked Baby Photos) album, The Unauthorized Biography Of Reinhold Messner. We all know that Folds went onto a fruitful solo career, but the other two lived life a little more lower-key. Jessee formed the much-lauded folk band Hotel Lights while Sledge settled for a life a little more simple. “I immediately wanted to take a big break from touring and, well, from the music industry in general and specifically,” Sledge confesses. “I was just really burnt out. Before I joined Ben Folds Five, I’d been slogging it out with this old band I had called Toxic Popsicle kind of regionally for a few years, and going to college. And then I joined Ben Folds Five and we started touring. So really when we split up, I didn’t want to do anything but have a recording studio and record some local bands and just kind of be laid back. I produced some local records for about five years, then I raised a family and I became a teacher and didn’t really have my eye on touring very much, I just played with a lot of local artists and stuff. So yeah, a reunion was good timing because I was getting a little restless.” First there was a show, a one-off appearance in 2008 at the Memorial Hall in North Carolina, then again in 2011 to record three songs for a Folds’ retrospective – The Best Imitation Of Myself. It was then that fans began to speculate of a reunion proper, one that would see perhaps a full-length record emerge and, if we were lucky, some shows. Well, dreams do come true, and the band entered the studio at the end of 2011 and emerged with their fourth proper album, The Sound Of The Life Of The Mind.

There’s more to this story on the iPad “We all got to concept what we wanted to do and yearned to play with each other again privately,” Sledge explains. “It took a while for the timing to work out after we did the Memorial Hall show in 2008, it really took four years for it all to come together as everyone just had so much scheduling. The playing is falling back into place too,” he laughs. “I haven’t stopped playing; I play all the time. The attitude is certainly different and my body is totally different. My attitude is coming into place and my hands are coming into place, but my body needs a little bit more public exposure before it fully cooperates.” As Sledge explains, once the fingers loosened up and the comfort eventually set in, playing together as the trio of old became second nature once again. “It was very much like putting on an old jacket that still fits, perfectly. It really was kind of great because I think everyone felt it too. It was interesting how quickly we fell into the interplay, us kind of going around and around – who’s going to show off next. Because we did a couple of tracks for the retrospective, we were fairly confident that we could get in a room and just play together. All of us were really craving a good chunk of time to do something substantial – it was kind of hard for us to get in and just do a couple of songs, that didn’t feel like enough. It was kind of the same as it ever was; Ben might come in with an idea that feels kind of fragile at first, it’s just a small idea that he really wants to develop really fast. Ben works really fast. So we might go over 10 songs in the space of an hour and then 10 more songs in the next 30 minutes after that. I was really unaccustomed to that, and so when we started doing this, it felt like a big abrupt start for not a whole lot of finish. But it was just really getting back into our process. I think once we got used to each other and our playing again, it just kind of clicked and things fell into place really well. You could actually begin to see what the end result would look like. The main thing with us sitting in a room and playing and feeling free in a way jazz musicians or jam bands might – you know, people who are very musical at their core and not very production-orientated – is the energy that comes from inside the group and our inner player, and that just takes a little bit of time to re-establish.” Sledge agrees, it really does feel like the ‘90s again. Not only because he and his BFF cohorts are back making music together, but also because he will be running into some of his old friends come Harvest Festival time. “We stayed in touch and it’s funny how the old stories come up and all have different perspectives now. But we’re just as silly as we ever were and have our own inside jokes, like most bands do. We get in a room and just start giggling,” he says. “But there are reunions and resurgences of ‘90s outfits all over the place currently. You know, I’m not sure if Cake are back out on the scene or stayed out. I haven’t kept up with them but it would sure be good to see them again – we were always kindred spirits with them and played a lot of festivals and shows with them. Beck, he’s another. We played tonnes of shows with people like Beck, we played with him a lot. Not because we were buddies or anything, but because we were cracking the same thing at the same time. Seeing that lineup [for Harvest] felt like Livid Festival all over again, Beck, Cake and us – it’s going to be quite the party!” WHO: Ben Folds Five WHAT: The Sound Of The Life Of The Mind (ImaVeePee/Sony) WHEN & WHERE: Wednesday 14 November, Fremantle Arts Centre

18 • For more interviews go to

OUT OF MIND EXPERIENCE Leave Your Soul To Science sees the return of indie-rock favourites Something For Kate, and Cam Findlay sits down with frontman Paul Dempsey to talk shop, getting back in the SFK groove and wasting time on lyrics. t’s great, it’s putting on an old T-shirt,” Australia’s favourite lanky musical gentleman, Paul Dempsey, answers affably on the topic of Something For Kate and their first release in four years. That’s not to discredit other Australian lanky musical gentleman, however; over the years Dempsey has just seemlessly and impressionably pulled it off to a great extent. “There’s familiarty and comfort,” he expands on the analogy. “It’s good, it’s nice.”


Leave Your Soul To Science is Something For Kate’s eleventh album, counting various B-side compilations and live issues amongst their studio long-players. It sees the trio of Dempsey, his wife and bassist Stephanie Ashworth and drummer Clint Hyndman return after working on their own projects since 2008’s exceptional live album, Live At The Corner. Dempsey, for one, embarked on a greatly succesfull solo tryst, taking his first album, 2009’s Everything Is True, around the country. Entering the space of communal songwriting has been a breath of fresh air for the hard-working artist. “I guess in both cases it sort of starts with me sketching something out,” Dempsey details the workings and differences between writing solo and with the band. “I guess when it’s solo stuff, I sort of have to take it all the way to completion by myself. Whereas on Something For Kate Stuff, Clint and Steph get involved and that changes it a great deal in ways – they make decisions and choices about songs that I wouldn’t necessarily have made on my own, so by the time the three of us are done with something, it just naturally sounds like Something For Kate.”

generally about and it’s kind of up to the listener how far into it they want to delve and how much they want to reconnect the dots, because that’s the kind of lyrics I like. I like lyrics where there are many little dots to be connected, and it’s kind of up to you whether you do or not. It can work on a pretty superficial level, and then it can also work on several other levels, depending on the amount of time you have to waste.” WHO: Something For Kate WHAT: Leave Your Soul To Science (Capitol/EMI) WHEN & WHERE: Saturday 27 & Sunday 28 October, Fly By Night

As natural as Leave Your Soul To Science is, it admittedly is an entirely different beast. The last few years did see the various members settle down, at least in the aesthetic sense. There’s less of the vaguely sinister tones and obscure literal hobnobbing of previous SFK albums and favourites like Echolalia; in its place more of the introspective dealings that started to appear from 2006’s Desert Lights. “On this album they’re probably a little more involved in different ways, and it’s hard to put my finger on it but they just feel quite different to our previous records,” Demspey shares of the variance in tracks on Leave Your... “Obviously, in the last five years I’ve been playing with lots of different people, Clint’s been playing with lots of different people and our general styles have changed quite a bit, so there’s something about playing these new songs that just doesn’t feel like the way we used to play our old songs.”

There’s more to this story on the iPad One natural developent in Something For Kate’s reportoir that’s obvious on the new album – and one that you really can’t blame them for – is the expansion of the old SFK sound through effects and studio development. “Yeah exactly, we sort of in turn… You know; ‘Here’s all these other little boring side effects that probably nobody really gives a shit about, just things like having to invest in all these different effects pedals and toys and then figure out how to use them all in a way that makes sense’,” Demspey laughs with more than a little joking self-deprecaiton. “We’ve just been having all these rehearsals lately, where i’m trying to figure out how to program all these stupid pedals and trying to get all the sounds right and then trying to build this pedal board that looks like a spaceship.” The other side of the coin, so to speak, is of course the lyrical content of the new songs, something that deinfitely resides in a place of passion and pride for Dempsey. Dempsey has openly and candidly talked about his battling with depression, and has inadvertantly become something of a role model for others who suffer from its debilitating effects. Songwriting has been, and in ways still is, his way of dealing with those demons. “When I’m writing, I just feel like I don’t know what I’m doing, I feel like I’ve never written a song in my life and I don’t know how I’m gonna write lyrics, and I don’t know where to start or what to write about,” he tells admittedly, but still with that wry sense of humour. “And then I don’t know what happens, I just spend hours scribbling and scribbling and all I know is that at some point it’s done. And then I kind of look at it and go, ‘Wow that’s finished’, and I feel pretty good about this, and I think it works, but I have no fucking idea how I did it. And then I’m back to feeling like I’m an idiot again who’s never written a song in his life and I don’t know how I’m possibly ever going to write another one. “It’s just really hard to explain – I don’t know where or why or how I get started. It all begins with music: music I can write really easily. Every time I pick up a guitar, I write another piece of music and then I’m sitting there going, ‘Okay. Shit, now this needs lyrics, how the fuck am I gonna do that?’ Somehow six months later, there will be lyrics and it’s hard to tell you how they got down.” The eventuating lyrics are a mixed bag, to say the least. There’s the strikingly relative and emotional, like Captain (A Million Miles Away) from their debut album, Elsewhere For 8 Minutes: ‘I built an aeroplane/It was just like the real ones that I saw when I was younger/But it was too small for me/To crawl inside the cockpit and fly away”. Then there’s Hawaiian Robots, a B-side that appears on Phantom Limbs, in which Dempsey loudly croons ‘I’m better off as a robot, I’m better off in Hawaii” in way of a chorus. “Often there’s a few, kind of, overlapping stories or ideas [in the songrwiting], and i’m not gunna bullshit here – sometimes it is just pure abstraction,” Dempsey chuckles. “I think with a lot of my lyrics you can probably get the sense of what the song is


DAY BY DAY It’s been 20 years, six months, and 21 days since 3 Years, 5 Months and 2 Days in the Life Of… dropped Arrested Development right into the thick of pop relevance. Frontman Todd Thomas AKA Speech discusses with Rip Nicholson the band’s longevity and the current state of conscious hip hop.


es, it really has been that long since Arrested Development broke through to the mainstream. Now the band is in celebration of this platinum milestone, which includes taking part in Sydney’s upcoming Cockatoo Island Festival. “This has been a really big highlight in our career,” emphasises Thomas. “We feel like the fans have really been with us for 20 years, and this particular year, with the shows we’ve been doing, the fans have really shown their appreciation. And there is something about the fact that we persevered and stuck with our message and our vibe, which the fans are really resonating with. It’s one thing to do 20 years; its another thing to actually stick with your guns – musically and conceptually – from what you first started with. [That’s] what I think makes it so special.”

It took 3 Years, 5 Months And 2 Days… for Arrested Development to score their first record deal, giving them the title of their debut which was released in March 1992. The following year they collected two Grammy awards and topped Billboard’s album and singles charts; they etched themselves into the Rock & Roll Hall Of Fame and Rolling Stone and Village Voice voted them their respective best band of 1993. While this measures supreme industry success, Speech boils their immortality down to affirming their positive influence onto a culture widely stickered with Parental Advisory warnings by this stage in hip hop’s tryst with American history, inspiring well-known acts out of their hometown of Atlanta, Georgia. “And they all came after us. You know, to me I feel like we opened the doors for groups like that,” opines Thomas on the influence his group laid out for hip hop, particularly in the Southern quadrant. “Goodie Mob – the fact that we came out first gave them a chance to come out and get a major label deal, in my opinion. Same with OutKast, Erykah Badu. I think the closest thing to what we did was the (Pharcyde’s) Labcabincalifornica record or maybe the Fugees (The Score) record. I think when Lauryn [Hill] talked about Zion [in To Zion], it tapped into some of the movement that Arrested Development brought to the table. Theirs is a movement, not an alternate to gangsta rap, but a more Afro-centric representation of the other side of the dark moon with which rap has been portrayed. “I think it definitely was a cause to more than represent it. I wouldn’t call our style an alternative to gangsta rap but definitely a representation of other styles,” says Thomas, clarifying Arrested Development’s position. “So, there’s a difference because to me alternative means its either-or. And to me, what we wanna do is say, ‘No, there’s other sides to this. Check it out!’” The most recent work of Arrested Development is packaged in their free-to-download mixtape Standing At The Crossroads, which, as their website reads: ‘signifies the degradation of the rap genre 20 years on from their debut.’ Stand-out track My Reflection carries with it a line to surmise where Speech and Arrested Development stand today; “If Jay-Z is Jehovah then I’m the antiChrist / and if making mad dough is living, I’m the anti-life.” “I actually like Jay-Z, but the truth is there’s more viewpoints to it,” Thomas explains. “Sell drugs, get ahead by selling drugs, start your label by selling drugs, then once you’ve made your money from selling drugs and you’ve got a nice record label and you buy some nice cars, then you really blow up and be an international mogul and just brag about all your riches while the rest of us all squalor in the mud That’s not my version of hip hop. To me my reflection is, ‘Gosh Jay-Z, you’re rich! But what about the people that decided not to sell drugs to make their living?’ I think people have forgotten the perspective of when you’re selling drugs, you’re selling drugs to the same community you’re in, so you’re killing families. That’s why to me the song Reflection is like, ‘What about the rest of us who ain’t living like that?’ I’ve done well, but I’m not living like Jay-Z by no stretch. I still take out my garbage every Thursday. So this record talks about some of the other viewpoints that get left behind in the present day hip hop population.” After the success of 3 Years, 5 Months and 2 Days… carried the 10-plus group internationally, Arrested Development released their sophomore album in 1994, Zingalamaduni – a shadow of merit that sold poorly when compared to their first. Within two years the group disbanded, Aerle Taree forgoing his part in the group due to vocal constraints and DJ Headliner walking away with bitter disdain over finances. Speech advanced solo and Arrested Development did not record another full length until 2002’s Heroes of the Harvest. Despite the break-ups and make-ups, they furthered their catalogue with a handful more releases and today Thomas feels the reunion is in full strength. “To me it feels more together than ever,” he beams. “The reason is because the passion of the group is the same, the mission of the group is the same but we have some new blood in it and that just makes it even more exciting and more fresh. It feels real – very real and very authentic.” And rather than rekindling what once was, Thomas explains, “It’s more about two things. It’s about reflecting and celebrating the music we’ve done over the years with a lot of our classics, especially the first album. We’re celebrating it. We feel very confident about what we’ve accomplished. And then at the same time we’ve got 13 new songs that we’re gonna give away free to fans. We’ll do stuff from that because it’s brand new and in my opinion does have a very current feel to it. I think between those two things, that’s what I feel this tour is all about. It’s about celebrating the music, celebrating 20 years and at the same time showing some new stuff that will interest people in the future.” In 2007 Arrested Development toured with INXS and Simple Minds, and in late 2011 they graced our shores again for Sydney’s Raggamuffin Festival – an experience which fed into their new album by way of stand-out track Raga Coolangatta, inspired by general rap wordplay created in the beachy town of its namesake. Thomas also found the Australian hip hop scene to be very refreshing, separated from the overhype of most rap materialism.

TOURING OCTOBER Fri 26 - The Astor - Perth (ALL AGES) Sat 27 - The Prince of Wales - Bunbury 20 • For more interviews go to

“You guys are one of the saving graces of hip hop,” declares Thomas. “Anyone who really understands the art of it and loves the art of it and lives it, when you get to Australia it’s a breath of fresh air. It’s a desert and you find an oasis. There’s a few other places like it, but there’s not many, and we appreciate it.” WHO: Arrested Development WHAT: Standing At The Crossroads (Vagabond/EMI) WHEN & WHERE: Saturday 3 November, Metro City








The first single, Keep My Cool, from Melbourne threepiece Aluka, was recorded in a stairwell one freezing August morning, the unusual location just one of many producer Nick Huggins chose in which to record the girls, such as a public swimming pool, a barn and a WWII bunker among others, utilising innovative mic’ing techniques.

DAVID JONES WORKSHOPS COLLARTS For those in Melbourne this week, David Jones is conducting a workshop at Collarts- The Australian College of The Arts – for secondary school students and musicians of all instruments and all levels Saturday 27 October. The awardwinning master drummer, who is Collarts’ Artist-in-residence, will present the workshop from 3 to 5pm, at Collarts, 55 Brady Street, South Melbourne. The workshop is free.

KOSMIC SOUND WINS WEB AWARD Perth’s Kosmic Sound is proud to have won a prestigious Australian Web Award in the category of Best Overall User Experience. Kosmic was the only music retail site to feature in the awards. Kosmic currently have super deals on Gibson, Epiphone, Mackie and Behringer gear. Go to for more information.

GUITAR FACTORY PARRAMATTA AMP DEALS Guitar Factory in Parramatta recently opened their new amp room and are celebrating with great deals on Vox amps, such as the VT20+ at just $189 and the AC15VR at $375. They’ve also slashed prices on Yamaha acoustics, keyboards and drums. New in store is the Yamaha P105B digital piano at $749. Go to www. for more information.

SUHR AT GUITAR BROTHERS Musicians looking for something different to the tried and true brands may want to check out the range of Suhr gear at Guitar Brothers in Brisbane. Suhr make a great range of guitrs, amps, pickups and pedals. Suhr users include Mark Knopfler, Mike Landau and respected fusion guy Scott Henderson. Go to www. for more information.

WANNA BUY A RECORDING STUDIO? One of Sydney’s longest-running independent studios is up for sale. A fully operational recording studio based in the city’s south-west, 20 minutes from the CBD, it features a classic analogue desk, hard disc recording, low rent, long lease and parking. Easily operated as a co-operative, it’s a steal at around $73k, lock, stock and barrel. Call 0423 681 978 for details.

CREDITS Muso. Issue 2 - October 2012 Ph: 03 9421 4499 Fax: 03 9421 1011 584 Nicholson St Nth Fitzroy 3068 Website: Editor and Advertising: Greg Phillips Distribution enquiries: Layout & design: Matt Davis iPad edition: Dave Harvey Contributors: Reza Nasseri, Shannon Bourne, Baz Bardoe, Michael Smith, Marcel Yammouni, Joe Yammouni, Eamon Stewart, Mark Owen. Photographer: Kane Hibberd Published by Street Press Australia PTY LTD Printed by: Rural Press

Recorded over three sessions at Andrew McGee’s Empty Room Studios in Melbourne, when drummer James Baker was in Melbourne from Perth with his band The Painkillers, the eponymous album by Spencer P Jones & The Nothing Butts, featuring The Drones’ Gareth Liddiard and Fiona Kitschin, sees release Friday 9 November. Sydneysiders The Preatures recorded their second EP, Shaking Hands, at the LA studio, The Bank, owned by session drummer Joey Waronker (Beck, Elliott Smith, Jack White), with former Hives bass player, producer Tony Buchen (Tim Finn, John Butler Trio, Blue King Brown). The second album, To The Dollhouse, from Melodie Nelson, AKA Sydney musician Lia Tsamoglou, was recorded in Melbourne by Simon Grounds (Kes Band, Laura Jean) and mixed in Tasmania by Chris Townend (Daniel Johns, Augie March).

While the focus has been on the fall of the giant Allans + Billy Hydes retail group crash, we shouldn’t forget that we still have some great independent instrument stores in Australia. Something of an institution, Manny’s at 161 St Georges Rd, North Fitzroy has come of age! Manny and Gail Gauci-Seddon and staff have been serving Melbourne’s musician community for 21 years and still have the passion for what they do. Manny is a seasoned guitar player himself and knows what musicians want and that’s a vital thing today, knowing your customers. Muso salutes Manny’s.

GIBSON SETTLES WITH US DEPARTMENT OF JUSTICE The Lacey Act is a conservation law introduced by the American Congress back in 1900, brought about to protect native flora and fauna. Recently the law was amended, with massive consequences for those guitar manufacturers using exotic timber imported from around the globe. In 2009 and again last year, Gibson guitars ran into trouble with US authorities when shipments of timber from India and Madagascar were claimed in armed raids by a SWAT team. After a long and gruelling period of legalities, Gibson finally decided to settle out of court. CEO, Henry Juszkiewicz commented, “We felt compelled to settle as the costs of proving our case at trial would have cost millions of dollars and taken a very long time to resolve. This allows us to get back to the business of making guitars. An important part of the settlement is that we are getting back the materials seized in a second armed raid on our factories and we have formal acknowledgement that we can continue to source rosewood and ebony fingerboards from India, as we have done for many decades.” “We feel that Gibson was inappropriately targeted, and a matter that could have been addressed with a simple contact with a caring human being representing the government. Instead, the Government used violent and hostile means with the full force of the US Government and several armed law enforcement agencies costing the tax payer millions of dollars and putting a job-creating US manufacturer at risk and at a competitive disadvantage. This shows the increasing trend on the part of government to criminalise rules and regulations and treat US businesses in the same way drug dealers are treated. This is wrong and it is unfair. I am committed to working hard to correct the inequity that the law allows and insure there is fairness, due process and the law is used for its intended purpose of stopping bad guys and stopping the very real deforestation of our planet”.

Sydney fivepiece Strangers recorded their album, Persona Non Grata, with Shihad drummer, producer Tom Larkin.


like the cut of Silverchair drummer Ben Gillies’ jib. I’m not quite sure what a jib is or how best it should be cut, but I feel the phrase perfectly summarises my approval of how Ben has approached the creation of his debut solo album, Diamond Days. A drummer in an internationally recognised band steps out from behind the kit. He has a collection of unfinished, unconnected ideas from which he forms songs. Good songs. Happy songs. Playing drums on the album is almost an afterthought as he is too busy having fun laying down guitar, keyboard and bass tracks. He downloads an app, uses it on the spot to write music in the studio for a track which closes his album. Ben makes up a name (Bento) to call the project as he doesn’t want it to appear as a solo album. It’s an ad hoc mentality which on this occasion has paid off. The result is a quality pop album. I’m betting that the public will agree with me. Even if it hadn’t worked though, I get the feeling that Ben would

Black Sabbath are currently back in the studio with producer Rick Rubin (Red Hot Chili Peppers, Metallica, Slayer) working on the new album they began working on last year slated for release next year. Chicago cult punk heroes Alkaline Trio have begun recording at Blasting Room Studios in Fort Collins, Colorado, with long-time friend and producer Bill Stevenson (Descendents, Rise Against, Hot Water Music). The new album, Paradise And Lunch, from Ry Cooder, was recorded, mixed and mastered by Martin Pradler at Wireland Studios in Chatsworth, California, and Drive-By Studios in Hollywood, Cooder producing it himself. Former Comets On Fire member Ben Chasny recorded the latest album, Ascent, under his reconvened previous project banner, Six Organs of Admittance, at Louder Studios in California, coproducing with Tim Green. Sounding nothing like his former band TZU, Melbourne six-piece Texture Like Sun’s frontman Mark Pearl called on fellow former TZU member Pip Norman (Sparkadia, Ash Grunwald) to produce his new band’s self-titled debut EP, recorded over a year between Darwin and Melbourne’s Bounce County Studios. The EP was mixed by Dan Rejmer (Bjork, Foals, Paul Kelly).


Amber Technology today announced its appointment as the new exclusive Australian distributor for US-based tube guitar amp manufacturer Jet City Amplification. With the addition of Jet City Amplification, Amber Technology further expands its growing product portfolio of leading music technology brands. Founded in 2009, Jet City Amplification continues to expand its “design by Soldano” lineup of all-tube guitar amplifiers, featuring simple controls, cool cosmetics and sensible pricing.

AUDIO TECHNICA’S LP1240-USB Audio-Technica’s 50-year journey started in a Tokyo garage with a high-quality turntable cartridge, so the new LP1240-USB is something of a return to the company’s roots. Designed to deliver exceptional music reproduction even under the most demanding professional applications, the new turntable offers a host of high-performance features making it ideal for professional, mobile and club DJ use, and its sleek, gloss black design complements any home music system. Locally, the LP1240-USB is selling for around $690.

WIN A $1395 STERLING BY MUSIC MAN RAY 35 To celebrate the success of the Sterling by Music Man and S.U.B. series of guitars and basses, CMC Music is giving away a Sterling by Music Man Ray 35 to one of the first 500 visitors to like their new Facebook page.

FINDING THE RHYTHM In the new book, Finding The Rhythm In Music ( JoJo Publishing $49.99), Melbourne author Marla Swift presents readers with a new simple and precise method of learning how to understand and perform musical rhythm, explaining how to feel rhythm and combine this with the reading of music, giving a deep, instinctual understanding.

have been happy with the enjoyment he got out of the writing and recording process. This is my point … during a sad time in our industry where a huge instrument retail chain can fall, and it’s easier for the liquidators (who have no synergy with music people) to just close down the operation rather than negotiate a deal with interested parties and save jobs, it’s comforting to know that artists like Ben are still out there, oblivious to everything else as he creates his art. As long as there are Bens around, and as long as there are fine instrument stores out there, staffed by musicians who are serving musicians like Ben, then I think it’s all going to be OK.


BLUE MICROPHONES Blue Microphones, a leading innovator in microphone technology and design, announces “Free Fall 2012,” an in-store promotion at participating retailers through to November 30. During Free Fall 2012, customers who purchase a Bluebird, Baby Bottle or Reactor microphone instantly receive a free enCORE 100, 200 or 300 live mic. In addition, customers who purchase a Cactus or Kiwi microphone will receive a free Robbie mic preamplifier.


From Silverchair to production chair, Ben Gillies sits comfortably with his new solo project, Bento. Greg Phillips reports.


istorically, drummers and bass players have copped a raw deal with regards to their perceived creative contribution to a band - after all they’re just the rhythm section aren’t they? A prime example is Silverchair, one of Australia’s most successful bands. While the trio of drummer Ben Gillies, bassist Chris Joannou and vocalist/guitarist Daniel Johns have achieved the unprecedented record of having all five of their albums reach number one on the charts, it’s generally been frontman Daniel Johns who has collected most of the accolades. Once drummer Gillies decided he was going out on a limb and recording his own album, it was always going to be interesting to finally hear Ben’s own musical voice. Funnily enough, Diamond Days, Ben’s new solo project is not such a giant leap from Young Modern, the musical statement Silverchair left us with and says as much about that band as it does about Bento. Diamond Days is essentially the threading together of a myriad musical ideas Ben had lying around in his head or documented on tape over the last decade or so. “I have always been a writer,” said Ben. “I wrote a lot in the early Silverchair days. When Dan

changed his writing approach, I was happy to take a step back. That was after Neon Ballroom and was a lot of years ago, over ten years. I mean a lot of those older ideas kind of fell away but I always logged ideas either on a four-track or on my phone or little Pro Tools sessions. There were some almost finished songs through to just a chorus idea or melody idea or just a set of chords. Working on the record, I did combine a lot of those. Sometimes it would just be me in a supermarket on aisle 12, and something would pop into my head. I’d put the dictaphone on and try not to look like I was too weird humming a tune in the middle of the supermarket.” Bento is the moniker Gillies came up with to work under in an attempt to sway people away from thinking this was totally a solo record. Ben’s partner in rhyme was Eric J Dubowsky (Faker, Art vs Science), as well as a bunch of mates that also includes Papa vs Pretty’s Thomas Rawle. Ben uses the Trent Reznor/ Nine Inch Nails association as an analogy of what he was aiming for in describing his role in the project: “I really wanted to have a band name rather than just be Ben Gillies … and the Space Cadets ... I dunno! I don’t personally like the perception of being a solo artist.” Releasing a solo project was never a burning ambition for Ben, rather something he thought he just might enjoy doing one day. “I think I have always wanted to get into the studio and have a really good chunk of time on my own and work on my own songs, without record company pressure, and just be really free. When Silverchair decided to go



on an indefinite haitus, or long break until we feel the time is right, in a way it was a blessing in disguise. It gave me the chance and enough time to finally have that opportunity. There have probably been times in the past where I have had time to do that but because Silverchair is such a massive and awesome thing, there’s a lot of energy you have to give to it. Sometimes the last thing I’d want to do is go back in the studio.”

The result of Ben’s studio time with his mates is a joyous, upbeat pop album, abounding with positivity. The Australian Football League liked the vibe of Gillies’ first single, title track Diamond Days, so much that it became an unofficial soundtrack to their finals broadcasts. Ben describes the album as a patchwork quilt of those fractured ideas he’s collected over time. It’s those incidental musical notions that combine to make this such a sonically absorbing and openly happy album, testament to the gratification Gillies obtained from making it. “The experience was liberating and exciting. I think I am just an optimistic kind of person. Dark songs are cool but obviously that wasn’t what I was feeling when I was writing this. I think diving into the unknown, the unchartered waters, I had that nervous excitement which comes from making music.”

Although Gillies is loath to portray Diamond Days as a solo album, he did write the material, had a stab at contributing parts on keyboards, guitar, bass, drums (of course!) and even utilised an iPhone app. “Give me an instrument and after a while I can make some kind of sound out of it,” he admits. “The last song on the album, the really trippy one called Naked Next to Me, it

came out of the Brian Eno app called Bloom. We were in the studio and I was consolidating all of those ideas I was telling you about and Josh asked me if I’d heard about the app. Between takes we were just chatting about music and he said, ‘dude, you are going to love this.’ I got it straightaway and began to muck around with it. I really love that instinctual reaction to a sound or song or instrument. I said plug

While Ben enjoyed the freedom of trying whatever musical whim entered his head, the vocal parts initially gave him quite a bit of grief. It was during a dinner with co producer Eric J Dubowsky that he aired his fears.

“You know what, I really think it was. Maybe we were suppressing it because of young teenage angst. It feels really natural to sit down and hum a tune that pops into your head, being open to it and letting it flow naturally. You know, I think most people can do it. If you sit down and start to go doo do doo do, you start humming shit and usually that’s the stuff that people love to hear because it resonates with everybody.”

“We kept putting off the vocals because a lot of the choruses were written but not full songs. I was nervous about it. After a few drinks at dinner, I said there’s something I have to get off my chest. I said I am really nervous about singing. I said, I know I can do it but I have never had that pressure and I just have to air it that I am nervous. The first song was Miss My Mind and it’s quite exposed and there isn’t a lot of band around it to cover mistakes. Anything

Being such an internationally successful band, Silverchair had the luxury of working with a number of high-profile producers including Kevin Shirley, Nick Launay and David Bottril. On their much-lauded fourth album, Diorama, they also employed the services of genius arranger Van Dyke Parks. For an artist breaking out with their first solo album, you’d assume that invaluable studio experience must have been of

like that sound. All of a sudden I want to buy Vox amps or some other brand. Once you open the door to that stuff, firstly you don’t want to shut the door but once you do it, that’s it, it’s open forever.”

’ Bento s

Portamento it in and hit record, we’re going to do a song right now. I fumbled around for five or ten minutes then we cut together that cool little intro part and a few other bits and pieces. Then on the spot, I put the drum track down. I put a really basic bass down and all it is is just an octave… me going dom, dom, dom and that’s all it is, the whole song, but it’s a good example of simplicity being all you need.”

Over his long and successful music career, Ben has accumulated a swag of music gear, some of which he dug out for the recording. “I’ve got a shitty old bass, a basic Gibson studio acoustic, and a bunch of drum kits. I have a couple of keyboards, a Wurly and a Rhodes. It’s funny because I have never been in the driver’s seat as much as I have with this. I can definitely see myself going crazy with buying cool new guitars, amps. That’s going to happen very soon or happening. I now have to think about guitar sounds, tones. In a band situation everyone has their role but with this I have had control of every facet of Bento. So whether it’s the guitar tone or the bass, I’m now having to go, OK I don’t like that or don’t

that is a challenge, if you can confront it then you can say you had a go and then if you conquer it, you gain some confidence. I felt that within that first day of recording, I got my confidence, then I could go in and enjoy the recording process rather than get sweaty palms. I didn’t want anyone in the studio apart from me and Eric but after I did half a dozen takes, it was just like I was performing.” Even with Silverchair, Gillies has never had a huge allegiance to any particular drum set-up, preferring to mix it up. Constants have been Pearl or Le Soprano drums, Sabian cymbals, Remo skins and Vater sticks. Le Soprano honoured Ben with the production of a Ben Gillies signature kit in the early 2000s. With Bento, it was again, however, a mix and match scenario.

“It was funny. I didn’t really use the kits I had used with Silverchair except for one. On some of the drum tracks I did at The Grove Studio, I used an original Premier 303 that I played on the recording of Tomorrow. It was just sitting at my house and was all shitty and dusty and even the skins on it were the same skins I had used on Tomorrow. So they were like 18 years old but still sound fantastic, so warm and old. I think a lot of engineers can get really caught up in making sure there are no buzzes. Particularly with rock music, once you get it all down on tape you don’t hear that stuff... you don’t hear the creaks. If you have a good sound engineer, I reckon once you get the sound right after about fifteen minutes, you are ready to go. That’s the approach I took and then once we got to BJB, I just enquired if there were any spare kits lying around, partly because I wanted a different sound and partly because I was late. They just had random kits sitting around. So I’d grab a bass from here, some toms from over there - it was a real mixed bag. It went with the nature of the album.” Bento offered Gillies the chance to release any pent-up musical ideas he may have been concealing over the years with Silverchair, I wondered if that also applied to drumming concepts? “Not really,” said Ben. “I’ve always had the freedom and said my two cents’ worth in Silverchair as far as songs go but I’ve always had the drumming freedom to pretty much do what I want ... except maybe with the albums that Dan had written, where he had a clear vision of what he wanted the drums to be. Even within that, he has been pretty open to how I interpret it. The drums came as a later thought with this though. Really it was about the tunes and the melodies.” It’s fascinating to see how the members of a band who started out with the angst of Frogstomp have, with each ensuing album, gradually displayed such a high regard for melody and pop structures. I wondered if that pop sensibility had always been there, even in the early Silverchair days?

great benefit. Gillies is more pragmatic in his summation of the Diorama recording experience.

“I guess I learned that it is very difficult to mix over a hundred tracks of audio! I love Diorama and I think it is one of our best records and I love that we did a lot of orchestration but it’s that classic thing that less is more. For me personally, within SIlverchair it works. I love to put horn sections and strings on stuff but I would just really scale it back. You don’t need an eightypiece orchestra. You could get twenty guys and make this amazing wall of sound. The recording process was pretty much how we’d done it in the past. You know, it’s band, some overdubs and orchestration, then vocals, so there wasn’t anything out of the ordinary that we hadn’t done before.” With regards to Bento’s Diamond Days, the studio process was much less formal than the massive productions that some of the Silverchair albums became. More energy was placed on the moment at the point of recording rather than afterwards in post-production. “In terms of shuffling stuff around and making it sound good, we kind of did that on the fly,” Ben admits. “We didn’t have a band to lay down a rhythm track and then overdub. Sometimes I played drums to a click track and there was nothing else. I had to imagine where everything else was going to go. Sometimes that didn’t work and we’d have to go in during the process and say, well this song needs a middle-eight now. Eric would set up the keyboard and I’d make something up on the fly. Sometimes that would work, sometimes not and we would cut that in and play some drums over that. I have been describing it to people as a patchwork quilt. We didn’t have a formula we worked to; it was always living in the moment, you know, what do we need right now?” With the album in the can and released this week, Ben’s focus now shifts to how he can reproduce this music live. He may jump behind the kit to satisfy the desire of some hardcore Silverchair fans he’ll find in the audience, but generally he’ll be Bento’s frontman. It’s a concept he’s still getting his head around when thinking about the instrumentation he’ll need on stage. “I reckon keys, bass, guitar, drums and, what am I missing? Oh yes... singing! A lot of it can be pulled off with keys’ sounds. All the tricky stuff is done on keys. It’s all achievable with a minimum band. Personally I am shitting myself that I have to get up and front a band. Like I said before though, once you confront those fears you can really go out and enjoy it. There still isn’t a band as such, just a lot of muso friends that I am going to get involved to play. The long-term plan is to have a stable of guys who are the band. If we go and do a record, it’s just a given that they’re the band.”

OTHER DRUMMERS WHO HAVE FAMOUSLY STEPPED OUT FRONT. DAVE GROHL Grohl has had so much success with his power rock outfit The Foo Fighters that it’s easy to forget he was behind the kit with the legendary Nirvana. Even in that band, with the focus always on Cobain, Grohl began to move towards the front, involved in writing and contributing lead vocals to the track, Marigold, originally released as a B-side to Heart Shaped Box). Grohl gladly returned to drum duties for supergroup project, Them Crooked Vultures alongside Josh Homme and Zeppelin’s John Paul Jones.

PHIL COLLINS Starting out as drummer in English progressive rock band Genesis, Collins later forged one of the most commercially successful solo careers in rock history. Before he had a massive worldwide solo hit with In The Air Tonight, he’d already stepped to the front of Genesis as vocalist when mercurial singer Peter Gabriel left the band. Due to the level of success Collins has achieved, he’s suffered from much derision from a newer generation of music fans. He hasn’t helped his cause by breaking out In The Air Tonight as a party piece every time he appears as a guest on stage. He also copped a fair bit of flack for both his divorce via fax in the late ‘80s and another legal case where he took two band members to court seeking $780,000 in royalties he claimed were overpaid fees.

RINGO STARR The most famous singing drummer of all time. Often referenced by other high-profile drummers as a musician who does not get anywhere near enough recognition for his playing skills, Ringo made several cameo appearances on Bealtes albums, usually with the tracks people love to hate, such as Octopus’s Garden and Yellow Submarine. It’s not surprising, with the childlike qualities of those songs, that Ringo later became the narrator of the children’s animated series, Thomas the Tank Engine. Starr released two solo albums in the same year The Beatles called it a day and had a number #4 single on the US charts with It Don’t Come Easy. More recently Ringo’s All Star band has performed regularly with lineups consisting of a who’s who of rock including Joe Walsh, Jeff Lynne, Tom Petty, Dr John, Todd Rundgren, John Entwistle, Peter Frampton, Jack Bruce, Ian Hunter, Edgar Winter and even our own Colin Hay.

KRAM Formed in 1989, Spiderbait have always been the darlings of Australia’s alternative music scene, often featuring high on Triple J’s annual Hottest 100. While Kram has never really left the drum stool with the band, his lead vocals on tracks such as Calypso, Buy Me A Pony and Black Betty have resulted in the band achieving a great deal of chart success. Kram released his first solo album, Mixed Tape, to much acclaim too.



The Paper Kites A snippet from the first three shows of The Paper Kites’ Young North Tour in October, with amazing supports Art Of Sleeping and Battleships.

feeling like you can’t move around without knocking a stand or a guitar over, but it’s necessary to create the experience from our latest record Young North.

DAY 1 Thursday 11 October – Heritage Hotel, Bulli NSW “Passengers travelling to Sydney on flight DJ859, your flight has been delayed one hour” – not an ideal start to the tour for Raz and myself, who were already running late for soundcheck. We’d both worked most of the day in Melbourne while the rest of the crew had caught an earlier flight to sort out the gear, the set up, lighting hire and the rest. We finally arrived in Sydney, swooped through to pick up our hire car, and fanged it down to Bulli for our first show of the tour at The Heritage Hotel. We arrived long after our soundcheck was over and the first band (Battleships) had already started. Luckily our TM/Sound Engineer, Brett was all over it. With only 25 minutes to change over, set up and check our extra instruments, it left me feeling extra thankful for our crew. We had a quick meal at the pub and went upstairs to get warmed up and ready for our show. Before long we were standing side of stage listening to our intro music, just before walking on. First show of the tour! Whoo! First show nerves were evident to me through the start of our set, but I felt like our preparation and rehearsing paid off. The best thing about touring with a sound engineer is that no matter what venue you turn up to, they’ll always get the best out of the system. It wasn’t the crème de la crème of systems, and the foldback wedges were pretty muddy, but all things considered, it was a great show!

The Bullians were pretty darn accommodating at The Heritage Hotel, and I was surprised to see a regional crowd so attentive during our set. The rowdy minority were bullied into silence by the attentive punters. One lady actually came up to me after the show, “What a lovely show,” she said, “your audience is pretty intense though! This girl suddenly told me to stop talking because she’d paid good money to be here and wanted to hear the songs! I guess she’s a big fan.” I suppose I should be flattered that people would feel so strongly about listening to what they paid to come and see. Although the ‘shhhhhing’ sounds weird through the quieter songs in the set, I appreciate the sentiment. Thanks ‘shhooshers’. Highlight: The friendly folk of Bulli/Sam’s shirtless impersonation of Michael Flatley.

I’ve found one of the hardest instruments to get a sweet tone from is definitely the banjo. I’m playing a Deering Good Time Special, which sounds awesome acoustically, but micing up a banjo is just ridiculous, and hard to get any foldback without the thing screaming feedback. So I installed a Fishman Rare Earth pickup, which sounds pretty cool yet hugely clanky in the mid range. The secret ingredient has been the LR Baggs direct inputs we’re using on this tour. There is the perfect number of variables without massive compression on the DI, which makes it so much easier for a good sound through front of house and in foldback. In fact, it’s the same deal for all of our acoustic instruments.

Friday 12 October – Oxford Arts Factory, Sydney NSW

At this point I’d like to make a note of our extensive instrument entourage on this tour. This is what it takes to tour with The Paper Kites: two six-string acoustics, a twelve-string, a resonator, banjo, mandolin, lap steel, bass guitar and two electric guitars; Josh’s drum gear and our four pedal boards. Of course we can’t forget Deb’s lighting gear and Brett’s general TM and sound gear. It gets ridiculous sometimes on stage,

We woke to the sound of heavy rain and booming thunder, which shook the whole hotel. The old girl is 120 years old, so she didn’t fair too well through the storm. There was


Lowlight: Loadout in the rain the next morning.


water coming through the roof and the windows, all over the stairs and the lobby floor. It was no surprise to the staff, so I guess it must happen all the time. We managed to get everyone together to go to the Gong for brekky, which was cheap as! I paid $8 for my coffee and cooked breakfast. Heck yeah, love a bargain! We fought the storm wind on the drive to Sydney, listening to Grizzly Bear’s Shields and enjoying the folks around with inside out umbrellas. We stayed in a hotel just across from Victoria Park. Think ‘90s timber bunks slumber party, with no ventilation. We killed some time before heading off to Oxford St. The only parking in the area we could find was a secure paid parking joint… $82! I don’t understand how people afford to park like that in the city. Load in, set up and soundcheck was a dream. Unlike the night before, we had plenty of time, and a lot more room. It really makes a difference when the venue is organised, and the house guy is really cooperative and helpful. We had a chance to run through a bunch of songs together and make sure everything was sounding nice and cohesive. We ducked out to inhale some chicken burgers and legged it back to watch the amazing Battleships play to their home crowd. And what a crowd! An appropriate turnout for such a great band. They have such a big musical presence, and confidently deliver a unique brand of post-rock with character. The dudes are so talented and real nice too, which makes them a pleasure to tour with. I have to say one of the best parts of my night was watching Dan play drums from side stage – that guy is amazing to watch and listen too! While back in the green room later, we were surprised by the arrival of our great friends from Avalanche City, all the way from New Zealand just to see us play (they managed to squeeze in some shows while they were over too). While on the road in NZ with Avalanche City, we had a significant amount of Daves on tour; Dave Parker, Dave Baxter and myself. We developed an intricate and complicated chant, which only we could understand, “DAVE! DAVE! DAVE! DAVE! DAVE!”…etc. Thus formed our ‘Dave’ brotherhood forever, and that chant would be the very same chant that united us once again this very night. “DAVE! DAVE! DAVE! DAVE!” echoed through the Oxford Arts Factory as we jumped up and down, arm in arm, like the winning team of a grand final. Maybe you had to be there? Anyway, we later stood side of stage with the curtains drawn as the intro music started the set. I have to say this was the most nervous I’ve been before a show for a long time. We had discussed earlier the balance and percentage of time spent performing on stage to an audience, versus the days and days of rehearsing, travelling, organising, setting and packing up, finding hotels, places to eat and of course loading out. We worked out it’s about 6% of the whole shebang but it feels like 99% when you’re up there

and it’s all totally worth it! And it was worth it that night. The OAF was sold out, and the crowd was beautiful, responsive and attentive. We couldn’t have asked for more. The whole show was a bar-setter for us, and possibly the best show we’ve played as a band to date. I have to say the lowlight of the show was the load-out. As soon as the show finished, the DJ started spinning the doof, and the crowd totally switched out to a new scene. Within 20 minutes our crowd was out, and the Oxford St party crowd was in. Josh was propositioned, a drunken lad fell down some steps and someone opened the stage curtain and vomited next the foldback wedge. The OAF is awesome, but is also notoriously bad

DAY 3 Saturday 13 October – Cambridge Hotel, Newcastle NSW A glorious morning! (Not that we could tell from the cocoon of our room.) We had the morning off, so a few of us went out for some brekky with friends in Glebe. We bumped into the Art Of Sleeping dudes and hung out at the markets for a while. After few bargains all ‘round and some gelato, we headed back to the hotel, then hit the road up to Newcastle. Getting to Newcastle was not as exciting as we’d hoped. When we got to the venue, we were told that we couldn’t load in for another hour. Brett managed to work his magic (which is what we pay him for) and we were allowed to load through the front. However, this was only the start of the ‘Not allowed’ show of the tour. “Can we open the back doors?”, “Not allowed”. “Can we use the hazers?”, “Not allowed”, “Can we have a good time?”, “Not allowed”. This guy was running a tight ship. We ended up with a short soundcheck and a stage with huge booming subs underneath it. All I could hear was bass until the room filled up later on. We had dinner in the pub, which was already full of blokes letting off steam from a long week at work. The NRL was blaring and the pool tables were swarmed. It was an absolute sausage fest. We got our food and basically ate in silence, because we couldn’t hear each other over the volume of Biffo on the phone to Shano telling him to get the F*#@ down to the Cambo

SAM STARTED A SONG ON THE WRONG KEY AND I MISSED A CUE FOR THE LAP STEEL, ONLY TO COME IN ONE SECOND LATER AT EXTREME VOLUME” for the front entry load-out. The back doors are locked and alarmed so we had to push our way through the pandemonium, with all the gear, out the front and down a flight of stairs to the vans. (When I say we, I mean the other guys. I was minding the vans out the side, talking to my wife on the phone, good job gang). Highlight: Dan from Battleships. Lowlight: Load-out.

for a game of pool and a jug of Tooheys. Biffo’s girlfriend later dropped a glass of beer on my feet. The whole night was real fun, and Art Of Sleeping played an amazing set! We had more time and space to hang out with those guys, and realised that we’ll miss them when this whole tour is over. Sam started a song on the wrong key and I missed a cue for the lap steel, only to come in one second later at extreme volume. I really enjoyed playing our cover of Dreams. So it was a great night with really good people, and despite the hiccups we were able to laugh it off before a huge drive back to Sydney. We managed two and a half hours sleep until the lobby call to get to our flight back to Melbourne. Highlight: Spending the day in sunny Glebe. Lowlight: “Not allowed” at the Cambridge Hotel.

Winner of the Best Overall User Experience award at the Australian Web Awards 2012!

? s U e s o o h C Why » » » » » »

Choose from a MASSIVE range of big brands online Seriously competitive online pricing Dedicated online sales assistance Buy from a retailer with over 40 years experience Bulk warehouses on both east & west coasts Choose FREE or FAST shipping* * Free shipping on many items over $50 excluding heavy items. Fast shipping available at an extra cost. See website for details.

DRUMS | GUITAR | DJ | MUSIC TECH | PA | LIGHTING TOLL FREE 1800 466 157 Cannington WA (08) 9258 4236 | Osborne Park WA (08) 9204 7577

YouTube Facebook Email Address


Love them or loathe them, you’ve got to give American music legends Aerosmith credit for their longevity and amazing album sales stats. Greg Phillips spoke to bass player Tom Hamilton about Music From Another Dimension, their first studio album in a decade, due for release in November.

Fender Relic bass G&L Asat bass Ampeg B15 amp Gallien Kruger amps

blow one of those up and get a good sound.”

Music from another dimension


hey’ve always been considered America’s version of The Rolling Stones … Steve Tyler and guitarist Joe Perry, the Stateside Jagger and Richards. Aerosmith are in a rare group of recording artists who have sold over 150 million albums. The hits? Yeah, they’ve had a few… Sweet Emotion, Walk This Way, Dream On in their early days and later on, Love In An Elevator, Janie’s Got A Gun and Dude Looks Like A Lady. In Australia, they’ve never achieved the level of adoration they are used to at home and that’s probably one reason why they’ve only ever toured here once, but expectations are that album number 15 could bring them to our shores. Music From Another Dimension was a long time coming, partly due to extracurricular activities band members are involved with, and partly due to the difficulty of getting things done in a band with such strong personalities. The main issue delaying a start on the album was choice of producer. Once that was sorted, Hamilton tells Muso, the band was ready to roll tape. “I would say the bulk of the album was realised over the last two years. Some of the riffs have been around for many years. There were a couple of older songs, which were close to being finished, but everything was completely redone, redesigned and reimagined in the last year or two. It started with Jack [Douglas, producer] and I

think that some of these riffs were always going to be in limbo until we did work with Jack.” Much like The Stones, after four decades Aerosmith have to deal with that ever-present question of when they’ll call it a day. Although there’s no talk of quitting from the band’s camp, there is a sense of swansong about the new album in that musically it has a retrospective feel about it. “I think we just wanted something that had a strong connection to when we started but without trying to contrive an imitation of Toys In The Attic or Rocks. We have gained so much throughout our career by trying something outside of what we normally do. We have learned to just try things so I think there is a range of different material on the record and hopefully people like it and don’t jump all over us for not playing every song as fast and loud as we can possibly go.” On the album Hamilton mainly used a Fender Relic Jazz bass, as well as a G&L Asat through an Ampeg B15 amp, which is a different set-up he used on their recent American tour. “On stage I’m using Gallien Kruger amplifiers but for most of the set, I have been using my G&L Asat,” he says. “Last summer when we

were in the studio, their artist rep came over and dropped off this amazing Asat with an incredibly deep gold sparkle finish. He just said, ‘Here, do with it what you will!’ I tried it out and thought it was pretty interesting but the damn thing was as heavy as lead. Then we went out on the road and I brought it out with me and loved the sound of it, but it was so heavy! I got pissed off at it and only used it for a few songs. I told the company that I loved their bass but why did it have to be so damn heavy? So they made me one out of pine with that same finish and it’s beautiful and a joy

to play. Then they made me one out of ash and I channeled it, you know, dug a lot of the wood out of it and put a blue sparkle finish on it and that sounds great too. I have really been having a lot of fun playing them.” Hamilton is not a huge fan of effects, preferring to keep it fairly clean. “The only effects I really use are distortion but I have never been able to get the exact distortion sound I hear in my head. I have tried to do it with pedals. I think in the future, I’m going to pursue it, maybe trying some Marshall guitar amps. See if I can

The national Songwriters’ Circle tour kicks off in Sydney this week. Greg Phillips spoke to Steve Balbi, one of the Circle’s participants.


he Songwriters’ Circle is a concept which began in Canada and has since spread its wings across the globe. The Circle usually features three or four singer songwriters, who not only perform their songs to a live audience, but also dissect them, discussing how their songs are written, relating amusing anecdotes etc. This Australian tour features Canadian artist Matthew Barber, local guys Nicholas Roy, Asa Broomhall and former Noiseworks and Electric Hippies member Steve Balbi.

The Songwriters Circle Steve Balbi was unaware of The Songwriters’ Circle until he got a call from a couple of local promoters looking to launch the program here. Balbi was not short of work, being in the midst of recording a new Noiseworks album, rehearsing with that band for the Long Way To The Top tour, recording his own solo album, running his Ziggy stage show, and fronting ‘80s band MiSex... but the Circle gig intrigued him. “It seemed like a good thing to do,” he says. “It would be great for it to be an ongoing thing whereby people say, oh Songwriters’ Circle, four songwriters where we can go and listen to their guts. I’m not doing it to make a million bucks and go to the Bahamas, I’m doing it because it is the part of music which means the most to me.” Balbi is interested to hear what his fellow songwriters have to offer the audience on the tour but is fairly clear about his ideas on songwriting. “I’ve always thought that honesty is the best policy,” he reckons. “I like writing in metaphors, it’s nice to write in poetry but I think it’s best to just tell it like it is. I love affecting people. I like it that I can play a gig and make people cry. I love being able to tap into their emotions. Don’t be afraid to hurt somebody.”


There are a million ways to tackle songwriting but one approach which Balbi has never subscribed to is the business method, whereby you write to a brief or treat songwriting as a day job. For Steve, it’s more a case of write when inspiration strikes and don’t force it. “There was an instance where I was asked to write a specific song based on rock’n’roll, fast cars and chicks and I thought the whole concept was ridiculous. I wrote the song in about five

minutes and it actually became successful and took an album to number one but I never meant to write that song. I come from a place where it’s a real gift to write a song, it’s quite precious.” For a musician who is playing an instrument and creating music on a daily basis, it’s easy to keep repeating musical ideas. Most writers develop comfort chords or habits which lead them down a similar musical path but Balbi doesn’t necessarily think it’s a disastrous practice.

“I think it is something you need to be aware of but not too bothered about. I think it’s OK but at the end of the day, it’s either going to move people or it’ s not. The chords may not matter, it could be a phrase or the melody or instrumentation. I think as writers, we all try to steer away from writing the same thing too many times. But comfort chords, yeah, the capo is good for that. Same chord, different key!” Another way Balbi prevents himself from repeating ideas is to put himself in different life situations, removing himself from any kind of comfort zone, a credo he brings to the stage too. “I hate being organised. I love the energy of being on the edge of anything. I hate being staid and in control. I think that is really boring so I will always put myself in dangerous situations. Whether it is something I say to an audience or something I give. I think the audience sometimes think, ‘Should you be saying that?’ It puts them in an uneasy place and it’s a place from which you can take them and make it OK.”

In forty years with the band, Hamilton doesn’t feel his playing style has changed much but has an interesting take on his band role. “I think I am a little more assertive with my playing and my writing but no, I think my role is what it has been and it’s interesting how my musical role is so similar to my band member role. As a musician, my musical role in the band is to be a liaison between the drums and the guitars, and my role as a band member is usually to be in between two personalities trying to claw away at each other. I try to make the guys understand each other a little better.” As bass player in a multi-million album selling band, Hamilton has racked up quite a few recognisable bass riffs, one of them, Sweet Emotion, was rated in the top 25 of all time in a recent web poll. But which bass lines does

One of Balbi’s most enjoyable methods of songwriting is in conjunction with another artist. It’s the exchange of ideas which appeals to him and it’s another reason why The Songwriters’ Circle held so much interest for him. The first time Balbi encountered collaborative joy was with fellow Noiseworks ad Electric Hippies member Justin Stanley. “Before Noiseworks there was an ad in the paper for a guy who wanted people to write songs with and I answered the ad and so did Justin,” recalls Steve. “We arrived at this guy’s place at the same time. It didn’t work out with him but Justin and I stuck together. With Justin it was effortless, there wasn’t any real verbal involved. I’d add a bit, he’d add a bit. He’s probably my soul brother in regard to music and collaboration. I don’t think I could find that with anyone else anywhere in the world.” Pushed for an example of songwriting perfection, Balbi offers two. “I break my life down to the simplest choices and the simplest route is always the greatest. I keep coming back to what I think the greatest song ever written and that’s Let It Be. What it says on many levels with its simplicity and the progression,

Hamilton consider to be among the best? “First of all, that’s a pretty amazing thing to hear. I mean I am aware that when people hear that bass line, they do know that it’s Sweet Emotion, which is interesting. As far as bass lines that I like, I was never one for getting the same bass line down as a record. First of all I didn’t have the patience. I didn’t have good enough equipment as a kid growing up to hear the bass well enough. I knew guys who would put their turntable on 78 to figure out the bass that way. I’ve always been one to learn the chords and then play something similar. I have always loved the bass part to Lady Madonna and a lot of Beatles’ songs, especially Rain and Paperback Writer. McCartney is so creative and uses such simple elements.” As to when the band might return to Australia, Hamilton is a little exasperated. “Jesus, I don’t know,” he said. “We’re so overdue. I think we’ve only been there once in our lives, It’s crazy! It’s insane, so make a loud enough noise down there and we’ll be there!” Music From Another Dimension is out November 6

it’s remarkable, just that line… Let It Be. Everybody’s life, every moment, every second, if you can embrace that phrase… it’s magic. On the other hand, I love the story of Like A Rolling Stone because that is my story. I remember hearing that song when I was about 12 years old and thinking what an amazing story and it ended up being my life. I think it’s amazing songwriting.” Balbi is looking forward to the uncertainty of the Songwriters’ Circle gigs and the surprises it will bring. I road test a couple of questions which may come from the floor on any given night. Song he’s most proud of? “What Do You Do When You Don’t Know What To Do? Nobody has heard it. It will be on my new solo album.” Easiest song he’s ever written? “Greedy People, which I wrote for Electric Hippies. We’d just walked out of the break up from Noiseworks. We left the accountant. I went home and wrote this sweet, melodic, jolly, pop song which was seamed with anger.” The Songwriters’ Circle begins in Sydney on October 25 and includes two shows at the Sydney Blues & Roots Festival.

Best tip for home recordist?

One of the more intriguing panels at this year’s Face the Music conference will focus on music production. Panelists include Forrester Savell (Karnivool, The Butterfly Effect), Jimi Maroudas (Eskimo Joe, Bertie Blackman), Steven Schram (San Cisco, Shihad), and Gareth Parton (The Go! Team, The Breeders), pictured. Muso’s Greg Phillips puts questions to three of the four panellists and offers a sneak preview of the kind of information you may obtain by attending the session.

Perspective. Really hard one to get, really important to have a handle on. So take lots of little breaks, do some exercise, listen to other music, come back to your music fresh.

Tip for recording guitars?

Face The Music faces the producers


very mainland state in Australia now has it’s own annual music conference and each claims that their’s is the most vital. In its 5th year Victoria’s Face The Music has proved to be one of the more popular events of this kind. For all of those knowledge hungry folks out there intending to work in the music industry or wanting to learn something to further their music career, conferences like Face The Music are invaluable and I’d suggest, well worth the meager investment to attend. Taking place again at Melbourne’s fantastic Arts Centre complex and once again running in parallel with the Australian World Music Expo, the two day conference occurs on Friday 16 and Saturday 17 November. The two day event presented by The Push and Music Victoria features presentations, discussions, networking, live music, practical workshops, and the hottest tips and tools to give your music career the edge. This non-profit event is made possible by the contribution of a host of music industry professionals including high profile artists, booking agents, promoters, artist managers, music lawyers, record label directors, event managers, and publicists, generously sharing their time and experience.


Where did you get your start? I studied at SAE in London in the mid nineties and started working as a freelance assistant at loads of the top London studiosStrongroom, Townhouse, The Church.

Most memorable session ever at studio and why? Working with The Breeders- Kim Deal was my hero since her early Pixies days so exciting and daunting to work with her.

Session most proud of and why? Working on the first couple of Foals singles was pretty special- there was a big industry buzz around them at the time and I had to make sure the hype was matched by some decent recordings.

What do you ask of an act when you begin a session? That they are open to experimentation in the studioit’s not necessarily about recreating their live show...

Best tip for home recordist?

What do you see the producer’s role as?

Buy a few bits of better quality gear, rather than lots of cheap stuff. Concentrate on capturing good performances rather than over editing.

It depends on the band- more experienced musicians just need to know that they’re performances are being captured properly, less experienced ones need to be coached and given a helping hand. People management is a big part of it.

Tip for recording guitars? Play well! Get guitar tones right at source rather than over EQing in the mix. Guitar choice/pick up choice/ amp choice/ pedal choice/mic choice- all change the sound hugely- these days I’ll often record a direct signal from the guitar as well as the amp (I can then re-amp this signal later to add any missing timbres)

Tip for recording vocals? Make sure the headphone mix is right- too loud and the vocalist will oversing. Having a great vocal mic, pre-amp and compressor always helps..

Biggest studio no-no for an artist? This might sound a bit square but ... musicians getting wasted in the studio might seem fun at the time but 99% of the time gives crappy results.

If you could work with any act in the world, who would it be? Sonic Youth- I’m a fan boy.

JIMI MAROUDAS Where did you get your start?

I have been playing music for as long as I can remember. Elvis was my first inspiration inspiring me to pick up the guitar at the age of 4. As far as music production goes, I got a 4 track recorder for my 16th birthday, 7 years later I landed an assisting gig at Sing Sing studios which was a massive turning point and a life changing experience.

Most memorable session ever at studio and why? This is so tough as there are so

many wonderful memories in the studio. One moment that I recall is being in Paul Kelly’s bungalow/recording studio at the back of his house. We were recording Paul and Troy Cassar-Daley singing a duet. So there we were, squeezed into the bungalow and Paul is nonchalantly leaning on a mattress that is resting against a wall. Hardly raising his head to the microphone, he proceeds to deliver a jaw dropping performance! I remember Nash Chambers (who was producing) and I looking at each other thinking this is just incredible!

Session most proud of and why? When I was just starting out as a producer and engineer I received a call from The Living End to record and mix some b-sides for their forthcoming album release. I was super excited to be working with the guys and promised myself that I would work as hard as I possibly could to impress. We recorded 6 songs in 3 days and I mixed them all in 2 days. Throughout the recording session I could overhear the guys making flattering comments about how it was all sounding (bear in mind that they had just finished their album with Nick Launay who is absolutely incredible!). I just kept my head down and kept working. On our day off between recording and mixing their manager called asking if there were any rough mixes to listen to because the band couldn’t stop raving about how the session was going. An empty taxi was sent to my house and I popped the only cd with rough mixes into the backseat of the car to be taken straight to management. A month later, I receive a call from the band’s management saying “Just thought we’d let you know that we’re here mastering the album and the band loved what you did so much that a track you did has made the record! Congratulations” Six Months later I was back in the studio working on an exclusive recording with the guys the week that the album was officially released and went straight to #1. Home run!

The player and the parts are key here, but options always help. So having a number of different guitars and amps on hand is always great as you can really tailor the sound scape to fit the mood that you’re going after for any given moment. For amps, having a good sounding room can make massive difference too.

Tip for recording vocals? Having the singer be absolutely comfortable and free from distraction is the most import thing here. I have recorded vocals in all sorts of different locations, environments and times of day, all in the attempt to have the singer feel most comfortable.

Biggest studio no-no for an artist? Going into a session not knowing what you want to get out of it. Clarity of vision and realistic expectations are really important.

What’s a benchmark album for you in regard to recording quality as opposed to quality of songs? Quality of recording is always important and I go to great effort in continually pushing the sonic boundary. Ultimately I don’t really think about music in those terms, it either moves me emotionally or not.

If you could work with any act in the world, who would it be? Are we bound by time? If any artist at

any time, working with Elvis on “American Trilogy’ (or “Wooden Heart”)


Where did you get your start? Chris Thompson at Triple J was kind enough to let me tag along to Live At The Wireless recordings and broadcasts.

Most memorable session ever at studio and why? Peggy Frew from Art of Fighting stopping mid vocal take to run off and deliver her baby.

Session most proud of and why? Nobody got stabbed during the making of the Ground Components album. Close, but we avoided bloodshed.

What do you ask of an act when you begin a session? To really listen to each others parts.

Best tip for home recordist? Sounds good, is good.

Tip for recording guitars? Small amps and well set up guitars. One microphone.

Tip for recording vocals? Don’t stare at them when they are singing.

Biggest studio no-no for an artist? Being late.

What do you see the producer’s role as? The bus driver with a load of screaming school kids all wanting to go somewhere different. Some of them have motion sickness and some are wanting you to teach them how to drive.

Do you think you have your own sonic style? Yes, Rough around the edges. Heaps distorted and over compressed. www.facethemusic.


have lives. If it’s not a brand new instrument, they come with a history and a life you are not really aware of. You know when you pick them up. Maybe it doesn’t even sound that good, it doesn’t really matter sometimes. It just feels right and you have a connection with them when you hold them. It allows you to do what you want to do with them and not get caught up in that equipment thing.

It’s been seven long years since The Wallflowers last release, Rebel, Sweetheart. Son of Bob, Jakob Dylan and his floral mates return with a brand new album Glad All Over and invite Clash and Big Audio Dynamite legend Mick Jones to assist on a couple of dub-flavoured tracks. Jakob called up local guitar slinger and Wallflowers fan Shannon Bourne to chat about it all.

Shannon: Yeah some of the old guitars with no real brand name can have a funky tone about them.

The seven year itch Shannon: Reboot The Mission is one of the Mick Jones tracks on the album which turned out great. What was it like working with Mick Jones? Jakob: Well, the band had recorded that song and we knew we were doing something in their territory. I just saw them recently and talked and said if there was anything we could ever do together, we would. We both wanted to. Anything to have the sensational Mick Jones join us. Shannon: What kind of guitars and tones did he bring to the table? Jakob: To tell you the truth, we sent him a file which is how people do things these days. I’d like to be able to tell you we stayed up all night in New York City or something but we sent him the tracks and he was generous enough to spend some time on them. I wish I could tell you what he did but I don’t think the equipment he used matters that much as he has such tremendous tone in his fingers. To me, it would sound like Mick Jones whatever equipment he used. Shannon: I have noticed quite a change in sound from Bringing Down The Horse to the latest album. Was that to do with having a different producer on

board as opposed to T Bone Burnett? Jakob: I don’t think so. I don’t think we were conscious of that. You know, things happen over time... bands evolve, people evolve, abilities change. I suppose it does sound a lot different to Bringing Down The Horse, I hope it does. I don’t think any of us would really know how to redo anything... that record or a different one. There’s a whole lot of factors which go into making a record. People’s interest in it or just something in the air at the time can’t be reproduced.

Shannon: I noticed some dry, funky tones on the record with the piano and also some dub textures. Was that something you or your producer decided to go with?

lot of stuff we haven’t done, so we say, ‘let’s discuss that’. So if you hear something like Motown or funk or whatever, it’s because we haven’t done it before and realising there is still stuff to do. Shannon: Was it more you bringing stuff to the table or the band writing together from the ground up?

Jakob: No Jay [ Joyce] doesn’t work that way. He’s played guitar with us. He was on Bringing Down The Horse actually. He’s not that type of producer. He’s very much a part of this band when making records, he’s such a fine guitar player. We just mess around with stuff and discuss our favourite music and there’s a

Jakob: Yes it was very much that. I brought a few completed songs to the table which is how historically the band has done things. When we first started talking about getting back together, when we discussed it , everyone wanted to be more involved. One of the key things we were looking for was... would the record feel good? Shannon: When you write, do you gravitate to any particular guitar? I have seen you with a nice White Tele and a few different acoustics. Does the instrument indicate what you are going to do? Jakob: I have a lot of stuff and sometimes it is nice to see familiar things around. I’m not sentimental about them or materialistic, there are just things I like and when I turn around, they are still there. I used to collect that stuff and be more interested. Instruments

Jakob: The life that they lived before you got your hands on them, you know, they lived and breathed. You can pick up a massively expensive instrument that doesn’t feel like anything. Maybe it sat in the back of a closet for years and didn’t live. You know, someone may not know it but they might have Charles Manson’s guitar! Can you imagine the stories it wants to tell? Shannon: I wouldn’t want to! Jakob: You never know. It wouldn’t be lost on me. I think if you would hold that guitar, you would feel something.

The energy of the player would transfer into the wood. There’s something in that guitar wherever it is. Shannon: What were the factors which made you take a seven year break from the band? Jakob: Probably a lot of communication failures. Simply put, we never stopped. The strain was gaining on us. You know with me particularly, I had never had a break or played to people outside the group. When we weren’t working, I was writing records for us. It may have seemed like the band took time off but I didn’t take time off. I was trying to write songs. It was just necessary for everybody, we were all burnt out. The classic internal issues were goin’ on. We did the right thing. There’s no need to break up under those circumstances, you just stop doing it. You don’t have to give a statement or explain to anybody, you just go and do different things. If you want to do it again anytime, we can. I don’t think we thought it would be seven years. Glad All Over is out now through Sony Music.

“I tried coated strings like everyone else; I didn’t like them. Cleartone are so bright and responsive, I forgot they were coated. Bend them in good health.”

-Tommy Emmanuel Guitar Virtuoso

Hate Coated Strings? We know why... Coa Coated strings you’ve played in the past use tone killing layers of material. The coating gets in between the winds and inhibit vibration. Instead, Cleartone feature the thinnest coating in the industry. At one micron, they feel and sound like traditional strings but with Ins the th added benefit of 3-5X string life. In fact Cleartone’s were tested to be up to 36% louder than the leading coated string brand according to an independent sound lab. For more information visit a















Prairie didn’t realise he wasn’t re-recording the original Marching Powder. He said he’d been listening to it and I laughed saying it’s a bit longer than that!�

As the first remastered and expanded solo albums of the late Tommy Bolin hit the streets, guitarist Greg Hampton talks to Michael Smith about a tribute album to Bolin, Great Gypsy Soul, that set the stage for the reissues.

Sharing production tasks between Hampton and Haynes was a natural – the pair have worked together for years, and Hampton plays in a band, 9 Chambers, with Haynes’ bass player in Gov’t Mule, Jorgen Carlsson. “We’ve known each other long enough that communication comes fairly naturally,� Hampton admits. “It’s never laboured.�


lready touting a reputation as something of a prodigy, Tommy Bolin, born in Sioux City, Iowa, 1951, was already a 24-year-old veteran when he was tapped in by Deep Purple to replace founding guitarist Richie Blackmore in 1975. He’d recently departed from The James Gang, where he’d replaced Joe Walsh, recording two albums with them

The Tommy Bolin legacy before splitting to cut his solo debut, Teaser, which featured contributions from a number of fusion players he’d worked with in the band he formed just three years before, Energy. Bolin wrote or co-wrote seven of the nine tracks on Deep Purple’s Come Taste The Band album, after which they decided to split, and headed out with his own band, recording a second album, Private Eyes, before unfortunately dying of a heroin overdose 3 December, 1976, after opening for Peter Frampton and Jeff Beck earlier that evening. Released in March this year, Great Gypsy Soul is a 2CD set credited to ‘Bolin and Friends’; coproduced by guitarists Greg Hampton whose credits include albums for Alice Cooper and Lita Ford, Warren Haynes of Gov’t Mule and the Allman Brothers. “Sonically,â€? Hampton suggests, “it sounds amazingly‌ I wouldn’t say modern – [but] it’s very current sounding. Some of the playing is just breathtaking, it’s ridiculous; so ahead of its time. As well as Hampton’s own Hampton Hacienda Laboratory, recordings were done at a variety of

studios that suited the various guests, involved including Wyman Studios, The Steakhouse, Command Studios, Tarpan Studios, Carriage Hose, Echo Mountain Studios, Sunset Lodge Studios and Perdenales Studios, with additional production carried out by Fabrizio Grossi, who also mixed the album with Hampton, the results mastered by Pete Doel at Universal Mastering. “At the NAMM shows every year,� Hampton continues, “all

these cats come to LA or Orange County over that course of time in January, and we were very fortunate to get quite a few performances within that timeframe. In two nights we got Warren and Joe Bonamassa, Steve Morse and Myles Kennedy [Alter Bridge]. Brad Whitford [Aerosmith] we did back east in Carolina. Nels Clines [Wilco] did some amazing stuff with [Israeli jazz guitarist] Oz Noy on that Flying Fingers

track [Disc 2]. And the version without Nels and Oz on that outtake from Teaser is incredible, seventeen minutes with Porcaro playing all those drum parts.� Completing that second disc is a piece called Marching Bag, which is broken up into four movements with Prairie Prince playing Michael Narada Walden’s drumkit, “doing his best Narada imitation,� Hampton laughs in recollection, “on a twenty-eight minute version of Marching Powder [the version that was released on Teaser featuring Narada], which was taken from seven different takes, all different tempos and most of that drumming on there was just dodgy at best. We did that at Narada’s studio outside San Francisco. He has this drumset that never moves – he just did the new Jeff Beck record on it – it’s always mic’d, sitting in the corner, this big double-bass kit, green sparkle, and it’s got to be the best-sounding drumkit I’ve ever heard in my life. But

The Teaser album was originally recorded at The Record Plant, Electric Lady and Trident Studios, Bolin producing with Lee Kiefer, apart from two tracks produced by Dennis MacKay, who also mixed the album at Trident Studios in London. Hampton produced, with Bolin’s drummer brother, Johnnie, the other two CDs of alternate and outtakes included in The Ultimate Teaser, mixing them again at Hampton Hacienda Laboratory with Jeremy Mackenzie. Hampton’s approach to this record was simply – “Trying to make it sound as good as I could. The drums, again, were

the biggest juggling act to get to sound good, but [Bolin’s] playing is just stellar – that was the main thing. There was just so much stuff – there’s some other jammy stuff that’s gonna be released too. He’d go up to the Hollywood Hills to this guy’s place that had a rehearsal studio with a lot of guys he’d be touring with – that man’s energy was just incredible – but it’s not multitracked, a lot of it. It is what it is – source material. Some of it is quite good, some of it‌ you know, not,� he laughs again. Overall though, it’s gonna be great for other people to discover.� As for Bolin’s second and final album, Private Eyes, a lot of the original multitracks have been lost, but his death inevitably meant not nearly as much additional material was recorded so the reissue, when it’s released, won’t be quite as expansive as the Teaser triple-disc set. For these tracks, Hampton points out , he didn’t use an amp at all for his solos on the recording, opting solely for DI. Both Great Gypsy Soul and The Ultimate Teaser are both out now on 429 Records through Universal.

Order your copy of AMID ER now! W PO 50 ON ITI ED


% $55.00


2011 #47





Behringer X32 Digital mixer


igital consoles have become popular with sound engineers over the last decade due to the abundant features and ease of operation. These consoles have been very expensive and out of reach for many, but Behringer is about to change that. The Behringer X32 is the new kid on the block and boasts jam-packed functions and features at a price point that will impress the most discerning buyer. Since acquiring sister companies Midas & Klark Teknik, technological ideas from those brands have been implemented into the X32’s preamps as well as the effects and EQ algorithms. What you’ll notice about this 32 channel, 40 input console is the neat layout, so even if you are a first time user you will get your head around it fairly quickly. The 25 mix buses, which includes eight DCA (Digitally Controlled Amplifier) groups with simultaneous group level control, come equipped with serious signal processing (dynamics, EQ and inserts), which can be configured quickly to meet the demands of virtually any gig, large or small.



he H4N is the next generation of the widely popular Zoom H4, improving on the size of the display and adding a new 4-Channel capture mode.

As far as the X32’s use of motorised faders, Behringer decided to design and build the scribble screens and faders in-house, offering the features and functions of a much pricier console. Another handy feature is the dedicated view buttons for every section on the console surface, so you don’t have to go through multiple layers to access basic functions.

Another feature on the X32 is that the 32 channels of audio can connect from a computer via the USB/Firewire interface card slot on the rear panel. There are also two sets of 48 digital inputs on the desk itself. These use the AES50 ‘SuperMACí standard, an ultralow latency audio network hooked up with standard Cat 5 Ethernet cabling primarily intended for connecting Behringerís new S16 digital stage boxes. With up to three units per AES50 interface, a total of 96 sources and 48 returns are accessible from the console. The X32 straight out of the box lets you record your tracks straight into your DAW. You get compatibility with ProTools, Logic, Cubase and other ASIO or Core-Audio compatible DAWís.

On the top left section of the mixer, you have a dedicated channel strip section featuring 17 backlit buttons and 13 rotary controls with LED-collars right at your fingertips. This provides easy adjustment for each channel’s compressor, 4-band parametric EQ, gates and much more, all clearly functional and easy to set up.

Some other specs include: Midas-designed, fully programmable microphone preamps for audiophile sound quality,40-bit floating-point DSP features “unlimited” dynamic range with no internal overload and near-zero overall latency, 32 x 32 channel audio interface over FireWire and USB 2.0, with DAW remote control emulating HUI and Mackie Control, iPad app for professional remote operation available free of chargeóno host PC required, high-resolution 7” day-viewable colour TFT for easy viewing of workflow components and parameters, future firmware updates, including new FX ìPlug Insî, downloadable from free of charge, USB type-A connector providing file storage and uncompressed stereo recordings plus show presets and system updates, Ultranet connectivity for Behringer’s P-16 Personal Monitoring System plus AES/EBU stereo digital output and MIDI, and networked remote control.

Below the channel strip is the 16 motorised input faders providing 32 high-end programmable mic preamps (switchable banks) as well as 6 balanced Line Ins and Outs on 1/4” TRS, 16 balanced XLR Outs, plus dual Phones and balanced Control Room outputs on both XLR and 1/4” TRS connectors. Scribble strips on each channel are backlit with dimmer functionality and let you change the colors and customise the labels. The scribble strips change with

Overall, I would’ve liked more time with the X32 but I was confident in using this desk after only a few hours of use. There is so much more this console can do and as far as a digital console costing goes, this one is a fraction of its competitors. This guy is going to turn a few heads. So clubs, houses of worship, school auditoriums or musos looking for a live/ recording console, it is definitely worth checking out. The X32 comes with a three-year warranty and is a definite mustsee at your authorised stockist. The game is about to change!




the layer that youíre on and you can also route your inputs/outputs to create custom fader layers.

The X32 is armed with a wide selection of FX modules that you’d need. There are eight stereo or 16 mono effects which are fully assignable such as echo, delay, reverbs and even guitar cabinet emulators to name just a few. Guitar cab emulators are great when you either don’t have enough room on a stage for your Marshall 4x12 or the amp goes down before a show. The player can plug directly into the system via a DI, and off you go with a high-quality emulator, keeping the show going. Klark Teknik have delivered in this department, providing crisp quality and user-friendly effects which are extremely useful and dispenses with racks of out-board gear.

Zoom H4N Handy Recorder

Just looking at the unit I was impressed, with its solid build, perfectly positioned XY stereo mics, large on-screen display and simple to use interface. This unit is far more flexible than one might think, operating in three modes for stereo, 4-channel surround and multi-track record. The stereo mics can be adjusted at 90º or 120º, and a mid-side matrix decoder allows for extra spatial dimension during field capture. Two XLR inputs also take Hi-Z ¼” guitar leads so you can plug your guitar/ bass/drum machine straight in, and the addition of 24/48V phantom power means any type of mic is compatible with this unit.



The specs on paper are pretty impressive, with up to 24-bit 96 kHz WAV/320kbps MP3 recording, it records audio as well as a DAW. With 32-bit effects processing and up to 50 types of effects including guitar/bass amp sim, reverbs, delays, modulation, and compression, so every sound source has a suitable effects chain. All the information is stored on an SD storage card (the unit comes with a 2G card and can go up to 32G), and can be transferred to computer via USB. When using ‘Stamina Mode’ you get up to 11 hours of continuous recording and even Cubase LE 6 is bundled in, should you wish to edit further I tested the Zoom H4N in Stereo, 4-Channel and Multi-Track modes to see what it was capable of. I grabbed my acoustic, set it to stereo mode, threw on some headphones and played. All you have to do is adjust your headphone level, mic level, hit record and play, and you’re off recording a stereo track at 44.1 kHz/ 16 Bit WAV. The quality is nothing short of studio grade and the onboard mics sound amazing if you’re just singing along with an acoustic guitar. This function is perfectly suited to singer/songwriters


that want to capture spur of the moment. ideas You can even email your band mates the MP3s later. The onboard compressors and low cut were an amazing way of adjusting different environments, ensuring levels are balanced and clipping is absent in noisy places Activating the 4-Channel was a great way to add extra depth to your field recordings, sounding wonderful on pianos when paired with a couple of close condensers. You can even use it for capturing a simple drum kit by close miking the kick and snare while using the XYs overhead. Multi-Track mode was where this unit really shines, allowing a little demo to come together quickly. Plug in a drum machine, bass or guitar and use the onboard amp sims for convincing amp modeling to put together a killer demo in no time. The Zoom H4N is the ‘Swiss Army Knife’ of portable recording, with so many features making it relevant, for so many situations.



here’s something to be said for a familyrun business, even if it’s grown way beyond that. The hard working ethos and passion for the product usually seems to underly the corporate facade and this is what I’ve found to be the case with Canada’s Godin guitar company. When I received a Godin Core HB model guitar for review, I knew to expect a certain level of craftsmanship and ingenuity. There are three models all up in the Core range including the EMG and P90 pickup models. The HB relates to the twin humbuckers featured on this model. My first emotion on sighting the guitar was delight. I wasn’t expecting such a hotrod looking, rock’n’roll instrument. The trans red coloured, single cutaway instrument with black scratch plate and tone control knobs is striking to the eye. The mahogany set neck, rosewood fingerboard and beautiful chambered solid mahogany body scream quality. A 3-way pick-up selector switch is in white rather than black for a bit of contrast. A shining Graphtech Resomax silver bridge adds to the aesthetic. The headstock features Godin chrome plated contemporary-type tuners and signature logo. The guitar is quite weighty in the hands without being back-breaking, and before playing a lick you know it’s going to ring out and sustain like a son of a gun. The 22 fret, 300mm radius fingerboard with a 629mm scale length allows for sleek fret runs without being super slippery and makes for a generous note bend. Due to the chambered construction it’s possible to output some bold, chunky chords and smooth semiacoustic jazz stylings, characteristics you’ll find in many Godins. However, switch the Nitro humbuckers to rock mode and fuzz away to your heart’s content. From fluid George Benson-like licks to Neil Young-style sustained distortion, this guitar had both genres sorted fabulously. Unlike some of the other innovative Godin models, this is more of a workhorse-like instrument, free of fuss. The Trans Red colour tone is mighty attractive, but you may favour the

equally stunning Denim Flame model in blue, the Lightburst or Sunburst options. Comparatively speaking, the Core series is up against your Epiphone SG or Les Paul models and may be a little more expensive. It all comes down to whether you want something a little different and a little more exotic than the bog-standard guitar everyone else owns. Godin guitars are designed and manufactured in Canada. A nice human touch to each Godin instrument is the quality assurance tag which hangs from every guitar depicting 12 check-off points from body/neck finish and electronic install to intonation set up, final inspection and packing, each initialled by a Godin employee in ink. A small detail but one which proves they care about the products they manufacture and more importantly about the musicians who buy their instruments.


DV Mark Triple 6




V Mark is an Italian brand which has developed a devout group of followers from gear heads and guitarists to producers and engineers all over the world. And while their gear may have been sometimes placed in a corner with the Stratocaster-playing dad rockers, The Triple 6, or 666 for Slayer fans, is about to change this trend. This 120 Watt all valve 3 channel amp is based on the DV Mark Bad Boy, with the main change being a more aggressive gain and tone controls. It’s got a bunch of cool features like selfbiasing, loop assign, usual channel switch and a solo button. It has equalisation for each channel, presence and gain control, as well a volume.

The Mini Mofo pumps out 15 watts of Class-A tone, with two EL 84’s firing the power amp and three 12AX7’s in the pre. Four cascading gain stages give all the drive you could ever need with the included footswitch operating the Mofo gain. Middle, Bass, Treble and Presence make up the EQ section with the Master volume controlling overall volume in conjunction with the Stealth switch (stealthily positioned underneath the head) dipping the wattage. There are two separate tone shaping inputs for US and UK tones, a series effects loop (which requires a stereo insert cable), 8 and 16 ohm outputs for a range of different cabs, and it all comes built in a cool, see-through steel chassis. Plugged in, the difference between



Channel two offers as much gain as you’ll ever need. I had the gain about halfway and was playing through every metal riff I’ve ever played. The amp puts are a really tight, distorted tone. It’s clear, crisp and you can really play some faster, intricate stuff without it being swallowed in saturation. That was the best thing about the amp for me, the fact that no matter how low I had my guitar tuned, the amp still put out a clear and powerful sound. Channel three is just a bigger, nastier version of channel two, and is marketed as the ‘Lead’ channel, which seems fairly redundant considering the footswitch has a solo function to boost the volume for lead breaks.

Now, powerful processing gets even smaller in the form of the Zoom MS-50G Multi Stomp pedal, a multi-effects processor housed in a single stomp box. Small effects processors have been around for a while, but I haven’t come across any that contain 55 effects consisting of 8 amp models, 12 dynamics/ filter effects, 10 distortions, 2 clean effects (including an acoustic sim), 13 mod/ sfx and 10 delay/ reverbs. Two AA batteries power the unit’s bright led display, three rotary knobs control parameters and access different pages, a single stomp switch activates effects, engages the tuner or works as a tap tempo and four cursor buttons change effects and allow you to make up a chain. Navigation is ‘child’s play’ and anything unknown is easily resolved in the manual. I began by testing this unit the same way as a stomp box, between my guitar and amp, setting a clean tone and running through the 30 presets. Straight off the bat the first preset, ‘RAT Drive’ gave me a great rock tone. Here, five effects were chained together, a noise gate, distortion pedal, parametric equalizer, graphic EQ and a delay. You can select up to 6 effects at once and chain them together in different configurations, but beware there is a DSP limit in play. What’s even better is that any alterations made to the effects when scrolling back and forth are remembered by the unit without having to save.


Distortions sounded thick and meaty, and thanks to the Zoom ZFX IV processor, tones don’t sound too harsh or ‘digital’. Standout distortions were the ‘Squeak’ (RAT) and ‘T Scream’ (Ibanez Tubescreamer) which both sounded similar to the real deal, but certain pedals like the ‘MetalWLRD’ (Metal Zone) really failed to hit the mark, having only one tone knob as opposed to four to shape your sound. Instead, for a metal distortion I chose the ‘Squeak’, threw in a noise gate and scooped some






hose mad scientists at the Zoom laboratories have done it yet again. For those in the know, these Japanese audio gurus have been leading the pack with their pint-sized handheld audio (and video) recorders for quite some time, also making a memorable stamp on the guitarists’ collective consciousness with their 505 and G series effects.

Hayden Mini Mofo and 112 Cab

he Hayden Mini Mofo is a little freak of an amplifier, with more gain and grunt than most full-sized heads. There are a variety of voicing’s on tap from warm cleans to mild break-up, or classic ‘Plexi’ rock to full blown metal mayhem.

Zoom MS-50G Multi Stomp

on personal taste. Importantly, it sounds great. A lot of amps made for ‘metal’ forget about clean, so its nice that this amp has the ability to really showcase DV Mark’s ability to create a really nice sounding tone.

So basically the amp sounds fantastic, and for a metal/hardcore/hard rock player looking for a versatile amp I think this is a great solution. It doesn’t have the muddy wash of the Mesa and it’s a tighter, less ‘fizzy’ amp than the Peaveys. My only qualm is that the amp navigation took a little getting used to. However, if you are patient enough to brush your long metal hair every night, you are most likely patient enough to play this amp.

Channel one is the clean channel, and it’s a nice rounded warm vibe. It doesn’t really have any break up, even when you push the gain. That can be good or bad depending



the two inputs is that the US seems to have a bigger rounder bass like an old Fender or Mesa, whereas the UK has a grittier midrange and chime like a Vox or Marshall Plexi. I started with my Strat plugged into the US input scanning through the clean tones. The cleanest sounds came by turning the Master all the way up and keeping the Mofo all they way down, then using the gain to delicately set the volume. This resulted in a very clean, pristine tone with a nice fat bottom and jangly presence. There’s no reverb with this amp, but the series FX loop would eat up some reverb or delay for this type of sound. Turning the Master down and increasing gain brought about a mild drive along the lines of a Fender Deluxe or Blues Junior, whereas going all out and using some Mofo resulted in a nice flabby Mesa-style lead tone.


The Hayden Mini Mofo head and cab work beautifully together, being made for guitarists seeking a wide range of tones for recording, gigging, or setting that one perfect tone and using your guitar for dynamics. For a little amp, the Hayden Mofo does a hell of a lot.


fter having reviewed quite a number of different Walden guitars over the years, one thing always rings true, they’ve always been great value for money. Walden guitars are solid in construction and attractive in design, but more importantly always seem to play well and sound great too.

Six custom gold machineheads with satin black buttons aid tuning, and a Graphtech Fossalite nut and saddle cut to perfection, mimicking the tone of a vintage bone nut. Two glass fibre rails sit in the neck just before the headstock adding extra stability and extra tonal harmonics. The action is set low and string tension is loose, perfect for lead guitarists, beginners or players that are sick of shredding the callouses on stubborn strings, and the neck profile is shallow, smooth and makes for hours of comfortable, stress-free playing.


The real standout effects for me (besides the distortions) were the funky auto-wah and voice box, incredibly simple and effective noise gate, superb reverbs and delays, and a great Univibe effect. Tracking on the harmony and pitch shifting devices is spot on also and will please players who like these types of effects. In summing up, the Zoom Multi Stomp MS-50G is a brilliant device and would make a handy addition to any guitarist’s pedal board. Who knows, next time your amp blows a fuse at a gig or rehearsal you might even find yourself plugging one straight into the PA.


A scalloped spruce X-brace sits under the top alongside carefully carved tone bars stabilising the soundboard and providing detailed clarity and an open voice for this instrument. North American Sitka spruce is the pick for the top and is renowned for its balanced voice and strong attack, adding extra detail and crisp overtones in the mix.

Over on the UK input it’s a different story, as this amp magically transforms into a classic rock machine, eating up every note from my Les Paul. The bass becomes more subtle and immediate, the mids more focussed, the treble barking like a Marshall and the presence extremely sensitive. I hit the stealth switch and pumped the master for a saturated, responsive tone. I love how this amp adjusts to your playing, and it’s possible to get all your tones from the guitar by adjusting pickups and rolling the volume up or down.

Amp modeling was okay too, (nothing close to Fractal Audio or Line 6) and it’d be possible to go to a gig and plug the pedal straight into the desk for a useable tone. However, I’d suggest this pedal is designed to plug straight into a guitar amp. The Marshall Plexi, Fender Deluxe and Vox emulations sounded good and the Diezel model came close in 4th place.

Walden Natura G740CE Acoustic

The body on the Natura G740CE is something different, coming in a ‘Grand Auditorium’ design, where the body is wider at the lower bout and narrower at the upper bout, with a beautiful Venetian cutaway allowing easy access to higher frets. The materials are all solid wood, a hard Sitka spruce top, light mahogany back, neck and sides and dark rosewood bridge and fingerboard.

One thing that’s immediately obvious is how much tonal range is available with the four band EQ – it’s so wide and musical with a massive dynamic range. You can go from mid-scooped metal to honky vintage leads and everywhere in between. The bass is solid too, even with the Eminence equipped Hayden 1 by 12 cab. The presence was really overbearing to my ears, so I liked keeping the treble up and the presence low as sort of master cut for the highs.

mids with a couple of EQs in order to get a really impressive tone.

Visually, the quality and colour of woods is quite attractive, a soft vanilla spruce top, golden brown mahogany back, sides and neck and a dark tan finish on the headstock. The rosette features a nice blend of abalone and pinstripe to match surrounding white plastic pinstripe bindings, and mini dot markers add a modern, minimalist vibe to the fretboard. Unplugged she sounds great, very evenly balanced without too much top or bottom end. There is

a nice sparkle of presence resulting from a combination of fresh strings and great construction making lighter picks and fingerstyle playing sound crisp and airy. Lead guitar playing is especially good with the lower action and light string tension, as it’s so desirable for bending strings, vibrato and hammerons and pull offs. Plugged in, the B-Band T-35 is a simple, clear and bright preamp, utilizing a piezo pickup under the bridge saddle to provide tones. It’s a very brilliant sounding guitar when plugged in that would sit beautifully at the top of a dense mix, ideal alongside a couple of electric guitars or perhaps capo’d to sound a bit like a mandolin. The Walden Natura G740CE is another quality choice in a saturated market of acoustics under $1000, its appeal lying in comfort, tone and ease of use. The pickup is very easy to operate, and it would be hard to get a poor tone out of it with its wide, musical 3-band EQ.


Product: Casio XW-G1


t’s not unfair to say that in the past, the name Casio hasn’t figured highly in discussions about must have, hi-tech music making gear. However, it’s clear the company is now intent on making a bit of a statement with its two new synths, the XW-P1 and the XW-G1. The former is very much a player’s instrument with a vast range of synth, organ and rhythm sounds, and handy features such as ‘hex’, which allow the layering of up to six sounds. However, the XW-G1 is a slightly different beast, aimed at what might be diplomatically termed the ‘DJ’ market. With its amazing new features, the XW-G1 will add some grunt and inspiration to the DJ and dance music setting.

keyboard. I also immediately noticed the nonslip area on the top right, which would be ideal for an iPod, or similar such device.

It’s essentially a sixoscillator synthesiser with the capacity to record phrases and samples. It looks great and two things initially struck me - how light it was and how ‘generous’ it is with 61 keys. These are weighted just a little so they’re much more fun to play than the usual ‘springy’ kind of synth

It has all the expected ins and outs on the back panel, but one handy feature is the option to run other devices through its processing engines. The XW-G1 is in essence a production workstation. It’s generally laid out in a functional manner, and features the sorts of capabilities that’ll appeal to DJs who want to take their performance up a notch – the preset sounds are very ‘club’ and there are plenty of rhythm kits and so forth. It’s probably not intended to be a standalone piece of kit and shouldn’t be judged as such. What it can do is provide a considerable presence to DJ and live electronic music performance, and its sequencing/sampling capability allows complex phrases to be stored and played with one key stroke.




The main controls are divided into what are essentially three main areas. The left deals with the editability of tones, with four assignable knobs, and nine sliders. Three parameter program button options on the left allow the sliders to be used for different sound editing functions. It also doubles as the event editor for the sequencer function and is laid out in a way reminiscent of classic Roland kit synonymous with techno. I could speculate that Casio may have felt this was a kind of genre standard. The right-hand section deals with navigating around the preset sounds and user banks. It’s the middle that will interest the dance music fraternity greatly however. This area has the main volume knob as well as controls for the three main functions - performance mode, tone editing mode and the step sequencer. In performance mode the keyboard can be divided into four and there are 100 user and 100 preset tones, available plus the capacity to play prerecorded sequences and phrases. Tone editing allows the user to generate new tones, while the 16-step sequencer consists of nine note parts and four control parts. Five of these are for drums, one for bass, two for solo instruments and one for chords; however there’s still plenty of scope to create phrases for jamming, or augmenting a performance. Additionally, there’s the sampling capability, with up to 19 seconds per sample available. Used intelligently this is the kind of firepower that’ll make you look good.

W 10 8

The Kemper Profiling Amp is quite different from all of its so-called competitors, as it’s genuinely the first of its kind. The KPA allows you to capture (profile if you will) the sound of any amp and quicker than Usain Bolt runs a 100-metre sprint. This is a new and unparalleled approach to guitar tube amp sounds. You can profile all and any amps you have, with your favorite sounds and/or cabs. You can even swap profiles with others on the net. There are already a number of people with vintage amp collections who have shared their profiles. I’m already thinking about two of my mates’ amps I’d love to profile - Shannon Bourne’s Gretsch Amp and Vinny Mancuso’s (Freestate) Modified Mesa. Well I’m that guy (like most guitarists) that is too excited to read the manual and likes to get straight into a new piece of gear headfirst. Lucky there’s an array of presets. So with its multiple output options, I plugged into my studio setup and got going. I immediately found Plexi and JCM 800 profiles (two of my favorites in the Marshall range) that brought a smile to my face (good start KPA). In the past when using a Simulator/Emulator I’ve always found that where they were lacking was in the sound of the air that only a mic’d amp gives you. I love that I can profile an amp with a mic other than a 57 or a 421 and can now use some of my favorite ribbon mics . I found most of the preset profiles very usable. So much so, I got straight to work on replacing guitars I recorded on a Jimmy Cupples track I was producing. I found it easy to modify the profile, adding and



The same can be said for its similarities in sound. To begin with, I ran the guitar through a Marshall valve amp and that classic rock sound we all know so well was clear and present. It’s important to remember that this model is in the sub $1000 price range and therefore equivalent to the Epiphone range of Les Pauls, and like the Americans, the sound is very close to the real thing.


The sound is rich and the guitar is really easy to play. When soloing with distortion, the sustain holds for days and coupled with a big muff pedal, the tone is irresistibly bold. The clean sound held its own too, but let’s face it, this guitar is in its element with the gain knobs turned up.


My only concern is with the tuning heads standing the test of time. This is an issue with all brands that have models within this price range, so it’s nothing new. If you really want to remedy the problem you can buy some standalone tuning heads. You might also consider this guitar’s bigger brother the ALS140F, if you’re serious about upgrading to a prolevel guitar with extra pickup grunt.

When you take a step back and look at the guitar, it’s hard to believe the price. It’s a really well-built guitar that sounds legit and the finished product is quite impressive. I must admit that I busted out “Sweet Child of Mine” and apart from my suspect playing, the tone was identical to the recording. You can definitely achieve the look and the sound with this model.


he Audya 4 is presented as a state-ofthe-art modern Expander and Arranger module; in simpler terms, it allows you to create accompaniments, backing tracks, and play along with them. Although you may be forgiven for thinking that this may be a very confusing and complicated device, you’d be mistaken. The interface is very user-friendly and allows you to navigate through the device quickly and with ease. And it’s a device that many players, arrangers and performers will find a very useful and valuable tool in their arsenal. Ketron have been around since the early ‘80s, are based in Italy, and have a rich history for audio interfaces, keyboards and PA systems. Since Ketron’s renowned MS60 / MS40 series was launched back in the early ‘90s, Ketron has been at the forefront of the industry and the Audya 4 is definitely consolidating that.


subtracting gain, highs, lows, mids, etc. The KPA even has a number of onboard effects Delay, Reverbs, Mods, etc, that are very easy to control My recording setup/ studio is in a residential area. Out of respect to my neighbours, I usually halt drum recordings at 6pm and guitar recordings no later than 9pm. The KPA comes in very handy for those late night sessions. Anyone who has recorded guitar knows the variables of mic placement on a speaker cone. Sometimes you come up with a killer sound in an unlikely way i.e. a room mic and a close mic and so on. It’s quite cool that I can take a snapshot of my recorded rig and use it at anytime. So you’re all getting the gist that I want one, right? Well you’d be correct. In fact I think you’re going to be seeing the KPA in a lot of recording studios in time. I think once you get over that it looks like a machine you’d see in an Intensive Care Unit and use your ears to judge, you’ll be pleasantly surprised. Will it replace real amps in the future? Probably not, but I think they will co exist peacefully.

Ketron Audya 4 Advanced Music Station


The intonation was great from the word go. Every note was pitch perfect. This is due to the sturdiness of the neck and the whole guitar for that matter, which is really evident when you pick it up.

With this model, Tokai shows once again they’re the real deal and that’s no false boast. Check out the list of players who have slung a Tokai around their neck, not least the late Stevie Ray Vaughan and ZZ Top’s Billy Gibbons. Since 1997 they’ve been producing Fender’s Japanese line which sees them really as the masters of the sub $1000 market these days.


e’ve all read the sensationalist claims of various guitar amp simulator/emulator manufacturers suggesting they have the upper hand with this new technology… some assert their products are even better than the real thing. Before going any further, I feel compelled to let you know I’ve always been a tube amp guy, with brands like Fender, Vox, Marshall, Mesa/ Boogie and even some of the more boutique brands like Ulbrick and Badcat being among my favorites. I love the purity of tone that a good quality valve amp provides and have been lucky enough to have heard and own quite a few in my time.

Tokai Lp Style ALS-48

laying this guitar was my first expedition into the world of Tokai. Although I’ve held down many conversations with friends in the past about the fabled Japanese brand, our paths have never actually crossed. The first thing that hits you is its striking resemblance to the American brand on which the model is clearly based. This model in particular (the LP STYLE ALS-48), is shaped like the Gibson Les Paul and in the Cherry Sunburst colour, the Jimmy Page look is certainly achieved.

Kemper Profiling AMP

The Audya 4 has over 560 in-built groove styles and 370 drum sequences, making it almost impossible not to find the right beat for your song, be it original or a cover. If for some reason you can’t find one, the device allows you to import you own drum samples and sequences; you can also start from scratch and create your own within the device. It has over 150 guitar patterns, allowing you to select a style, as well as the key and the chords or notes. It also includes a massive bank of bass guitar, ambient sounds and special effects, offering the user a total sonic experience. The device is made with both home studio and live situations in mind, with plenty of inbuilt effects including reverb, chorus, flanger and delay. It has two XLR inputs so you can have two vocals at any one time, with individual effects on either channel, MIDI in, into two through and 32 MIDI channels and two line inputs. You can play your guitar straight into the music station and use the in-built effects and play straight through the PA - no more lugging around a sequencer and amps or a pedal board.

This unit is such an impressive piece of kit, it’s impossible to even to talk about half of the abilities this gives the user. More features I haven’t mentioned include the Pro level multiplayer with up to six tracks simultaneously playing back, playlists, the ability to pre fader listen to your tracks, cross fades etc etc, input harmonisers and a state of the art vocaliser. Built with the working musician in mind, it’s easy to use and the 17 sliders allow fast and easy real-time control over effects and volumes. Although I have barely scratched the surface of this device, you can see why the Ketron Audya 4 is going to be the preferred arranger and sequencer for many performers. Do yourself a favour; get down to your local music store and spend some time with one - you won’t regret it. I’m off to delve further into this beast.





As his second album, Electric Love, is released, Tyler McLoughlan gains an insight into the weird and wonderful world of Italo disco funk with Donny Benét.

For Melbourne folk-popsters Tinpan Orange, it was time to shake things up a bit. The result is their lushest album yet, as Michael Smith discovers from Emily Lubitz.

hough it’s hard to wade through the moustached, white-suited, synthesised, ‘80s irony of Donny Benét to figure out if he is indeed the son of a famous Italian disco accordionist who enjoys entertaining old folks in nursing homes, it matters not a shred upon discovering the pure fun of his musical output.

ife for singer, songwriter and frontwoman of Melbourne folk-pop Tinpan Orange, Emily Lubitz is now defined quite clearly as pre and post-baby. Louie, her son by husband, songwriter, keyboards player and producer Harry James Angus, whose other band is The Cat Empire, now nearly a year old, rules, as all babies do. Not that he’s evident in Tinpan Orange’s latest album, Over The Sun, even if a lot of the songs were written post-baby.



“I’ve been playing small shows for years and playing gigs that no one saw… I’ve always kind of played music for other people and I was playing with Jack Ladder, and I had some tracks around and I met the Rice Is Nice people and we just put them out…” says Benét of his humble beginnings before pondering how best to describe his sound. “I guess it’s Miami Vice meets Prince meets Rick James meets ‘80s Australiana…” he laughs.

There’s more to this story

on the iPad

From his father’s converted garage in suburban Sydney, fondly referred to as Donnyland Studios, his experimentations with a vast collection of bequeathed musical antiquities gave rise to last year’s debut album, Don’t Hold Back, and this month’s follow-up Electric Love. “All the equipment is all old; ‘70s, ‘80s, and a lot of synthesisers… and I kind of exclusively use that stuff – it just has that particular sound and you know, they operate and behave in a certain way and I just feel for the music I wanted to create it’s kind of really, it just works best and [it’s] really appropriate and then really fun to use and sounds cool… “I even have another old family friend that made music and he gave me a thing called a Stradivarius string machine and it’s probably the most amazing thing I have! It was the best gift anyone’s ever given me; we used it a lot on Jack Ladder’s album – and it’s all over the new album, and it’s a really eerie kind of spooky string sound, which is pretty cool.” Whilst Don’t Hold Back was an in-the-moment snapshot of Benét’s improvised recording process at Donnyland

Studios, he put more thought into both the writing and recording of Electric Love. “This one had to be sonically better – the songs had to be written in a different way, and the playing and singing had to be better. Everything you do you try to do something slightly different but it’s a tricky one – you want to retain your sound and your same individuality, but at the same time you don’t want to release a record that sounds the same as last time…” Benét’s strong visual presence, a marriage of Nightriderchic and Tim & Eric bizarro, has allowed his new take on Italo disco funk to thrive in spite of not fitting into any existing scene in Australia today. “For me, there wasn’t a calculated approach to it. The music I was making, the beautiful thing about it for me was that it just came out – there was no preconceived ideas about it I think, which is a good thing… If you [say] I’d love to record an album like this and make it sound like this, it’s never gonna be an organic process. For me I guess, especially with the first album… I was thinking, I don’t really hear – and this is a good thing – I don’t hear music like this in the Australian musical landscape.” Benét admits he is continually intrigued by the reaction of newcomers. “It’s how people perceive things, which is always an interesting thing to observe. Some people will kind of interpret in one manner compared to other people and it’s fine, I don’t mind that at all – I enjoy things that hopefully get people thinking: hang on, there’s something not right here…” WHO: Donny Benét WHAT: Electric Love (Rice Is Nice/Inertia) WHEN & WHERE: Wednesday 31 October, North Perth Bowling Club


“It’s a collection of songs that started about two years ago,” Lubitz begins, “and I think that it was more reflecting on remembering, and maybe, the fact that I had become a little more domesticated and thinking about the part of me that isn’t domesticated, that whatever, the dreamer in all of us. And I think we all have our domesticated selves and our, you know, incredible, worth of a screenplay or at least worthy of a folk song selves,” she giggles. “So I think the album is mostly looking back on maybe a simpler time and with warmth.”

There’s more to this story

on the iPad

There’s certainly no regret evident in these songs, yet they’re not mere rose-tinted nostalgia either. The songs that ponder loss are accepting, those that might admit feelings of inadequacy but hey, they’re trying their hardest as, for instance, the character at the heart of Supergirl is. “That one was inspired by a short story by [Israeli writer] Edgar Keret – he’s a great short story writer. I find a lot of inspiration from short stories or Charles Bukowski or something, and, yeah, I sort of got that and then I researched all superhero stuff, googling and wondering what do they have other than capes? I actually made up tazer gloves but I thought that’d be pretty awesome [laughs]. But I love Supergirl, I love her dedication to whoever she’s in love with.” Sonically, this fourth album from the now five-piece is far more lush, awash with strings and more accepting of having a traditional rhythm section,

There’s more to this story

on the iPad

The new record also saw the band open up their writing process. “In the past it was more just a couple of us were writing songs and giving them to the band,” Finch explains. “There’s so many of us and it’s difficult to write with seven people, it can ridiculous. For the Hollow album we just put out, there was a lot of collaboration. We did a lot of jamming out on ideas and working shit out as a band. It’s been the most collaborative record to date.” That’s not to say that the new record isn’t as full of horror stories, which Finch acknowledges is the core of the band and a big reason for their appeal. “It was always the idea behind the band. The weird thing about this band is that the name and idea of the band came first. We thought it would be cool to make this kind of horror country band and we sort of put the band together in the pub. A few

22 • For more interviews go to

“After our last record (2009’s The Bottom Of The Lake) that we did, just the four of us at home, you know, very kind of private, personal, fun little bit of recording, we wanted fresh ideas and we wanted someone with strong ideas, so we very consciously chose him. He’d say, ‘Note’s too long, chop it in half, probably don’t need that bit,’ and then, ‘Oh no, we need a middle-eight – write it.’ So Foolish Child, I wrote a lot of that in the studio as we were recording it. I was writing lyrics to Over The Sun as the guys were playing through the chords and Steven was pulling the sounds in the control room, and it was great – I love working on the fly like that. Usually, I’ve always come into the studio very prepared, the songs don’t change too much in their form, but I’m at a stage where I’m really open to other people having some fun – as long as I trust them, I trust their aesthetic and they’re going to do right by my songs, I find it really exciting.” WHO: Tinpan Orange WHAT: Over The Sun (Vitamin) WHEN & WHERE: Thursday 25 October, The Bakery; Friday 26, Fly By Night

The early ‘90s called, and they want their Eurodance hits back. Snap! takes the call and reports back to Jason Kenny. t’s the soundtrack to a million blue-light discos, every half-time sporting event in the first half of the ‘90s and evokes the disturbing image of flat-top haircuts. It is lodged in time, forever linked with Reebok pumps, backward baseball caps and a staple of not only club nights but also fitness centres the world over. It is the discography of Snap!



While the new album is as diverse as their previous LP’s, there’s a noticeable swing towards rock’n’roll in the sound. This was a natural evolution for the band, as Nick Finch suggests. “We didn’t mean to make it more rocky; there’s still some sweet country songs on the record,” he says. “We’ve been playing together for five years and now we’re playing bigger stages, where everything gets a bit more amped up and hectic, so this record came out of that. Also our banjo player started fucking around with an electric guitar, which always seems a bit rockier. It’s not necessarily a direction, it’s just for that album, that’s the sound the songs have. We’re working on some new stuff now that’s different again. I guess we get bored easily, so we change things up pretty quickly.”

“The sounds were a lot to do with our producer Steven Schram. Harry also had a lot to do with the arranging and obviously Alex, who plays the violin and strings, but a lot of the sounds were steered by Steven, who is a very fearless producer. He pulled sounds that I just wouldn’t have expected but I loved it. He would chop songs – he’d just put the song in a blender and, like, watch it go – and we knew he was like that and we wanted that.


Melbourne spooks Graveyard Train are heading to Perth for Rock-It Festival and then some. Tomás Ford gathers around a campfire to hear frontman Nick Finch’s ghost stories. ampires, zombies and werewolves populate the songs of Graveyard Train frontman Nick Finch. For a man who fills his songs with dark characters, I’m surprised to find that he’s a very chilled-out, rather affable guy. He’s returning with his band for their second visit to Perth for Rock It-Festival and a short run of headline shows with goulish friends The Brothers Grim on the back of their raucous new record Hollow.

something the original trio of Lubitz, guitarist brother Jesse and multi-instrumentalist Alex Burkoy took pride in not having for a few years.

of the guys weren’t even musicians; Adam plays the hammer and chain because he doesn’t actually know how to play anything else. It was just a bunch of mates getting behind the idea. I guess that came from there being so many people out there that write love songs and wear their hearts on their sleeves, I just thought we’d do something different. I’m a pretty happy, white middle class guy; I don’t really have too much to whinge about, so I might as well just sing about vampires and shit like that. “On the new record, we’ve gone for a lot less of that schlocky stuff and a lot of the songs are more concerned with death, the idea of the soul and things like that. The lack of a soul. That’s the kind of things I was thinking about anyway; I’ve got such a good life, I’m worried about it ending. I don’t want to die.” The bands’ upcoming tour mixes pub and festival shows; Finch finds that the band approach these different kinds of shows in similar ways. “We do what we do, I guess. Every set is slightly different, but it doesn’t really depend on weather it’s a festival or a club gig, but we haven’t played a festival for a while so we’re really looking forward to it. I’m actually really happy about the chance to check out some of Perth bands playing because I don’t get to see them very often. The Kill Devil Hills are one of my all-time favourite Australian acts, so I’m really happy to be on the same bill as them. It’s gonna be fun.” WHO: Graveyard Train WHAT: Hollow (Spooky Records) WHEN & WHERE: Sunday 28 October, Rock-It Festival, Arena Joondalup; Monday 29, Indi Bar; Tuesday 30, Mojos; Wednesday 31, Devilles Pad

The first rumblings came in the first month of the 1990s with The Power. The crossover club hit set the tone for the next few years. “We always made music because we liked it and didn’t expect anything from it,” says Luca Anzilotti, one half of the production duo. “We were totally taken by surprise by the success.” The Frankfurt-based duo began making music in 1989 under the aliases Benito Benites and John Garrett III. They were fighting premature assumptions about German music. “German music today is perceived [as] a lot more open-minded than it used to be,” Anzilotti says. Within a year, their first hit was everywhere. They followed up with Rhythm Is A Dancer a year later. After two decades, the duo are still playing those hits. “We still live those tracks as they represent a huge and exciting part of our lives,” Anzilotti says. “The sound is a reflection of the times!”

There’s more to this story

on the iPad

A reflection, indeed. Those were the heady days of George Bush Sr’s administration, the first Gulf War and infectious Eurodance. The two mainstay hits of The Power and Rhythm Is A Dancer are instantly recognisable. “The tracks have a singularly unique sound,” Anzilotti explains. “These tracks show today’s producers that being unique is the way to be successful, and not trying to imitate others.” There were a string of hits before the duo split in 1996. The legacy of those tracks remains with the Snap! hits popping up in films, TV shows and remixes. Though the duo and their collaborators might have pioneered the crossover dance hit, striking at fresh ground, there are certain advantages contemporary dance acts have over their early ‘90s counterparts. The public perception of DJ

acts is definitely one of them. The ability to take advantage of a more approachable and varied public is another, not to mention the advantages of technology in the studio and the ability to release tracks immediately over the internet. “We didn’t have the technical possibilities that producers today have,” says Anzilotti. “In addition, record labels were taken aback when they find out that we were DJs and not musicians!” That’s surely not the case now. These days even many bands have a DJing act, spreading out to festivals in a sound-system format. Perceptions are not the only things that have changed. The dance culture has its own way of getting music out. There’s not a reliance on mainstream radio, and even then radio has evolved its own way of playing dance music. At the time the duo released The Power, it was a whole different landscape. “Our only real outlets at the time were clubs,” Anzilotti says. “So a track had to be right on target in order to make the crossover to mainstream music. These days there are loads of different paths to success.” The duo undoubtedly set off a crossover between the club sounds and mainstream radio that has benefited today’s acts. For Anzilotti and his partner in rhythm, Michael Münzing, the continued success of varied acts is interesting to watch. Naturally they have their own favourites. “For instance David Guetta, or Timbaland, for being continuously successful and being ahead of others.” The remixed versions of their hits have been speckled in the charts and attention on the duo rose again after a performance at Glastonbury two years ago. A large world tour is being mounted in 2013. Australian clubs will get an early show from the duo, and be reminded how to party like it’s 1990. WHO: Snap! WHEN & WHERE: Saturday 3 November, Villa





Lyrebird Independent

It’s interesting when an established band, especially one that shares its front man – and consequently writing/touring time – with another established band, puts out an EP. It’s two years since Birds Of Tokyo’s self-titled third album, and This Fire has come just in time for a list of festival and concert dates to cap off the end of 2012 and ring in the New Year. The band reportedly conceived This Fire in a French farmhouse with the intention of starting again and finding a new sound. The result is a shift away from guitar driven pop-rock anthems and an evident focus on more atmospheric ballads, yet it’s still unmistakably BOT. Maybe next year’s album will see them throw us a curve ball.

Elephant Traks/Inertia Music

Stop Start/EMI

Spunk Records

From his humble beginnings in the Blue Mountains of New South Wales, Tim Levinson aka Urthboy’s newest release Smokey’s Haunt has scaled even greater heights for this talented emcee, who now at age 30 seems to have found a balance of maturity and creativity in a perfect mix that makes this album an absolute blast.

Ball Park Music have done a Big on us and grown up overnight. When the boisterous Brisbane five piece burst onto the scene in 2010, they were met with a throng of equally high-energy fans. Their first release, Happiness & Surrounding Suburbs was, as far as debut albums go, pretty close to perfect. An album that jumped up and down, smashed out six singles with unyielding zeal and delivered what it promised – happiness – across all 12 tracks.

Straight from them opening track Stories, Urthboy’s trademark catchy hooks, storytelling prowess, succinct humour and contemplative thought processes are on display - the driving force behind this record. The production values are also very sound, having been co-produced by Hermitude and Countbounce, who have teamed up for the first time to produce Urthboy’s best work to date. While the album seems to get better by the track, the stand-outs of the release would be Knee Length Socks, which features easily the catchiest beat on the album and lyrics that resonate with the youth of today: “I was never caught by the fuzz while I was still on a buz/A bit before I dabbled with drugs/Pills, thrills, bellyaches, E’s and whiz/Whatever it takes to medicate, please a swig”. On The Big Sleep, Urthboy tells the tragic story of an 87 year-old woman who was found upstairs in her Sydney home eight years after she had died, the song also featuring the guest vocals of Sparkadia’s Alex Burnett in an emotional and truly spine-tingling track.


From start to finish, Urthboy’s Smokey’s Haunt takes you on a journey through the strain of light and darkness and is a triumphant release that is sure to set the bar extremely high for Australian hip hop releases in the future.


Eli Gould

PLACEBO It’s debatable whether Brian Molko is capable of creating something that doesn’t sound like Placebo. It’s not just the instantly recognisable voice, it’s also the familiar guitar and that dark, gritty kind of vibe. 2009’s Battle For The Sun bought us, in Molko’s words, hardpop – it was indeed a happier, more upbeat sound, though still undeniably Placebo. B3 sees a return to the Placebo of old with tracks such as The Extra and I Know Where You Live sounding a lot like Meds b-sides. Interestingly, the second track I Know You Want To Stop was written for the band by outside parties.


It’s Not Over Future Classic A four piece from Sydney with an obvious penchant for sunny, ‘80s-inspired yacht/house music, Panama have really hit their stride with EP It’s Not Over. Growing out of the hooky pop rock of The Dirty Secrets, frontman Jarrah McCleary and band mate Cam Edwards experienced a change in their music whilst in L.A to record, so much so, that The Dirty Secrets became Panama, and a completely different direction was embraced. You would never link the two bands on sound alone; Panama’s summery indie-pop is worlds apart from the killers-esque vibe of TDS, but it seems McCleary knows what he’s doing.


You Don’t Know What You’re Missin’ Independent/Firestarter Bubbling from your speakers with complete assuredness, this forerunner to Sons Of Rico’s sophomore album is a high energy, driving affair from start to finish. Right from the beginning the guitar on this track reminds of The Dandy Warhols, even more so when the chorus arrives with it’s “ooo’s” and “wo-oah’s” – think the Dandy’s Bohemian Like You. The similarities end there though with frontman Alex MacRae’s vocals bursting forth like a ballsy addition to the Scissor Sisters. At just under three minutes, You Don’t Know What You’re Missin’ is undeniably single-type material and suggests good things for the album to come.

The album opener Fence Sitter is a comfortable sound for BPM, a high-energy song with a warm acoustic line and rich, Cloud Control-esque harmonies. The first single Surrender is one of the best tracks the band has ever produced, a ridiculously catchy radio favourite with a killer driving beat. But the record’s finest moment is surprisingly its most tender - Coming Down is gentle and stripped-back, and really exposes the band’s musical abilities. There are a couple of uncomfortable moments on the album (including the pairing of two very dissimilar songs as Bad Taste Blues Part I and II) but we will just put these down to growing pains. Museum has seen BPM take pause, explore their sound and find their feet to produce a sophomore release with equal measures of happiness and sorrow… because that’s what happens when you grow up.

That’s not to say Algiers is all blue skies and butterflies. Sinner In The Sea takes us across the Gulf Of Mexico to Havana, where the Salsa and Son rhythms are reined in by Joey Burns’ gravelly metaphors, and “the waves crashing on the Malecon wall” spar with the splash of brush on snare. No Te Vayas is maudlin in all the right places, the plaintive Spanish employed to beautiful effect against the wail of trumpets, and the title track could slip into any of the band’s previous albums, such is its embodiment of the Calexico sound. There is still that great mix of wistful storytelling and lonesome instrumentals, but ultimately Algiers is a bit like the dirty guy who got clean; commendable in its progression, and still boasting some great stories, but the minor key menace has softer edges – the danger is less pronounced. These nuances make for an interesting album, but one which is less eerie, less unsettling and consequently a little less compelling than previous efforts. Tom Birts

Tess Ingram

DAVID BYRNE & ST. VINCENT Love This Giant 4AD On Love This Giant, beauty and the beast come together in the form of anti-popstars St Vincent (otherwise known as Annie Clarke) and David Byrne, and musically procreate. However, the answer to which is beauty and which is beast has been deliberately obscured; much like it has been on their unnerving album sleeve. Brought together after a few chance encounters, Clarke and Byrne went to painstaking lengths to make this as much of a partnership as possible by alternating songwriting and performing duties, and blurring the line as to what feature came from which parent. And indeed, their baby is actually a loveable giant (which probably explains the long labour); a towering, fumbling one made of hefty brass and art-school-styled, deconstructionalist funk. And the results, for the most part, are great. Lead single, Who, drunkenly stumbles around an infectiously playful horn line that will burrow into your brain and make itself at home for eternity. The One Who Broke Your Heart sees the duo joined by the Dap Kings for some high-energy, rug-cutting funk/soul reminiscent of James Brown. Weekend In The Dust has a cool broken hip hop beat and a nice syncopated vocal performance from St Vincent. However, as good as the musicianship is on Love This Giant, it still feels like an art project and is not always emotionally engaging. It’s hard to invest in something when you intuitively know it’s not designed for the long haul. Instead, it is a quixotic, one-night stand of an album; the product of two artists that wanted to see what they could create together and observe how well their love-child raises itself. Kosta Lucas

40 • For more reviews go to

You would think that after all of that, the band might need to go down for a nap. But somehow, while embarking on an enormous national tour, BPM managed to create Museum. Birthed less than a year after his older brother, Museum enters the world with a great deal of expectation already weighted on its young shoulders. And they’ve knocked it out of the (ball) park.

Calexico’s second and third albums – The Black Light and Hot Rail – have a special and permanent place LIVE in my record collection. Essential travel music, they paint their sinister stories on a canvas straight from the Tex-Mex Breaking Bad-lands, with banditos around every bend. New album Algiers takes a fork in the road and heads East to The Big Easy. Recorded primarily on the outskirts of New Orleans, the record has most of the hallmarks of a Calexico production, with a marked decrease in the creepy character that keeps D Vthem filed under C in my portable music device.










This Fire


Smokey’s Haunt






Seams are one of those bands from whom you never know what to expect, so often do their songs change moods completely between verse and chorus and from tune to tune. Lyrebird bursts forth with a brooding guitar lick and front man Lyndon Blue’s cynical words before suddenly changing tack with a ridiculously hooky mess of vocal harmonies in the form of the chorus. Backing up the single is track Quickly, which almost brings the band into a Beach Boys-type surf-rock groove and should probably have been the leading track. Let’s hope we’re treated to some more spliced film footage in the form of a video clip.




Warner Australia/Nonesuch/Perro Verde Records

One fucking minute. That’s all it takes when pressing play on Green Day’s ninth studio album ¡UNO! to figure out they’ve somewhat returned to their former glory. 21st Century Breakdown, released in 2009, was a write-off, and while 2004’s American Idiot was a pretty decent album, the transformation the band embarked on because of it tainted their catchy hooks. ¡UNO!, the first record in a trilogy, takes off where 2000’s Warning ended, and is a sound for sore ears.

An election year in the United States is something that takes on gargantuan proportions. While our most recent voting took unusual importance in place of our usual cynicism, it’s still hard to describe the fervor that accompanies this Stateside. With Election Special, Cooder has created not just a song, but a whole album dedicated to pushing his protest agenda.


Shortly after the album’s release, frontman Billie Joe Armstrong was admitted to a rehab facility after an on-stage breakdown at the iHeartRadio music festival in Las Vegas. If substance abuse gave birth to this awesome album, maybe Armstrong should keep on livin’ that rockstar lifestyle. That may be a selfish point of view, but 21st Century Breakdown was beyond awful. Maybe he was celebrating the band’s first decent album in ten years. The closest thing to 21st Century Breakdown on ¡UNO! is Kill The DJ, the first single taken from record. It doesn’t do any justice to the 11 tunes that it sits alongside. A more fitting lead single would have been Stay The Night; it encompasses the right blend of the band’s old sound without coming across like a boring, re-done knock off. Many fans had given up hope on these guys, but ¡UNO! is the light at the end of the Green Day rock opera tunnel. With any luck ¡DOS! and ¡TRE! will continue this trend and see the years between Warning and 21st Century Breakdown fade into a distant memory. Daniel Cribb

Election Special

The album’s opener Mutt Romney leaves no one guessing as to the liberal democratic theme. Its use of biting satire is from the point of view of Romney’s dog that was famously (and consciously) put on the roof of the possible president incumbent’s car in a windproof dog carrier. The tender acoustic guitar of Brother Is Gone works as the precursor for The Wall Street Part Of Town: an anthem of anger directed at the country’s economic elite. This is one of many tracks that feel rushed musically, so it’s left up to the solid playing of the backing musicians, including his son Joachim, to make it work. This is an album that while raw in delivery is also clever in crafting self-reflection in the listener. This gives credence to the theory that the music is deliberately unpolished to give validation to Cooder’s distrust, anger and fear. The content may be hard for audiences not ensconced in the American landscape to fully appreciate, yet Cooder himself sums it up in the final track, where he reminds his compatriots that the whole world is watching. However, while we may not be watching as closely in 2012, we can still take stock of the belief in his convictions and the importance of who is chosen to lead. Chris Archibald






THURSDAY 25 Eve – A play performed by Margi Brown Ash which explores the life of enigmatic Australian author Eve Langley. The story of a reluctant mother, passionate artist and anyone who has ever felt like an outsider. Written and co-devised by Margi Brown Ash and directed and co-deviser by Leah Mercer. The Blue Room Theatre, 7pm until Saturday 10 November. Denise Scott: Regrets – Direct from the Edinburgh Fringe Festival, comedian Denise Scott brings her award-winning show Regrets to Perth for the first time. Last year the show won the Director’s Choice Award at the Melbourne International Comedy Festival and bagged a national Helpmann Award for Best Comedy Performance. Regrets takes audiences back to when the star of Winners & Losers was a teenager and an event took place, or rather didn’t, which caused her to forever wonder, ‘What if?’ Fremantle Arts Centre, 7.30pm.

FRIDAY 26 Pink Flamingos – a film directed by John Waters, the crown prince of cult sleaze. Divine lives in a caravan with her 250-pound mother Mama Edie. Connie and Raymond impregnate female hitchhikers and sell the babies to lesbian couples. Let the battle for ‘filthiest people alive’ commence. Rooftop Movies, Northbridge, 8pm.

SATURDAY 27 The Adventures Of Priscilla, Queen Of The Desert – an outback roadtrip unlike any other. It’s the little Aussie film that delivered paydirt in overseas box offices and caused a near-riot at the Cannes Film Festival. It won an Academy Award, it spawned a Broadway Musical love child and now a reality show. Relive the fun, grit, splendour and spunk that is Priscilla. Rooftop Movies, Northbridge, 8pm.

SUNDAY 28 The Last House on the Left– A film so brutal that it was banned in Australia for over 30 years. Horror maestro Wes Craven’s directorial debut is a tale of abduction, murder, and an unexpected

Jaimee Lee Curtis opportunity for ultimate revenge. It’s unbearably tense, and truly terrifying. Part of Halloween Horror Classics, a mini festival that celebrates all things horror. Rooftop Movies, Northbridge, 8pm.



Benicio Del Toro makes short work of his character in Savages. He talks getting into the mind of a “worm” with Guy Davis.

Performance Lecture: Nikhil Chopra – After spending time as an artist-in-residence in Sydney and Melbourne, this Mumbai-based artist concludes his Asialink roving residency with a performance lecture at FAC. Largely improvised, his performances revolve around issues including identity, the process of transformation and everyday life. Fremantle Arts Centre, 7.30pm.

Benicio Del Toro is the kind of actor who can do a lot with a little (his Oscar-winning performance as principled but pragmatic cop Javier Rodriguez in Traffic is a good example) or a lot with, well, a lot (his mumbly, jittery turn as Fred Fenster in The Usual Suspects kinda put him on the map). And in Oliver Stone’s sunburnt film noir Savages, Del Toro gets to do a bit of both.

Australian Poetry Slam Heats – Speak, scream, howl, whisper 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 final in Sydney. WA heats are held every Tuesday night in October, The Bakery, 7.30pm

As Lado, the sadistic right-hand man to Salma Hayek’s drug-cartel baroness Elena, he’s out to make life miserable for California weed entrepreneurs Taylor Kitsch and Aaron Johnson, their shared girlfriend Blake Lively and their shady DEA contact John Travolta. Whether he’s wiping Lively’s spit off his face with Lively’s own hair or quietly intimidating Travolta by

commandeering the man’s sandwich, Lado is a powerful presence. And Del Toro makes him vividly nasty without chewing the scenery. “You always live with that fear that you are going to go over the top and ham it up in a bad way – well, hamming it up in any way is probably not good for an actor – but you especially have that fear when you do a bigger-than-life character like this one,” he says. “You have a good meter in the other actors, though – they either directly or indirectly kept me in check, and Oliver also kept me in check. But he also told me when I could go further. And there are a couple of things in there where they just happened right on the spot. Ideas came up that weren’t necessarily scripted – that’s just collaboration. Oliver

It’s taken a while for Hail to get a proper theatrical release since premiering at the Adelaide Film Festival early last year, and just as well. In a tepid year for Australian cinema, this debut fictional feature from Melbourne’s Amiel CourtinWilson - befitting its title - obliterates its competition, local or otherwise, through sheer primal force. The origins warrant mention: the film’s star, Daniel P Jones, was discovered by Courtin-Wilson as a member of

In creating Lado, Del Toro made good use of Don Winslow’s novel to get an idea of the character’s background and motivations. “And there are many little stories that I know about or that I’ve read over the years that help make whatever happens in Savages believable,” he adds. “But I used my imagination on this thing a little bit more than on perhaps any other character.” The closest comparison he can make is to his loathsome Sin City character Jackie Boy, a corrupt cop who menaced women before coming to a nasty end. “Lado could be related to that guy, closer than any other character I’ve done if I was going to draw a line connecting all of them,” says Del Toro.

“They’re both bullies, they’re both greedy, they both stop at nothing... but at the end of the day the idea was to not give this guy any dignity. Me and Oliver saw eye to eye on that. We both wanted him to be a worm, and I think we accomplished that. “You know, there’s this scene with Salma where she slaps me and yells at me, and it creates this thing where it’s like, ‘Oh, maybe Lado’s not that bad.’ But you know that story about the woman who picks up a wounded snake, takes it home, feeds it and cares for it and then one day the snake bites her, right? The woman says, ‘What did you do that for? I brought you back from the dead, I took care of you,’ and the snake says ‘But you knew I was a snake’.” WHAT: Savages In cinemas now

WEDNESDAY 31 Halloween – The original lowbudget ‘70s slasher film that spawned a genre - it’s an absolute classic. “Was it the boogeyman? As a matter of fact, it was.” With Jamie Lee Curtis, Tony Moran and Donald Pleasance. Part of Halloween Horror Classics. Rooftop Movies, Northbridge, 8pm.


might have thrown ideas at me that I took and ran with, or another actor – like John Travolta in our scene together – may make a comment or suggestion that helps set the tempo.”

a theatre company working with prison inmates. Courtin-Wilson built Hail around Jones and his life’s stories, giving a documentary quality that’s further enhanced by the naturalism of his non-professional actors and the filmmaking style, evoking the work of independent film pioneer John Cassavetes. The first half of the film depicts Jones re-entering into society and reuniting with his girlfriend (played by his real-life lover, Leanne Campbell). It’s when tragedy strikes that the film’s style becomes more fractured and expressionistic, not to mention ambitious. If Hail is flawed, it’s not for lack of trying; rather, the result of daring to fail, with its oftenexperimental engagement with, and portrayal of, its alternately brutish but intensely loving subject character. It’s a film that approaches society as marginalised without a trace of condescension, challenges conventional modes of narrative and representation and, more importantly – lest the aforementioned sounds overly academic and carefully phrased – is a fucking staggering gut-punch of a movie. Ian Barr In cinemas Thursday 25 October

42 • To check out the mags online go to

THE CAT IS BACK Sarah Braybrooke discovers that Meow Meow thinks a lot about the fine balance between sincerity and self-indulgence as a performer.

Meow Meow, the unmissable, inextinguishable and onomatopoeic cabaret diva, is back. Following sold out seasons in New York, Berlin and London’s West End, she’s returning for an encore tour of Australia before heading back to London for a run of The Little Match Girl at the Queen Elizabeth Hall. It’s been a very busy year. “It really is a pretty intense showbiz travel lifestyle with masses of suitcases and Marlene Dietrich-esque degrees of costumes, sequins and whatnot,” Meow says before deadpanning. “They can be a bugger to get through customs though.” With a repertoire that typically includes classics like Jacques Brel’s Ne Me Quitte Pas and Surabaya Johnny by Bertolt Brecht and Kurt Weill, on her Australian tour Meow also plans to preview some songs from a forthcoming album which she has been developing with Thomas Lauderdale of Pink Martini. Writing the album has been a long journey; one of the album’s songs took over two years to finish, she explains. “You know, life changes radically in two years time. It began as a llight love song…but it’s become ssomething extremely symbolic ffor me. It is actually a very laden ppiece. If I’m writing something, iit is much easier for me to write tthings which are very distant ffrom myself, and more kind of ggenre-based. It is much easier to write a ditty, but if you are writing w ffrom your heart and soul you want tto be true to your experience.” Striking the fine balance between S ssincerity and self-indulgence as a pperformer is something that Meow Meow seems to think about a lot. M “I never want to make things so specific that it doesn’t speak to a

wider audience. Because that is the whole point of singing publicly - so that you are communicating and not just telling your story… it’s a little bit smug in a way, to have a captive audience and just subject them to your personal emotions. But on the other hand people do sometimes want to see you bleed. I often feel as though I bleed in performance, even though sometimes what I’m doing is ridiculous. Completely ridiculous and stupid and funny, but I don’t ever really feel like I’ve done a good show unless I’m bruised,” Meow pauses for mock dramatic effect and smiles, “Either physically or emotionally: I don’t see the point of doing things half-heartedly.” As a performer, Meow Meow embodies a kind of vulnerable vampishness that manages to be simultaneously melancholic, seductive and very funny. These contrasts are far from accidental. “I think that’s actually the way that life is. I’m often aware of my ridiculousness, that for instance, when you are feeling something passionately you might not realise that your skirt is tucked into your pants. Or, that someone is only actually looking at your boobs, no matter what you sing.” Meow Meow laughs, before saying philosophically, “You can’t control how people perceive you, and so I try to give as many options to the audience as to how they want to perceive me. And that’s quite freeing really.” WHAT: Meow Meow WHEN & WHERE: Friday 16 November, The Astor Theatre.


but definitions are something that everyone is exposed to. “Whether they’re defined by their gender, sexuality or occupation, whatever the choice they make a preconceived idea that comes with it. What we wanted to do was to show that we are bigger than the definitions that we are given and to remind people that just because someone thinks or says something, it doesn’t mean it’s true. Looking at the original festival poster we released, none of the words that were listed are now used in line with their actual definition. We wanted people to be aware of that.”

FESTIVAL OF PRIDE Diversity, celebration and opportunity are just some words that describe what Pridefest is all about. Marcia Czerniak speaks to Alice Newport-Holden from Pride WA about how things are going with the festival. If you thought Pridefest was a celebration that centred just on a parade in Perth, then think again. Running from 6 October to 3 November, Pridefest is a mix of community events, performance, comedy and most of all, good fun. Alice Newport-Holden, Pride WA’s co-president, media and marketing manager says the festival is something the whole community can celebrate in and take something from.

“This year was about engaging the wider community, but we wanted to make them ask questions at the same time,” Newport-Holden says. “Every year the festival runs to a specific theme and the committee came to the table with some fantastic ideas. ‘Definitions’ was chosen as this year’s theme, because not only have we been able to highlight a lot of the discrepancies between language and true meanings,

The poster, for those who haven’t seen it, gives the true definitions for words often thrown around when describing the lesbian, gay, bisexual and transsexual community. Words like queer, faggot, queen, gay and dyke are commonplace, and NewportHolden says events like this year’s Parade aim to quash them and join the community together. “Parade night is amazing, the atmosphere on the streets… there’s just this buzz that you can’t seem to get away from,” she enthuses. “It’s a true celebration and not just of the LGBTIQ-plus community, but of community itself. It’s a great thing seeing all of those different types of people come together to celebrate and be part of something.” Newport-Holden says that the new events of Pridefest are also ones to watch out for and add a lot of diversity to the program. “The comedy festival Wigstock and GFEST are all new events, and it’s great to see such diversity coming into the program. GFEST is presented by Pride Midwest, and Wigstock is probably the best

showcase of local drag talent you’ll ever see. This year will see almost 20 drag queens come to the stage to perform for a solid six hours.”

“The same-sex marriage debate is one that I’m sure, unfortunately, will continue for some time, but I think that it has a positive effect on events like the festival, especially the parade. The parade is a symbol of celebration and when people are discriminated against, they are all the more likely to embrace such an opportunity. I mean, when does normal Joe get to scream their message and celebrate their love and respect for others in front of 50,000 people?”

WHERE & WHEN: Various locations until Tuesday 6 November



Newport-Holden says she enjoys her role at Pride WA, and that it’s nice to be able to be so heavily involved in something that she really loves, enjoys and is passionate about. With all the recent discussion about samesex marriage in politics this past year, she said the key element to remember is discussion. “It definitely brings it to the forefront of people’s minds and promotes a lot of discussion, which I think is positive. I am of the opinion that the more things are discussed, the quicker people get used to them, which removes the option for people to not understand and from there helps remove the possibility of anger or aggression from ignorance.

WHAT: Pridefest


As someone quite proud of their European ancestry, Fremantle has always held a special place in my family. It is where my Dad first set foot onto Australian soil, as it was, with Nonno, my Mum’s father. It is the place where their names are etched into stone acknowledging that they are part of the rich migrant history of Fremantle and a place where we often go to celebrate. And this weekend launches two weeks of celebrations with the Fremantle Festival. Opening up with three massive events, the festival celebrates the past and present of the port city and all that it has to offer, be it history, food, music or culture. From the early morning you can head down and watch the Blessing Of The Fleet, a tradition introduced by Italian migrant fisherman back in 1948. Expect plenty of colour, noise and most of all, a display of Italian culture that has uniquely embedded itself into all that is Freo. And as you watch the Blessing, you can head over to the inaugural Seafood Festival held in the Fishing Boat Harbour. If you like all things seafood, then you would definitely like this as it is about all things fishy. There is the Freo Festival Doco Nights, a mini film festival facilitated by VAM Media and presented by FTI, which also gives audiences the chance to meet with local documentary filmmakers through presentations and Q&A’s. There is also Wardarnji, the annual Aboriginal cultural festival. Featuring

music, dance, art, performances and workshops, this is the chance for people to do everything from eat a kangaroo patty with bush sauce to see a performance of Shakespeare’s sonnets in Nyoongar.One of the most iconic streets in Fremantle is the cappuccino strip, and the Coffee Festival brings it to the forefront with its day of celebrating all things caffeinated. With a barista competition and Gino’s Spaghetti Eating Competition, expect people to be literally buzzing on South Terrace. There are also a range of exhibitions being held around the Festival, from a look into the 64-year history of the Blessing Of The Fleet through photographs at Town Hall to The Dreamers, an exhibition at the Moore’s Building. One of the absolute highlights is bound to be Cette Immense Intimite by France’s Retouramont. This aerial performance will see audiences witness a solo dancer suspended above them all linked in with video projection and music. This Australian exclusive is definitely one to mark in the diary. Pop-up shops are also featured in this year’s festival with a range of goodies available from local designers in fashion, art, design, music, photography and… puppets! Spare Parts Puppet Theatre Pop-Up Puppet Parlour will have puppets popping up and will feature a range of puppets from more than 30 years of performances. Wrapping it all up will be the Street Parade. This event sees 60 parade entries and floats reclaim the streets and entertain the city with fun-filled entertainment, a perfect way to finish up what is bound to be a great festival.



EPW: APPLIED PAINTINGS PROJECT FOR A KINDERGARTEN I & II 3 November – 30 December 2012 Perth Culture Centre James St, Perth | Tue - Sun | 11am - 6pm | Free

Image: Rebecca Baumann, Colour Clock, 2010. Photo: Jake Walker

For more reviews go to • 43






It’s been three long years since it was last held, but the Rock-It Festival is finally returning to Arena Joondalup this Sunday 28 October. The eleventh edition has a suitably King Kong-sized line-up, which features blues-rockin’ two-piece and now international superstars The Black Keys; Perth regulars, favourites and reggae-folk three-piece John Butler Trio; melodic rock heroes and Perth alumni Birds Of Tokyo; the Jae Laffer-led The Panics; sultry-voiced rock’n’roll chick Lanie Lane; indie-rock guitar heroes (and Bloc Party faves) Last Dinosaurs; plus much more talent in San Cisco, Abbe May, Royal Headache, Graveyard Train, Brothers Grim, The Toot Toot Toots, The Kill Devil Hills and Emperors. Tickets are still on sale from Heatseeker, so don’t miss out on your chance to rock-out this Sunday. Check our Last Dinosaurs chat on page 14 for set times, plus stories with Royal Headache and Graveyard Train on page 17 and 22 respectively.


Unless you have been hiding under a rock somewhere this year, you will have noticed the themes of 1920s prohibition America rolling into all aspects of modern-day popular culture, from fashion to television, and there was no exception on The Astor stage last Saturday night as The Royal Jelly Dixieland Band opened for Clare Bowditch. Seven dashing young men that play jazz, pop and, well, obviously Dixieland warmed up a crowd where the female members of the population clearly outnumbered the male variety. The Royal Jellies smashed out some seriously jazzy tunes before they surprised with an electric version of Beyoncé’s All The Single Ladies. There definitely should have been a trombone in the original version, and the appreciative crowd bopping along was definitely testament to this. As Clare Bowditch came on stage in a mist of dry ice, it became very apparent to anyone not in the know that this was a homecoming of sorts. Bowditch’s warm and laid-back performance style created an atmosphere similar to that of somebody’s living room. Those that normally shy away from audience


The trailer for Iron Man 3 hasn’t had us this excited about a threequel since, oh, The Dark Knight Rises. ADALITA

SPOOKY TUNES There is enough Halloween-themed shows and parties coming up over the next week to fill a million hollowed-out pumpkins. Get amongst it.

DARK & WILD San Cisco’s wicked-dark video for new single Wild Things goes against all their ultra-twee previous ones, and all the more better for it!


participation would be advised to stay at the back as Bowditch encouraged making new friends, feeling your inner happiness and general hand-clapping. This ‘family’-oriented performance was not just for the audience; on stage it was apparent the all the musicians have a deep relationship with each other, including Bowditch’s partner Martin Brown, taking his place on the skins as has been the case for several years now. There is no denying the power of her voice as she sang through songs old – like Modern Day Addiction – and new, including many from her new album The Winter I Chose Happiness, such as popular single You Make Me Happy. After a short break Bowditch granted herself a standing ovation following an emotional encore. You get the impression that this gig means just as much to all of the performers on stage as it did to the excitable and high-pitched audience. This was no normal show, and the crowd left with the feeling they’d spent a casual night with one of the country’s most charming, interesting, funny, and of course talented, musicians. Lynn Mc Donnell




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

A new sitcom called Smells Like Teen Spirit from the producers of The Big Bang Theory? On behalf of everyone, we apologise in advance Kurt.

UNFORTUNATE X Factor boy band Fortunate were voted out of the show this week much to the dismay of…Jessica Mauboy. If it’s rigged we’re yet to see any positive results.

SURF’S DOWN If banning fishing and surfing from one of our best beaches isn’t un-Australian, we’re not sure what is. Take heed City Of Cambridge re: your proposal to do just that at City Beach from November-April.


For more reviews go to • 45




Fremantle Art Centre’s Courtyard Music returns to with a stellar line-up of free music bringing some joy to Sunday afternoons. After appearances from the likes of Don Walker and Ruby Boots, The Cat Empire’s Harry James Angus graces the stage Sunday 28 October. Check for all the details. The series runs until March with more line-ups to come.


ASH GRUNWALD Tell us about your act. Professional ‘Road Dog’ for over 10 years with strong ties to the good times, great gigs and epic waves that can only be found in WA. I’ve released six original albums and toured around the world, doing my own gigs and plenty of festivals along the way. What brings you to the west side? My new album Trouble’s Door, which was released last May, I think is the best album I’ve done to date. I’ve got my own studio so making albums is an absolute pleasure. I was working with my mate Fingers Malone and we had a ball. There’s pretty varied themes, but a common one is that we’re being sold up the river by rampant unchecked capitalism. This has expressed itself most blatantly with the coal seam gas industry that threatens water supplies and peoples land from all walks of life, from farmer to elder, hippy to redneck. Past WA tour experiences? I love WA, I always have. My first experience was Bridgetown Bluesfest in 2001. That was pretty magical. That was one of the first big stages I’d got on. I’ve done so many great tours since then.

Perth’s own, er, urban cowboys, the Urban Cowboy Band have been chosen to support Melbourne’s premier Def Leppard cover band, Def Repplica, as they hit western shores. Catch them tonight, Thursday 25 October at the Boulevard Tavern, Joondalup; tomorrow Friday 26 at the Ravenswood Hotel; and Saturday 27 at the Charles Hotel. Tix via Heatseeker.


HEARTS ON FIRE With a penchant for thick, driving synths, electro beats, soothing harmonies and displaying a collective experience well beyond that of a band in its embryonic stages, The Arsonist will bring their fiery live show to Amplifier this Friday 26 October with Bastian’s Happy Flight, Archer & Light, and Lights Of Berlin in support.

TANGLED TIME Following a quick and critically-lauded weekend stint over east, local instro-prog onslaughters Tangled Thoughts Of Leaving are preparing to head back in to the studio to record their second album, a follow-up to 2011’s awesome Deaden The Fields. But first they finish up their national tour at Amplifier Bar Saturday 27 October. Support comes from Foxes, Förstöra and Antelope.

Last stop before WA? I’m doing a few gigs within a couple of hours of Byron Bay for the next little while until I get out West again.


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 this Friday 26 October with an already sold-out performance, but there’s more to come. Head to for more info. The following day Kelly heads north to play The Astor Theatre, celebrating the release of the new film Paul Kelly: Stories Of Me, charting his remarkable life. It features two screenings on Saturday 27 October, one at 3pm and one at 7, with Kelly and director Ian Darling making an appearance after each.

Kill Teen Angst will be releasing a double A-side single featuring new studio recordings of two live favourites, Future Breaks and Heart Of The Sun. Future Breaks is song about the feeling you get when everything happens all at once and you’re trying to make sense of it; when the past and future become so entwined that all you can really do is try to stay optimistic and follow what it is that you love. The song was written during a time of internal changes within the band. It was a sad time, losing friends/ band members, but also a time of great hope and optimism. There were many opportunities opening up for the band and Future Breaks captures the excitement and confusion of it all.

Tell us about the best show you’ve had on tour? There’s been so many fun ones. I guess the bigger festivals are pretty electric when you get off stage. I’ve had magic shows at the Fly By though, especially the one where I recorded the live album, that was pretty sick. Worst show? Davenport, 2001 – one punter, and she wanted me off!

Heart Of The Sun is an anthemic indie-rock song, with upbeat verses and gritty/fuzzed out choruses. The sound is polished, yet rough around the edges, keeping with the spirit of ‘90s indie-rock – which has been a big influence on the band’s sound and attitude. It was recorded in August 2011 at Sumo Studios, with Laurie McCallum and mastered at Sterling Sound NY.

Number one item to take with you? I can’t live without my Smart phone. It’s my portable life and to be honest, I can’t wait until I have something like that integrated into my brain. Then being pushed in the pool can’t hurt me no more. Craziest destination a tour has taken you to? A Heli-Ski place in the middle of nowhere in British Columbia, Canada. My guitar has taken me to some really far-flung places, but I’ll always remember standing on the top of this mountain when everyone else had already taken off thinking, ‘This is amazing, I am so lucky to do what I do… Now I better get out of here before I start an avalanche!’

We’re currently writing material for our second album, which will be released in 2013. WHO: Trigger Jackets and Kill Teen Angst WHAT: Shaking Hands and Future Breaks/Heart Of Sun (Independent) WHEN & WHERE: Saturday 27 October, Rosemount Hotel

Best thing about getting home? Kissing my amazing wife and daughter! Must have item on your rider? Well it’s not too masculine but I’ve been getting into a nice Sauv Blanc. I love my Coopers as well. There was a time when it was V8 juice and green tea, but that can get a little boring.


Stargazers are in for a rare celestial convergence as three of Australia’s brightest stars – Suzannah Espie, Liz Stringer and Chris Altmann – take to the road for a special tour to launch Suzannah’s new Sea Of Lights album, stopping by the Velvet Lounge Friday 26 October (joining Charles Jenkins & The Zhivagos) and Redcliffe On The Murray, Pinjarra Sunday 28.

Best game to play on long trips? We made up a tour quiz that’s pretty addictive, it’s completely free form and creates huge arguments. Describe your ultimate tour date? I think any gig where I could get amazing waves in beforehand and then play to a full room of frothers where everybody was on the same wavelength and just wanted to have a great time. It’s pretty similar to what actually happens, but I guess that’s when you know you’re living your dreams!

46 • For more news/announcements go to

After this we’re looking forward to our debut as-yet untitled album that will come out in the new year.


What can we expect from your live show this time around? I’m working on a couple of nice acoustic soul songs but they’re more a campfire kind of thing, so I’m still yet to decide if I’ll be playing them. There are about five tracks that I play off the new album, however I might extend that a little. The rest is a combo of old and new. I’m playing a solo, so that frees me up to take it wherever I see fit. Lately I’ve been getting on my old school strummy trip, which has been really fun.

WHEN & WHERE: Wednesday 31 October, Indi Bar; Friday 2 November, Fly By Night

Shaking Hands was written a while ago and is about a huge freak storm that hit while we were rehearsing in an abandoned house in Northam. We were stuck in the house with no way of escaping until the storm/cyclone was over. It’s about being in the one place you want to be but at the wrong time. We recorded the song with Dave Parkin at Blackbird and we toyed with a few different textures and sounds to make a straight-up poppy rock song sound a little more warped and weird. It draws inspiration from grungier sounds like Sonic Youth and Nirvana and older pop-rock like The Kinks and The Cure.



The Steve Albini-led minimalist post-hardcore trio Shellac embark on a national tour for the first time in nearly 20 years. They toured Australia within their very first year of formation in 1993, so this tour gives fans old and new the opportunity to catch these prolific musicians in their element. Get shellacking Thursday 25 October at the Rosemount Hotel, supported by instrument surf-rockers Smrts. Tickets via Oztix.



Benny’s On The Rooftop is the first single lifted from Mark Wilkinson’s forthcoming album – a track that’s become a crowd favourite and staple of Wilkinson’s live show. Williamson’s poetic, melodic songs, and impassioned vocals have connected with audiences across the globe. He plays The Ellington Jazz Club Friday 26 October. Tickets via


Melbourne’s doom-country shimmy-shakers The Toot Toot Toots play Devilles Friday 26 October. 2012 has marked the release of their debut album Outlaws, exploring ‘60s spaghetti westerns, the lyricism of Tom Waits, and the theatricality of Nick Cave & The Bad Seeds. Doors 6pm, $10 after 8, Cal Peck & The Tramps support. The Toots also play Rock-It on Sunday 28.


ONE THOUSAND YEARS WITH CAMERON HARDIE (GUITAR) Give a brief rundown of the history of your act: We formed in 2006 amidst a passion for rock’n’roll with a touch of soul and have played tons of shows in and around Perth and Freo ever since. In 2010 we took part in the Next Big Thing Comp, reaching the finals and soon after recorded and released our debut EP Chateau de la Spaceman, which received Drum Media‘s Single Of The Week. In 2011 we were selected to take part in the City Of Fremantle’s Hidden Treasures program where we wrote and recorded our single She’s Gone with the legendary Dom Mariani, who we also played with as a part of the program finale. Tell us about your release: We are launching our double A-Side single ‘This Is How The Zombies Take Control/Demoness, which is our debut single release from our upcoming, as-yet untitled, album due next year. The singles are inspired by both the fear of otherworldly beings as well as the desire to evoke the feelings of dread and anxiety that may be had from a horror film. How did you go about recording it? We recorded the singles (as well as the rest of the upcoming album) using our Chateau de la Spaceman portable recording studio in several locations including the Hen House Studios, our lounge rooms and bedroom closets. They were masterfully mixed by James Newhouse at Real2Real Studios.


SBS TV favourites the RocKwiz team hit the road for their Some Kind Of Genius Tour, an evening of rock’n’roll trivia and live music. The tour will be a bigger, bolder and braver version of the television show, with more guests, songs and questions. It’s happening Friday 26 and Saturday 27 October at the Riverside Theatre, tickets via Ticketek.

WHO: One Thousand Years WHAT: This Is How The Zombies Take Control/Demoness (Independent) WHEN & WHERE: Friday 26 October, Norfolk Basement

Following the five-star reviewed 2010 album Walk This Ocean, Charles Jenkins & The Zhivagos’ new album Love Your Crooked Neighbour With Your Crooked Heart was recorded at home in between the volleys of surrounding suburban nail guns. It contains ringing performances of songs with drama, social commentary, tension and beauty. Jenkins rolls solo Thursday 25 October at the Norfolk Basement and then with the band Friday 26 at The Velvet Lounge.

FAVOURITE THINGS Drum Media asks Declan Kelly to tell us about some of the great things musical he’s acquired ahead of his upcoming tour with his band The Rising Sun. SOMETHING BLUE: Some new songs I have written have a melancholy sound: also known as blue.

Tell us about your launch party: The launch will be a terrifyingly terrific Halloween Party featuring funky riffsters Cult Of Addiction, blues crooners Palatial Digs, the vibrant vaudeville Vintage Reds comedy burlesque duo, and of course us. The venue will be all decked out in a spooky Halloween theme and there will be enough trick-or-treat candy to help everyone slip quietly into a candy induced coma. There will be some monstrously marvellous best costume prizes and also a gore make-up Artist for anyone interested in getting stylishly mutilated. What’s next for your act? We will be finishing off the rest of our debut album over the coming months and then we plan to have a huge launch followed by our first ever tour.


SOMETHING YOU’D LIKE: I recently flew over to London to mix with dub master Mad Professor and got a grand taste of working with ‘Reggae Royalty’. I would love to visit Studio One and work alongside some of the greats. Adventurous mixing and engineers breaking rules is what I do love.

SOMETHING OLD: I just recently and impulsively bought a lovely old 1952 Gibson electric guitar. Sounds fantastic, looks hot. SOMETHING NEW: A Bigfoot stomp box for when I perform solo . A pulsing primal bottomend riddem to accompany me and my guitar. SOMETHING BORROWED: I have been bestowed the honour of looking after my friend Pat (bass player from Watussi)’s vintage 1950s premier drumkit. I love old instruments that over time gather character and funk.

SOMETHING LOST: Besides losing my cool with a noisy, non-attentive bunch in a room, I have lost numerous instruments that I may have lent out to friends and forgotten who and where they may be. I call this symptom Giftymatosis. WHAT: I have a new release due out early next year. All I can say for now that it is a dubbed-out reggae tribute to one of Australia’s greatest bands… WHEN & WHERE: Wednesday 24 October, Mojos; Thursday 25, Prince Of Wales, Bunbury; Friday 26, Settlers Tavern, Margaret River; Saturday 27, White Star Hotel, Albany; Sunday 28, Indi Bar

Describe your sound… I do more blues, rock’n’roll, rootsy soul music; Prinnie does more pop, R&B, hip hop and dance style stuff. Together, it’s more classic soul with a bit of grit. It’s really organic, heartfelt music. We both have a lot of similar influences, from Aretha Franklin, Tina Turner, Donny Hathaway and a lot of the Motown stuff to Diesel, Crowded House, The Beatles, Beyonce, Whitney Houston… A real mixing pot of music! Can you tell us about the album? The album is called Come Together and features 12 tracks. We chose songs from the ‘60s, ‘70s, ‘80s, ‘90s and threw in an original song called The Hard Way too. It’s an album of duets, but most of the songs are not traditionally duets – just great songs we love and wanted to share! And the recording process? Universal approached us and asked if we would consider making an album together, and it happened really quickly. We chose a bunch of songs, went and tried them out with the band in a rehearsal room, and almost straight away went into the studio and recorded live over four to five days. The album was co-produced by Eric Dubowsky and the two of us, which was a really great combination. He was amazing to work with. Jean-Paul Fung, Sam Weston and David Trumpmanis engineered the project, and we recorded at 301 Studios in Sydney. Are there any collaborations on the album? The band is actually my touring band called The Soul Mates. They are all incredible players who have worked with all sorts of artists over the years. We’ve been playing together live for years now, so there is a great chemistry between us all. We were also very lucky to have Diesel come and play guitar and do some backing vocals on his song All Come Together, and we also managed to get my dad (Jimmy Barnes) to come and feature on River Deep, which was fantastic! What’s on the horizon for the rest of 2012 and beyond? More music! I plan on getting into the studio again soon with my band, and Prinnie and I may do some more touring early next year if people want to hear more from us! I’d love to branch out too and maybe even do something in the food world because I love to cook. I’m excited to see what happens next… Come Together is out now on Mercury/ Universal. To win one of FIVE COPIES email with “COME TOGETHER” in the subject header.

For more news/announcements go to • 47




There’s no denying that Chess Records played a huge role in bringing the blues to the masses and on Tuesday 30 October, Miss Peta Lee & The Chequered Past invite you to a celebration of vintage R&B, blues and soul featured on that iconic label when they play the for the Perth Blues Club at the Charles Hotel. Phil Edgeley and Sigursa Blues support.

Whether you’re aware of it or not, monks have played a big part in music for a very long time. Think Gregorian Chants, the Benedictine-inspired Carmina Burana, Sophie Monk… Thelonious Monk wrote some really great music too, and on Wednesday 31 October, Monk’s Music will pay homage to the late great jazz pianist and composer at the Ellington Jazz Club.



Local indie-rockers Joe Black Trio hit the Swan Lounge this Friday 26 October. Following the launch of their Graveyard Salsa EP in August, the three gals have been busy writing punchy new tunes to ease us into the warmer weather. Elk Bell, Daisy Clover, Railway Bell and Lauren O’Hara all support from 8pm, $10 entry.

GREENTHIEF WITH STEVE TYSSEN (DRUMS) FROM: Brisbane. Next gig: Friday 26 October, Rocket Room. Your sound: Psychedelic rock with a heavy bottom and flowery top. Band’s name comes from? Julian’s bag full of tricks. Around since: Around 2010. Band’s greatest strength? Our live show. Band’s worst gig ever and why? Some pub in Nimbin – it was the week after ‘Mardigrass’ and the audience were still stoned. Band’s best gig ever and why? Yours & Owls in Wollongong. It was packed and they played non-stop Beatles during the changeovers, how can you beat that? Best achievement? Jumping on a 23-date national tour to open for The Butterfly Effect. Any gig in history: which would it be and why? Queen’s set at Live Aid, or Led Zeppelin’s run at Madison Square Garden – complete domination.

Geisha Nightclub’s quadraphonic sound system eagerly needs to be warmed up, so Perth’s elite late-night club is hosting a monthly rotation of niche live music nights dubbed Innerspace every Sunday. This Sunday 28 October sees Fucking Teeth, Doctopus, These Shipwrecks and Hamjam. Entry is $5 from 8pm.


Normally, Villa Nightclub would seem like an odd choice of place to host what was essentially a séance for channelling the ghosts of Nick Cave’s howling, “no-pussy” blues. But as the night went on, it didn’t take long for the venue to morph and settle into a beer-drenched, sweaty shoe-smelling bar. Fucking Teeth got off to a rollicking start with their fuzzy swamp-folk. Musically, they fall somewhere between the dementedness of The Cramps and Peter Combe on meth, and it was extremely entertaining. Perth’s vinyl baron, Maurice Flavel’s Intensive Care, was looking very much like a hardened mob boss as he sleazed his way through some melancholic blues ballads. And as solid as they were, the crowd really seemed to relish the times when Flavel manned the guitar to mow through grittier stompers like Lots Of Love and Widowmaker.


In the lead-up to the Natural Music Festival the Rosemount showcased a tasty mix of flair promoting Ben Merito’s latest album Soulful Reason, with artists that take the typical sounds of NZ, spin them around, and stamp them with their own personality. Warming up the crowd to a night of soul-driven, groovy vibes was Malachi Wehipeihana. Combining an inimitable blend of talent, it didn’t take long for the audience to be captured by his charismatic presence. Rolling in and out of infectious acoustic beats, Motorboat Baby proved to be a hit, and a wellreceived Lionel Richie cover finished the set off nicely. The chemistry between Wehipeihana as a solo performer and the crowd is evident, with a voice that will capture you and an energy that will continue to hold you there.

The sophisticated, pop-noir stylings of Felicity Groom and her band provided the evening with a woman’s touch. However, sound issues hampered an otherwise great performance and though no one seemed to mind, it was just a shame that Groom’s lovely voice was obscured as a result. Rolling with the punches, Groom and band persevered, turning the intensity up a notch in the second half with a thunderous rendition of Finders & Keepers.

On the other side of the spectrum, armed with a pink furry piano and sequin-suffused boots, the De Grussa Band brought to the stage a rare sound of piano-based glam rock with a humorous twist. The mix of exceptional vocals and piano, wireless guitar, extreme double bass action and an intriguing liveliness gives a real party vibe filled with quirkiness. With a varied set list of covers and originals, their comical rendition of Gangsters Paradise proved a highlight.

Any releases on their way? Our debut album is due out early 2013.

Enter The Growl. As soon as their lanky and loveable frontman, Cam Avery, took the stage, the audience was just baying for as much of the group’s visceral garage blues as they could get. Performing tracks off the group’s first EP and their early 2013-due album, What Would Christ Do?, Avery was like an evangelical preacher trembling under the weight of God as he was shaking, thrashing, and staggering around the stage, “growling” (there it is) like a man possessed. Though tracks like Cleaver Lever and Smoke It Down were the big dirty crowd pleasers, the group turned in a particularly stunning version of the slow-burning With The Sharp End Of A Trowel. Their set was a staggering display of power that left punters desperate to find the answer to a question we will have to wait till next year to ask: what would Christ do?

Headlining act Ben Merito filled the room with creative catchy melodies that were quick to get everyone grooving. Backed up by a band that all hold their own individual style, Merito takes their previous tone of acoustic funk reggae, and excels it into an innovative and mature light, instilled by a fresh sound of rocked-up riffs. Featuring an extensive range of songs, the spotlight was put on their new material including Freedom To Dance and Better Off Without You. Leigh Miller switching between bass to double bass added depth to the performance, whilst Merito’s natural ease in his songwriting skills shone through. Great songs are not just mastered; they also need to be combined with a great attitude, and Merito definitely has this down pat.

More info:

Kosta Lucas

Jayde Ferguson

Fave hangover cure? Coconuts, Pantera. Fave Perth bands? Tame Impala. Fave bands from your state? The Royal Artillery, Vayer. Biggest bands you’ve supported? The Butterfly Effect. Our ultimate groupie would be…from Sweden. Fame for your band would mean… being able to quit our day jobs and make a living out of what we are doing. Any members play in other bands? Not officially, but we don’t mind filling in and mixing it up with our friends’ bands every now and then. Any releases out? Two EPs – Annica and Retribution.


COVELESKI WITH DAN FEIST (BASS) Band history in brief? Angus (drums) and I are ex-El Horizonte (circa 2005) rhythm section and Adrian (guitars) is of similar vintage, previously playing guitar in punk rockers Times Up. I honestly don’t know where Al (vocals) came from – I do know he’s from New Zealand, apparently they have a great coffee culture there. Describe your sound. Collectively as a band we are influenced by the raw and energetic punk-rock sounds of the ‘90s/’00s – driving rhythms, dirty bass, screaming vocals – all the good stuff. We like to play fast so there’s a strong sense of urgency underlying all the songs. No time to meander, we’re in a goddam rush! Tell us about the EP. The EP is self-titled featuring seven of our best clocking in at an economical 22 minutes. Being our first release we wanted to produce something that we could all be proud of from performances and production down to the artwork. Speaking of which, the artwork was done by the awesome Simon Christou – we gave him the brief, he totally ignored it and drew a howling ass fox. Recording process. Recording was completed earlier this year at YoYo studios with Adam Round. We had a strong sense sound-wise of what we wanted to achieve on this recording and I think Roundy not only captured that, but it took to another kick-ass level. In previous projects, our recording experiences were typically fucked, so it was a nice change this time around that it was constructive and enjoyable. Collaborations? No collaborations in the studio but for the record release we have teamed up with the good folk at local record label Gun Fever. They have worked tirelessly for us and their father-like guidance has been valuable in ensuring a smooth record release. Tell us about the launch. It all goes down Friday 26 October at The Beat Nightclub, just above Club Exotica (don’t pretend you don’t know). Joining us will be three of our favourite bands: Dead Owls, The Leap Year and Grim Fandango. We’re gonna have a few beers, some of that silver tequila and let the good times roll! What’s on the horizon? In support of the release we’re gonna head over east for shows in Sydney and Melbourne in early December and return for a couple of shows in Perth and even Freo. After that it’s back to writing the slickest two-minute songs possible.



WHAT: Coveleski (Gunfever/Green) WHEN & WHERE: Friday 26 October, The Beat Nightclub

THIS WEEK’S ISSUE NOW LIVE 48 • For more news/announcements go to



COMEDY FEARS Local alt-rockers Fear Of Comedy will return to the stage this week, after locking themselves away for the last eight months recording their new album entitled Delapsus Resurgam. The band has recently gone through a heap of changes and they will be shredding up The Den (Civic Hotel) Friday 26 October along with Lanark, Sprawl and Spilt Cities. Doors at 8pm & $10 entry.


Grammy Award-winner Tim Garland and BarclaycardMercury-nominated pianist Gwilym Simcock are two of the most outstanding composers of our time in both jazz and classical genres. Along with Asaf Sirkis playing custom-built percussion, Lighthouse exude a very special energy and excitement in performance. Catch their thrilling live show at The Ellington Jazz Club Saturday 27 & Sunday 28 October.



WA songstress Tanya-Lee Davies feel in love with American blues music at 16, learnt about Ray Charles from listening to British band The Animals, discovered R&B and has since developed her own unique sound. She will be bringing all this through exciting and must-see live show at the Mustang Bar, Sunday 28 October, and joining her will be Peter Busher and the Lone Rangers.



This month, Drum Media’s Gignition will feature Reign, an emerging reverb-soaked Perth trio, whose mist of liberal shoegaze fuzz and driving rhythms makes them a truly unique band. The trio formed in early 2012, having spawned from other groups such as Cat Black, Grand Suns and Rooftop Access. Catch the Gignition show on Sunday 28 October at the Railway Hotel from 2 til 6pm.

Who’s playing your event and who should punters be most excited about seeing? Creepy crawlies include heavy rockers Reapers Riddle, Zombie-metal ghouls Matty Trash & The Horrorbles (returning for one-night-only!), punk-fiends Midnight Boulevard and the ghostly Deadlock return from the dead.


What gave you the idea for this show? It’s Halloween! A night of fun and adventure. Time to get freak-y! What does your gig offer that others don’t? Heavy hitting, hard rock music! Plenty of treats and many tricks. We will also have a best-dressed competition and a best-carved competition for the best carved Jack-O-Lantern (which gets you 2-for-1 entry). What made you pick this venue? The Rosemount hotel is a very welcoming venue, even for the recently deceased! What’s next for your band? 2012 is quickly coming to an end, 2013 will bring bigger and better shows – if the world doesn’t end! WHEN & WHERE: Wednesday 31 October, Rosemount Hotel


Before heading off to Cairns to play the international Eclipse Festival, Freo locals Ensemble Formidable will play one last show Saturday 27 October at Kulcha. Having sold out Kulcha earlier in the year, they’re set to do it again. Joining the festivities will Lexie Mgee and DJ Ndorse, who’ll be spinning tasty cuts to keep things groovy between sets. Doors 7.30pm, so get down early.

Freo’s cinematic folk-rock band The Justin Walshe Folk Machine play Clancy’s Fish Pub, Friday 26 October with special guests Simon Marks. The Folk Machine will be playing some new tunes along with some seasoned classics in a rollicking and hypnotic adventure and whiskey fuelled romantics all in the name of your good time. Doors from 9pm and free entry.


One of Melbourne’s premier Def Leppard tribute bands Def Repplica will be playing three special shows when they hit the west coast this week. Supporting them will be southern rocks the Urban Cowboy Band, along with Dirty Paris and Nymph Honey. They play the Boulevard Tavern Thursday 25 October, The Ravenswood Hotel Friday 26 and the Charles Hotel Saturday 27. Tickets via venues or Oztix and Heatseeker.


Bless This Mess, a reference to life and all its chaos and colour, is both the title track of Lisa Mitchell’s new album and her new single. Mitchell is taking it around the country, supported by Alpine and Danco. Friday 26 October they play The Astor Theatre (allages, licensed) and Saturday 27 Prince Of Wales, Bunbury. $40 plus BF/$25 plus BF respectively via Show Ticketing, Heatseeker and Oztix.

SIR THOMAS WITH KITT BYFIELD (SONGWRITER/ PIANO/VOCALS) Band history in brief? The band began back in 2007 when fellow music University (percussion) mate Callum Moncrieff and myself met one day to jam on some of my solo piano vocal tunes. School friend of mine Mel Hall (singersongwriter/folk guitarist) joined us soon after on bass guitar. And in 2009, contemporary and film score composer Chris de Groot joined the band on keys and all other sounds. Describe your sound. Basically Sir Thomas is a band with piano, keyboards, bass and drums/ percussion (there is no guitar). Each of the band members have quite different influences which results in quite a unique mix of sound. A sound that really doesn’t end up fitting into any genre or style. For instance I listen quite a lot to Neil Young, The Beatles, Radiohead, The Smiths, Aracde Fire and Sigur Ros etc. But the thing is the music doesn’t really sound anything like any of them, which is cool. We do have particular stylistic tendencies like odd time signatures (11/7/5), layered textures and ostinato grooves on the piano. Tell us about the album. Lantern Slides is made up of 11 songs that have been written over a time period between 2003-2012. There are songs ranging from light, happy, singalong songs to dark, extremely epic songs. So there is this theme of ‘beauty in contradiction’ going through the album. It is somewhat of a reflection on myself, my thoughts and emotions. I am a Gemini, so there’s also this real divide or two-sided personality at times. Recording process. We set off down to Margaret River in January for a couple of weeks and recorded with producer Noah Shilkin at Sonic Lolly Studio. In the first week we worked on quite a bit of pre-production in order to get the songs perfect and then lay down everything (mostly live) in the second week. The album was then mixed by Noah and we then sent it over east to King Willy to be mastered. Collaborations? We did get some help from Cicadas and a buzzing fly in the introduction of the Peter The Pumpkin Eater’s inspired, evil song Do You Keep Her Very Well? Tell us about the launch. We are very excited to have Beside Lights, Lilt and Vive supporting us on the night. Tickets are $25, which gets you an album, plus you of course get to see some great WA live music. What’s on the horizon? The band’s ultimate goal is to keep writing and playing unique original music that makes a lasting impact on people when they listen to it. Songs that will last and can stand the test of time. Music that is honest and is a reflection of us alone, that involves our influences and our diverse musical training. Creating music that is not just a mirror of a sound or popular style around at the time.


This year’s Bastardfest is nigh, and it hosts some of this country’s heaviest hitters this Saturday 27 October at the Civic Hotel. Headlined by Victoria’s Desecrator, the night will be one of brutal, balltearing sound, with black metallers Astriaal (QLD) and Victorians Fuck… I’m Dead and Alarum, joining a who’s who of local metal: Sensory Amusia, Psychonaut, Enforce, Chainsaw Hookers, Empires Laid Waste, Advent Sorrow, Paradise In Exile, Death Fucking @#*!, Mhorgl, Animistic, Death Dependent, Cold Fate, Emerald City and Silent Knight. Proudly presented by Street Press Australia, tickets via, Moshtix and 78’s.

50 • For more news/announcements go to

WHO: Sir Thomas WHAT: Lantern Slides (Independent) WHEN & WHERE: Friday 26 October, The Bakery


Combining a range of different influences, Margaret River’s New Soundland then carefully added some electric fills, fast flowing beats and defying bass lines, and warmed it all with a blanket of Reggae. Find out what were on about when they wrap up a 28-date tour at Indi Bar Friday 26 October and Clancy’s Fremantle Saturday 27.








BODEGA WITH ANDREW KEYS (ORGANISER) Reason for/idea behind the night? Everybody loves a good Sunday session. Bodega is an event tying in multiple genres of music that everyone can enjoy with live street art. Hotdogs have always been an old favourite of mine, as well as dabbling in local market stalls, so I figured why not combine all these pastimes into one? The reason behind this gig was to organise the repainting of the Mojos Courtyard whilst throwing a fun party that everyone can enjoy. Who’s playing your event and who should punters be most excited about seeing? Punters should be excited to see The Empty Cup, led by Brian Kruger. Brian has been an integral part of the WA hip hop community, holding it down for many years through composing and performing for The Typhoons, and also supporting many other outlets such as Empty Bars. Empty Bars encourages local hip hop enthusiasts and MCs to practice their skills, and, more importantly, to vibe and connect on an intellectual level. Bodega’s carefully selected line-up starts the afternoon off with a slightly chilled yet happy reggae/dancehall vibe. A friendly acoustic set will then slot in nicely before a gradual build-up of deep house that builds into the lighter sounds of bass music. By this stage in the mid-evening, the party will definitely be set and ready for the hip hop band to rock a stage show unlike any you’ve ever seen before, then followed by an infamous dancefloor destroyer. Full line-up: Simmo T, Rae (accoustic set), DNGRFLD,

Wright, Ol’ W i ht The Th Empty E t Cup C andd Philly Blunt. Doors open at 4pm, it’ll be $5 ‘til 6pm then $10 after. What does your night offer that others don’t? Bodega offers one of the most musically and culturally diverse afternoons this side of the equator. The one and only Prez Juan, who’s now also getting recognition for his tattoos at Artistic Skin Art in Midland, is painting the live street art in the Mojos Courtyard. Prez will be painting a caricature of some Fremantle icons, which is sure to keep your minds ticking throughout the creation of his masterpiece. I will also be frying up some delicious gourmet hotdogs and a cheeky raffle will also be conducted on the night. And, to top all of that off, I’ve handpicked a collection of local lifestyle businesses to set up stalls at the event. Put simply, Bodega is basically an excuse to bring together a few of my favourite things into one boutique party. What made you pick the venue? I wanted to throw a party at Mojos because it is my favourite live music venue in Perth. Not many people know this, but Mojos is one of the oldest music venues still operating in Australia. It varies in different genres during its regular promoter’s rotation, making it easy to glue together a multi-genre line-up fit for a Sunday session that still suits the venue. The history behind Mojos is very unique in itself but more meaningful is what it represents to WA music. Anyone that has ever come up in the music scene here over the years has graced the wall of Mojos with their presence; from AC/ DC and Eskimo Joe to Zeke, just to name a few. Having the stage inside allows the audience to

gauge the th music i iintensely t l or to chill out in the courtyard with the crew having a casual beverage, or a game of pool, but more importantly on this particular Sunday a hotdog, or to gaze over and watch an everlasting masterpiece being created in front of them. What’s next for your crew/ promo company? The next event for this will be District at Ambar, Friday 2 November. WHEN & WHERE: Sunday 28 October, Mojos

THE METRIC HALLOWEEN PARTY Reason for/idea behind the night? Halloween parties are awesome. As soon as you add a wig/mask/cape to any outfit the possibilities are endless. You can’t not have fun in a wig. It’s a fact. Look it up. Our Halloween parties always seem to get out of hand with the costumes being bullshit good. This one time this guy got so wasted he hopped on a balloon to the edge of space and then jumped out. Srs #yolo shit. Who’s playing your event and who should punters be most excited about seeing? There’ll be an all-star line-up of locals including the Metric Deegays, The Australian Beard Mafia (for one night only), Basil Zemplys, Paper Plane, Audageous, Scott D, Gorecki, Ol Wright, Ben Grant, Mickey Juice and France China. What does your night offer that others don’t? A proper dress-up Halloween party at the best club in Perth and the best decoration set-up from the lovely Gemma McCarthy. What made you pick the venue? We travelled to the foothills of the Himalayan mountains to meet a Shaman named Paul. After several cups of the Inuit’s herbal tea, inside his musky mudwalled Yurt, he imparted some wisdom upon us. Villa was the right place for this night of spook debauchery. What’s next for your crew/ promo company? Wonderland on New Year’s Day with Pnau, Flume, Bag Raiders, Grafton Primary, Elizabeth Rose, What So Not and more.


52 • To check out the mags online go to

WHEN & WHERE: Friday 26 October, The Villa Nightclub Batcave



The vibe last Saturday night started out pretty chilled, as is often the case with Bakery gigs. However, this was in no way a sign of what was to come. DJ Claude Mono kicked things off to the subdued crowd before Raaghe stepped up and laid down a set of dreamy, funky and soultastic beats. Tagging in again, we heard a little more of Mono’s bassy funk tunes, which actually turned out to be quite a transient set, while meanwhile the outdoor area began to get pretty cosy. Fresh local trio Savoir – soon to be everyone’s new favourite – took over the stage next and really stepped the party up to the next level. The group is composed of the

outrageously babin’ and talented vocalist Mei Saraswati teamed with DJ/producers Andrew Sinclair and James Ireland. Together their sound and all-round radness is a partying force to be reckoned with. The boys put out some really awesome ‘90s-inspired hip hop and nu-soul beats while Saraswati was all over the mic singing, rapping and being amazing. At one point the singer saying, “Loosen your hips up a little; dancing is really good for the bowels.” Right before THEESatisfaction we heard a set from Move DJs, which featured some vintage soul, progressive ‘90s tech and hip hop beats with some very talented turntablism. It was around this time that we also had a guest appearance from the five-O, which made the night really begin to feel like some sort of old-school ghetto block party. Following Move DJs it was finally time for THEESatisfaction, and

GIVEAWAYS SPIT SYNDICATE With their new album Sunday Gentlemen set for release early next year, ARIA Award-nominated hip hop duo Spit Syndicate are headed to Perth with two live shows in support of their latest SPIT SYNDICATE single and first taste of the album, Beauty In The Bricks. The release of the new single coincides with their first national headline tour in two years. Spit Syndicate will be playing smaller and therefore more intimate shows starting Friday 2 November at Ya Ya’s and Saturday 3 at Mojos, Mr Grevis supporting at both. We’ve got TWO DOUBLE PASSES to give away to each show, simply email with “SPITTING DISTANCE” in the subject header and which show you’d prefer in the email body.

something almost Africaninspired came on the speakers as the ladies swaggered onto the stage in unison wearing high-tops, booties swinging. A bustling Bakery then lost its collective shit. The Seattle-based and ever-so-dreamy girl team executed the most excellently choreographed performance a lot of us have ever seen. They were two beautiful ladies with killer voices who were completely in sync lyrically and physically. Their sound was a loud amalgamation of verse and beat on the verge of cacophony, but it worked on so many levels and the outcome was some amazing progressive hip hop sounds and soulful melodies. The room was in awe, and much to our disappointment it was all too soon for the ladies to shake their booties back off stage, but not before a final and much appreciated encore. Olivia Gardner

ON THE RECORD Ahead of the release of Hunter: For The Record, Tess Ingram chats to the documentary’s producer Alice Ross and director Sam Field about the legendary Perth hip hop artist, his ongoing legacy and their film about his life. Congratulations on Hunter: For The Record. what are you looking forward to most about the film’s release? Alice: Thank you! Seeing a three-year project come to an end is pretty epic. There are some powerful moments, some hilarious scenes and an awesome soundtrack the whole way, and all of that will be amplified in that cinema. I can’t wait to hear the audience’s response – so many people have supported the project and been there for the whole journey and are really hanging out to see it. The community support for the film was overwhelming… What does it mean to the team to have the support of the community behind this movie? A: To have people believing in the project enough to give up their hard-earned cash has been unbelievable. I really was amazed at everyone’s generosity and readiness to pledge money to the cause. Obviously, the money allowed us to continue working on the film, but what I didn’t expect was all the love we got from the community. Having the support of the community means a lot and in turn we worked our butts off to make something that was worthy of all their kindness. The crowd funding


successes also lead to a financial contribution from ScreenWest. How was the process of making the documenty for you, particularly beginning the documentary as Hunter was diagnosed with terminal cancer? Sam: we spent the last two years of his life filming regularly, so in a way I feel I became one of the people who knew the ‘new Hunter’ best. Often I felt he used the camera as an emotional outlet. He would save up things to talk about, and when I would arrive and start to chat, he would say ‘Wait until the camera is on and then I’ll answer that’. Which is great as a filmmaker to make sure everything is expressed on tape, but sometimes, I think because he was holding everything in until the camera was on, he would break down as soon as we started rolling and we had some very intense, emotional moments together. It was very difficult to see him getting sicker, and to listen to him talk about wanting to beat cancer when it did seem like that was very unlikely. He was not one to give up! I feel like he trusted me to tell his story honestly, and I’ll do my best to live up to that. Hunter experienced a fraught battle with drugs and alcohol, is this aspect of his life exposed at all in the documentary? A: Yes, we managed to get quite a bit of archival footage of Hunter from his earlier days, and partying was a big part of his life for a long time. Hunter has always been very open about his drug use and fondness for alcohol, so it would have been unrealistic to omit this from the film.




Hunter actually found a lot of clarity and peace when he stopped drinking after his diagnosis and wished that he had sobered up sooner. Can you tell us a little bit about the film’s soundtrack? A: The soundtrack was obviously a very important part of this film as Hunter lived and breathed hip hop. We had such an abundance to choose from with tracks being donated by Drapht, Optamus, Dazastah, Mortar, DJ Vame and more. There will definitely be some Hunter classics in there as well as some of his later stuff. Why do you think he chose to make the very painful, last few years of his life public? A: I don’t know if he thought about it too much – sharing his journey just seemed to be the natural thing to do for him. He was also doing video diaries the whole time that we were shooting the documentary and he tweeted regularly about his


physical and emotional state. Hunter didn’t seem to hold back either; he wasn’t embarrassed about expressing his feelings. Hopefully his willingness to share will pave the way for others to do the same rather than bottling their feelings up. Similarly, people dealing with terminal illness may find consolidation in what they are going through. Part of his motivation was probably also to leave something behind for his son Marley to remember him by. What are you going to do now that it’s finally out there? A: Celebrate! We’ll be submitting it to film festivals straight away and hoping to get into some of the bigger ones like SXSW in 2013. WHAT: Hunter: For the Record WHEN: Thursday 1 November, Luna Palace Cinemas, Leederville


CHALLENGER READY: HALLOWEEN DRESS-UP PARTY Reason/concept for night? It’s a dress-up party! Who doesn’t love dressing up?! The concept is our Challenger Ready brand. A big night of back-to-back sets, all our residents coming together, playing sets together and increasing the party vibe 2 to 1! Who’s heating up the dancefloor? All our locals kick serious ass! Challenger Ready gives our new and established residents a chance to mash it up together; it’s a community thang. You should come at 10pm and leave at 5am maximizing your musical mayhem with FTW vs. Benny P, Blend vs. DNGRFLD, Marty McFly vs. Tee EL, Black & Blunt and Marko Paul vs. Oli.


What does your night offer that others don’t? Fake blood, face paint and a stack of back-to-back sets delivered by our Ambar residents through the new Ambar super soundsystem that completely blows one’s eyebrows back! What makes the venue so hot? The friction caused by the flipping of kicks and the flailing of arms as people bust a serious nut on the Ambar dancefloor. Oh and did we mention we have a new absolutely ass-kicking sound system? What’s next for your crew/ promo company? Guaranteed Ambar good-times, a seriously special Christmas party… Oh, and Breakfest! Cost? $12 before midnight, $15 thereafter. WHEN & WHERE: Saturday 27 October, Ambar






To check out the mags online go to • 53

25 OCT - 31 OCT




Cooker and more bring the fun from 8pm.



King Cornelius & His Silverbacks, Monkey La Minge, Les Sataniques, GoGo Gorilla and Jungle Disc Jocks Spinnin’ Primal Dance Floor Stompers. $10 from 6pm, dress ape-like.

Donny Benet is a one-man funk machine with a live show that delivers raw sexuality and street heat in glowing excess! He’s joined by MmHmMm plus DJs Jacques du Pôle, Willy Suede and Mike David. $10.



British R&B singer/songwriter Jay Sean is fast becoming a global phenomenon, the proof being in the press, the sales, the fans and, of course, the music. Tickets via Ticketmaster.

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




Weekly bass music at the Velvet Lounge, free entry from 8pm.

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




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.

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 take over the decks outside.

CULTURE CLASH @ NEWPORT The Mills Culture Clash crew take over the front room with all the broken beat bootyshaking you can handle.


MADLIB, J ROCC & EGON @ SOMEWHERE For the first time in over eight years, Californian DJ, multi-instrumentalist, rapper and producer Madlib is back in Australia. Madlib’s production talents are unrivalled – there’s no genre of music he hasn’t touched successfully. Be it his Jazz fondlings for Blue Note or with his own fictious group Yesterdays New Quintet, his Latin album Jackson Conti, hip hop production for and as part of Madvillain, Lootpack, Jaylib, Mos Def, Ghostface Killah, Talib Kweli, Alkaholiks, De La Soul and everything and everyone else in between, Madlib has always lead the pack. Perhaps just the descriptor legend would be applicable here. And not only is he making a long-awaited return, he’s bringing a couple of ultra classy colleagues with him in original party rocker J Rocc, and a name synonymous with the whole Stones Throw operation, Egon. The trio hit The Bakery this Saturday 27 October for what promises to be a pretty special night. Tickets via Now Baking. Halloween decor, lighting, lasers and more. $30 in costume, $50 without.

HIGHER FYAH @ BAR ORIENT Help Mumma Trees celebrate her birthday with General Justice, The Empressions, H-Mut, Ed Case, Gridlox, Calvin and Sista Che. Free from 7pm.

plenty of pretty colours to be thrown upon you to the tunes of Ajax, Starfuckers and Royalston, plus locals Invictus and Travis LeBrun. Tickets via Moshtix. ANDREW SINCLAIR

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

DOUSTER @ AMBAR Young Frenchman Douster brings his brilliantly eclectic set – house, bass, electro, world ghetto, rave. $20 door from 10pm. MC XSESSIV

Frat House Fridays and the Death Disco DJs rock bangin’ indiedance, plus red cups, cheerleaders and college-themed craziness.

RHYTHMATISM @ THE BIRD Free entry, mind-massaging rhythms and house party vibes from 8pm with Ben T and Move friends.

PLUSH @ GEISHA Broken down dirty underground house meets tech with Baden, Professor Hush, Saul Bliss and Ryanair. $5 before 12.30am, $10 after.

NATIONAL DNB MIX COMPETITION @ SHAPE In order to crown one DJ Australia’s Homegrown FreQ, the Perth final goes down with the final sets plus special guests 2011 winner DJ Mercenary and MC Xsessiv. Phetsta, Greg Packer, Dart and Sempy judge. $10 from 10pm.

METRIC HALLOWEEN @ VILLA Metric’s Halloween Party will see ghoulish tunes from the Metric alumni plus plenty of rad costumes and more. Tickets via Moshtix.

EVE NIGHTCLUB DJs Don Migi, Dannyboi and Francesco bring the party anthems all night long.


THE AVENUE The Friday night party rocks till the sun comes up with Amanda Power.

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

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

PARTY ROCKERS @ NEWPORT HOTEL Party Rockers play live favourites from the likes of Jay-Z, LMFAO, Kanye and many more.


Inception’s resident DJs bring the tunes, you just need to dress up! $10 from 8pm til 1am.

Vertical Transport (QLD), Miss Behaviour (VIC/WA), Trout Soup, Molochi, Mr Hazington, Monty, Sheiox, Alien Wisdom, 20Hz, Space Pixie, S & M and more bring the spooky sounds to the spooky surrounds of Red Hill, featuring Zombie burlesque dancers,

COLOURSPLASH PAINT PARTY @ COURT HOTEL Prepare yourselves for a night of colourful debauchery at Coloursplash Paint Party – The Nightmare Before Halloween. Dress in white and prepare for

54 • To check out the mags online go to

The coolest house east of London and funkiest sounds west of Chicago with Lee Wilson, Richard Lee, Darren J and Flex. $8 before 12.30am, $12 after.


For the first time in eight-andhalf years, Madlib returns with the Madlib Medicine Tour, joined by original party rocker J Rocc and Stones Throw legend Egon. Tickets via Now Baking.

CHALLENGER READY: HALLOWEEN DRESS-UP PARTY @ AMBAR FTW, Benny P, Blend, DNGRFLD, Marty McFly, Tee EL, Black & Blunt, Marko Paulo and Oli battle it out. $15 from 10pm.

THE ANIMAL BALLET HALLOWEEN @ 464 SMART SPACE It’s a Monochrome Masquerade event (black, white, grey dress only) for a unique visual experience, with tunes from J.Boxxx, Petrohex, Travis Døøm, Manimal and Craig Hollywood, visuals by Yaegar.

HALLOWEEN @ EVE Prizes galore for best dressed, with tunes provided by DJ Crazy Craig, free from 9 til 10pm, more after.

Two Rooms, DJs that can beat match, jungle juice, party and costumed craziness everywhere. $15 entry.

PARTY @ NORFOLK BASEMENT Joe Macc, Lady C, Sparklehaus,

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


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



Blank Wednesdays fire up downstairs with free pizza all night, drink specials, half-price student entry, sweet DJs and party tunes.

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

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



BACKYARD STEREOSONIC DISCO @ AVIARY Stereosonic Festival launches at Backyard Disco, with Larterstyles, JAck Mcgee, Jordan Sweeting, Electonic DJs and more, plus ticket giveaways all afternoon, streamed live to The Backyard Project.

BODEGA @ MOJOS Bodega hosts Simmo T, RAE, DNGRFLD, Ol Wright, The Empty Cup and Philly Blunt. $5 entry before 6pm, $10 after.

THE AVENUE Az-T rounds up your Sunday Sesh.

ASAP & MARKSMAN @ THE MOON Experience a new lyrical collaboration between ASAP & Marksman, with DJ Silence hitting the 1s & 2s from 8pm.





DJs and MCs mixing up the best dubstep, drum’n’bass, electro and general bass music free from 7pm.

Hyper-coloured Halloween club music featuring Good Company’s Andrew Sinclair, pirate radio badman Mike Midnight, Clunk, DYP and more. $5 from 8pm.


Cam and boys keep you rocking, rolling and dancing all night long. Free from 8pm.


SUNDAY 28/10

Over two nights (the other next Saturday), Metro City goes all out with DJs and dancers, just come dressed in a sexy/scary outfit and be ready to boogie.



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




HALLOWEEN DRESS UP PARTY @ VILLA This year Villa’s Halloween Party is back for more dressed up bloody mayhem with international guests Swanky Tunes alongside Ace Basik, Paul Scott, Tape Heads and Axen. Tickets via Moshtix.


Head honcho of Hospital Records, touring the world and still producing big tunes, 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, who has been smashing the charts with his latest Ultrafunk EP as well as a stream of huge remixes. Heavyweight Soundz returns to Metro City Friday 2 November.

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

MOULLINEX @ AMBAR Moullinex (Gomma/Discotexas) launches his album Flora at Ambar Friday 9 November, where the Portuguese man-o-war will spin his distinct blend of synthesised aurality and dance incitement at the next edition of Get Weird - Get Weirder. Support from Manimal, Paper Plane, J’aimez Brune and Lightsteed. $15 via Boomtick.

PREFUSE 73, TEEBS @ THE BAKERY Guillermo Scott Herren’s seminal experimental hip hop project Prefuse 73 predated the recent explosion of LA-based beat experimentalists by at least five years. He’s now found a kindred spirit in fellow Californian beat dreamer and Brainfeeder Teebs, and the twosome play The Bakery Saturday 17 November supported by Mei Seraswati, Move DJs, Arn One and Arms In Motion. $35 plus BF via Life Is Noise, Oztix, Heatseeker, Now Baking and the usuals.


THU 25

Tinpan Orange Bakery - Northbridge Open Mic Bar Orient - Fremantle Chasing Calee Belgian Beer Cafe Def Repplica, Nymph Honey, Dirty Paris, Urban Cowboy Band Blvd Tavern, Joondalup Waiting For Andy Clancy’s Fremantle Courtney Murphy Como Hotel Switch Crown Perth, Groove Bar Rock’n’Roll Karaoke Devilles Pad Dr Bogus Elephant & Wheelbarrow Carl Mackey Quartet Ellington Jazz Club The New Beast Fly By Night Fremantle Chris Murphy High Wycombe Hotel James Wilson Lucky Shag Old Blood, The Gypsie Howls, Elli Schoen, Palatial Digs Mojos Nth Fremantle Louis and the Honkytonk, Patient Little sister, DJ James MacArthur Mustang Bar Mister & Sunbird, Charles Jenkins Norfolk Basement Hi-NRG Paddy Hannan’s, Burswood Declan Kelly & The Rising Sun Prince of Wales Bunbury Shellac, smRts Rosemount Hotel Clayton Bolger Rosie O’Gradys Fremantle Neil Colliss Rosie O’Gradys Northbridge Ash Grunwald Settlers Tavern Margaret River David Fyffe Sovereign Arms Jen de Ness The Boat Carl Mackey Quartet The Ellington Jazz Club One Trick Phonies The Gate Bar and Bistro, Success Off the Record Universal Bar Two Plus One Woodvale Tavern Jazzy Jack & The Dew Process Xwray Café Eloise Ashton, Jon Madd, Ashby Ranson, Edie Green Ya Ya’s

FRI 26 Free Radicals 7th Avenue Bar The Arsonist Amplifier Bar Mod Squad, Tip Top Sound DJ Bailey Bar & Bistro Sir Thomas, Besides Lights, Lilt, Vive! Bakery - Northbridge Mike Nayar Balmoral Mumma Trees, + more Bar Orient - Fremantle Electrophobia Belmont Htl Ryan Dillon Bentley Hotel Everlong Black Bettys Matt Milford Broken Hill Hotel The Blue Bottles Brooklands Chasing Calee Chase Bar & Bistro The History Of, Sons Of Savior, Victory Risk, Danny Beau Civic Hotel, Back Room

Justin Walsh Folk Machine Clancy’s Fremantle Shiny & the Big Boy Clancy’s City Beach Michelle Spriggs Clancy’s Dunsborough The Toot Toot Toots, Cal Peck & the Tramps + more Devilles Pad Qynn Dunsborough Tavern Aftershock Dusk Lounge Bar Tinpan Orange Fly By Night Fremantle Robo Mosquito Gloucester Park Cargo Beat Greenwood Hotel The Damien Cripps Band High Road Htl Riverton Clayton Bolger High Road Htl Riverton (Afternoon) Dr Bogus High Wycombe Hotel Grace Barbe Kulcha Blue Shaddy Mojos Nth Fremantle Captn K, Simmo T Mojos Nth Fremantle (afternoon) Oz Big Band, Cheeky Monkeys, DJ James MacArthur, Swing DJ Mustang Bar The John Thursdays, St Jude’s Hostel, I And The Village, The Idle Front North Fremantle Bowls Club J Babies Paddy Hannan’s, Burswood Flyte Paramount Nightclub Grassroots Groove Perth Town Hall Local Heroes Princess Road Tavern Def Replica, Nymph Honey, Dirty Paris, Urban Cowboy Band Ravenswood Htl Greenthief, Copious, Serial Killer Smile, This Other Eden Rocket Room Extreme Aggression:, DJ Cain Rocket Room (Late) Hostile Little Face, Tracksuit, The Silence In Between, The Midnight Mules Rosemount Hotel Declan Kelly & The Rising Sun Settlers Tavern Margaret River Joe Black Trio, Elk Bell, Daisy Clover, Ralway Bell, Lauren O’Hara Swan Lounge Steve Hepple The Admiral Ben T The Bird The Organ Grinders The Boat Fear of Comedy, Lanark, Sprawl, Split Cities The Den DD Soul, Chelsea Cullen, Mark Wilkinson, Russell Holmes Trio The Ellington Jazz Club Nightmoves Universal Bar Suzannah Espie, Liz Stringer, Chris Altman, Charles Jenkins Velvet Lounge Ivan Ribic Victoria Park Hotel Lush Woodvale Tavern The Littlest Fox, Nate Lansdell Xwray Café

SAT 27 Tangled Thoughts of Leaving Amplifier Bar

Slim Jim & the Phatts, Tip Top Sound DJ Bailey Bar & Bistro Madlib, J Rocc, + Special Guests Bakery - Northbridge Greg Carter Balmoral Flyte Black Bettys Easy Tigers Brooklands Pop Candy Burswood Lobby Lounge Urban Cowboy Band, Dirty Paris, Nymph Honey Charles Hotel Bastard Fest Civic Hotel, Back Room New Soundland, Zarm Clancy’s - Fremantle Zukhuta Clancy’s City Beach Dr Bogus Crown Perth, Groove Bar King Cornelius & his Silverbacks, Monkey La Minge, + more Devilles Pad The Lighthouse Trio Ellington Jazz Club Something For Kate Fly By Night Fremantle The Girls Stand Up Fremantle Town Hall Losing Julia High Road Htl Riverton Meg Mac and the Squeeze Hyde Park Hotel Blue Shaddy Indi Bar Ensemble Formidible Kulcha Steve Hepple Leopold Htl Bicton ParmeZan, Amani Consort, Rooster Police, + more Mojos Nth Fremantle Damien Cripps Band Moon & Sixpence The Continentals, Milhouse, DJ James MacArthur, Rockabilly DJ Mustang Bar Gravity Newport Hotel Kizzy Newport Hotel (afternoon) Joe Macc, Lady C, Sparklehaus, + more Norfolk Basement Boom! Bap! Pow!, The Toot Toot Toots, The Morning Night Railway Htl Nth Fremantle Suzannah Espie Redcliffe On Murray Kickstart, DJ Perry Rocket Room (Late) Trigger Jackets, Kill Teen Angst, The Love Junkies, The Order of the Black Werewolf, PUCK Rosemount Hotel Blue Gene Rosie O’Gradys Northbridge (afternoon) 44th Sunset, Nevada Pilot, Tim Gordon, + more Settlers Tavern Margaret River Huge Shed Autumn Thorns, Between The Seconds, Reilly Craig Swan Lounge Tandem Swinging Pig James Wilson The Admiral Andrew Sinclair, Mike Midnight, Clunk, DYP The Bird Infiniti The Boat Bastard Fest The Den Danielle O’Sullivan, The Lighthouse Trio, James Flynn Trio The Ellington Jazz Club Soul Corporation Universal Bar

56 • To check out the mags online go to

ZZ Top Tribute, George Thorogood Tribute, Scarecrow: John Cougar Mellencamp Tribute, Jumping Jack Flash, Tip Top Sound DJ Wanneroo Function Room Declan Kelly & The Rising Sun White Star Hotel, Albany Mod Squad Woodvale Tavern Jiminy Kick-It Xwray Café Sugarpuss, DJ Rex Monsoon, The New Pollution, Hayley Beth Ya Ya’s

SUN 28 Reckless Kelly 7th Avenue Bar Rock It Festival Arena Joondalup The Zydecats Clancy’s - Fremantle New Soundland Clancy’s Dunsborough The Lighthouse Trio Ellington Jazz Club Something For Kate Fly By Night Fremantle Harry James Angus Fremantle Arts Centre Courtyard Fucking Teeth, Doctopus, These Shipwrecks, Hamjam Geisha Bar Nat Ripepi High Road Htl Riverton (Afternoon) The Organ Grinders High Wycombe Hotel Declan Kelly & The Rising Sun Indi Bar Jonny Taylor Lattitude 28 The Empty Cup, Simmo T, Rae, Ol Wright, + more Mojos Nth Fremantle Blokes In Coats, Ingham’s Call Centre Mojos Nth Fremantle (afternoon) Tanya Davies, Peter Busher & the Lone Rangers, DJ Rockin Rhys Mustang Bar Greenthief, Copious, Gombo, Ray Finkle Newport Hotel Tim Nelson Newport Hotel (afternoon) Afrotonic, Sing Australia, Band of Angels, Richard Lane North Fremantle Bowls Club One Trick Phonies Pig & Whistle Jonathan Dempsey Pink Duck Lounge Def Replica, Stone Circle Railway Hotel Reign, Branches Of Berlin, Colour of Indigo, Miranda & Gordo, Andrea Tal Railway Htl (Afternoon) Neil Colliss Rosie O’Gradys Northbridge (afternoon) Phil Edgeley Settlers Tavern Margaret River Ivan Ribic Sovereign Arms Mike Compton, Ruth Hazleton & Kate Burke, Bernard Carney, David Hyams, + more State Theatre Centre of WA Antartica, Kindhearted As A Goddamn Wolf, Amadeum Swan Lounge Lanark, Mud Lark The Bird The Lighthouse Trio, The Brilliance of Bennie Goodman The Ellington Jazz Club

Retrofit Universal Bar Damien Cripps Victoria Park Hotel Good Karma Woodvale Tavern The Charisma Brothers, Click Brown Fox Xwray Café Midnight Boulevard, The Lunettes, Caleb Entrails, Stuart Nevsky Ya Ya’s Jammin Band Comp Ya Ya’s (afternoon)

MON 29 Graveyard Train, Brothers Grim, The Blue Murders, Ruby Boots Indi Bar Wide Open Mic, Bruno Booth Mojos Nth Fremantle Marco & The Alleycats Mustang Bar James Wilson The Brass Monkey Plastic Max and the Token Gesture The Deen Chamber Jam The Ellington Jazz Club Damien Cripps Woodvale Tavern Johnnie Walker & The Rock Bottoms Xwray Café Big Thommo’s Open Mic Variety Night Ya Ya’s

TUE 30 Poetry Slam Bakery - Northbridge Ben Merito Lucky Shag Graveyard Train, Brothers Grim, The Blue Murders Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Thurston Moore Rosemount Hotel Storybattle 2012 The Bird WAAPA Jazz Grads The Ellington Jazz Club The Tom Tale Jazz Quartet Xwray Café The Crooked Cats, Wrongtown, Misty Mountains, The Dark Rooms Ya Ya’s

WED 31 Black Market Cabaret Bakery - Northbridge Dyatlov, Truthseeker, Cabin Fever C5 Graveyard Train, Brothers Grim, The Blue Murders, Ruby Boots Devilles Pad Fenton Wilde Hale Rd Tavern Ash Grunwald Indi Bar Nathan Gaunt Lucky Shag Blues and the Davs Mojos Nth Fremantle Leure, Kynan Tan, Craig McElhinney Moon Café One Thousand Years, The Date, + more Paddo Reapers Riddle, Matty Trash & The Horribles, Midnight Boulevard, Deadlock Rosemount Hotel David Fyffe Rosie O’Gradys Northbridge Ben Vanderwal The Ellington Jazz Club Fiona McMartin, Amber Weir Xwray Café Order of The Black Werewolf, Faim, Neutral Native Ya Ya’s


BILLY BRAGG DECLAN KELLY & THE RISING SUN: OCT 25 Prince 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) 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 NIKHIL CHOPRA: OCT 30 Fremantle Arts Centre THURSTON MOORE: OCT 30 Rosemount Hotel + UNDERGROUND: OCT 31 C5, Metrpolis Fremantle KARMA COUNTY: NOV 1 Clancy’s Fremantle HOT CHELLE RAE, CHER LLOYD: NOV 1 Astor Theatre THE LIVING END: NOV 1-7 Rosemount Hotel + PLUG INTO PERTH:

HOT CHELLE RAE DRAPHT, SUGAR ARMY, SPLIT SECONDS: NOV 2 Perth Arena 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 ALI PENNEY & THE MONEYMAKERS: NOV 2 Charles Hotel; NOV 3 Mojos; NOV 4 Stirling Club, Albany; NOV 5 Burlington Hotel 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 + MYRA MELFORD: NOV 6 & 7 The Bakery 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 & 10 Quarry Amphitheatre ROCK FOR RECOGNITION: DAN SULTAN: NOV 10 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, EVERMORE: NOV 11 Perth Arena JOE ROBINSON: NOV 11 & 12 Blues At Bridgetown DEXYS: NOV 12 Astor Theatre ELTON JOHN: NOV 12 Perth Arena SHAUN KIRK: NOV 13 Charles Hotel; NOV 14 Indi Bar; NOV 16 Mt Helena Tavern; NOV 17 Settlers Tavern; NOV 18 Redcliffe On The Murray

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 BEN FOLDS FIVE: NOV 14 Fremantle Arts Centre CATHERINE TRAICOS: NOV 15 Ellington Jazz Club GLENN MILLER ORCHESTRA: NOV 15 Albany Entertainment Centre; NOV 17 Burswood Theatre; NOV 18 Bunbury Entertainment Centre THE BEARDS: NOV 15 Prince Of Wales; NOV 16 Settlers Tavern; NOV 17 Rosemount Hotel; NOV 18 Indi Bar LIVE AT THE QUARRY: WASHINGTON: NOV 16 & 17 Quarry Amphitheatre BALL PARK MUSIC: NOV 16 Prince Of Wales; NOV 17 Capitol + LOCAL RESIDENT FAILURE, EBOLAGOLDFISH, BEN DAVID: NOV 16 Swan Basement; NOV 17 Civic Hotel; NOV 18 Newport Hotel A DAY ON THE GREEN: THE ANGELS, BABY ANIMALS, JAMES REYNE, BOOM CRASH OPERA: NOV 17 Kings Park & Botanic Gardens NICKELBACK, JACKSON FIREBIRD: NOV 17 Perth Arena BEACH TO BUSH FESTIVAL: HOODOO GURUS: NOV 17 Wanneroo Showgrounds ANGUS STONE: NOV 17 Venue Perth Zoo MAKE THEM SUFFER, OCEANO, SAVIOUR, BORIS THE BLADE: NOV 22 Amplifier; NOV 23 HQ (AA) DEEP SEA ARCADE, THE PREATURES: NOV 23 Rosemount Hotel BLAZE BAYLEY & PAUL DI’ANNO: NOV 24 Civic Hotel THE WIGGLES: NOV 24 & 25 Perth Arena DARK FUNERAL: NOV 25 Amplifier POUR HABIT, HIGHTIME: NOV 28 Rosemount Hotel BRITISH INDIA: NOV 29 Prince Of Wales; NOV 30 Metropolis Fremantle; DEC 1 Capitol THE SAINTS: NOV 30 Fly By Night LIVE AT THE QUARRY: JOHN WILLIAMSON: NOV 30 & DEC 1 Quarry Amphitheatre + REECE MASTIN, JUSTICE CREW, THE JANOSKIANS: DEC 1 Perth Arena


Food •





Thursday 25/10 • The Dew Process

Jazzy (free

Sound late

Jack from

and 7pm)

Friday 26/10 • The Littlest Fox (duo performance) / Nate Lansdell ($5 from 8:30pm) Saturday 27/10 • DJ Jiminy Kickit (free from 8pm) Sunday 28/10 • / Click Brown

The Fox

Charisma Brothers (free from 4pm)

Monday 29/10 • Johnnie Walker and The Rock Bottoms (tellin’ it like it is – free) Tuesday 30/10 Jazz Quartet Wednesday / Amber

31/10 Weir

Lot 4 • 3 • 9430 9399

The (free

13 •

Tom from

• Fiona (free from

Tale 7pm)

McMartin 8:30pm)

Essex St Fremantle


EMPLOYMENT ADMINISTRATION DJ AVAILABLE- ANYTIME -0416306340 for any dj service club or home or birthday call anytimeGET A REAL DJ NOT MP3 PLAYER OR CRAPPY DOWNLOAD.......VINYL DJ ROCKS iFlogID: 16083

Experienced Manager required for established Brisbane based artist. Must have industry contacts, previous and current experience and be ruthless. Contact Justin iFlogID: 19087

Get your Band/ Business online with affordable website design. From $299 Services include Seo, Social network marketing Includes free 1000 Facebook likes, 22k twitter followers. Contact - iFlogID: 19089

RADIO SYDNEY possibly the worlds largest digital Radio Station with 100 music channels is offering bands and solo artists their own feature promotional channel visit the Indie channel on iFlogID: 18316

Seo Marketing ~ Facebook likes, YouTube, Twitter views Promote your business online with Seo services Facebook likes 1k - 10k Youtube views 1k - 100k Twitter followers 1k - 100k Prices start from $20 iFlogID: 19091

HOSPITALITY & TOURISM ATTN:BAR/VENUE OWNERS. Need a “quiet” night filled? Comedy Hypnosis Show looking to replicate current venue success to other areas . We bring the crowd, take the door. You take F&B. 1300 660490 iFlogID: 19059

SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail:

Vintage Drum Kit Imports new and Custom Made kits for sale. Also cymbals, stands, pedals, guitars, accessories and much more. info@ 93362190 0421987370 Hampton Rd, Fremantle, WA iFlogID: 18453

ZILDJIAN Drum Stick Clearance $10 PAIR!!: 5A, 5B, 7A, Wood / Nylon Tip – Plus Travis Barker, Brooks Wackerman, Ronnie Vannucci & Dennis Chambers Series. Lamba 02-9758-8888 iFlogID: 19716


iFlogID: 13289

FILM & STAGE SOUND & MUSIC RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12 iFlogID: 19910


Acoustic Yamaha Guitar, Solid Top, Great Sound and Condition, Comes with Carry Case, $420 ONO May Swap or Trade, 0421690000,, QLD iFlogID: 19700

Matts Vintage Guitars - Fender Gibson Martin Rickenbacker Guild Gretsch Vintage and USA Buy-SellTrade Ph.0413-139-108 www. iFlogID: 19724


CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus. com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: iFlogID: 13287

Sennheiser HD25-1 II Headphones – The industrys leading Studio, Monitoring and DJ headphones. Get the genuine article for $279.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba 02-9758-8888 iFlogID: 19720

DRUMS High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL...

PA EQUIPMENT Shure SM58 vocal microphone – The industry standard. Get the genuine article for $129.00 with FREE DELIVERY AUSTRALIA WIDE from Lamba. Call us on 02-9758-8888 to get yours today.

iFlogID: 19832

iFlogID: 19718

STUDIO GEAR Roland Boss Digital Recording Studio 8 Track and Professional CD Burning and Mastering System All in One, Portable with Multi Effects and Loops, 0421690000, May Swap Trade, QLD iFlogID: 19698

MUSIC SERVICES OTHER ++ play more chinese music - love, tenzenmen ++ iFlogID: 14468

Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on

POSTERS GOLD COAST BYRON BAY NORTHERN NSW Poster distribution for touring artists & bands. Fast, efficient & reliable service at a competitive price iFlogID: 17120

STUDIO HIRE Gold Coast ParallelHarmonyStudioRobina. 30 square metre live room, large vocal booth. Handsome range of range of topoftheline Neumann, Rode and Shure microphones. Call 0755808883 for details. iFlogID: 18640

TUITION Eastern Suburbs guitar/ukulele/ bass/slide lessons with APRA award winning composer. Highly experienced, great references, unique individually designed lessons from Vaucluse studio. Learn to play exactly what YOU want to play! www. iFlogID: 16690

email: iFlogID: 18269

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact or see iFlogID: 15452

High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... iFlogID: 19834

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! Drop me a line! iFlogID: 15737

RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12 iFlogID: 19912

MUSICIANS AVAILABLE BASS PLAYER Electric & upright bass. Good gear. Comfortable in most styles. Experience performing live and in the studio. Check out my website if you wanna hear more. http://www.wix. com/steelechabau/steelechabau iFlogID: 16159

DJ Dj available Dubstep to Drum&bass willin2g & able to adapt to your event. Low hourly rates. Everything negotiable. Easygoing, flexible entertainment. Call for a quote today. KN!VZ Entertainment Group Ph:0415680575

GUITARIST Im Richie, casual guitarist wanting to do some gigs and write originals, stuff like Pennywise, Nirvana, AntiFlag, Sublime whatever really ill learn it, 0420247623. iFlogID: 20092

OTHER RemmosK returns to “The Wall” in full throttle electric mode with special guests Blow @ The Wall, The Bald Faced Stag Hotel, Leichhardt, Sat 03-11-12 iFlogID: 19914

MUSICIANS WANTED BASS PLAYER Bass player wanted to join guitarist/ singer/songwriter in forming a new original alt/hard rock/nu metal band. my influences are Tool/APC/ Deftones/Karnivool/Chaos Divine/ korn/chevelle etc etc Must be commited. call Pete on 0412 322 037 iFlogID: 19908

DRUMMER Drummer wanted to join singer/ songwriter/guitarist and bassist looking to start a new original alt rock/nu metal band. My influences are tool/APC/Chevelle/ korn/Faith no more etc etc call Pete: 0412 322 037 iFlogID: 19585

Experienced drummer with a commitment to practice and regular rehearsals required for Melbournebased alternative rock band. Influences QOTSA, Foo Fighters, Nirvana… 0411 372 469

GUITARIST ORIGINALS BAND SEEK GUITARIST We’re looking for a new guitarist to join our super-fun band. Gigs lined up, EP about to be released, Soon to record debut album. weekly jams, lotsa gigs. indie rock pop punk vibe. 0478554131 iFlogID: 20014

SERVICES GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY from $299 including Hosting and email addresses! Contact or see iFlogID: 15450

Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $299 including UNLIMITED pages, Logos, Hosting and 5xemail addresses and much more! Contact or see iFlogID: 13864

Limited Edition mens tees and hoodies with a sense of humour. All hand-screened and numbered. iFlogID: 13611

MARKETING BY N: Photography and Graphic Design services for the music, film and fashion industries. Album covers, promotional materials, website graphics / photos. Email: / Mob: 0433 730 340. iFlogID: 19842

OTHER Get your Band or Business Online Cost effectively from $299 including Hosting, Shopping Cart and 5 email addresses! Contact or see iFlogID: 15454

What happens when you start paying attention? When you become an active member and start participating in this elusive thing we call life. WWW.WHATISTHEHAPS.COM iFlogID: 17980

TUITION Drum, bass, guitar, piano and vocal tuition in Fremantle, Nedlands and Victoria Park. Focus on performance and recording as well as building musical skills. 93362190 iFlogID: 18451

STAND-UP COMEDY WORKSHOP Have fun learning invaluable communication, presentation and humour skills from ARIA nominated Robert Grayson. 15 years experience. “Amazing! Fantastic! Liberating!” Jess Capolupo, Hot-Tomato FM. / Robert@ / 0401 834 361. iFlogID: 19948

WANTED OTHER Looking for music that is fresh and original??? Check out

iFlogID: 16936

iFlogID: 16661

Online andprint classifieds

58 • To check out the mags online go to

iFlogID: 19736










OFF ",°Ê*,



OFF ",°Ê*,



OFF ",°Ê*,



OFF ",°Ê*,




OFF ",°Ê*,



*/ĂŠ6-]ĂŠ-/ , , ĂŠUĂŠ "ĂŠ  +1 -ĂŠUĂŠĂŠ- -ĂŠ ĂŠUĂŠ "ĂŠ, /1, -ĂŠ",ĂŠ 8   -ĂŠUĂŠ "ĂŠ 1-/ /-ĂŠ/"ĂŠ*,",ĂŠ*1, -  ,  - ĂŠ6  ĂŠ7 ĂŠ-1** -ĂŠ-/ĂŠUĂŠ-  /" ĂŠĂŠ9ĂŠ6,9ĂŠUĂŠ "ĂŠ-* ĂŠ", ,-ĂŠUĂŠ "ĂŠ"/ ,ĂŠ - "1 /ĂŠ" ,-ĂŠ


†Excludes Wagga, Shepparton, Monavale and Darwin franchises.

Allans Billy Hyde North Perth 345 Charles Street, North Perth WA 6006 (08) 9228 2223 Find us on:

(Receivers and Managers Appointed) (Administrators Appointed)

Drum Media Perth Issue #311  
Drum Media Perth Issue #311  

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...