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Sugar Army, San Cisco and The Chevelles are the first three WA acts to have their South By Southwest applications approved for the festival’s 2013 edition. Voting for the 14th annual Perth Dance Music Awards closes next Wednesday 7 November. Head to perthdancemusicawards. org to cast yours. 360

BE KIND, REWIND The new year is nearly upon us, so get ready ready to eject 2012 and Insert To Play 2013. A brand new festival bringing together the best in Australian hip hop, Insert To Play goes down at the Supreme Court Gardens on Monday 31 December and brings together 360, still reeling from the double platinum and ARIA success of Falling And Flying, with WA wordsmith extraordinaire Drapht, dubstep and electronic beatmasters Hermitude and prolific producer Urthboy also dropping the phat beatz,with more TBA. Tickets via and the usuals.


SHINING STARR He was the original narrator of Thomas The Tank Engine, Marge Simpson’s creative muse and, yes, the drummer of the world’s biggest band. Now Ringo Starr is heading out on a Pacific Rim tour that sees him in Australia during February. Starr is bringing along his All Starr Band, which features such luminaries as Steve Lukather (Toto), Richard Page (Mr Mister), Todd Rundgren, Mark Rivera, Gregg Rolie (Santana and Journey) and Gregg Bissonette. Starr and his starrs play Challenge Stadium Thursday 21 February, tickets through Ticketmaster.

Brisbane blues and rock’n’roll icon Mick Hadley passed away in a Gold Coast hospital last Friday having lost his battle with cancer. The Purple Hearts, Coloured Balls, Shakers, Atomic Boogie Band and Midnight Blues Band member was 69 years old. Highly influential soul-folk singer-songwriter Terry Callier has passed away at the age of 67. He was found in his Chicago home, though no cause of death has been released as yet. ABC Radio launches AusMusic Month tomorrow night from 8pm with a previously unheard broadcast of Midnight Oil’s 2009 performace at Canberra’s Royal Theatre and an interview with Peter Garrett, Rob Hirst and Jim Moginie in the studio. English rockers Foals have announced their latest album Holy Fire will be released Friday 8 February 2013, just after their appearances at Big Day Out Festival (Monday 28 January, Claremont Showgrounds in Perth). Green Day have cancelled all their 2012 tour dates following frontman Billie Joe Armstrong extending his stint in rehab. Iconic Melbourne pub and live music venue The Tote was attacked in the early hours of Monday morning, with authorities believe a Molotov cocktail was thrown through one of the venue’s windows. Damage was minor and no one was injured.


CHEAP AS POPS Looking for a cheaper (but no less awesome) option for your New Year’s party this year? Well get on to Chi Poption, going down at The Bakery Monday 31 December. The party will be in two spaces; The Life Is Noise room features Shy Panther, Kucka, Ylem Vs Rachel Dease, Mei Saraswati, Leure, Mathas Vs Diger Rokwell, Danielle Marsland, Jo Lettenmaier and Aarom Wilson Vs Craig Hollywood, while the {MOVE} room hosts Rok Riley Vs Ben Taaffe, Clunk, PCJ Vs Nik Ridik and Miranda Menzies. Early birds $20 via, Heatseeker, Oztix and Now Baking until 30 November. KENDRICK LAMAR

COMPTON REPRESENT Now, we’re not about to espouse a very specific trendsetting music media in the pages of Drum, but the fact that Kendrick Lamar has come from nowhere to take a 9.5 out of 10 in said media shows that the young man is on the right path. No less than two months after the release of his second studio album Good Kid, M.A.A.D City, the Compton native has made himself known as one of the most important people in the current hip hop environment. He heads to The Astor Theatre on Saturday 22 December. Tickets via Oztix.

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The two remaining jailed members of Russian punk collective Pussy Riot have been assigned to remote prisons in Mordovia and the Ural Mountains to serve their sentences. The women’s request to serve sentences close to Moscow were not granted. Eight-time ARIA Award winners, Yothu Yindi, will be inducted into the ARIA Hall Of Fame at this year’s awards ceremony. The Indigenous rock outfit are also said to be joined on stage by some very special guests. Christopher Owens, former frontman of revered San Franciscan indie-pop group Girls, has announced the Australian release of his first solo album Lysandre on Friday 18 February through Liberator/PIAS/Turnstile. Leading contemporary music booking agency Artist Voice have announced that the Australian Chamber Orchestra’s ACO Underground has joined the agency’s roster.

HUSKY DO Following their signing to seminal Seattle-based label Sub Pop (a first for an Aussie band), Husky have been coasting along endless highways in the USA, drinking oceans of filtered coffee in roadside diners, playing headline shows and winning hearts along the way. Their debut album Forever So was what fuelled that tour, and it takes them to the UK and Europe before they head back home, playing Mojos Wednesday 12 December and The Bakery Thursday 13 with local support TBA. Tickets through Moshtix and Now Baking


WILD RETURN Returning home after their very first international headline shows, San Cisco play a hometown show at The Bakery, Friday 14 December. After signing an international record deal with Fat Possum Records/ RCA and Columbia Records, the band are excited to show off their wares on home turf, including new single Wild Things. Joining them are Sydney five-piece The Preatures and fellow hometown-ers The Jack Doepel Jazz Quartet. Tickets via Now Baking. NAT COL AND THE KINGS

KING OF STRINGS You may remember him as that kid who was great at guitar on Hey Hey It’s Saturday, but Nathan Cavaleri is not just a childhood star – he still remains a truly world-class musician. Teaming up with drummer Col Hatchman, Nat Col & The Kings were born and currently touring their single Coming Home they play the Perth Blues Club at the Charles Hotel Tuesday 6 November; Indi Bar Wednesday 7; Prince Of Wales, Bunbury Thursday 8; Settlers Tavern, Margaret River Friday 9; and Bridgetown Blues Festival, Saturday 10-Sunday 11.

SOLO SOUL One of Australia’s favourite artists, John Butler will play the Fly By Night in Fremantle for a one-off show on Sunday 18 November. Joining him on this special night will be Kav, also playing in solo mode. Butler’s prestigious talent is more often than not displayed through his band, the John Butler Trio, but this gig is a chance to see the man in more intimate surrounds. Tickets via from Tuesday 30 October.


BIG BASS Big party suppliers Inhibit have stretched out and started yet another party, bringing in the biggest international electronic acts they can find. Bass Agenda is set to rock the foundations of Perth, with the first edition going down Friday 9 November at Villa Nightclub. A fitting start it is, too; attending will be Culture Shock (riding high on the success of this year’s I Remember/Troglodyte); Dutch soul-d’n’b producer Lenzman; Kiwi-born Dose and local champ Rregula. Tickets through Moshtix and the usuals.

1st NOV

The Aunts + The New Beast and DJ Cookie. Doors 8pm.

2nd NOV

COUNTRY NIGHT IN FREO: The Suntones, Stoney Joe, Helen Townsend Band and Dilip Parekh-Mitch Becker Country Duo. Doors open 8pm.



FREO'S FAVOURITE SON… Carus Thompson launching 'Acoustic at The Norfolk II' with special guest Leena. Doors 8pm.

3rd NOV


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W/ The Stanleys & Ragdoll THURSDAY NOVEMBER 22ND

OUR MAN IN BERLIN & Special Guests

Wednesday 7 November



FOREWORD LINE FOR THE LOVE OF BASS The newest compilation series from the Onelove Recordings team, The Bass Explosion CD dishes out over 43 of the biggest of bass-rumbling EDM, electro house, dubstep, drum’n’bass, trap and moombahton tunes on the planet. To celebrate, they’ve called on party-rocking turntablist showman A-Tonez and moombahton madmen The Mane Thing to play Ambar Friday 23 November, supported by JS, Tapeheads and Philly Blunt. $15 door or presale via Boomtick.

YUNG TALENT Australia’s fastest rising indigenous hip hop outfit, Yung Warriors have just announced their second single, Prey For Better Days, from their sophomore album Standing Strong. A national tour in support of the new track (which features Egoz, Diafrix and Little G) has been announced, with it just being placed on triple j high rotation. Get it on it when they play Amplifier Friday 23 November and Prince Of Wales, Bunbury, Saturday 24.

TOWER OF POWER Every now and then you stumble across a sound that is so distinctive and unique, that you cant help but fall in love with it. Kollektiv Turmstrasse is definitely one act that posses this type of power; just check out their debut long player Rebellion Der Träumer and you will find out what the fuss is all about. The German duo hit the Honey Lounge Friday 23 November, supported by Aarin Fraser and James Francis. Tickets from Moshtix.

I’D LIKE TO THANK… It won’t be long now until the top three acts are announced for the Perth Dance Music Awards (November 21) and the PDMA team knows that everyone is chomping at the bit to hear more about the awards party. With that in mind they’ve announced the local acts playing the party at The Court Hotel Sunday 2 December, including some award hopefuls, in Carla, FTW, Micah, Mot3k, Muller and Phetsta. Free entry.



There’s some fighty mine happenings going down soon in WA, and we don’t just mean wandering down to the opening of the new Perth Arena to see if it really does turn into a giant Optimus Prime. Singer-songwriter Matt Gresham has announced The Empty Cup, Odette Mercy Trio and Bryan Rice Dalton will support his See The World album launch, Saturday 10 November at The Astor Theatre. Punk Bites round two hits the Civic Den Friday 2 November, featuring Perth vets SSA, supported by The Bob Gordons, Blindspot, Alex The Kid and Gutter Drakes. $10 from 8pm. This year local artspace/shop Venn is taking a Mexican spin on traditional Melbourne Cup celebrations with a Melbourne Cup Fiesta Tuesday 6 November featuring DJ Dawit from 11am til late. Tickets via Moshtix. Blanche DuBois returns to the Ellington Jazz Club Thursday 8 November to showcase a few new tunes as an acoustic trio with the backing of a string section. Michael Paolino (Husband) supports solo from 8.30pm. $10/$15 via In addition to supporting Bleeding Knees Club Friday 9 November (C5, Metropolis Fremantle) and Saturday 10 (Amplifier), local three-piece FOAM launch their new single Total Body Disruption Friday 23, supported by Mezzanine, Man The Clouds and Hideous Sun Demon. Join the Afrique Acoustic caravan of new African music guaranteed to turn your head and move your feet Sunday 4 November at Indi Bar, before they support Saritah at the Fly By Night Friday 9. Perth hardcore outfit Blkout will have the distinct honour of opening for returning legends

and this week’s cover stars Refused when they hit Metrpolis Fremantle Friday 9 November. Punk-rockin’ outfit Axegirl host the official launch party for their debut EP Ghost Romance Friday 9 November at the Norfolk Basement, supported by The Floors and The Belle Ends. City of Joondalup’s Music In The Park concert series kicking off at Mawson Park, Hillarys Saturday 17 November featuring Carus Thompson, Junior Bowles and Shaun Paul Davis, with Ash Grunwald, Morgan Bain and Louis & The Honkytonk (December 8) and Jeff Lang with Lucky Oceans and Felicity Groom (January 12) rounding out the three-part series. Free from 6pm, BYO picnics. Playing their first headline show in three months, Rachel & Henry Climb A Hill get re-acquainted with everyone Saturday 17 November at Clancy’s Fremantle, supported by Miranda & Gordo and The Whistling Dogs. The Railway Hotel hosts a night of quality original local acts Saturday 24 November when Kelly McMahen, Alteria Motive, Rotaxus and Empty Pocket grace the stage. $5 from 8pm. The Volcanics are stoked to announce that they’ll be opening up for Aus’ punk legends The Saints Friday 30 November at the Fly By Night. Tickets via Ticketmaster. THE EMPTY CUP BY DANIEL CRAIG

LONGER BEARD With their End Of The World (For Beardless People) Tour fast approaching, The Beards have added an extra date to the upcoming WA Leg, now also including Wednesday 14 November at Mojos with The Snowdroppers and Gay Paris. These go along with Thursday 15 (Prince Of Wales with SD and GP), Friday 16 (Settlers Tavern with SD), Saturday 17 (Rosemount Hotel with SD and GP), Sunday 18 (Indi Bar with SD and GP).


BEAUFORT BLOWOUT There’s only three weeks to go until the biggest street festival in Western Australia hits Beaufort Street - with major new wine and food, family and stall programs added to this year’s event, the Beaufort Street Festival has become bigger than ever. On a final note, Allira Wilson, Empire, Libby Hammer Trio and Lilt have been announced as the last acts on the bill, with a raft of DJs also set to



The City Of Wanneroo’s month-long Beach To Bush festival kicked off last Sunday, and continues on until Sunday 25 November, with the centre-piece concert happening Saturday 17 November at the Wanneroo Showgrounds – headlined by Aussie legends Hoodoo Gurus. Joining them will be NSW favourites Something With Numbers, plus Big Old Bears and this year’s AmpFest winner, Dead Owls. While the ticket allocation for this has dried up, we have FOUR DOUBLE PASSES to giveaway, plus one of those four will get a chance to meet the Gurus on the day! Email with “I’M A GURU” in the subject header for your chance to win.

JOSH PYKE After some cracking shows from the likes of Paul Kelly and Owl Eyes, the Art Gallery Of WA’s ArtBar series comes to a close next Thursday 8 November as Australian singer-songwriter favourite Josh Pyke graces the stage in an exclusive Perth show as part of his Only Sparrows Tour. The event has sold out, although further tickets may be released in the lead-up to the show weather-depending. Otherwise, to try and win a DOUBLE PASS, email giveaways@drumperth. with “MY PYKE” in the subject header.



entertain. Head to for all the deets including all the various music stages details, plus program highlights like the Food & Wine Micro Festival, The Queens Vintage Village and The Bayswater Vet Dog Show, Saturday 17 November.

Brendan Angelides is a San Francisco-based electronic music producer who records and performs live as Eskmo. His multi-genre compositions have been featured on influential labels like Warp Records and Planet Mu. His last single of 2009, Let Them Sing, was met with equal praise and has been described as sitting on its own electronic plateau. Find out more Friday 23 November at Geisha, tickets via



Sydney band Caravãna Sun blending natural soulful lyrics with bouncing “gypsy ska” grooves, and they’ve introduced even the most conservative crowds to the dancefloor. Their new single The Bottle is set for release on November 22, and to celebrate, the band is setting out on extensive tour which hits Mojos Sunday 25 November; Indi Bar Thursday 29; The Cidery, Bridgetown Friday 30; Settlers Tavern, Margaret River Saturday 1 & Sunday 2 December; and the White Star Hotel, Albany Friday 7.

MOUSTACHE RIDE Yes, it’s that time of year again, when the hairy lips come forth and invade pubs and clubs around Australia. Movember is upon us, and to celebrate Perth deathcore demons Make Them Suffer getting their mo’s sweaty wherever they can, playing two special Perth gigs before following Dream On, Dreamer around the country. Joining them will be SoCal extremists In Fear & Faith and fellow Perthians Saviour. They play The Academy at Amplifier Thursday 22 November and YMCA HQ Friday 23 (all-ages). Tickets through Moshtix.


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

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

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In 2012, Indian Summer DJs have been going from strength to strength. Following on from a run of national dates for their single I Do, performing at Parklife and a string of successful remixes this year (Snakadaktal, Purple Sneakers DJs, Architecture In Helsinki), the boys are back with the release of their debut EP Haunted. They drop into Villa Thursday 22 November and Tuesday 1 January at the Wonderland Festival in Belvoir Ampitheatre. Tickets via Moshtix, Ticketmaster and usuals.


To mark the release of their latest single I Can Make You Love Me British India are hitting the road and as a special treat to WA fans, the band are bringing fellow Melbournites Kingswood along for what will be their first shows in our fair state. The Love Junkies will round out the bill at Prince Of Wales, Bunbury Thursday 29 November; Metropolis Fremantle Friday 30; and Amplifier Saturday 1 December. Tickets through Heatseeker and Oztix, presented by Street Press Australia.

Following their live show at the Fremantle Arts Centre with The Silversun Pickups Tuesday 13 November, The Dandy Warhols will be heading to Geisha to celebrate ’til late, and they want you to join them. The Morning Night bring their live stylings before the Dandys’ own Zia spins her favourite choons: anything eclectic, from the ‘60s until now. The Loft DJs keep the party going til late. Tickets via




Harmonica master Charlie Musselwhite’s life reads like a classic blues song: born in Mississippi, raised in Memphis and schooled on the South Side of Chicago. A groundbreaking recording artist since the 1960s, Musselwhite continues to create trailblazing music while remaining firmly rooted in the blues, and his latest work, 2010’s award-winning The Well, is steeped in the music of Charlie’s youth. He plays Fly By Night Thursday 8 November and Blues At Bridgetown, Friday 9 to Sunday 11. LILT

The nightfall moniker of 21 year-old electronic musician Nathan Broaddus, Evenings is built on dreamy sunset stories in softly melodic brilliance. Evenings is currently riding high on a wave of global acclaim, with tastemakers touting him on the frontline of a new wave of musicians setting trends and re-surging interest in nostalgic future music. He plays Defectors Thursday 8 November supported by James Ireland, Capelas and DJs Ben Taaffe and Andrew Sinclair.


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. ©

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AUSTRALIA: THE LUCKY COUNTRY The response to the Refused reformation overseas has been “overwhelming” according to Lyxzén, and Australian audiences are extremely fortunate that this is the case otherwise we wouldn’t have been afforded the luxury of this inaugural Australian visit (Refused were slated to tour here in ’98, but those plans were scuppered by the break up). “For me, I’ve been playing music and I’ve been onstage ever since we broke up the band, so for me the stage is like my natural environment, but Kris and Jon [Brännström – guitars] hadn’t been on a stage since we broke up Refused – they haven’t played music in a band since we broke up Refused – so for them I guess it had to be a weird, weird thing,” he explains. “They’re loving it though – we’re all enjoying it, we’re having a really good time. If we hadn’t been enjoying it we wouldn’t have made it over to Australia; that’s just how it is. At first, honestly, it was supposed to be ten shows – that was it. We were just going to pick the raisins out of the cake, so to speak. Then once we started practising we were, like, ‘Wow, this actually feels pretty good! Maybe we should add some more shows?’ So we decided to do our summer – from April to August – and that’s it!

Swedish hardcore legends Refused were never meant to reform after their dissolution some 14 years ago, but as frontman Dennis Lyxzén explains to Steve Bell, sometimes even the most steadfast of promises were made to be broken. hen Swedish hardcore band Refused disbanded in 1998 – shortly after the release of their powerhouse third album The Shape Of Punk To Come – they made it patently clear that this was the end of the line. They’d been peddling their fervent anti-capitalist polemic for seven years, but had become disillusioned by a combination of inner ideological conflict and outsider apathy (particularly from within the notoriously insular hardcore scene of the time), so when they wanted out they didn’t just split up but instead issued a manifesto of sorts – one of the most resolute band dissolutions of all time.


Their “final communiqué”, ‘Refused Are Fucking Dead’, was a lengthy screed of revolutionary rhetoric and idealistic zealotry, including tracts such as, “We were hoping that we could be the final nail in the coffin of the rotten cadaver that is popular music...” and, perhaps most importantly, “...we will never play together again and we will never try to glorify or celebrate what was”. The band was over, and the world basically shrugged and moved on. But the myth and legacy of Refused began to replenish, mainly because the innovative and unique sound on The Shape Of Punk To Come began to filter through to different scenes and gradually find appreciative ears, but also (perhaps ironically) because of the way they finished the band’s tenure with such a definitive fullstop. A couple of years ago rumours began to abound of a reformation, but this fire was soon categorically quelled by frontman Dennis Lyxzén, who denied any such plans – but then in late-2011 the buzz was back that Refused would play Coachella 2012. This time the rumours turned out to be on the money. The band that were never coming back were back.


“It was just one of those deals where it just kind of came together,” singer and chief agitator Lyxzén explains nonchalantly. “For the first time in a long time we were all living in the same city, and Kris [Steen – guitar/ bass] and David [Sandström – percussion] started playing music together again – they hadn’t done that in ages, David hadn’t played drums at all in ten years or something like that. So all of a sudden we’re all moving in the same sort of circles and all hanging out together, and then we got the offer from Coachella and it just felt like something that we should try to do. We’d had offers from them for years – every other year they’d give us an offer – but it had always been, ‘No, that’s impossible,’ but all of a sudden it felt possible. So we tried it out, and yeah, it could be done!” The reunion shows in Europe and America have been incredibly well-received due to the fact that most fans were resigned to never seeing Refused in the flesh, but also because their music still sounds so vital. “I don’t know, you never know that – if you had that sort of recipe you’d just keep on doing that over and over again,” the Swedish singer laughs when asked why Refused’s music has stood the test of time. “Anything like that is just a weird combination of people, time, place and a little bit of dumb luck and a little bit of talent – that’s just what it is. We were lucky to create something – especially with the last record, and maybe a little bit with the record before that [1996’s Songs To Fan The Flames Of Discontent] – that was very special and timeless. It happens and you never know why. We’re all just trying to write good music and write good songs, but it’s hard to get that special connection.” On the subject of why Refused’s mythology has grown so exponentially over time, however, Lyxzén has a far



more concrete perspective. “I think one of the reasons of course is the music – there’s some kick-ass songs on that last record that spoke to a lot of people, and I think we came at the right time and in the right place,” he muses. “We were kind of groundbreaking with what we did – since then a lot of bands have done similar things – but we were one of the first bands to take punk rock and hardcore to another level... without sounding too pretentious, we were that band. And I also think that the myth of Refused is something that helped. We broke up before anyone could hear that record, and we became like this mythical creature like the fucking yeti or something. Everyone had heard about it but they’d never seen it, and I think that’s part of the reason why people are so excited now – a lot of people discovered us after we broke up, and were, like, ‘Who are these guys? They’re awesome! What do you mean they broke up? That’s horrible!’ They never expected to get the chance to see us, so I think that’s why people are so excited. It’s weird, at shows we play this pretty heavy, aggressive music and you look out into this moshpit of people smiling – it’s kind of crazy.” You’d imagine that a feeling of there being unfinished business would be emanating from the Refused camp because back in the day they didn’t really get to explore the full live potential of The Shape Of Punk To Come prior to disbanding, but according to Lyxzén it’s more about redressing the apathy that originally greeted its arrival. “Not really in that sense – we put the record out and we did 80 or 90 shows on the back of that record, and no one cared,” he shrugs. “If anything it felt like unfinished business because we made this record and were like, ‘This is a great record!’ and went out touring, and it was like the hardcore scene in Europe and the hardcore scene in Sweden was dying at the time so when we came out with this weird record, it was just like, ‘Who are these


“And then we started playing shows – we did the Coachella run and the States in April, then we did some festivals in Europe – and when we got back from that we sat down and kind of evaluated; ‘What did that feel like? How was the vibe?’ I knew that we had an Australian tour offer on the table, and I said, ‘If we want to we can continue and do Australia this fall?’ and everyone was, like, ‘Yep! Let’s do that!’ So if we weren’t enjoying it you wouldn’t be seeing us in November.” guys? What the fuck?’ We’d definitely peaked already in Sweden, so it was weird for us to come out with this record and have people not caring, so in that sense it felt a little like unfinished business: ‘We actually put out a pretty awesome record and you didn’t understand it last time, so you’d better understand it this time!’” he chuckles. “Something like that.” Happily for Lyxzén he’s found it easy to slip back into the mindset of his younger self to tackle Refused’s angsty songs, and the messages in his fiery lyrics still resonate strongly today. “That’s one of the things that surprised me when I started reading the lyrics again. Some of the stuff of course I wouldn’t phrase myself like that now, but just the general sort of feel of what we were trying to say and what we were writing about, yeah it maybe resonates even more now than ever,” he enthuses. “When you’re a young kid it’s kind of expected of you to be a rebel or a revolutionary, but when you’re 40-years-old and you still believe in these ideas – you still believe in these political ideas that we once started out with, how we used to believe so fiercely in DIY and the punk rock ethic – and you start reading these lyrics and I’m like, ‘Wow, I was kind of a naïve, innocent kid but there was something about what I was saying that made a lot of sense, and it still does’. That was one of the things that kind of surprised me – these lyrics mean more now than ever I think, so that’s cool.” WHO: Refused WHEN & WHERE: Friday 9 November, Metropolis, Fremantle






PERFORMING THE END IS JUST THE... + Sons of Rico + Gyroscope DJs

PERFORMING ROLL ON + The Growl + Gyroscope DJs

PERFORMING THE LIVING END + The Novocaines + Gyroscope DJs

PERFORMING WHITE NOISE + The Novocaines + Gyroscope DJs

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Rosemount Resident DJs in the Beer Garden Wednesday to Saturday nights FREE ENTRY cnr angove & fitzgerald , north perth 10 • For more interviews go to


Before The Living End embark on their most ambitious tour yet – playing all six albums in their discography from start to finish over seven nights in each city – frontman Chris Cheney tries to cram 15 years’ worth of history into ten minutes. Daniel Cribb frantically takes notes.




FROM LITTLE THINGS The Living End’s selftitled debut album takes control in each city for two nights (Melbourne gets four), and was the album to sell out the quickest. This obviously speaks of its success and how much it means to fans, but what does it mean to the band? Frontman Chris Cheney gives some insight into their groundbreaking debut: “It’s funny, because a lot of those songs were written when we were just out of high school and we were just playing support gigs at The Tote and afternoon shows at The Punters Club, you know, when we really didn’t know what the future held for the band. We didn’t really have any other aspirations than to play at The Espy or something like that – that was what we hoped for, that maybe we could play The Esplanade Hotel,” he laughs.

t’s lockdown for Chris Cheney, Scott Owen and Andy Strachan. The Living End have always tried to outdo their previous efforts, and on the eve of their biggest and most ambitious tour to date, the band admit they tend to bite off more than they can chew. When vocalist/guitar whiz Chris Cheney picks up his phone from the band’s rehearsal space in South Melbourne, it’s some of the first outside interaction he’s had for days. “There’s been a little bit of homework leading up to rehearsals. Listening back to older records, god forbid, can just be a cringe-worthy exercise, you know,” Cheney laughs. “They say you should never look back as an artist or musician, so there’s been, ‘Aw, do I really wanna be going back over old ground.’”


But there’s nothing the band should be ashamed of in their back catalogue. Over six albums, four EPs and two compilations, they’ve racked up a slew of awards and each record has produced at least one radio hit. Their self-titled debut ranked number four on triple j’s Hottest 100 Albums Of All Time last year, and in ’09, single, Prisoner Of Society, came in at number 34 on triple j’s Hottest 100 Of All Time. They figured The Living End would probably make it into the Hottest 100 Albums Of All Time, but were blown away when it was voted so high up. That was the catalyst for a brainstorming session that turned into The Retrospective Tour. “People really hold that record near to their hearts – people that were around at that stage. So we thought, ‘Right, we should acknowledge that and do a gig at The Corner or something, where we always used to play, and do the album start to finish.’ Then we thought, ‘Maybe we can do it in every state?’ and then – this is just sitting around a table with our manager and brainstorming – it just snowballed into this thing of, ‘Why don’t we play all of our albums and make a real statement. Play all of our records, seven nights in a row? Two nights for the first record,

just ‘cause we knew that would sell really well – it was a bit ambitious of us wasn’t it?” he laughs. There’s no doubt that a performance of The Living End would sell out in every city; one of the more ambitious elements of the tour was giving every album its own night. Cheney admits that some of their latest records aren’t as popular as their first couple, but has no doubts in his mind that each album stands strong on its own. “There was a little bit of hesitance as far as, ‘Well, would each night sell?’ We knew the first record would do well and maybe Roll On and probably White Noise because the song did so well, but what about the other records. Then we thought about it and we thought, ‘Well, every album’s done really well on its own merit.’ We’ve managed to have a couple of radio singles, like, two or three off every record that have done quite well. There’s different generations of people that got into State Of Emergency that weren’t around when the first album came out, and then there’s people that got into White Noise that were too young for Roll On. So that’s what we found. It’s one of those things – it seemed like such a challenge and such a different thing to do. “There’s a couple on Modern Artillery that we’ve never played on stage, you know, they just got kind of recorded, mixed, that’s it. But there’s none, I can honestly say there’s no songs that we’re kind of like, ‘Aw fuck, that one, we just can’t do anything with that song – it’s just a dud.’ They’ve all come up really well, and there’s a lot of variety on the albums, which I’m glad about. It’s still the same band, you know; it’s not like we have our dance-pop record, it’s still rock’n’roll for the most part. There’s a couple of country-tinged songs and a couple of reggae moments and some metal kind of things – there’s enough diversity there for us to not lose interest within the eight songs, or whatever it is, that we’re learning… We’re head first into now – knee deep. You don’t have to be crazy to be in this band but it fuckin’ helps,” he laughs.

Seven nights in a row in each city may seem like a huge stint, but after The Living End dropped, it was standard protocol. “Around the time of our second album, Roll On, it was a bit like that. I remember doing nine months straight without coming home. We were probably doing five or six nights straight a week. We definitely toured hard at that point, but the thing is, with this tour, we’re doing a different set every night. When you’re on the road and you’re just trying to get the band off the ground, you kind of fall into that thing of playing pretty much the same set the majority of the time. So if you play a gig on Friday night and it’s not very good, you can sort of fix a few of the issues on Saturday, but we’re not going to be able to do this, it’s going to be like, ‘Right, we’re moving on to album number three now.’ We’ve always toured pretty hard, so we’re not really afraid of that side of it. “When you do tours like this people are always like, ‘Aw, yeah, here they go. They’re gonna do this farewell kind of tour,’ and it’s not that at all – this is more of an event. We just wanted to do something that was really different and probably to not worry about doing another record yet because we’re not ready to. If I write songs and it’s what the band does, then great, if I don’t then we’re not going to rush into it. There’s no real plan at this point, but I can’t see any reason why we wouldn’t go in and do another record if we felt the want to. The last record, for us, was probably our favourite as a collective. I just felt like we had lots of ideas, and we felt it really played well and the songs were strong. It did really well, you know, a couple of ARIAs and that sort of thing, so it’s like, ‘Fuck yeah!’ We don’t feel like we’ve used up all of our coins, our tokens yet.” WHO: The Living End WHEN & WHERE: Thursday 1 to Wednesday 7 November, The Rosemount Hotel

“Things like Big Day Out and stuff, we were like, ‘They just don’t put bands like us on things like that – we’re not alternative enough.’ So it’s interesting playing those songs now, and the whole album is really, really solid and I can see why it became so popular for a lot of people. As far as those people are concerned, we didn’t surpass that record – it has a mood and a vibe and an excitement about it. It’s interesting now playing those songs because, as I said, we wrote them when we weren’t thinking about hit singles or thinking about radio songs or anything like that, yet they’ve just got so much spirit behind them that you can never do them again, you know. Once that record blew up, there’s no way that we could ever get back into that frame of innocence and that frame of mind. People always used to say, ‘You gonna write another Prisoner? You gonna write another Second Solution?’ And it’s like, ‘Well, no, I hope not, and I don’t think I could even if I tried.’ Once it’s done it’s done – it doesn’t happen again organically like that.”


SOMETHING BLUE With a slew of hits on their debut record Gilgamesh, Gypsy & The Cat have returned with its follow-up The Late Blue, and Xavier Bacash admits to Troy Mutton its creation wasn’t as simple as he initially hoped. ’ve forgotten how taxing it can be. Yeah, I’m pretty unfit I think, I must not be eating right or something, ‘cause I’m just exhausted,� laughs a relaxed-sounding Xavier Bacash, getting back into the promo swing of things for his band with friend Lionel Towers, Gypsy & The Cat. Inpress gets him on the very last interview of a full day, and while his voice sounds tired, he’s pleasantly still up for it.


Such is life for the (still very young) Melbourne duo, who burst onto the scene in 2010 with soaring pop hit Jona Vark and have hardly looked back since. They’re just about to embark on their first national tour in 2012, following a solid year of writing and recording which has now seen the release of the album they’re taking around the country, The Late Blue. It follows 2010’s Gilgamesh, containing


THE SOLO ALBUM FROM INTERPOL’S FRONT MAN “Daring, awkward, and moving‌ startlingly personalâ€? PITCHFORK “Maintains his post-punk dapperness, with plenty of jagged bass lines and chiming downstrokesâ€? SPIN

popular tracks like the abovementioned Jona Vark, plus other favourites like The Piper’s Song, Time To Wander and Running Romeo. The former three all scored a place in triple j’s Hottest 100 poll. As clichĂŠ as it is, the difficult second album situation couldn’t be more applicable to these guys, having such lofty heights to try and live up to as they do. Bacash wasn’t particularly worried though – to begin with. “Yeah well, initially I didn’t [feel any pressure], I was like, ‘this would be easy’, but then as time started to go on it was like, ‘We’ll just do what we do’, you know? We think people will like it, you know what I mean?â€? the singer and chief songwriter explains. “I mean, you sort of have that naĂŻve feeling towards it, but during the process as time went on we started really experimenting more and more with sounds and our sound. We think it’s progressed a hell of a lot, so things were getting a bit weird and then I started to feel maybe a bit of pressure in the sense of, if people can understand this.â€? And at that point, Bacash came to the realisation that you just need to trust your fans to come with you, wherever the journey takes them. “I think we just hope we can keep the right portion of our fan base and build on that path,â€? he begins, before stating, “You know, I don’t care. This is our music, you know? It’s not really great when people only like one of your songs ‘cause it’s been on the radio. You really want fans to buy your records, not singles, that’s why we make music.â€? He needn’t be too concerned. While The Late Blue does travel down a few different paths to its predecessor – namely a few psychedelic and experimental areas – there’s still enough of the dreamy pop they’ve made a name for themselves with to keep most happy while themselves maturing. When it came to writing the record, Bacash found himself in a markedly different place to pre-Gilgamesh, that album’s genesis owing a lot to his recent break-up with a girlfriend. This time around sees him getting (a little) older, and with a heap of new experiences brought about from the duo’s newfound popularity. “Yeah, well there’s like a tiny bit of residual from that [break-up] still, but not much at all. It’s sort of more of a coming of age record in the sense we were sort of 19, 20 [years old] writing Gilgamesh. Now I’m 24 and have travelled the world and met lots of different people and experienced the highest of highs and the lowest of lows. And so there was a lot to draw upon from all those experiences.â€? Indeed, Bacash has matured plenty over the past few years. “I think the record reflects that as well, it’s just more mature really. It feels a bit more‌ I don’t know, it was more introspective or something, like thought out. Definitely all the production and songwriting is crafted a lot more than the first record. So it feels a lot richer, in that sense of an experience to me, when I listen to the songs now.â€?

There’s more to this story on the iPad

THE MOUNTAIN GOATS Âť TRANSCENDENTAL YOUTH “The most interesting and developed arrangement of any Mountain Goats album‌ some of the strongest, most compelling work of an already brilliant runâ€? ALL MUSIC GUIDE “The work of master craftsmenâ€? NME

EFTERKLANG Âť PIRAMIDA “Music of unearthly beautyâ€? SYDNEY MORNING HERALD “A masterpiece.â€? MOJO “Masterfully composed and producedâ€? DRUM MEDIA


Ĺ?Ĺ?Ä‘Ĺ? Ĺ? 

14 • For more interviews go to

As any proud father should do, Bacash wants to show of this richer work to the public, and fans will be getting the chance to hear a lot of the new record in the flesh on this upcoming tour. It’s a challenge Bacash is looking forward to, with the duo planning to play basically all of The Late Blue, in its entirety. “So it will be all the new songs and a few of the older ones,� he announces. “At Splendour we played four new songs and now we’ll play all of them. So we’ll have to start rehearsing all the other ones. But we’re pretty up to scratch with the first four,� he laughs, detailing how the set’s going. “Well, we know there’s always going to be songs that we have to play by measure of their popularity. I think it’s going to be, like we’re going to have to play a lot of this new record, because it’s our new record and we want to promote it and we really love it. So I think it will be more about playing literally every song besides The Valleys Of Kashmir, which is just an instrumental that goes for like a minute-forty, so we probably won’t bother playing that. But we will play the other nine songs. So the set would go a bit longer this time. I think that’s sort of cool when bands play shows on the night and they might chuck one [random old song] in. Instead of making a set list for the whole thing [we’ll be] changing it up each night like, ‘We’ll play Human Desire tonight’ but the next night we’ll play Parallel Universe instead or something like that like that. “We’ll be playing Jona Vark obviously,� he adds with a wry chuckle. Bacash has enjoyed the chance to change some of the old faves around a little though, to try and get them in step with the new material, and in some cases add ideas that have only come up in retrospect. “We’ve made a few changes actually, on the old songs and how we play them, just to tie them into the other songs we play, you know, sonically. We kind of changed the structure up so it’s a bit fresher. You essentially, after a while, give up: like, ‘I wish I would have done this on this’.� With a new album comes a whole new cycle of touring, interviews, travel and general life as an international music act, making our interview one of the last times Bacash gets to chill at home for a chat about all such things. This fact isn’t lost on him. “Yeah, we’ll probably be touring until the end of next year, I’d say,� he laughs, “and probably longer, so it’s going to be the calm before the storm right now. Sitting on the couch having a phone interview is going to be something that won’t happen for a long time, I’m sure.� WHO: Gypsy & The Cat WHAT: The Late Blue (Alsatian/Universal) WHEN & WHERE: Friday 2 November, Capitol; Sunday 3 March, Future Music Festival, Arena Joondalup

SUGAR HIT After a six-year hiatus, Beth Orton has returned with a new record. Matt O’Neill catches up with the veteran singer-songwriter to discuss the long-awaited new work, Sugaring Season. t’s been six years since Beth Orton released an album. In that time, a lot has happened. The British singer-songwriter gave birth to her first child (daughter Nancy) in 2006 and her second child (son Arthur) in 2011, she lived as a single mother and eventually married her husband Sam Amidon. With that in mind, it’s perhaps unsurprising that Sugaring Season has taken so long.


”I was writing on and off. I’m always writing. I’ve written many, many songs over the past couple of the years. Eventually, there was just a time where I realised I was ready to record,” she says of the period. “There was no great plan. It just sort of unfolded like that for me. A lot of things happened over the past six years. I mean, all these things obviously have such a huge impact on how you make music and why you make music and what you say with your music. “You know, just the simple awareness of the passing of time is kind of huge, in a way,” the songwriter muses. “I think, for me, the biggest thing would simply have been having children. Having children is quite a dramatic change. It sort of puts a different spin on time. So, yeah, I’d say a lot of that stuff had an impact on Sugaring Season. I don’t see how it couldn’t, really.”

huge gap of just not knowing what the future will_ bring. It’s a strange feeling. “I think the thing I like about this record is there’s a fearlessness,” she reflects. “For me, I feel like there’s a development. I can see a clear movement. I don’t know how to put it into words exactly, but I look forward to exploring it. I look forward to going deeper into it all: exploring music and exploring sound. I mean, I look forward to that continually and whether or not I will, I don’t know, but that’s what I’m looking forward to right now.” WHO: Beth Orton WHAT: Sugaring Season (Anti-/Warner)

You can hear such life reflected in the end product. Sugaring Season is a very rich record. Following on from the more explicit folk stylings of 2006’s Comfort of Strangers, it’s an album that eschews the willful electro-acoustic eclecticism of Orton’s past recordings in favour of a more sustained and organic aesthetic. It’s warm, patient and raw. Orton’s breathy vocals trip lightly over beds of acoustic instrumentation in a drawl of texture and effect. “There’s a record by Roberta Flack called First Take. I sent that record as a blueprint to Tucker [Martine, producer] for what I kind of wanted this record to sound like when we started,” the songstress explains. “You know, you don’t really have much control over this process, so it could have turned out completely differently, but that was the record we were both inspired by when we were recording Sugaring Season. “Well, I was, anyway,” she laughs. “I just loved the sound of the record. There was just a quality of space and rhythm and melody. It’s a very soulful record. I’m not sure exactly what it was that drew me to it when thinking of this record. There was just something about it. I honestly think it was just the general sound of it as much as anything else.” Orton is more experienced than most. She’s been working as a singer or songwriter since the early ‘90s. Her initial sound as a solo artist was both pioneering and highly influential – blending folk instrumentation and songwriting with electronic arrangements and production. Since then, she’s diversified with straight folk, pop and shades of indie rock. In total, she’s released six albums since 1993’s SuperPinkyMandy debut. “I don’t really listen to what I’ve done before, I have to be honest,” the singer-songwriter confesses. “I like parts of what I’ve done before and, really, I’m a bit over certain things I’ve done before, but I’m never going to reject it. I think it’s all relevant to me as an artist. I have to say, though, that, where I am right now, is really exciting to me as an artist. That’s kind of what I’m thinking about these days. “I think there’s just a part of me that loves different kinds of music, loves different sounds, loves exploring new ways to put songs together,” Orton muses of her multifaceted catalogue. “I think there is probably an element of fear to it – that fear of being pinned down as an electronic musician or whatever – and probably on a subconscious level. Really, though, I just love exploring different sounds.” Furthermore, she is quite accomplished as an artist. Outside of her already-impressive stylistic experimentation, she’s achieved recognition both critical and commercial as a singer-songwriter. She’s collaborated with luminaries like Andrew Weatherall and The Chemical Brothers, enjoyed top 40 singles (1997’s She Cries Your Name) and top ten albums (2002’s Daybreaker) and has been nominated for multiple Mercury Prizes. In 2000, she actually took home a BRIT Award for Best Female Artist. “It was lovely to win a BRIT Award. That was smashing. I loved winning the BRIT Award. It was very nice to have an accolade from my home country. It really did mean a lot to me. And, I mean, beyond that, I’ll take an award any old day,” Orton says of her various accomplishments. “At the same time, though, is that sort of thing the reason why I do this? Not at all. “That said, it does mean a lot to me when anyone comes up to me and tells me how much my music means to them and that it’s helped them through a rough period or made their lives better in some way,” she clarifies. “I mean, I absolutely want my music to connect with people and anytime I hear of something that says that I’m doing that, it just makes me so happy as an artist.” However, Orton, quite endearingly, still resembles a younger musician. She speaks with a kind of vague romance and gentle, frustrated naïveté (“Well, that’s a really good question, but do you want me to actually answer it or just give you something that sounds like an answer?” she asks at one point). While Sugaring Season is a product of a great deal of life lived, it also seems to have inspired a voracious thirst in Orton to live life. “I do find that, once I’ve made a record, I do start to think about what I’ll do with the next one,” she says. “There’s always a weird space after finishing a work where you wonder what the next one will be. I do actually have songs that I’ve kind of set aside or am thinking about for the next one already, but there’s also this big,

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REWRITING HISTORY Five years ago, Elton John took Australia’s Pnau under his wing, and this year Pnau gave Elton John Good Morning To The Night. Matt O’Neill speaks to Nick Littlemore about remixing their mentor’s legendary back catalogue. t’s a work of staggering ambition. Ostensibly a remix album, Good Morning To The Night actually inhabits a much more impressive spectrum of accomplishment. Nick Littlemore and Peter Mayes haven’t simply grafted a handful of popular Elton John tunes to house rhythms – Pnau have genuinely deconstructed John’s original recordings (specifically, from 1970-1976), assembling entire new productions from the fragments. Take lead single and title track, Good Morning To The Night. A shimmering, cerebral slice of funk-heavy house, Good Morning To The Night clocks in at just over three minutes, but is sewn together from eight different songs. Late-album highlight, Phoenix, actually packs nine into the same period. Even accounting for the similar experimentation of The Beatles‘ Love collage for Cirque Du Soleil, it really is a record of unprecedented ambition.


“I feel good. I feel good about it. I’m quite proud of the work. It’s hard to say what we did exactly, but I like the record. You know, I listen to it and I enjoy it,” Littlemore admits. “Initially, there was just so much material to learn – to be schooled on. We ended up just trying to find the best grooves we could. The best feeling, in pieces. And looking at pieces that weren’t popular ones. Just those magical loopable moments of a track. There was a lot of trepidation on our part. For the first six months, we were just listening to his music. Six months of just trying to get to know his material. I mean, it’s really touchy stuff to work on. For the first six months, we just couldn’t think about it. I mean, how do you make this stuff better? Of course, eventually, we realised that wasn’t what we were trying to do anyway. We just tried to make something that we liked.” Somewhat surprisingly, it was John’s idea. The singersongwriter sought out the band five years ago after hearing their 2007 eponymous breakthrough album. Impressed, he signed the pair to his management company and has been acting as a friend and mentor to the band ever since – even collaborating with Littlemore for the pair’s 2011 album, Soft Universe, which won them the Best Independent Dance/Electronica Album at last year’s Australian

Independent Record (AIR) Awards. John initially suggested the remix album some three years ago. “He called us a couple of months after we moved to London and had signed with his manager [and] told us he wanted us to make this record. The music industry is so surreal. Things just happen like that. It’s not always down to the individual but there are those artists who glide through the world who can just reach out and pick someone – and Elton is one of those artists. You know, I never like to analyse our connection with Elton too much. I mean, why does anyone meet anyone in this life? I just don’t like to look at it too closely, because the whole thing has kind of changed my life, and me, for the better. When we first moved to London, we didn’t really have much of an international footing and there was a lot of logistical stuff. We couldn’t have done that without Elton.” The whole project is really a testament to Pnau’s remarkable career. The Sydney duo have, through both their own output as Pnau and that of internationallyacclaimed side project Empire of the Sun, achieved more than any Australian dance act in history. Locally, their debut album, Sambanova, took out the 2000 ARIA Award for Best Dance Release. Empire of the Sun can boast 11 ARIA Awards. Internationally too, they’re heavyweights. Aside from Elton John’s patronage (which began with the declaration that Pnau was the greatest record he’d heard in ten years), Littlemore has worked with Robbie Williams, Groove Armada and, most recently, Cirque Du Soleil (as musical director and composer for 2011 arena show, Zarkana). Peter Mayes‘ curriculum vitae encompasses work with Karen O, Mika and The Killers. “I don’t think any artist is ever really conscious of their success while it’s happening, even on the comparatively minor scale that mine has been compared with, you know, actual stars,” Littlemore reflects (without irony). “I don’t know. You take every day as it comes and as opportunities come you try and say yes. We’ve always tried to say yes to everything in Pnau. You know, Peter and I currently live on opposite sides of the US – one in

New York, one in Los Angeles – so we don’t see each other as much, but we’re always working. It’s kind of hustling, in a way. You’re always hustling for more work. Even if you have a big management team and record labels and all the rest, it takes a lot of random chances to get into things and find more work.” Somewhat amusingly, Littlemore doesn’t seem to think of Good Morning To The Night in such terms. Or any aspect of his career, for that matter. Consistently returning to the subject of luck, Littlemore comes across not as a hard-working musician who has graduated to the global arena, but rather as a kid playing grown-up who is certain he’s going to be caught out soon and put back in the nursery. “Oh, that’s not a fear. That’s a reality,” he laughs. “You know, that’s the way this industry works. I see it happen around me all the time. At the moment, we have a lot of friends – but it can get very lonely very quickly in this industry and I’m sure that will happen eventually. I’m very conscious of the fact that I have a shelf-life. All you can really do is just keep working at things and hope for the best.

someone like Elton. You know, he’s been at it such a long time, but he’s delivered different songs, different eras, different shows that have all broken through to people over the years. I think that longevity is really what we’re looking for as musicians. Pnau’s been a part of my life since I was a kid.” Littlemore then adds – a little cryptically, “Really, I just hope we can make a few more records. You know, get more esoteric and be true to ourselves; not make music that isn’t representative of who we are, so to speak. In a lot of ways, Good Morning to the Night feels like a Pnau record. Rather than an Elton John record, it’s a Pnau record where we just happened to exclusively sample Elton’s music. It actually feels a lot like our first record, you know?”

WHO: Elton John Vs Pnau WHAT: Good Morning To The Night (Ministry Of Sound/Mercury) WHEN & WHERE: Elton John: Saturday 10 & Monday 12 November, Perth Arena; Pnau: Tuesday 1 January, Wonderland NYD, Belvoir Amphitheatre, Upper Swan

“That’s one of the good things about working with

BLUES SCHOOL Up the pointy end of the fourth Sydney Blues & Roots Festival in Windsor this October, veteran American blues harmonica player Charlie Musselwhite is still at the top of his game, as Michael Smith discovers. ay 2011 saw veteran bluesman Charlie Musselwhite pick up two awards: Traditional Blues Male Artist Of The Year and Best Instrumentalist–Harmonica at the 32nd annual Blues Foundation Blues Music Awards, which were presented in Memphis. While he’s no stranger to awards, these were particularly sweet.


“It’s really nice to get those awards in Memphis, where I grew up,” he explains, on the line from his home in Geyserville, California. “To be there in that town, where I have so many memories, makes it even more special.” Musselwhite moved to Memphis with his family in his early teens and once he was old enough to be chasing a weekly wage, he headed for Chicago, getting a job driving a truck for an extermination company while at night he’d hit the blues clubs. He soon befriended and then played with Little Walter, Big Walter, Sonny Boy Williamson, Big Joe Williams, Muddy Waters and Howlin’ Wolf. It was in Chicago when he recorded his first album, 1967’s Stand Back! Here Comes Charley Musselwhite’s South Side Band. “You know, when I was in Memphis, I was learnin’ from a lot of the old-timers round there and hangin’ out with them, but I didn’t realise that I was preparing myself for a career. If I had known then what was gonna happen I would ‘ave been payin’ way more attention,” he laughs heartily. “I just thought I was havin’ a good time hangin’ out and just doin’ a little drinkin’ and laughin’ and playin’ some blues – I didn’t know I was actually goin’ to school.” That early “schooling”, hanging out with veteran Memphis bluesmen like Furry Lewis, Will Shade and Gus Cannon, obviously paid off in a career that has stretched over nearly 50 years and more than 30 albums, quite apart from appearing on records by acts as diverse as Bonnie Raitt and The Blind Boys Of Alabama, Tom Waits and Cyndi Lauper, with whom he toured the world, including Australia last year. Stories drawn from his colourful life provided the inspiration for his most recent album, The Well, for which he picked up those Blues Music Awards in Memphis.

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“It was Chris Goldsmith, the producer’s idea, that I write all the tunes,” Musselwhite admits. “He’s a good producer, he knows how to get the best out of me and he pushed me to finish up all those tunes I’d started. I wrote about my life because that’s all I know to write about,” he laughs. “So it makes it a little personal.” The Well certainly is autobiographical, whether it’s talking about his years of alcoholism in Dig The Pain or his beating it some 23 years ago now in the title track. Perhaps the most deeply poignant, however – even though Musselwhite approached its writing in a more celebratory way than the subject matter might normally have demanded – is his duet with Mavis Staples, Sad And Beautiful World, written as a way of dealing with the tragic murder in 2005 of his 93-year-old mother in her own home, in which he grew up, during a burglary. “I didn’t want that tune to be like a dirge, you know, like a sad, mournful song, so it has a beat to it – and Mavis sure made it just a wonderful piece of music. I mean she really added so much to it. She’s so deep and she’s such a good friend, it made me feel real good to have her on that song.” While Musselwhite spent his teenage years in Memphis, he was born, of all places, in a little town called Kosciusko, Mississippi, named after a PolishLithuanian general who assisted revolutionaries during the American War of Independence (and after whom Australia’s highest point is named). He spent a lot of time between Friars Point, Clarksdale – Robert Johnson country in the Mississippi Delta – where he still has a lot of relatives. So there’s always been something for an affinity in Musselwhite for Australia; he’s certainly toured here enough times over the years. “It’s really wonderful. I tell people that Australia’s probably the last sane place on Earth, you know? It just makes sense – the air’s clean and the water’s clean and the people are healthy and smart [laughs] and things just make sense. I’m sure they must have their problems that I don’t know about, but it sure don’t seem like a lot of other places I go, so I really look forward to bein’ there. It’s always fun.”

Not only has he toured innumerable times, but Musselwhite has also done perhaps his unlikeliest session in Australia. “I recorded with INXS, in Sydney. I was on Suicide Blonde. You know, I was doin’ a tour and I get a call in my hotel room, somebody sayin’ ‘We know you’re comin’ to Sydney, would you like to come down to the studio and record with this INXS band?’ And I didn’t even know who they were,” he laughs. “I didn’t know they’d just sold, like, 15 million records and how big they were. And I went to the studio and they were so nice, everybody was just really, really, really nice and we just had a real good time and I really appreciated them lettin’ me play with them.” Musselwhite has just recorded an album with Ben Harper due for release in the northern winter, and they’ll be touring Australia together next year. He also guested on three tracks off an album put together by

Big Head Todd, 100 Years Of Robert Johnson, released in May last year to celebrate what would have been the legendarily enigmatic bluesman’s centenary year. “It was really great for me to work with Honeyboy Edwards [who also guested on 100 Years...], ‘cause I’d known Honeyboy a long time and we’d always talked about recordin’ together. Every time I saw Honeyboy he’d always bring up the first guy that took him on the road, who was the first guy that took me on the road – that was Big Joe Williams. And it turned out that was Honeyboy’s last recording.” WHO: Charlie Musselwhite WHEN & WHERE: Thursday 8 November, Fly By Night; Friday 9-Sunday 11, Blues At Bridgetown


AN OLD TROUBADOUR TRADITION THE LANE WAY Jordie Lane likes the road and the road likes Jordie Lane. He talks to Zoe Barron about the music in America, and what Billy Bragg doesn’t like to do on his nights out.

Nine years on from the release of the album that sparked his career, Carus Thompson returns with its sequel, Acoustic At The Norfolk Volume II. The indie roots singer-songwriter speaks with Kitt Di Camillo ahead of his upcoming WA shows. eleased in 2003, Carus Thompson’s first live album Acoustic At The Norfolk became a surprise success for the Fremantle-raised musician. An intimate and welcoming performance at an intimate and welcoming venue, the recording brought him to the attention of fans the world over, sparking an almost ten-year run of constant touring and releases. Although he’s put out a string of studio albums since then, it’s his 25-song, double-disc live album that remains the watermark of his career. The recording captured a particularly magical night for both audience and artist, something Thompson hoped to achieve again on its follow-up. Nine years in the making, Volume II showcases the singer-songwriter at his peak, delivering a typically honest and passionate set to an energetic crowd.


“The first one was just sort of a fluke really,” laughs Thompson. “I do well over 200 gigs a year, and once you’ve toured a lot and you play a lot you really pride yourself on being a good performer and being able to deliver it in whatever situation – after driving for ten hours or flying in from wherever. You take pride in it, like if someone’s a carpenter they take pride in building a house under pressure. A live recording just ramps all that pressure up, so there is this intensity and pressure but you feel good about that. It gees you up and you get fired up and when it all comes together and it works it’s just like, ‘Great! I pulled it off!’” Thompson has become renowned for his work ethic. From humble beginnings the artist has managed to forge a successful career both in Australia and overseas. Regular tours of Europe have seen him receive airplay and a strong following in Germany in particular, an especially satisfying outcome after initially starting his European quest busking on the streets. With little-to-no radio play in Australia, Thompson has created his success entirely on his own, building new fanbases in every new city he visits. Having toured with everyone from close friend

M John Butler, to The Waifs and Jack Johnson, Thompson has spent over a decade learning and honing his craft. “I think you learn from every performance that you watch,” suggests Thompson. “I mean, The Waifs are still that band that when they hit it, and it’s on, it’s something very special and unique. It’s the sum of a bunch of things. You can sit and try and work out what it is, but you can’t. Those three people come together, the band comes together and each song comes together – there’s just a certain combination of stuff which is something that I’ve always tried to find in my music. It’s not completely a question of the live performance, you can’t define it – it’s a bit of this and a bit of that. And with Jack Johnson I think the thing I learnt from him was just to never be pretentious. I mean, it’s quite bizarre to meet someone who is exactly what you see is what you get, you know? You’re just like, ‘This guy can’t be this mellow’, but he is! ‘He can’t be this nice’. He is! It’s ridiculous!” Thompson still loves the touring lifestyle, even now managing to combine constant gigging with his new roles – devoted father and husband. “The thing about touring is you roll into a town and you’re there to do a show, you’re there to make music, and it’s an old troubadour tradition if you like. People are always pleased to see you, so you always get to see the best of people and the best of the town, ‘cause you’re there to make a party and make a night and make an event. So it’s a wonderful way to travel. And it’s just something that I’ve always done.” WHO: Carus Thompson WHAT: Acoustic At The Norfolk Vol. II (Mind’s Eye) WHEN & WHERE: Friday 2 November, Indi Bar; Saturday 3, Norfolk Basement; Saturday 17, Music In The Park, Mawson Park, Hillarys



A metal kid at heart, Pyke only converted to his now trademarked indie-folk-pop after years in other bands. “I never listened to singer-songwriter types growing up,” explains Pyke. “I was exclusively into metal like Metallica. I was really into early Metallica, then Pantera, then Soundgarden were my favourite band until I was, like, 24 or something. And then the grunge era was huge for my generation. So, yeah! It was all that kind of stuff, and it wasn’t really until I heard Elliott Smith that something clicked inside me and when I started writing more along those lines. “I think the fortunate thing for me about this genre is that it’s never really in fashion and it’s never really out of fashion. There’s always a group of people that seem to like it, and there’s people that like it as well as being into metal or whatever. I have lots of fans that are into hip hop or whatever but then they like my music as well, you know? So I think it’s been a really fortunate thing for me and for other people who are doing my sort of stuff. It’s never in or out of fashion.” Now a father, Pyke has a different perspective on his career. After the success of first album Memories & Dust, a sophomore release in Chimney’s Afire followed just a year later, combining with constant touring to leave the affable artist feeling burnt out and tired. Pyke considered taking a break from music, but instead found himself a member of Basement Birds with good friends Kevin Mitchell, Kav Temperley and Steve Parkin. The subsequent album and tour refreshed

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Plus, it meant he got to play the Americana festival in Nashville, a city-based festival dedicated to American roots and alternative country music that takes place in venues all over town. “I saw a lot of my heroes,” Lane says, and he starts listing them. “Emmylou Harris, Buddy Miller, Booker T Jones – you know the keys player from Green Onions? A bloke named Darrell Scott. John Hiatt. Young artists like Brandi Carlile, Justin Townes Earle…” He says he found US to be refreshingly friendly, especially to Australians. “They’re so excited that you’ve come from the other side of the world, so you’ve just got people inviting you to stay in their homes and drive you around,” says Lane. “Even if they don’t know who you are at all you kind of feel a bit like a celebrity or something. “The first time I went to America, I sort of had this view that they’d be loud and obnoxious and arrogant and rude,” he continues. “And I think that’s possibly what Australians sound like when they’re on their own, backpacking through America… When I do hear a loud, obnoxious person in America, it often is an Australian.” At the moment, however, Lane is home in Australia, playing support for longtime UK muso Billy Bragg. Bragg is touring a retrospective of his own 14-year solo career as well as some of the Mermaid Avenue recordings, created in collaboration with Wilco out of unrecorded Woody Guthrie lyrics. As a result, it’s a mature sort of tour, and Bragg’s crew

is a close-knit, well-established one who have already worked together on a number of tours. Lane, it seems, is the new kid. “You come in there and you’re the little young guy, so it’s kinda like joining the footy team,” Lane tells. “You sort of have to prove yourself a little bit at the beginning.” Also, it turns out Bragg doesn’t exactly have the same idea of a good night out that Lane does. “I invited [Bragg] out to Karaoke Bar after the Canberra show and he politely declined,” Lane admits. Lane has been pretty much non-stop for the past two years or so, and he’ll remain so until further notice. “I sort of officially have no home anymore, and kind of have officially got addicted to that idea, too,” he says. “It’s not so much on the run, but it’s like, when you’re on the move, it’s kinda really refreshing. You know, you’ve got a reason to get out of bed.” The day after he finishes up on the tour with Billy Bragg, Lane will begin an epic run of his own solo shows, touring the newly recorded Fool For Love around Australia. “It’ll be a little bit different solo,” Lane says of the single. “I don’t know if you’ve heard it – it’s pretty big production. There’s a lot of instrumentation in there.” So, in lieu of a band, Lane plans to improvise. And to get the song over the line, he’s going to need the audience to get involved in the proceedings. “Trying to get people’s feet and hands as the percussion,” Lane says. “And then trying to get them to be the gospel backing choir – that has proved a little more difficult.” WHO: Jordie Lane WHAT: Fool For Love (Vitamin) WHEN & WHERE: Friday 2 and Saturday 3 November, The Astor Theatre; Sunday 4 November, Ya Ya’s

THE PORTUGUESE PINEAPPLE He may have the French touch, but melodic synth wiz Moullinex’s love comes down the line from Lisbon. He tells Danielle Marsland about his flowery new album, his love affair with ‘70s disco and how Munich made him a music man.

One of Australia’s favourite storytelling singer-songwriters Josh Pyke returns to Perth for one last tour before starting work on his fourth studio album. The laidback Sydneysider talks metal bands and Basement Birds with Kitt Di Camillo. osh Pyke began his career with the childhood nostalgia of debut single Middle Of The Hill and quickly grew to become one of Australia’s premier singer-songwriters. A deft storyteller with a knack for welcoming melodies, Pyke’s run of three consecutive top five albums in the ARIA charts has stamped him as a permanent fixture on the national music scene, a fact that belies the laidback artist’s genre-hopping origins.

uch of Jordie Lane’s inspiration has come out of music made in the United States. It was Bob Dylan, for example, who taught him the importance of lyrics and storytelling in music, and it was American-based folk and blues and country music that he grew up listening to. It makes sense, then, that he should go all the way over to the other side of the world to LA to record his new single Fool For Love with producer Tom Biller. “To just be over there and feel like you’re in that kind of space, you know, with that sort of energy – that inspires me to write,” Lane explains. “And a good kind of vibe like that is good for recording.”

Pyke for his third record, Only Sparrows, released to typically enthusiastic reviews late last year. “There’s four of us writing songs for one album,” ponders Pyke of the currently on hiatus Basement Birds. “So that was a lot easier, and ‘cause we were all collaborating it was just a lot more fun and less pressure than doing my own records up to that point. But when that whole process was over I just really had to readjust and remember that the only pressure that I was getting for my own stuff was from myself. Once I accepted that then everything became a lot easier again.” Currently in the middle of his latest Australian tour, the well-loved troubadour plans to step back into the studio straight afterwards for album number four. Where previously he’d road test new material beforehand, the singer is this time opting to keep his setlists on his tried and tested fan favourite material. “So far I’ve got about 12 songs written,” reveals Pyke. “I’ve demoed about ten of those, but as soon as the tour’s over I’m gonna really knuckle down. I like to have 20 songs basically, to whittle down to a ten-track album. “On the last tour I did for Chimney’s Afire I played some of the new ones. This time I just really feel like letting them sit with me in a non-playing sense so that when it gets time to make the record they’re still really fresh to me, ‘cause I just don’t wanna get sick of them. If I play them on the road now I just feel like I might find them a bit old by the time I record them, and I really want everything to be really fresh and vibrant by the time I get round to recording them.” WHO: Josh Pyke WHEN: Thursday 8 November, Artbar, Art Gallery Of WA; Friday 9, Prince Of Wales Hotel, Bunbury

or a long time I was operating under the wrong assumption that DJ/producer Moullinex was French. Possibly because he shares a name with the French appliance maker Moullinex; possibly because his slick prog disco/funk has similar echoes in modern French electro acts. But Luis Clara-Gomez – the writer, producer and multi-instrumentalist known as Moullinex – is from Portugal.


That said, one of Moullinex’s slickest remixes (aside from his genius cover of ‘80s Italo disco act Pineapples’ Come On Closer) is of Frenchman Sebastien Tellier’s Kilometer. It was also the French that kick started Moullinex’s interest in music production, as he shares in a recent interview: “Growing up, I actually didn’t like any dance music at all. I’m 28, so I missed the ‘80s disco era. I listened to rock, metal, and some jazz, and I was in a ska-punk band. To me, dance music seemed a lot less appealing because it lacked that visual nature rock shows have. But I’ve got to say – the first time Air toured Europe they came to Portugal for a show, and seeing them live changed my life. So I got into Air and Daft Punk in the ‘90s, and through the kind of stuff they were sampling I then got into ‘70s disco.”

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Clara-Gomez ingrained himself into the larger European dance music scene further still when he relocated to Munich five years ago (although he’s now based in Portugal again), as he explains: “Moving to Munich made me realise that if you want to excel in any area, it really helps to have a good infrastructure around you, like people doing the same or similar things to you. That way you can get access to cheaper equipment, tips on venues, etc. Munich is great for that – it’s such a central location for music in Europe, electronic music especially.” During this time (around 2009) Clara-Gomez became a permanent part of leftfield electronica/nu-disco label, Gomma Records (Headman, Who Made Who, Munk).

This month, Moullinex’s ‘relationship’ with Gomma celebrates a milestone with the release of his fulllength debut, Flora, after several EPs and remixes from the Portuguese producer over the past few years. Completed in the musician’s home studio and mastered in Brooklyn, Flora witnesses Moullinex reinject the warmth of bygone soul and disco music into cold, modern electronica with a deft production touch. There’s a Flashdance cover with electro legend Peaches, guest vocals from Iwona Skwarek (from Polish band Rebeka) and Da Chick, a Lisbon boys’ choir, as well as ClaraGomez singing himself for the first time; all culminating to create a melodic – even heartfelt – offering. Albeit an offering that took Clara-Gomez “ages” to finish, as he shares: “I have a difficult time knowing when to stop – my friends really had to convince me that this was the final product! I started out with about 30 tracks and ended up with about half that. I’m a bit of a perfectionist.” Flora’s biggest technical hurdle, according to the shy Clara-Gomez, was “convincing [himself] to sing without effects!” Emotions-wise, “Darkest Night was a challenging track,” says the producer, “It took me to a very specific place in time, every time I touched the track. Iwona did the vocals on it and she nearly wasn’t able to do it, but then at the last second it happened and it all came together. I’m really attached to that track, just because of the way the recording process panned out – it was clearly meant to be in the end.” Perth fans will get the chance to catch Moullinex in the flesh next Friday, and the producer couldn’t be more stoked about visiting the home turf of one of his favourite bands: “I’ve been listening to Tame Impala’s new album on repeat for the past few weeks – it’s just amazing!” Looks like Clara-Gomez’ teenage taste for rock hasn’t been entirely sidelined by dance, after all. WHO: Moullinex WHAT: Flora (Gomma/Discotexas) WHERE: Friday 9 November, Get Weird, Ambar



BREAKING THE CYCLE Breakbot tells Cyclone although his ambition to crack into filmmaking and scoring is on ice for the summer months, he couldn’t be happier than to spend some time down under.

Curiosity spiraled into obsession, which resulted in a new EP for Davey Craddock & The Spectacles. Daniel Cribb finds out what caught the frontman’s attention. lmost every scenario and possible location for a band photoshoot has been exhausted. That’s why, when it came time for Davey Craddock and his backing band, The Spectacles, to churn out a visual representation of their music, they headed thirty kilometers north of Perth to WA’s first railway tunnel, Swan View Tunnel, built in 1894. The resulting photos and time spent there provided more than just some fresh imagery.


“I was really struck by how eerie and beautiful the site is. It also feels really hidden and almost secret,” Craddock begins. “When I got home I casually read about it a bit on the ‘net, but once I decided that I wanted to use one of the photos in our cover artwork, learning about it became a bit of an obsession. I ended up going through old newspapers in the microfilm section of the Battye library to learn more about its history, particularly a train crash near there, and in the end I found two really beautiful images of the tunnel that the library kindly gave me permission to use in the cover art,” he explains.

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But the songs for their new EP, Going Home, had already been written by this stage. Which begs the question; why is the EP now dripping in the eerie beauty that Craddock experienced during the photoshoot? “It was a case of them actually coming in right at the end; when I did learn more, though, and once I visited the site a couple of times the whole story and atmosphere there seemed to fit so perfectly with some of the ideas on the EP.“ To match that eerie atmosphere. they recorded live, directly to tape. It’s a hell of a lot more expensive than plugging directly into a computer but, as Craddock emphasises, is worth every penny. “We think the charm of the band is that we’re a bit loose and rollicking at times, and we wanted to try and capture that. If you’re recording to a click track you can lose a lot

he beardy French electro-funk producer Breakbot (aka Thibaut Berland) has finally delivered an album, By Your Side, through Ed Banger Records. It’s auspicious, too, with him bringing his live show to Summadayze.

T of that. It was nice to be able to look at each other and wink, nudge and shout our way through tunes just as we would on stage,” he explains. “I think there’s a little bit of magic that can come from all recording at the same time onto tape. That said, I’m not the kind of wanky, romantic retro purist that would want to record a whole album onto a wax cylinder in the loft of a 14th century church,” he laughs. “I think most bands like us strike a balance between using a bit of old technology and a bit of new.” Although the foundations of The Spectacles consists of drummer Todd Pickett and bassist Pete Stone (both stalwarts of the local scene), Going Home boasts a wide array of guest appearances. “Sean Pollard (Split Seconds) recorded the bass and harmonies on the EP before leaving [for Melbourne]. I have massive respect for him as a songwriter, so having someone in the band like Sean who I could bounce ideas off was fantastic. Tal Cohen also played in the studio with us and will be joining the band live for the launch. He’s a highly respected jazz player around town and recently got a four-star review in The Australian. I don’t know where he finds all them extra jazzy notes, but he does somewhere. The inimitable Luke Dux from The Floors/Timothy Nelson & The Infidels will also be joining the live line-up of the band for our launch on lead guitar. Having so many incredible local musicians wanting to help bring my songs to life live and in the studio has been the most exciting part of making this EP.” WHO: Davey Craddock & The Spectacles WHAT: Going Home (Going Home Records) WHEN & WHERE: Friday 2 November, Fremantle Arts Centre

In fact, Berland began recording By Your Side after 2010’s cult single, Baby I’m Yours, which reappears here, along with the official lead single One Out Of Two. Gallic dance acts have presented us with classic albums: Dimitri From Paris’s Sacrebleu, Daft Punk’s Homework, Air’s Moon Safari... Yet today many DJ/producers are abandoning the format for ephemeral tracks, singles or EPs. Not Berland. “Well, yeah, I thought about just doing tracks and stuff, but at some point I felt like I maybe needed some challenge,” he says from his Paris base. “I felt like it was a good idea to make an album. It was quite hard, but in the end I’m pretty happy about it.” He still appreciates LPs, rating his labelmates Justice’s Audio, Video, Disco and Kindness’s Cassius-helmed World, You Need A Change Of Mind.

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On By Your Side Berland journeys back to the ‘70s – there are reverberations of disco-pop, Prince’s early funk, and the blue-eyed soul of Michael McDonald-era Doobie Brothers and Hall & Oates. The producer recruited (male) vocalists – Irfane, Ruckazoid and Pacific!’s Björn Synneby. Berland isn’t alone in his nostalgia, with Yuksek mining similar influences on his exhilarating Living On The Edge Of Time. Still, being closer to Sam Sparro than Justice, By Your Side is an uncharacteristic album for Ed Banger – a label traditionally associated with bangin’ club music. Indeed, Berland even offers ballads. Regardless, he’s grateful that Ed Banger’s Pedro Winter should be supportive. Berland grew up on the music of the ‘70s and ‘80s, Michael Jackson’s Thriller a favourite (Los Angeles’ Ruckazoid spookily channels the late singer on Why). He studied at the computer graphics school Supinfocom,

befriending Justice’s Xavier de Rosnay. Here, Berland co-directed the award-winning short animation film Overtime. However, he became increasingly absorbed in music. Berland first attracted attention with a remix of Justice’s Let There Be Light. Next, he released the Happy Rabbit EP on Moshi Moshi. Pnau, whose Baby Berland tweaked, invited him to Australia to tour with them in 2008. “It was probably one of the funnest experiences I’ve had in my life,” Berland enthuses. Does he dig Pnau’s Elton John-commissioned Good Morning To The Night? “I heard about it, but I didn’t hear it yet.” Berland has likewise recast Heaven Can Wait for Charlotte Gainsbourg, the daughter of Serge and Jane Birkin who not only sings but also acts (she’s a Lars von Trier muse). Alas, Heaven... was one remix Berland has done that was declined. “I think it was Beck making the decision, if I recall right, because he was the producer of the album [IRM],” he says laconically. “I guess he didn’t like the remix because he refused to use it.” Berland later put it online. House DJ/producers are now producing pop acts, David Guetta the trendsetter. Berland wants in. “It would probably never happen, but in the production world I would love to work with people like Beyoncé or Rihanna.” (He did remix a song Beyoncé’s sister Solange cut with Chromeo.) And Berland hasn’t abandoned film. “One of my dreams is to make some kind of musical,” Berland reveals. “It’s an ultimate goal for me in my career to make a film and the music. But it’s such a huge amount of work that I would have to find the time to do that. Right now it’s not possible, but maybe in a few years...” Before he does anything, Berland will travel to Australia for the fifth time, his show taking in around six songs from By Your Side, albeit ‘remixed’ for festival crowds. “[Australia]’s one of my favourite countries in the world.” WHO: BreakBot WHAT: By Your Side (Warner) WHEN & WHERE: Sunday 6 January, Summadayze, Patersons Stadium


crucial rockers live band earthlink . simmo t . sorted

Friday 2nd Nov

$5 / $10

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north freo


9 Nov FLY BY NIGHT Fremantle

with Afrique Acoustic

(for tickets see or ph 94305976 or visit the Fly By Night Box Office) New album DIG DEEP out Nov 9 • First single TEARS OF JOY out now!


Breakfast E

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4 November 9am-1pgm Kingsway Regional Sportin Complex, Madeley

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WA Thursday 8 November 12 Fly by Night, Perth Friday

9 November 12 Bridgetown Blues Festival, Bridgetown

Saturday 10 November 12 Bridgetown Blues Festival, Bridgetown

For tour dates go to: Superb, original and compelling ... harmonica master Musselwhite sets the standard for blues” ROLLING STONE

Join us under the stars in the e Jacaranda Amphitheatre for thre f s-of ock ur-s h-yo free nights of laug . edy stand up com Bring along a picnic dinner and y, enjoy comedians Lawrence Moone nig, Koe Laura Daivs, Janelle Andrea Gibbs and John Dore. Get your free tickets by visiting

“Traditional Blues Artist of the Year” & “Best Instrumentalist - Harmonica” 2011 BLUES FOUNDATION AWARDS 28 Oct - 25 November




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Fool For Love Vitamin Records

CUB SCOUTS Told You So SGC There’s plenty of youthful exuberance on Cub Scouts’ debut EP but it’s all encapsulated rather impressively in some assured songwriting. Led smartly by the excellent Evie, which recalls the pomp and style of Cloud Control, the title track harbours a more serious tone. Vocalist Tim Nelson is at his earnest best on Do You Hear, a classic piece of upbeat pop that proffers an irresistible chorus. Though the solemn closing track Light Me Up clashes uncomfortably with the rest of the songs here, it’s little more than a hiccup – this is a band whose future, like the best of its music, is very bright indeed.



Meat + Bone

The Parkway Drive boys are back heavier and angrier than ever. Their latest effort Atlas starts off with Sparks, and offers a great build up to what the entire record has to offer. From here you’re launched into Old Ghosts/New Regrets and this is classic Parkway and sounds reminiscent of the material from 2010’s Deep Blue. But where Atlas differs from previous albums is through the band’s willingness to push the boundaries and experiment. This is shown on tracks like The River, where clean, female vocals are used, and furthermore they’ve used acoustics and trumpets in Blue & The Grey, pianos and violins in the title track, and even some potentially cringe-worthy turntable scratches in The Slow Surrender that are pulled off with fervour.

Most would recognise Ripley Johnson as the guitarist – and therefore master of thee almighty drone – of space-rock troubadours Wooden Shjips. Moon Duo is both a logical continuation of and a kick in the nuts to the Wooden Shjips sound; the same heavy grooving guitar lines floating through desert canyons, but on top of a sinister layer of synth-driven machismo.

Freeform Patterns/Fuse Group

Ben Gordon’s drumming is tight as you’d expect, guitarists Jeff Ling and Luke Kilpatrick showcase their heavy riffs and frontman Winston McCall seems more irate than ever – his screams even more monstrous. But it’s in McCall’s words that he concedes how beautiful our planet is, and how we’re all destroying it, quickly. “With narrow minds we decimate our one true home/Cast into oblivion, judgement is calling”, he laments in Dark Days. And one can only imagine how tracks like Swing will play out in their live shows with McCall demanding: “Swing, swing, swing motherfuckers!” It’s unrelenting how consistent Parkway Drive continues to be and since 2005’s Killing With A Smile they’ve held the crown as Australia’s best metalcore band. The screams of “It’s not the years in your life; it’s the life in your years”, sum up what Atlas, and Parkway Drive, represent perfectly.



Circles is the second long-player from the San Franciscan duo (Sanae Yamada being in charge of said synth lines), and they’ve managed to make an eclectic and driving sound that stands on its own. Opener Sleepwalker will have you sure that this will be a fuzzed-out trip of an album, but that’s all thrown on its head by the repetitive pop beats of I Can See (repeated with some surf rock on I Been Gone) and the honky-tonk charm of Free Action. The psychedelia never really peters out, but rather it is infused with a veritable gamut of sounds and influences. Add to this a nifty little Australia/New Zulland bonus disc (which includes the 21-minute High Over Blue, which must be the ultimate definition of modern psychedelia), and you’ve got a tight little package.

First listens may not provide a clear separations from their fellow minstrels, but Moon Duo have more or less packed what contemporary cosmic rock is, in with some interesting and sometimes surprising influences. Cam Findlay

The first thing that must be said is that after eight LIVE years it’s great to have the Blues Explosion back. It’s a reunion especially worth celebrating given just how Blues Explosion-y Meat + Bone sounds. Time has not blemished them. In fact, was the press release to state that this was a collection of recordings forever feared lost due to a studio fire in 1995, it would be entirely believable. The chemistry is still very much intact, unrestricted and bloody loud. D


Their blueprint for a brand of primitive rock’n’roll bordering on noise rock – that’s since been sanitised into slightly more chart friendly prescriptions by the likes of The Black Keys and various Jack White projects – has been assertively reclaimed, as the infectious chanting, scattershot drums, the odd James Brown style yelp and endless riffs are all reactivated. But while their vision has remained unerringly faithful, nothing here trumps their finest moments of the past. Boot Cut is the remarkably similar offspring to 1994’s Bellbottoms that’s not quite good enough to follow in Daddy’s footsteps. And like so many of fellow rock’n’roll revisionists The Cramps later albums, the energy seems to dissipate in the second half. That said, the likes of Bear Trap and Zimgar smolder with an understated, yet compelling malevolence.


The industrious Jordie Lane, fresh from a North American tour and currently supporting Billy Bragg nationally, has unleashed the first taste from a fulllength album due for release in early 2013. Lane’s country-tinged voice is the leading light on the rambling, punchy Fool For Love, but it’s underpinned by a pleasingly ramshackle rhythm section. An accomplished live performer, Lane is also an incredibly strong songwriter, and there’s little doubt the album to come will continue his excellent output.









The austere electronica peddled by Perth trio Lilt is nothing new – it’s comprised mostly of a lot of space amongst rising synth notes and, over the top of it all, the fine vocals of Louise Penman. It’s the kind of music that, at its best, is utterly compelling, but at its worst is half-baked and lacking conviction. This band can happily lay claim to falling in the former, though, thanks mostly to Penman’s beautiful voice and the skilled production of Matt Mclean. The title track is the strongest here but on the whole it’s excellent throughout.

Not quite the prodigal triumph, but it’s hard to think of any other band that could’ve come closer to rediscovering the animal core of pure rock basics. Welcome back. Christopher H James

Eli Gould

EAGLE & THE WORM Strangelove Warner Comprised of eight clearly skilled members, Melbourne band Eagle & The Worm present a collection of tracks of varying quality on their latest EP, Strangelove. First track Angela’s Lonely Heart is a poppy, rocky number that is ultimately very boring, but the soul bent of Darling Let Me In and its excellent guitar tones is infinitely more successful. What You Looking For is bland and uneventful and it’s not helped by vocalist Jarrad Brown doing his best impression of Ween circa Push Th’ Little Daisies. Sadly, there’s nothing here that will reel in a new set of listeners but the band’s followers, of which there appears to be quite a few, will be satisfied.

BAT FOR LASHES All Your Gold EMI The second single from Bat For Lashes’ record The Haunted Man may be a musically sparse piece, but when you’ve a voice as beautiful and agile as Natash Khan’s, it’s best you put it front and centre. There are smatterings of harp and strings and some muted guitar lines, and the drive of the beat provides some welcome contrast to the ache of first single Laura. Put simply, it’s another affirmation that Khan is one of the more accomplished and talented artists going around today.

JOE BLACK TRIO Graveyard Salsa Independent Local outfit Joe Black Trio play an interesting mix of swing and country that centres around the dexterous work of violinist Julia Watson. There are some quirky touches that evidence a confidence in their individual and collective abilities, such as the stop-start beginning to Crooked Cliff where picked violin notes add colour to some dark double bass. Graveyard Salsa showcases the band’s impressive ability to play a variety of styles very well, but there’s an inherent inconsistency in such an approach that leaves the listener displaced.

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Let’s face it. Some artists are just so influential that there comes a time when they reach a certain level of inscrutability. Bob Dylan could be considered one of them; Bjork is another; and it’s safe to say that Brian Eno would be also. One of popular electronic music’s first proponents, Eno is seen as the father of ambient, despite making some fantastic glam-styled art-pop albums like Here Come The Warm Jets and Taking Tiger Mountain (By Strategy) in the mid-seventies.

Rule number one when selling things on eBay – put ‘vintage’ in the item description. People love that shit. Retro appeal – or the promise of it – will work wonders for the sales potential of toys, scarves and household items. One cannot, sadly, apply the same rule to the release of contemporary media, and this is where Xzibit AKA Mr X-to-tha-Zee AKA The Asbestos Oesophagus’s latest album falls down.

Irish rockers The Script have returned with their third album, appropriately (if not yawningly) named #3, and they have continued down their path of creating safe and radio friendly songs that infuse the elements of pop-rock with an anthemic feel.


Ambient is one of those astigmatised genres that still divides people on the question of whether it is actually art or just boring self-indulgence. As a precursor to things like muzak, and waiting room music, ambient music is designed to creep into your mind with minimal detection and render you towards feeling a certain way. Alternatively, it could be seen as the series of sparse, oddly-timed pulses and subtle timbral manipulations that doesn’t add up to anything resembling a ‘song’. Despite Eno’s musical calibre and influence on modern music, LUX will do nothing to settle that debate. LUX (the measure of the intensity of light particles) is a 75-minute composition split into four parts, and it will either bore the bejesus out of you or you’ll get lost in its spacious, luxurious netherworld of echo-laden piano strokes and eerily pitchy strings. It’s as simple as that. If you’re at all inclined to even give LUX a chance, be aware that it feels designed to be an intensely solitary musical experience. Do this and you’ll probably start imagining thousands of gently peaking and fading lights in your mind’s eye. Otherwise, LUX will not enlighten the uninitiated about Eno’s famed musical genius. Kosta Lucas


Napalm is by no means a terrible album, but it is a dated one. People demand more than boom-bap and balls out aggression from their hip hop in 2012. It’s not that the roster lacks talent or a certain calibre (in the East corner, Prodigy of Mobb Deep; in the West King Tee and Tha Alkaholiks), but you could pull Napalm off the shelf in JB Hi-Fi, take a look at the back, give it a listen (nodding along to Louis XIII and Dos Equis, and perhaps quietly appreciating 1983), without being able to correctly identify where in X’s catalogue it fits, or even where in the last ten years. Most listeners would guess wrongly. If those that ignore history are doomed to repeat it, then those that rely too much on it are destined never to equal it. Paparazzi played on The Sopranos and his verse on My Writes was a highlight on a modern classic. There’s no doubt Xzibit has made some great joints in his 20-year career, the problem is none of them are here. Napalm is hard to put down, and it’s hot. Napalm isn’t, and it’s not. Tom Birts


However, #3 is just an extension of where the band was after 2010’s Science & Faith, which was by my own admission rather a good release. Unfortunately this album just sounds too generic in every form, from the musical composition, which sounds just the same as albums gone by, and extending to the lyrics, which at times are cringe-worthy; “To your brother, to your sister, to your misses, to your mister, to your friends, to your foes, give the love around” (Give The Love Around). They’ve also added a hip hop element (or what they perceive to be) to their music, by teaming up with, with frontman Danny O’Donoghue taking on ‘rapping’ duties, which at times doesn’t sound as bad as one might think. There are some okay songs on the record such as lead single Hall Of Fame and If You Could See Me Now, while Six Degrees Of Separation is spoiled by lyrics which are in the same vein as Brian McKnight’s Back At One, numbering “First you think the worst is a broken heart/What’s gonna kill you is the second part/ And the third and the fourth…”, you get the point. A friend of this reviewer, who will openly admit to watching ‘music talent’ shows like The X Factor and The Voice, religiously found this album to be right up his alley, and there-in lies who this album should appeal too. Eli Gould





THURSDAY 1 Argo – A new film written and directed by Ben Affleck about the six Americans who managed to get away and hide in the home of the Canadian ambassador during the 1979 Iranian revolution. Luna Paradiso.

FRIDAY 2 Moonlight Markets – Speciality goods stalls, food vendors, music and family entertainment in a community market setting. Once a month during summer, part of Beach To Bush Festival, Kingsbridge Amphitheatre, from 8.30pm.

SATURDAY 3 Open House Perth – The Open House initiative was founded in London in 1992, and on the eve of its 20th anniversary Perth has joined the international family of Open House cities including London, New York, Barcelona and Melbourne. There will be 50+ Open House Perth buildings, design studios, Love Your City sites and events open to the public. Running until Sunday 4 November. Vampire Immersive Cinema Experience – Before you head to the Vampire Ball, immerse yourself in a double screening of Interview With The Vampire and Bram Stoker’s Dracula. There will also be a special appearance by movie star Elvira (Fab Panache). Northbridge Plaza, 7.30pm. The ReVamped Vampire Ball – One thing is undeniable; vampires are hot right now with the final Twihards frothing out for the final instalment and True Blood up to its sixth season. If you love blood suckers, take this chance to dress up as one for the night. There’ll be door prizes and awards for best/worst dressed. Day Of The Dead facepainting will also be available. Part Carnival Macabre, Rooftop Movies, 9pm.

SUNDAY 4 Metropolis – This classic film directed by Fritz Lang has been

METROPOLIS restored and remastered to the original version. One of the most famous of all silent films and a crowning achievement of German Expressionist cinema. The screening will follow a live Pecha Kucha session and close Perth’s first Open House Festival. Rooftop Movies, 7pm.

MONDAY 5 My Architect – A documentary directed by Nathaniel Kahn, starring himself and his father, the famous architect Louis Kahn. Nathaniel travels the world visiting his father’s buildings, meeting his father’s colleagues, students, wives and children. Part of Architects On Film Week which is presented with Open House Perth. Rooftop Movies, 8pm.

TEAM AMERICA “If I was making a political movie I’d say so,” Ben Affleck assures Tom Hawking of his new film Argo, adding, “I’ve never been shy about being political.” Some stories are so incredible that they pretty much tell themselves. So it goes with the true story behind Ben Affleck’s new film Argo – the film is based on the 1980 “exfiltration” operation to rescue six American diplomats from the residence of the Canadian

ambassador in Tehran, where they’d taken refuge after the 1979 storming of the city’s US embassy. You can see the story’s appeal – the only surprise is that it’s taken as long as it has for someone to adapt it for the silver screen. That task fell to Affleck, who both directed and

TUESDAY 6 Eve – A play performed by Margi Brown Ash who 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-devised by Leah Mercer. The Blue Room Theatre, 7pm, until Saturday 10 November.


INSTANT MUSICALS In Spontaneous Broadway, the ball will be your court. As musical director John Thorn tells Paul Ransom, it all begins with a bucket of dreams (and a Twitter feed).


TREASURES OF AC/DC BOOK This glossy, hardcover package of AC/DC fan stories, photos and ‘memorabilia’ is sure to run off shelves this Christmas, straight into the pool rooms and garages of a suburb near you. There are only two reasons you’d ever buy this – as a gift for some special someone you know with an unhealthy AC/DC obsession; or for yourself, because you are that special someone. That’s a shame, because the real value here is in educating AC/DC newcomers to the basics of the band, as an AC/DC tragic will glean very little from the sparse content. The photos are excellent, with the best fun taking in the changing

plays the lead role in Argo. He’s a better choice than you might think – for a start, it turns out that he has something of an affinity for the subject matter, having enrolled in Middle Eastern Studies in college. “I didn’t want to major in acting or directing or theatre,” he tells Front Row over lunch at the Beverley Hilton in Los Angeles. “And I’ve always been interested in the Middle East. I loved Lawrence Of Arabia… I had slightly romantic ideals [laughs]. It struck me as a mysterious place, and also the root of a lot of the conflicts that bedevilled [America] and the world.” Front Row has spoken to pretty much everyone involved with Argo over the course of today – producer, scriptwriter, actors – and all of them have been at pains to make it clear that they don’t consider Argo to be a political film. But seriously, come on: this is a film about America getting one over Iran, a subject that can’t not be political in 2012. Surely its director appreciates this? Affleck sighs. “If I was making a political movie I’d say so,” he says. “I’ve never been shy about being political. But I came across this movie, and what’s interesting about it isn’t the politics, in the sense that politics advocates a certain position. A political movie directs you – if you make a movie like that you’re like an air traffic controller, saying, ‘Go over here’. And that’s not what I wanted [with this film], because I think if you go into [the film] looking for that, it destroys your experience of the movie.” Having said that, though, Affleck says he

faces of the band members as the years roll on. The fan stories are written by a bloke called Jerry Ewing, and he’s obviously some kind of fucking AC/DC disciple – and a pretty decent writer – but the meagre space allotted to text limits the depth of the work severely. Given that no one really cares what happened after 1980’s Back In Black (and even then it’s pretty well all about ‘who’s this new bloke?’ and Hells Bells) another approach would have been to dedicate more of the first half to ‘the story’ and cramming the back end with pics. There are also some weird fake ticket stubs and poster recreations. Meh. Samson McDougall In stores now

24 • To check out the mags online go to

Imagine a song called He Punched A Wall Beside Me or even It Might Lead To Bestiality. Well, dream no more, because Melbourne songwriting institutions is here with it’s impromptu musical invention. However, when the actor/composer team of Russell Fletcher and John Thorn dust off their improv skills and bring Spontaneous Broadway back to life this year, they will not only be committing to turning audience song title suggestions into tuneful


reality, but opening the floodgates of social media. In 2012, you can send your fantasy song ideas via Twitter; meaning you can keep your phones on during the show. As musical director and onstage virtuoso John Thorn says, “Well y’know, it’s an audience participation show. This just makes it even cooler.” Fans of Spontaneous Broadway need not worry, though, because the now-legendary ‘bucket of dreams’ will return; and from said bucket,


TRIPOD GIVEAWAYS We’ve got some Tripod prize packs to give away, which include double passes to see Tripod live at the Quarry on Saturday 10 November, where they are the opening act for the new Live At The Quarry season, as well as the Tripod DVD which is a recording of the trio’s hit show, Tripod vs. the Dragon. For your chance to win one of these prize packs email au with the subject line “TRIPOD”.

hand-scrawled suggestions will still be drawn. “We’ve generally got about three or four minutes to sit on stage in front of the audience and look through the bucket, and now the Twitter feed, and one by one we get up, do the pitch, improvise the name of a new musical, say where it’s set, where the song will fit in and off we go.” The question here, of course, is just how much Thorn, Fletcher and their guest collaborators work off a template. “We’ve been having workshops lately; y’know, going through a few fundamentals,” Thorn reveals. “But there’s no set formula. We don’t prepare anything before we go on stage. Everyone walks on really blank.”

is aware of the danger that some people might see this as an exercise in “USA! USA!” cheerleading. “It’s a movie that I’d hate to see politicised.” Ultimately, he argues that it’s simply a good story, and should be treated as such. Perhaps Affleck’s greatest achievement with the film is that he manages to take a story that you wouldn’t believe if someone told you, and makes it feel real. “[I had] a very strict discipline about realism,” he says. Amusingly, Affleck’s tactics for getting the diplomats’ plight to “feel real” extended to hardcore method acting strategies: “I wanted [the actors] to feel familiar with one another, to feel like they’d been cooped up together. I wanted them to live in this parallel world, to live together reading only magazines from that time, watching movies from the ‘70s, so they truly had a collective set of references. I took away their smartphones, disconnected them for the rest of the world. One actor wanted to bring in his yoga mat, which I finally let him do after a long argument. He was like, ‘Look, there was yoga in the ‘70s!’ I was like, ‘Look, your character wouldn’t be doing yoga.’ I could tell he was rolling his eyes, that he thought this was method director bullshit, that it was ridiculous. But when he came out at the end, he was like, ‘I think that whole exercise actually helped!’ I converted him.” WHAT: Argo WHEN & WHERE: In cinemas now Spontaneous Broadway does have a formula, though. The first half involves the composition of four or five songs and the conception of the musical that each of the songs will appear in. The audience then vote on which show they would like to see ‘produced’ and in the second half the cast return to create a brand new, one-off musical. It’s not hard to see how such off-the-cuff inventiveness could engage an auditorium. “As far as all the shows I’ve ever done – and I’ve done a lot of shows – this is the one that has the biggest buzz in terms of the crowd,” Thorn declares. “They realise that it’s a one of a kind and that no one else is ever gonna see it and they love that it’s being made up on the spot.” Likewise, it’s easy to envisage things getting out of control onstage. “In Perth about three years ago, we did this kinda late night, adult version and someone chose the title Now Show Me On The Dolly Where The Bad Man Touched You. Anyway, it was done as a duet between two guys and it was the only time onstage where I’ve been keeled over with laughter.” WHAT: Spontaneous Broadway WHEN & WHERE: Thursday 8 November to Saturday 17, Subiaco Arts Centre


might say. When informed that a flannel is also a hit with Australian farmers and the occasional hipster, Foley chuckles and promises to bring some with him when he tours Australia with his stand-up show next February (“I haven’t been to ‘Oz’, as they say, in 13 years”). Who knew The Commissioner, who is known for his brutal wrestling style, would be so warm?


After Mick Foley wrestles the phone back from his son, who provides an impromptu rendition of one of dad’s children’s books, the pro wrestler turned author turned stand-up comedian tells Cassandra Fumi, “In some ways, doing stand-up is as scary as pro wrestling.” Mick Foley is the kind of rockstar dad you’d want. If you were a young’un, he’d read you his own children’s books and make you laugh while correcting your grammatical errors. Later on, he’d provide great stories to tell your mates. And then there’s those impressive WWE championship belts (17, to be exact) to show off. Foley is a pro wrestler turned author turned stand-up comedian. A Most Mizerable Christmas, Foley’s fourth children’s book, was released in the US last month. Foley, who has four children, warmly shares, “My kids are the first people I read to, and nothing makes me feel better than when they ask me to read to

them or when they ask if they can read to me.” This man – known to many as The Commissioner, Cactus Jack or Dude Love – is definitely a family man. “I feel like whilst I am not in control of how many people ultimately buy [A Most Mizerable Christmas], it’s a success of the biggest level because my kids really love it.” Kids are known to be the toughest of critics. Foley’s son accidentally interrupts our chat. Unaware that his dad is talking internationally, the confident kid jumps on the line to give a review of his dad’s latest book, “Yep, I love it!” says the sweetly spoken boy. Foley confesses, “[Once] I started

writing, I did it wherever I was, whenever I could.” Our convo now takes an unexpected turn, as two writers geek out on syntax. “I don’t often get a chance to talk about writing, and I love it.” During one Independence Day party, Foley found himself conversing with thriller writer Steve Barry about the craft of writing. “Barry hates semi-colons and I think they are the greatest thing in the world, because you put one in a sentence and it makes you look smarter,” an audibly excited Foley shares. Continuity throughout Foley’s pro wrestling and comedy careers is provided thanks to his red and black flannelette shirt: A uniform, you

“In some ways doing stand-up is as scary is pro wrestling,” Foley shares. “The element of failing creatively is always there, and I think that’s what makes it exciting. When you become complacent with whatever you’re doing, I think the product ends up suffering.” Foley admits he’s not yet comfortable calling himself a professional comic like Brendon Burns (who is touring with him). “Comedy audiences can be very similar to wrestling audiences,” he explains. “There’s a big difference between being humorous and funny – that was one of the rude awakenings when I started doing stand-up.” Foley went to the Edinburgh Fringe earlier this year with Mick Foley: Prisoner Of Raw. He didn’t walk the hazardous cobblestones, preferring to ‘cab it’, but he did prepare for his foreign audience: “When I got to Scotland, I had material that would have died in the US but really worked because it was tailored to British culture.” When it comes to comedy, Foley confesses, “I enjoy performing internationally more than I do in the US; I think people’s minds are a little more open, to tell you the truth.” WHO: Mick Foley WHAT: Good God Almighty! WHEN & WHERE: Astor Theatre, Wednesday 2 January



WITH MARCIA CZERNIAK Growing up, I experienced my first-ever real concert at the Perth Entertainment Centre. It was Young Talent Time, and oh my goodness, did I love it. From there, some time passed, and I think the next big concert I went to there was for the Presidents Of The United States of America. I was a teenager and while I may now hang my head in shame, I must admit, I was pretty darn excited for it. My love of live gigs flourished and some of my fondest memories of bands are from seeing bands that the big shell. From seeing Pearl Jam play Yellow Ledbetter to a dreadlocked Daniel Johns running around in a dress, the gigs were good. And the sound – well, I still think it had to have been one of the best concert venues we had. And then sadly it all turned to poo when the doors of our beloved Entertainment Centre closed and all we had to really turn to was the Dome. And we all know how we feel about that. So the opening of the Perth Arena this weekend is quite a big deal for Perth music lovers (and sport lovers, I guess) as we are introduced to the newest live music venue, and what a weekend to open up on with the inaugural Open House Perth. If you haven’t heard of Open House Pert,h then picture this – a free range of some of Perth’s most well known buildings… 56 locations, to be exact. With a mix of unique buildings, design studios and

public places, the idea behind it is to get people engaged with our city, enhancing the experiences some of us take for granted as we go about our daily lives. I’m sure most of us have made either a passing comment or engaged in some debate over BHP’s Brookfield Place. Well, now you could see what it is actually like. Same goes for Moana Chambers, the building described as being “the finest building of its kind in the Commonwealth” in 1912 from an architectural point of view. Having recently been taken over for renovation after sitting empty for over a decade, it is a great example of how the city is being given a breath of fresh air. Along with the historic buildings, bars and galleries and just generally good places like The Bird, Bivouac, Venn and FORM are highlighted in the Love Your City section of the program. Along with the Perth Cultural Centre Public Toilets… yes, seriously. These toilets actually look pretty cool for public toilets, what with their artwork and a design that fits with its surroundings… making them public toilets with a difference. With all the talk of Perth being reinvigorated with new bars, laneways and exciting new things to see and do, Open House Perth may just, pardon the pun, open doors for what the city actually holds. And most of all, Perth Arena is on the list – you may just get the chance to see what Elton John’s dressing room is going to be like!

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The return of Rock-It Festival began a beautiful day, turned tropical, turned stinkin’ hot, and saw Abbe May kick off proceedings with her brand of ass-kicking blues. Soulful and sweet, a great start to the day. Emperors were the first to grace Kong’s Rock’n’Roll Shack and played a loud, brash set of their pedal to the metal brand of rock. As the sun found its feet once again, Brisbane indie rockers Last Dinosaurs did their thing on the main stage, the former triple j Unearthed winners playing to a small but appreciative crowd, hitting the sweet spot with their catchy tunes. The electric swamp swagger of The Kill Devil Hills suited the confines of the Shack and Cockfighter, Cool My Desire and The Drought were highlights of a tight set – their first in six months. Alex Archer has always added a unique dimension to The Devils with his straining and emotive violin work, and it all added up to the day’s first true winner in the Shack. It’s fair to say Lanie Lane dominated the main stage, looking resplendent in her 1950s-inspired get up, and her addictive brand of blues went down a treat as she slithered soulfully around the large stage. The Toot Toot Toots are a party band; their songs littered with tales of ruin and redemption. Fool’s Gold and Let Lead Rip off this year’s Outlaws release were highlights of a great set from the Melburnians – a first-class festival act. In one of their rare live appearances, Perth favourites The Panics played a solid set of their hook-laden indie tunes, the five-piece no doubt winning a few new fans amongst the young crowd. An unknown quantity to this reviewer, there’s something disturbingly appealing about Brothers Grim. They play a hypnotic brand of 1920s, ball-tearing blues, and they shook Kong’s to its very foundations. Wading through the sea of singlets and sandals, it was apparent many had entrenched themselves in front of the main stage to catch the roots of The John Butler Trio. From Fremantle busker to main-stage marvel, there’s not a lot John Butler hasn’t accomplished and this day he was

in fine form. Better Than and Used To Get High were well received numbers as Butler dominated the slide guitar. It was back over to Kong’s Rock’n’Roll Shack, as Graveyard Train trembled the tent with their brand of chain-rattling horror country where resonator guitar, big drums and the hammer and chain combined for a devilishly awesome show. The setlist included the superb Life Is Elsewhere and foot-stomping single I’m Gone. Older tracks Ballad For Beezlebub and Tall Shadow rounded out an exceptional set, and one of the day’s highlights. The train was then boarded by punk-rockin’ outfit Royal Headache showcasing their fast riffs and frontman Shogun’s soulful vocals. They closed Kong’s Shack for the evening on a high note. Birds Of Tokyo drew a massive crowd for a rocking set, as they churned through radio favourites Plans and Silhouettic, along with a taste of what’s to come with latest single This Fire, Ian Kenny and co reconfirming a rightful place atop the festival rock heap. Having seen The Black Keys live half a dozen times now, the duo are a live favourite for this reviewer and they’ve come a long way in their seven-album, decadelong existence. The current radio darlings and headliners hit the stage to rapturous applause as the clock struck half past eight. They pack a mean, mean punch, as Pat Carney smashes the skins like a coordinated Neanderthal and frontman Dan Auerbach wails the blues like no one else. It oozes out of his soul and back through his fearless fretting digits. Lonely Boy and Gold On The Ceiling from their latest record predictably tore the place apart, but it was older favourites like Stack Shot Billy, Your Touch and Thickfreakness that saw them at their bluesy best. Akron, Ohio’s finest came to play, and boy did they deliver. A fitting end to an exceptional day of music and a successful return for Rock-It Festival - Joondalup, you do it so well, cheers! Tom O’Donovan



With the jackpot ballooning to $100million, if you don’t hear from us after next week you know why.

We like to bag out the US from time to time, but we wouldn’t wish Sandy upon even our worst of enemies.


BAR THE SMALL ONE Is anyone else freaking out about ADALITA how many awesome little bars are popping up around the place?

SLOW DOWN SOUTH Fast Food down south? Props to Margaret River for saying no!

Modern day troubadour Billy Bragg is in town this weekend with a special new two part show: the first half celebrating the legacy of Woody Guthrie, the original alternative musician, and the second exploring Billy’s own extensive repertoire, highlighting the songs that have made him famous over his almost three decade, 14-album career. 2012 marks the 100th anniversary of the birth of Guthrie, folk singer and ‘dust-bowl troubadour’ whose songs, ballads, prose and poetry championed the plight of the underdog. When Guthrie’s daughter Nora unearthed a treasure trove of her father’s unrecorded lyrics after his death, Bragg and Wilco worked together setting these to music, creating the critically acclaimed Mermaid Avenue albums. Bragg plays songs from Guthrie’s extensive repertoire as well as the Mermaid Avenue albums Friday 2 and Saturday 3 November at The Astor Theatre, with young Australian singer-songwriter Jordie Lane in support. Tickets via liveattheastor. Lane also plays Ya Ya’s Sunday 4. Proudly presented by Street Press Australia.

+ THE BEARDS, THE SNOWDROPPERS, GAY PARIS: NOV 15 Prince Of Wales; NOV 16 Settlers Tavern; NOV 17 Rosemount Hotel; NOV 18 Indi Bar


BALL PARK MUSIC: NOV 16 Prince Of Wales; NOV 17 Capitol

SARAH BLASKO & WASO: FEB 23 Kings Park & Botanic Garden






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


STAR WALTS We’re happy George Lucas is finally letting go of his cash-cow (for $4billion mind you), but with Episode 7 already announced, we’re not entirely sure Disney’s acquisition is for the best.

SERIOUSLY… The whole Star Wars thing has rattled us… THE BEARDS

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It’s been eight years since Karma County last played WA, but when the urge arises and the phone calls start between band members, the decision is made quickly and without fuss. They return Thursday 1 November to play Clancy’s Fremantle.


Perth’s own Dianas are releasing their first EP at The Bakery on Friday 2 November and want you to come party. Think the Bangles meets riffs, and your getting close. It will be a grand time, with Fucking Teeth, Doctopus, Ham Jam, The Choke and Dust supporting. $8 at 8pm.

EZEREVE: LITTLE SISTER EP LAUNCH What cause are you raising funds for? I have recorded this EP to raise awareness about human trafficking and funds for World Vision’s Child Rescue program. Just the thought of something happening to my own children is beyond terrifying, but the reality is that this is happening to other children around the world. It breaks my heart and so I’ve joined the fight to give a voice to those who don’t have one. 50 percent of the CD sale price will be donated to Child Rescue. The Crystal Swan has also offered to kindly donate 12.5 percent of bar sales and the vessel hire charge to Child Rescue. How did the idea for this show come about? I’m a 26 year old singer-songwriter with three beautiful children who inspire me to make a difference. I’m also expecting another child a month after the launch! After $14,000 was raised through the sales of my homemade demo CD Stop Traffik for charities that fight trafficking, I realised that the next step was to record my music professionally. My new EP was produced by Carl Dimataga (Guy Sebastian, Jessica Mauboy, Stan Walker), who has worked for Sony, mixed by Grammy Award winner Brian Paturalski (OutKast) and mastered by Grammy Award-winner Leon Zervos (Aerosmith, Maroon 5) at Studios 301, Sydney. I’m all about bringing people together so I’ve created a unique way to launch the EP. I have chosen The Crystal Swan, Perth’s most exclusive and modern function vessel, as the venue for this special event. Who’s playing and why did you select those acts? My band and I (Chris Gibbs, Mathew Ferguson, Matt Bolt and Joe Southwell) will be supported by local artist Karlee Brown, an amazing singer-songwriter who is in the process of recording her debut album. I have chosen Karlee Brown because she shares my passion for fighting human trafficking. Jarrod McKenna, World Vision’s national advisor for youth, faith and activism will also speak briefly about World Vision’s incredible work. How do people get tickets? Tickets are only $65 and are available to purchase now from Ticket price includes a delicious cocktail style dinner (special dietary requirements catered for), a drink on arrival and entertainment. Tickets are available right up to the date of the show, but get in early for this great cause! Is there anything people can do post-gig to support the cause? People can help by telling their friends to purchase my CD, or by donating directly to World Vision’s Child Rescue: WHEN & WHERE: Sunday 18 November, The Crystal Swan, boarding 4.30pm from Barrack Square Jetty


Local garage rock’n’rollers The Shakeys celebrate their first birthday at the Hyde Park Hotel this Friday 2 November by hijacking The Branson Tramps’ Laser Rock Show. The evening features lasers, dry ice and a heap of local band action, with the likes of fuzzed-out stoner rockers Ol’ Bouginvillea and heavy metal hard nuts Legacy Of Supremacy also in tow. $10 on the door.

Prolific Australian singer-songwriter Ben Abraham has been hand-chosen by Emmylou Harris to be the supporting act on her Australian tour this November. He appears at the Perth Concert Hall Tuesday 6 November.


Fremantle Art Centre’s Courtyard Music returned with chill-out force last month. This Sunday hosts the Way Youth Jazz Orchestra; then Swamp Thing (11 November); The Pigram Brothers (18 November); Ensemble Formidable (25 November); Weddings, Parties, Anything’s Mick Thomas (9 December) and many more. The series runs until March with more line-ups to come.

THE SIREN TOWER WITH GRANT MCCULLOCH (VOCALS/ACOUSTIC GUITAR) Band history in brief? Brody Simpson and I started The Siren Tower after our previous acts, Heavy Weight Champ and Antistatic, called it a day a few years ago. Describe your sound. The broadest but perhaps most apt description would be Oz rock. But there’s a big folk and country influence running.

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.





Tell us about the album. A History Of Houses is an epic sprawl taking the listener through narratives of extraordinary and everyday characters.

PLUG IT IN Before Perth Arena officially opens, it’s getting a ‘little’ warm-up show in Plug Into Perth on Friday 2 November. Drapht is set to headline the night, with local rock’n’roll leads and favourites Sugar Army and Split Seconds (pictured) along with young guns Stillwater Giants also lending their prestigious abilities. Head to pertharena. to go in the running to get a ticket.


Recording process? It was produced by Forrester Savell, myself and the band, and mastered by Tom Coyne (Beyonce, Joss Stone). We tracked at Underground Studios in Perth and Sing Sing in Melbourne over about six months. Collaborations? Eliza Rogers (violin), Kerry Panara (squeeze box), Ben Franz (lap-steel) and of course Forrest Savell on hand claps! Tell us about the album tour. We’re in the middle of a national album tour before returning home to tear it up at Amplifier again on Friday 9 November as well as the Prince Of Wales in Bunbury on Saturday 10 November! What’s on the horizon? We’ll be working all secret squirrel on the next run of shows before we start the writing process again. WHO: The Siren Tower WHAT: A History Of Houses (Firestarter) WHEN & WHERE: Friday 9 November, Amplifier; Saturday 10, Prince Of Wales

SONS OF RICO HOME TIME After returning to their second home, the USA, for a run of 12 dates, including festival slots at the likes of Summerfest and North By Northeast, local power-pop foursome The Stanleys play a homecoming show Thursday 1 November at the Leederville Loungeroom, Leederville Hotel along with Kizzy, Joel Barker and Kite Magic.

MORE THE MERRIER Having circumnavigated the country once already, Ash Grunwald is still feeling the vibe and riding the wave with new WA shows added. The most recent gigs went off so make sure to catch him as he wraps it up at the Fly By Night Friday 2.

After a year of chaos, hard work, and achievements, Dead Set Radio are calling it a day. But not before playing the Civic Backroom Friday 2 November supported by Jake & The Cowboys, Midnight Boulevard, One Armed Scissor and Further Earth.


A night filled with love for David Lynch’s classic TV Series Twin Peaks will take place at The Bakery Saturday 3 November. Usurper Of Modern Medicine have wanted to do such a thing for ages, so they’ve rallied up Kucka, Weapon Is Sound, Mayor Dadi and Doctopus to help. $15.

This Thursday 1 November, The Bird is doing something a bit different. Halloween is for sissies, so they’ll be hosting a Day Of The Dead Party featuring skeletal enthusiasts Sugarpuss, Seams, Rich Widow and Sulu, plus the Sunday Best DJs. Get your colours on and join the party for $10 from 8pm.

On Saturday 3 November The Civic Den hosts local four-piece Branches Of Berlin as they launch their new single Insomniatic, supported by Misty Mountain, Sully, The Crossbars and Juan Don Rocco. $5 from 8pm.




They had a killer gig at Mojos last month, and now the awesome blues/rock group Old Blood drop into the Velvet Lounge to do the same (for free!) Thursday 1 November along with the Jules Peet Trio. The four-piece are known for dropping rowdy sets, so come down for a great time.

LOCAL LANES With the Jordie Lane tour stopping by Ya Ya’s this Sunday 4 November, an amazingly talented pair of local musicians in Felicity Groom and James Teague will support the man on the night. Tickets via

28 • For more news/announcements go to

Releasing their latest single, You Don’t Know What You’re Missin’, this weekend, Sons Of Rico’s Alex MacRae gives us the story of the single. The song has a couple of origins that I amalgamated; a little bit of naughty and nice. I was remembering a night after a gig in Sydney last year when Adam and I went down Oxford Street looking for a kebab to apply to our face holes. We were accosted by a transgender lady of the night, whom we declined (because she wasn’t offering kebabs) prompting her to reply, “Oh honey, you don’t know what you’re missing!” As we walked on I thought to myself, ‘Well, she’s right, I don’t know what I’m missing!’ It reminded me of times I’d go to the beach as a kid with my family. I don’t like cold water because I’m a skinny little dweeb, but Dad would still try to entice me in by declaring, “It’s beautiful in! You don’t know what you’re missing!” So I thought it would be fun to play with this idea. NB: prostitutes don’t always make me think of dad. I wrote it during a six-month period of dedicated writing in Brisbane earlier this year. Being a bit out of the city, it was hard to get out and meet new people. Half of me knew my relative isolation was good, but the other half knew there was something I was missing. I’ve had the phrase You Don’t Know What You’re Missin’ at the back of my head for a long time so that when I’m presented with a new experience I can ask myself that before passing. We recorded this with producer/engineer Magoo in Brisbane in July. It’s a simple composition so the aim was to go for a consistent snappy groove with meaty guitars so my high-pitched vocals could soar. We’re looking forward to belting out this tune (and a whole batch of new ones) in November when we hit the road. WHO: Sons Of Rico WHAT: You Don’t Know What You’re Missin’ (Independent) WHEN & WHERE: Thursday 1, Friday 2, Saturday 3 and Friday 23 November, Rosemount Hotel, Perth



JAZZDEZVOUS WITH NICOLA MILAN Who’s playing your event and who should punters be most excited about seeing? Jazzdezvous is a collaborative show between Juliana Areias, Jen de Ness and myself – three of Perth’s most diverse jazz singers. What gave you the idea/theme for this show? We wanted to embrace a sense of community and blend our different jazz styles. What does your gig offer that others don’t? Three jazz vocalists and nine musicians in total up on stage all at once – but not everyone will be playing at the same time! The show has been crafted to intimately blend three styles of jazz; My sultry original compositions, Juliana’s rhythmic Brazilian music and Jen’s flamboyant jazz cabaret. What made you pick this venue? The venue atmosphere is intimate and limited to only 100 seats so the audience can feel as close as possible to the musicians. What’s next for your band? We hope to perform Jazzdezvous at the 2013 Perth Fringe Festival. WHEN & WHERE: Wednesday 7 November, Fly By Night, Fremantle




Opening proceedings and seemingly a little nervous in the role of frontman, Evermore drummer Dann Hume AKA Danco performed a great batch of catchy pop-rock songs that got both the all-ages audience downstairs and the over 18s up in the balcony warmed up for a great night of music. Melbourne six-piece Alpine reached the stage shortly after, delivering an electrifying set which included energetic versions of singles Hands and Gasoline. Dual female vocalists Lou James and Phoebe Baker owned the stage, trading vocal licks with amazing intensity and precision. With the stage lights dimmed and the theatre draped almost completely in darkness, Lisa Mitchell and her four-piece band received a huge welcome. With her soft, joyful vocals in fine form, Mitchell immediately hooked the audience with new track Providence before quickly strapping on an acoustic guitar and powering through foot-stomping versions of Stevie and Spiritus. Despite the new album being only a little over two weeks old, each track was greeted with as much excitement and enthusiasm as the older ones. Unfortunately, while reciting a tender story behind The Land Beyond The Front Door, Mitchell was interrupted by a heckler and sadly cut the story short. Nonetheless, she delivered a beautiful solo acoustic version of it, her diminutive stature illuminated under the violet-blue stage lights and incandescent light bulbs. Alpine and Danco came onstage to provide Krishna-esque chanting on I Know You’re Somewhere before Mitchell and band retreated from the stage before quickly returning for a final encore of Bless This Mess and Coin Laundry, leaving The Astor rapturous audience more than satisfied. Throughout it all I witnessed the massive leap in confidence Mitchell has gained over the past couple of years as an artist. The night could best be summed up by Mitchell herself with a line from one of her songs; “Oh world, oh world, oh universe! I’m here!” Scott Aitken

Opening act Miranda & Gordo are a three-piece of amorphous composition. While keeping consistent to an indie/soft-rock guiding sensibility, the band members swap instruments and vocal duties several times throughout their set. Variation is to be commended, but they are truly at their best with the second drummer creating a wall of sound and flourish that carries the rest of band with it, instead of the jarring abstractions of the other configurations. Colour Of Indigo carry its weight of having five players well. Beginning with a cover track they quickly move into their own work, gelling well together as they focuse on a high-end sound. With excellent backing vocals and a tasteful lead guitar in play, the lead vocalist, however, seems to keep to a consistent pattern that lacks range, which let the sound as a whole fall into a repetition of sorts. The evening switches to prog-rock with Branches Of Berlin coming on board. Featuring keys and plenty of echo on the vocals, there is a great sense of propulsion working from the rhythm section. The bass even took to the lead with an excellent intro to track Insomniatic, and with an instrumental finale they display a compelling darker side. Finally, Reign take hold of the prog-rock vibes floating in the air and anchor an earthy, bluesy drone to the bottom end. Starting out with pitched, sustained notes to form an excellent contrast with the deeper tone of the vocals, they travel through several catchy melodies, before finishing with several tracks that find them in a mesh of monotonous noise. Perhaps designed to entrance, this undelineated wall of fuzz leaves the mind straying and the gig over before we know it. Mike Bowring


FREMANTLE ARTS CENTRE: 26/10/12 The annual Sonic Sessions series at the Fremantle Arts Centre landed its biggest fish when it secured Paul Kelly, perhaps Australia’s finest songwriter, and it came as no surprise when the show quickly sold out. For the uninitiated, the series sees an artist play an ostensibly solo set as they open up to Grammy Award winner and radio broadcaster Lucky Oceans. Countless performers have taken part in this fantastic initiative, but Kelly was the prize catch; as Oceans pointed out at the beginning of the show, they had been trying to get this immensely gifted musician, who usually shuns the spotlight, for some time. Tonight, as the residual heat and stunning venue set a beautiful scene, Kelly took centre stage and engrossed a reverential crowd. Before a word was spoken, though, Kelly and Oceans – the latter on pedal steel guitar and, later, accordion – cut the still air with Maralinga (Rainy Land) from the 1986 album Gossip. With a friendship that has lasted decades, there was an easy, affable connection between the two and the conversation, which moved from explanations of songs to shared memories, flowed effortlessly. Tracks from Kelly’s latest album Spring And Fall, such as Cold As Canada and For The Ages, had all the qualities that constitute his finest work. The instantly memorable melodies, which sat on a few tried and trusted guitar

chords, were masterstrokes, but it was the lyrics that stuck hardest. With lines such as, “Darling you’re one for the ages, I’m glad you live here in mine,” (For The Ages) it’s impossible not to be swept away by the strength and simplicity of his observations. How To Make Gravy, Deeper Water and From Little Things Big Things Grow were particularly moving, and aided by the contributions of special guest Alan Pigram, but it was the between-song conversations that resonated most powerfully. In fact, it was when discussing They Thought I Was Asleep, a song he’d written about pretending to be asleep in the car as a kid, that Kelly exemplified his incredible gift of speaking to everyone, personally, at the same time. He is, without question, a national treasure. Rick Bryant


The last time Tinpan Orange played the Fly By Night, lead singer and guitarist Emily Lubitz was glowingly pregnant. This time, she’s telling stories about her one-and-a-bit-year-old son and discussing the pitfalls of parenthood, while husband Harry James Angus looks on from behind his keyboard. The three-piece becomes a five-piece on tour, with Angus and newly permanent drummer Danny Farrugia joining Lubitz, her brother Jesse Lubitz, and violin virtuoso Alex Burkoy on the stage. Before they took over, however, Leure warmed the audience to a gentle simmer with her delicate brand of eerie electronica. Ash Hendriks of Wolves At The Door is the one behind the beats solo project, which is gaining shape and momentum after the August release of debut album Holland Sky. Her performance as support was beautiful and arresting, and a perfect start to what turned out to be an incredibly lovely evening. The Fly By was appropriately grand and atmospheric, all low colourful lighting and decoration, and the audience was attentive and silent. It was primarily a seated gig for an older crowd – presumably the younger punters had attended The Bakery gig the night before. As a result, it was all eyes to the front by the time Tinpan Orange took the stage, as we hung on every lyric, every sweep of the instruments, and only made noise when it was our cue to applaud. Much of what Tinpan Orange played was from the band’s new album Over The Sun, but there were a couple of covers: namely, Tom Waits’ Way Down In The Hole and the theme from the Round The Twist TV show, which everyone who grew up in the ‘90s got very excited about.

down to the ol’ Fly on Sunday night to give their due to one of the nation’s finest touring rock acts, back after five long years and with a new album in tow. All-round local music hero Andrew Ryan kicked the night off gradually with an unorthodox and graceful set, alone with his guitar. Ryan injects some pretty tongue-in-cheek humour into his writing, something that echoed the headliners. Whilst he didn’t get the crowd enraptured, his music was the perfect relaxing accompaniment to a balmy Sunday night. Then with little more than a wave to the cheering crowd, Something For Kate took the stage and launched right into a few new tracks. Taking an initial break to retune, frontman Paul Dempsey thanked everyone for coming down and letting us know that, “Sunday is just a figment of your imagination, so be cool”. Wise words. Say Something, an older track from 2001’s Echolalia, was met with applause before Star-Crossed Citizens, the opening track from this year’s Leave Your Soul To Science, was unleashed. And, yes, to those that have heard the song: that riff is jarring. Thankfully, it translates much better to a live setting. Dempsey looked like he was about to put a shoulder out, strumming at a machine-gun pace. Another break, another tune-up and he introduced The Fireball At The End Of Everything, a “love story set in a car in a traffic jam as the sun is about to engulf the Earth”. With the band starting out gradually (drummer Clint Hyndman starting with a sample pad rhythm) before building to crescendo, this proved a true highlight. Deja Vu and Down The Garden Path were also great picks before Dempsey pulled out the acoustic and launched into a solo rendition of Deep Sea Divers, a track that had been much anticipated by the crowd. An intense cover followed, before the band returned to the stage. Renditions of Monsters and Cigarettes And Suitcases had the crowd swooning and the encore capped it all off lavishly with Electricity and the low-key and fittingly titled Leave Your Soul To Science closing track, Begin, finished a wonderful night (with Journey questionably lined up on the PA straight after the set only mildly ruining the mood). Cam Findlay

Most of what kept our attention, though, was the musicianship; everyone involved being simply incredible musicians. Emily Lubitz has a wonderfully textured, smokey voice – very distinct and recognisable – and she dances with her hands. Alex Burkoy sometimes gets carried away on magnificent tangents while playing violin, while Jesse Lubitz plays his guitar like it’s a living creature. It was pretty easy to become enthralled in a special night of music. Zoe Barron


Sunday is always a hard day to go out. No less with a major music festival going on at the same time and temperatures ensuring that the night would be a sweltering one. Yet many and sundry made their way


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



AHEAD OF HER APPEARANCE WITH DAN SULTAN FOR THE UPCOMING ROCK FOR REGCOGNITION TOUR, LEAH FLANAGAN CHATS TO TESS INGRAM. Can you please give us a brief background on yourself? I am a singer-songwriter originally from the far north of Australia who has moved to the big smoke of Sydney recently to work on a new album. Have you always wanted to pursue a career in music? Yes. It’s my passion and I wouldn’t really know what else to do with my life if I wasn’t playing music in some form or another. What has been the biggest highlight in your musical career to date? Working with my new band who I love dearly and being able to meet and play with some of the world’s greatest musicians.


PICA-BOO WITH STEFAN CARAMIA – EVENTS AND MEDIA MANAGER, TELEDEX Who should punters be most excited about seeing? Minute 36, Special Brew and Day Of The Dead. Also keep an eye out for Jon Madd. What gave you the idea/theme for this show? We wanted to host a night of appropriate spookiness to tie in with the City of Perth’s Carnivale Macabre. PICA is launching its new exhibition that night and it’s also Open House Perth’s opening night. What does your gig offer that others don’t? Three amazing bands; Jon Madd roaming the crowd, dazzling everyone with his magical skills; b-grade black and white movie excerpts on the big screen; an outside bar and bbq all under the stars in the cultural centre and entry is free! What made you pick this venue/s? PICA has long been a pillar of Perth’s artistic community and now PICA Bar and Teledex are joining forces to make PICA Bar Perth’s newest original live music venue. A beautiful old building, great bartenders, a huge range of beverages and an alfresco area made the decision pretty easy. What’s next for your band/promo company? Currently, we have a pop-up shop showcasing local art and music in the Fremantle Woolstores in conjunction with the Fremantle Festival. We will also be hosting acoustic sessions in the PICA Bar courtyard every Friday and Saturday afternoon.

Who provides you with the most songwriting inspiration? My inspiration changes day to day and depending on how I am feeling when I write but I would be completely lost without my friends and my partner. How would you describe Nirvana Nights comparatively to earlier work? Nirvana Nights was my first album that I recorded as a soloist so the songs are a lot more gentle and laid back. Earlier to that album I was still figuring out what I wanted to do with my music. What do you enjoy most about performing live? The feeling, the audience, the music, everything really. What advice would you give to other indigenous artists looking to gain musical exposure? The same advice I’d give to any artist trying to break through. Work hard, have fun and don’t be afraid to put yourself out there. It sounds corny but from little things big things grow, yeah? Why is Rock for Recognition so important? Education is the key to understanding. Many people in this country are unfortunately still incredibly uneducated about the real history of this country and the current issues that exist for Indigenous people. It is important to start raising awareness. Rock For Recognition aims to raise awareness and promote the need for recognition of Aboriginal and Torres Strait Islander peoples in the Australian Constitution. Do you believe that music can bring about such influential political change? Of course it can! Come to the gig and I’ll sing you a song about it!

WHEN & WHERE: Friday 2 November, PICA Bar/Perth Cultural Centre



WORLD-RENOWNED JAZZ PIANIST MYRA MELFORD PLAYS SOME SPECIAL SHOWS AT THE BAKERY NEXT WEEK, SOLO AND WITH TRIO M. SHE CHATS TO DRUM ABOUT WHAT TO EXPECT. First up congratulations on an amazing career so far, what brings you down to Australia next month? Trio M was invited to play at the Wangaratta Festival and that led to the opportunity to put together a short tour, which is fantastic, because we’ll get to see other parts of Australia. In Perth you’re playing two shows, one solo and one as Trio M, what kind of outlet does each provide for you? Trio M’s music is centred within the broadest view of the jazz tradition in which a wide range of musical styles and personalities are the source of our inspiration. The common threads in our music are beauty, energy, rhythm, harmony, timbre, improvisational fantasy and a joy of sonic communion. As for my solo set, right now I’m working on new set of music inspired by the drawings of artist Don Reich. In addition I’ll play some of my favorite pieces by Andrew Hill and Ornette Coleman. Can you tell us a little about the genesis of Trio M with Mark Dresser and Matt Wilson? We all know each other and have played together in different formations in the NYC scene. When Mark and I both moved to California to take up teaching posts in 2004, we said let’s put a trio together and immediately thought of Matt. You also have other collaborations going on, along with teaching music, do you get much spare time for things outside of music? Yes, not as much as I would like sometimes, but I do have a spiritual practice that’s very important to me involving meditation and a group called the Sacred Fire Community. I also try to get out to enjoy all the natural beauty around San Francisco.

The wildly successful AGWA Nights series is coming close to the end, with only a handful of shows left until the Picasso To Warhol exhibition closes, and with it AGWA Nights Series 2. Remaining are Taal Naan on Friday 2 November (check for an interview), Felicity Groom & Diger Rokwell Fri 9, Davey Craddock & The Monocle Fri 16 and Timothy Nelson & The Infidels Fri 23, plus WAM Song Of The Year 2012 Grand Prize winners Rainy Day Women, Dave Callan and a veritable treasure trove of delights to finish the series in style on Friday 30 November. With expected sell-outs, best get your tickets ASAP!

CALLING ALL CREATIVES WAM are pleased to announce they are proud supporters for the inaugural event Emergence Creative. A unique festival and anti-conference exploring the increasing connections between technology, communication and creativity with some leading names in the digital and tech space, Emergence Creative takes over the grounds of Leeuwin Estate 20-22 February, featuring professionals from the advertising, creative, music, film, digital and design industries to listen to international leading creatives, and network and share concepts with other creative streams. is now live with info on programming, accommodation, speakers, satellite events and registrations.


Berklee College Of Music master Pat Pattison’s students have included John Mayer, Gillian Welch and a heap more Grammy and #1 hit-makers, so you could say that he knows a thing or two about great songwriting. WAM had him over earlier this year for the WAMi Festival Conference, where he delivered an inspiring keynote address session facilitated by our very own Lucky Oceans. WAM had this special event filmed, and for a limited time it will be available via RAINY DAY WOMEN

Having played music as a young child, what is it that grabbed you then and continues to drive you today? The sheer joy of making music and especially improvised music – I started out improvising when I was little, and it came full circle when I re-discovered improvisation in college. What’s coming up for the rest of the year, 2013, and beyond? I’m going into the studio to record my first solo record at the end of this year, and am working with my new quintet, called Snowy Egret, on a set of music I composed inspired by the writing of the Uruguayan writer, Eduardo Galeano.

WHAT: Rock For Recognition

WHO: Myra Melford

WHEN & WHERE: Saturday 10 November, The Bakery; Sunday 11, Fly By Night

WHEN & WHERE: Tuesday 6 (Solo) & Wednesday 7 (Trio M) November, The Bakery

RECORD-BREAKER The documentary is being launched tonight for Robert Hunter, a pioneer of Australian hip hop, founding member of the influential Syllabolix (SBX) and the first hip hop artist to be inducted into the WAMi Hall of Fame (2012). With record funding a result of admiration for the man and his battle with cancer, Hunter: For The Record features artists such as Hilltop Hoods, Drapht, Urthboy, Optamus and Dazastah (Downsyde). Limited tickets are still available for the screening on Thursday 1 November at Luna Leederville, with Optamus (Downsyde) and DJ Defyre in support, and you can read all about the making of it via under the new Interviews/Media tab under News. The Western Australian Music Industry Association (WAM) strives to support, advocate and nurture WA talent of all types. Visit for more info.

THIS WEEK’S ISSUE NOW LIVE 30 • For more news/announcements go to







LONDON ELEKTRICITY THE FIRST ALBUM I BOUGHT WITH MY OWN MONEY My first album I saved up for five months for – I needed my Christmas and birthday pocket money. It was the double album, Physical Graffiti by Led Zepellin. The vinyl with the windows. Still love the entire album, it’s really stood the test of time. In The Light and Kashmir are my fave tunes from it. THE TRACK I’M LOVING RIGHT NOW I can’t stop listening to Reach by Tokyo Prose, a New Zealand act. They release tunes on the brilliant Samurai Red Seal label. They are new school liquid and I heart their sound very much. MY FAVOURITE PARTY ALBUM Funkadelic – One Nation Under A Groove. From start to finish, a brilliant party album. Apart from the title track, which is obviously great, the original vinyl album also contained a bonus 7” that featured a live recording of Maggot Brain – a recording that contains a mindbending eight-minute guitar solo that to this day is without equal in my

opinion. In fact, if I’m ever depressed, I take out my air guitar and play this 7” and by the end of it I will have passed from tears to joy and back again several times. MY FAVOURITE COMEDOWN ALBUM By that, I think you mean chillout? Or maybe not! Ok – if I wanted to be brought down, REALLY down, like suicidal, then I would listen to anything by anyone from X Factor. If you meant chillout, then I would choose anything by Arvo Part. But danger – it can get so intense that it runs the danger of taking you right back up again! THE MOST SURPRISING RECORD IN MY COLLECTION Rock’n’Roll parts 1 and 2 by Gary Glitter. Look, I know he is a convicted peado, but when I got this record I was nine and at that time he was just Gary Glitter. I actually got this record by swapping a Swiss Army penknife with my oldest sister’s German boyfriend. In monetary terms he got the best deal, but looking back, it was a fair swap and I won on the musical front! THE FIRST GIG I EVER ATTENDED The first proper gig I went to was

Queen live at Hyde Park, London, in 1976 I think it was. I remember finding Freddy Mercury so spellbindingly attractive (he still had long hair then, and to be fair, I was a long way from the stage) that I doubted my sexuality for a good 20 minutes after the gig. Brain May killed it too, and Elton John made a cameo appearance. THE WEIRDEST GIG EXPERIENCE I’VE EVER HAD As a fan, I’ve had some very strange experiences that involved mushrooms and festivals, and as a musician I’ve had some very strange experiences that involved festivals and mushrooms. What? THE BIGGEST CELEBRITY CRUSH I’VE EVER HAD In the late ‘70s I had the biggest musical crush on Joni Mitchell, and when I formed by first band IZIT I spent months recording a funk cover version of God Must Be A Boogie Man from her album Mingus. It was, I thought, brilliant. So I sent it to her publishers to get her blessing. Two months later I had a letter from her Warner lawyer demanding that I destroy every tape that contained my track. Now I just think Joni Mitchell is a cruel and bitter old jazz bitch who looks like a horse. IF I COULD HANG OUT IN ANY TIME AND PLACE IN HISTORY It would be during 2001 where the monkey throws a bone into the air and it spins up and around and turns into the spaceship. IF I WASN’T MAKING MUSIC Well, I’d love to be a diver, diving for dear life when I could be diving for pearls. WHO: London Elektricity WHEN & WHERE: Friday 2 November, Metro City



Who’s in the group: Jimmy Nice, Nick Lupi and our DJ Joyride. From: Inner Westside of Sydney, Australia. How did you get your group name? When we were booked for our first gig at the tender age of 17, the promoter was hassling us for a name to include on the flier. Spit Syndicate was the first that came to mind – we’ve been riding under that banner and having it misspelt ever since. Your style: We rap over beats that bang, we write lyrics that make you think or feel a certain way, and we rock shows that make you want to get so burnt up you forget everything you just thought or felt. Classic hip hop contradiction shit. What equipment do you use? Turntables, a mini-synth, three microphones, one packet of extra large rolling papers, 1L bottle of Jameson – pretty simple set-up. really. What got you in to performing live? Playing live is the greatest part of being in a band, you get to see the songs come to life and you get to witness how your music connects with and affects people. Hip hop music is meant to be experienced live; it has an energy and intensity which is pretty hard to match. Career highlight: Touring the country with our crew-mates Horrorshow was a definite highlight, as was our first ever hometown (and sold-out) album launch. First live set: what was most memorable for you? We opened up for Lyrical Commission (oz


hip hop legends/pioneers) for our first Spit Syndicate set; we were under-age and had to use fake IDs to get in. It was a few days before our Year 12 exams, too. All time favourite electronic/hip hop track? Juicy J feat. Lil Wayne & 2 Chainz’ Bands A Make Her Dance (Remix). Well, perhaps not all-time – that’s too tough. But right now. Fave live electronic/hip hop acts and why? I’ve seen The Roots a bunch of times and they NEVER disappoint – I’ve also seen Kanye West a few times and I think he’s got a great live show, diva antics aside. Best set by a local live electronic/ hip hop act and why? Drapht’s live show is amazing, such killer energy and vocal delivery. Urthboy’s live show is also insane. The trio of him, Gusto and Jane Tyrell is incredible, they look like they’re having so much fun. Funniest thing you’ve seen from the stage? We were playing an intimate acoustic set at this club once, and I saw one of the audience members vomit all over himself and the floor, which cleared the room pretty quickly. Pretty hard to mask that kinda stuff at

an acoustic gig where people are sitting on the floor, haha. I dance like… 2 Chainz. Refer to his live performances for details. In 2020 music will be… loud! Hopefully anyway, god knows my hearing will be shithouse by then. Weirdest thing you’ve seen in a nightclub? See vomit story above. Spend more on music than you earn? Without a shadow of a doubt, yes. It evens itself out in other ways though (again, god bless the mining boom). In real life you: Take tourists on guided tours of the Sydney Bridge - not too bad at all. Production releases: Exile (2010) and Towards The Light (2008), released via Obese Records. What’s the next release peeps can look out for? We have a single out now (Beauty In The Bricks) and a new album due Feb 2013 called Sunday Gentlemen.\ More info?,, NEXT GIGS: Friday 2 November, Ya Ya’s; Saturday 3, Mojos




Releasing the video for their single Lipstick Cigarettes on Thursday, Dan Fragemoni gives us the story behind the new clip. The story: I literally just saw the first glimpse of the video. Mental really, considering we’re due to go into labour in a couple of days. Our last video was deep, dark and thought-provoking, like a HBO series on crack. This new video, by the same makers (Harrison Moon), is light-hearted... like an episode of Everbody Loves Raymond. We won’t reveal too much, but it involves a bearded man, a karaoke bar and a handful of confetti. All things that are destined for a match made in heaven. The sort of thing you’d watch on a night in with your girlfriend. Harrison Moon (Tay Kaka and Harry Reid Sadler) made the video in two weeks. Those guys are geniuses – if you need videos made, call those guys. They’re good humans too. Your fave three clips of all time: Jeff Buckley – So Real; Radiohead – Lotus Flower; Every single Michael Jackson clip ever made. Fave local clip: Kučka – Rewind


or any Abbe May clip ever made. Launch will involve: The launch will include a visual party for the eyeballs and a feast of local music for each of the other senses. I want to go to Bunnings tomorrow and buy a shitload of temporary party lights as well, because that’s what it is – a celebration. I’m more excited about the fact that we get to organize a night that showcases small snippets of Perth’s amazing music scene. It’s a prosperous time around these traps it seems; a good time to invest in the market. Leure is a clear example if this –

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electronica for your soul. She’ll be there. So will King & Queen, Diger Rokwell and Felicity Groom, under MF Groom. You can’t even imagine how overwhelmingly good that is going to be. And Bleeding Colours, up-and-coming beat maker/s on their first date. We’re re-tuning the PA too, so it’s going to sound ace. That’s what’s involved! It’s all for the people. WHAT: Lipstick Cigarettes (Independent) WHEN & WHERE: Thursday 1 November, Mojos

Reason/concept for night? Her is Pride WA’s female Parade AfterParty. The community called out for a separate event and they love what we’ve done with it. It’s sexy, it’s engaging, it’s a celebration and it’s something a little bit different too. Who’s heating up the dancefloor? We’ve got Nat Ripepi (our 2012 Pride Patron), Anabelle Harvey, DJ Patrice, DJ Curlee, and Rose Parker. We’ve got burlesque, dancers – it’s going to be amazing. What does your night offer

that others don’t? It offers you something different. That mix of party and intimacy. This year is all about the performances and we can’t wait. What makes the venue so hot? It’s something really different, especially having the laneway set up. Honey has this cool, dark, sexy, city feeling and we’re lucky to have been able work with them on this. They also have a wicked drinks menu, which is like the icing on the cake.

What’s next for your crew/promo company? After the parade and after-parties? A well-earned rest. And then on to the planning of the next festival. Next year will be even bigger and better than this year. Cost? $30 for members/$35 non members, pre-sale via $35 for members/$40 non members on the door at Honey Lounge. WHEN & WHERE: Saturday 3 November, Honey Lounge

MC BOOTH DEFYRE Daytime (real) name: Simon Fable From: Perth What residencies do you have/ crews do you belong to/acts to you play in/with? I represent the Syllabolix Crew, have worked with most of the artists within it whether live or on record including the legendary Hunter, Clandestien, Optamus... the list goes on. Also DJ for Lower Class Kings, watch that name… How did you get your MC name? I thought, ‘What would be siiickest name ever?’ Double meaning-type shiz, something I could scratch up. And then it just came to me. What you rhyme to... Original beats by Rob Shaker, Dazastah, Optamus, Mortar, Poker Beats, Creed Birch... jacked beats by Gramatik, Pete Rock, DJ Premier, Stoupe. What’s your style? That real feel Boom Bap! Gotta have that essence, but at the same time push boundaries and not lose where you’re from. I like bass-driven beats and when it comes to rhyming, it’s gotta be smart, smooth, have punchlines, double entendres, syllable runs and CLASS! So all of that, ha. What makes your MCing unique/ different or ahead of the rest? People tell me my voice stands out, it’s distinct. Coming from a DJ background, scratch patterns are like syllables; same thing but used different! Most MCs are start stop, line for line; I like to get up, over and around bars, keeping it interesting! Career highlights: Sharing the stage with Hunter, Mortar, Layla, Graphic and the Hilltop Hoods


performing Bat Country at the Fear & Loathing launch! Most of SBX were on stage too. A sold out crowd and it was Hunter’s last show... That feeling will never be replicated! First time MCing out: what was most memorable for you? I ran a night at Bar Open a few years back called Reprazent that was my first taste, but my first solo set was at Hunter’s first launch of Monster House! I performed a bunch of my songs, got a great response and then DJ’d for Hunter. Very special to me. All-time fave rhyme on a produced track? Has to be RA The Rugged Man on the Jedi Mind Tricks track Uncommon Valor. He is rhyming through the view of his father in the Vietnam war. Sonically it’s incredible, but what he is saying and the effects passed on through his family are very deep. Plus the beat is amazing. Fave MCs and why? Apathy from the US is incredible! He ticks all the boxes; his voice is great, lyrics are on point and delivery is flawless! He can tell a story or just explain how he is the best. Fave producers and why? Hip hop – Gramatik, Pete Rock, DJ Premier, Trials, Rob Shaker, Dazastah! Drum’n’bass – Prolix, Audio, Optiv and The Upbeats… These artists are absolute kings and their work is constantly blasting from my speakers. Best MCing performance by an Australian you’ve ever seen? I’d say my favourite live show has got to be The Funkoars – so much energy, great mix of MCs. Reflux is a beast on the decks and the production is second to none. As a solo artist, the Queen of Oz and





SBX, Layla always smashes it! Funniest thing you’ve seen when up on stage? Funniest thing I can tell you about in street press is when I was DJing for Bitter Belief at Bar Open. He was so drunk he fell off the stage! Classic. Complete these sentences: I dance like… I just scored a goal in the soccer World Cup. I MC like a… BEAST. In 2020 music will be… My life. In 2020 I’ll be…Touring the world getting paid to party... or completely broke! Spend more on music than you earn? So far yes, but it’s about time we changed that. In real life: I am a slave to the society I’ve been raised in!


Your own production releases: I’ve just dropped the Respect Is Earned mixtape, the prequel to the Great Balls Of Fyre LP. It’s a free download at defyre. Also buy The Dragon Project! A collab album ft Tomahawk, Bitter Belief, myself and Rob Shaker on production! Where can people get more info?; facebook. com/defyre;; NEXT GIG/S IN PERTH: Thursday 1 November, Hunter: For The Record Screening, Luna Palace Cinemas Leederville; After Party, Rocket Room




In the early months of this year, Melbourne rootsy reggae soulstress Saritah packed her suitcase and acoustic guitar for California, where she went into the studio to create her new album. The result is Dig Deep, a vibrant, rich collection of tracks that unites roots, reggae, dancehall, pop and nu-soul flavours with themes of joy, loss, inspiration and faith. The album features first single Tears Of Joy, produced by Mario Caldato Jr (Beastie Boys, Manu Chao, Jack Johnson, John Butler Trio, Beck), and she’ll be bringing a swag of tracks west ib tge Dig Deep album tour, hitting Fly By Night Friday 9 November and Settlers Tavern, Margaret River Saturday 10. For your chance to win a copy of the album and a double pass to the Fly By Night show, email giveaways@drumperth. with I DIG SARITAH in the subject header. Five runners up will score a free copy of the album.

In case you missed our chat with Eurodance mega stars Snap! last week, the ‘90s are back in a bombastic way and Snap! have got The Power. They bring all the faves like The Power, Rhythm Is A Dancer and Cult Of Snap to Villa this Saturday 3 November for a mega ‘90s party. Alls you need to bring is your best ‘90s gear and your freshest Bel Air attitude. Karl Blue, Royce, Charlie Bucket and Klean Kicks support, and tickets are $40 plus BF via Moshtix. Otherwise for your chance to win a double pass email giveaways@ with SNAP! TO IT in the subject header.








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JAPAN 4 @ AMBAR The sounds of Dead Easy, Bezwun, Micah, Philly Blunt and Blend bang into your mind at the home of the underground. $12 before midnight, $15 thereafter.

JHERI CURL @ THE BIRD Lucidity presents future funk and soul with Ben Taaffy, Charlie Funk’It, Starkytron, Raaghe Ismail and Mustacio Jones. $5 from 8pm.



The Weapon is Sound’s monthly night injecting dubstyle into your midweek, while the Culture Clash Clan party in the front room.

Funk Club rock a special Saturday night featuring Boom Bap Pow!, Funk Club DJs and guests from 6pm.

SHY PANTHER @ MOJOS Trip-hop phenom Shy Panther launch their new video clip for the single Lipstick Cigarettes, supported by Leure, MF Groom, Bleeding Colours and Felix Baumgartner.

HUNTER FOR THE RECORD AFTER PARTY @ ROCKET ROOM After Hunter: For The Record screens at Luna Leederville, head over to the Rocket Room for an After Party love-in with MC Defyre and more.

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 with The Living End rocking inside.


PRIDEFEST STREET PARTY @ THE COURT The Court Street Party returns after the Pride Parade this year on Saturday 3 November with its biggest headliner yet, the Dirty Talker herself Wynter Gordon, bringing all of her club smashes from her multi-platinum album With The Music I Die and more, plus Aussie urban king DJ Nino Brown, Sydney house legend Dan Murphy, Skarlett Saramore’s new duo Boy & Girl and Sydney DJ Drag Queen Kitty Glitter. It’s a Full Moon Party, and you can treat it as such with a free shisha bar, massages, silent disco, a bucking penis (yep!), tiki bar with slushies, lolly jars, bouncy castles, Thai food cart and more. There’ll also be a fluoro paint stand to run with the Full Moon Party vibes and you can meet the entertainers inside the venue. Dress code: Boardies, singlets, fluoro paint... basically anything weird and/or wonderful you can think of (shoes are a must though!). Tickets via


DJ Tony Allen hosts Retro Thursdays.


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




MARK FANCIULLI @ GEISHA Mark Fanciulli’s 2011 release The Tide caught the entire industry’s attention, and he’s supported by Flex, Darren J, Valle Zoo and Chris Aird. $20 via Habitat, more on the door.

FISHERMAN STYLE @ MOJO’S This month sees a Fisherman Style first with new reggae outfit Crucial Rockers live on stage, fronted by Grace Barbé and backed by some of Perth’s finest reggae rockers. Earthlink Sound feat Sheriff LIndo, Kritical, Drummie with DJ Sorted and Simmo T support. Free ‘til 9pm, $10 after. GET MORE

HIGHER FYAH @ BAR ORIENT Coinciding with the Fremantle Festival, it’s a special conscious reggae edition with General Justice, H-Mut, Kelvin & Jona, Ras Mwas, Rasta Mick, The Empressions, Muma Trees and Sista Che. Free from 7pm.

DAY OF THE DEAD @ DEVILLES PAD DISTRICT @ AMBAR The bass music business time that is District returns with Get More, Donald Krunk, Angry Buda, Philly Blunt, Meet Mark and Easy P, plus host Japan Stripes. $12 from 10pm. XILENT

A Raunchin’ Mexicana Party starring Sweden three-piece The Go Getters, Perth’s own The Continentals and DJs Razoe Jack, Holly Doll, Herman Ze German and Lil’ Franco Berry. Doors 6pm, $10 after 8.

INCEPTION @ HONEY LOUNGE Inception brings all things house, future, nu-disco, garage and beyond, this week featuring Dan McNab, Brian Edwards, Abisedon, Marko D and Vinyl. Free before 9pm, $5 before 10, $10 after.

EVE NIGHTCLUB DJ Don Migi and guests bring the party anthems all night long.

HEAVYWEIGHT SOUNDZ @ METRO CITY 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 Dynamite MC and Audioporn Records’ Xilent for another epic Metro City party.

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

FHF @ METRO FREO The Death Disco DJs rock bangin’ indie-dance, plus red cups, cheerleaders and college-theme.

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

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

EVE NIGHTCLUB DJs Crazy Craig and Slick bring the party anthems all night long.

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

HALLOWEEN @ METRO CITY Metro City goes all out with DJs and dancers, just come dressed in a sexy/scary outfit and be ready to boogie.



Smooth Sunday beats free from 4pm on the rooftop, with the Backyard Project DJs, streamed live to Backyard Project.


SPIT SYNDICATE @ YA YA’S Beauty In The Bricks is the brand new single from inner-west Sydney duo Spit Syndicate, and the first track to be lifted from their forthcoming album Sunday Gentlemen, and they’re excited to give it a spin for fans. Tickets through Oztix.

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.

ARRESTED DEVELOPMENT @ METRO CITY Grammy award-winning hip hop outfit Arrested Development are back for their 20th anniversary tour, joined by special guest DJ Alison Wonderland and local party starters The Brow Horn Orchestra. Tickets via VJ ZOO

DJs Angry Buda and Slick bring the good time tunes.


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

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

WUB WUB @ BOULEVARD TAVERN HARLEM HUSSLE @ FLY BY NIGHT Harlem Hussle is a night dedicated to celebrating Fly By Night’s 26th B’day, and it’s a night of funk, soul and Motown tunes from nine-piece big band Stratosfunk, plus DJ Cook and VZ Zoo.

HER @ HONEY LOUNGE The Female Pride Parade after party rocks Honey Lounge with DJs Curlee and Patrice, plus guests Nat Ripepi, Rose Parker and Annabelle Harvey. Tickets via


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

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

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


Snap!’s international mega hit The Power is one of the world’s most played dance tracks, likewise Rhythm Is A Dancer. So bust out your best ‘90s attire and boogie down to Snap! plus supports Karl Blue, Royce, Charlie Bucket and Klean Kicks. $35+BF via Moshtix.

A new and eclectic night of live electronic music is set to hit Perth in Outbreak, which debuts Thursday 8 November at The Newport Hotel with Child’s Play, Freqshow and DJ Scorpius feat. MC Gamma, and Friday 9 at Hyde Park Hotel with Lilt, Freqshow and DJ Sani feat. MC LZ.



Inner-west Sydney duo Spit Syndicate are celebrating a new single and their forthcoming album Sunday Gentlemen. Tickets via Oztix.

A tiger amongst pigeons, Philadelphia’s Santigold takes

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

FLOATING POINTS, ALEXANDER NUT, FATIMA @ AMBAR Your favourite party-starters are coming together for a very special night of dancefloor debauchery. Sam ‘Floating Points’ Shepherd, Alexander Nut and ‘Queen’ Fatima combine their talents Thursday 22 November at Ambar for over five hours of late-night retrofuturism as the Eglo Records collective take over Perth’s tidiest basement soundsystem for the very first time. Put your trust in this collective to keep toes tappin’, hips dippin’ and the party movin’ all night.

STEREOSONIC @ CLAREMONT SHOWGROUNDS Sure it feels like winter, but there’s already enough festivals announced to feel warm inside. Stereosonic have joined in on the fun, finally announcing the full line-up ahead of their Sunday 25 November show at Claremont Showgrounds (TBC). And the line-up is seriously huge: Tiësto, Gesaffelstein, Dillon Francis, Destructo, Calvin Harris, Avicii, Example, Carl Cox, Major Lazer, Laidback Luke, Martin Solveig, Strange Talk, Chuckie, JFK MSTRKFT, Mr Oizo, Dash Berlin, Infected Mushroom, Markus Schulz, Sander Van Doorn, Aly & Fila, Simon Patterson, Marlo, Loco Dice, Adam Beyer, Joris Voorn, Porter Robinson, Bass Nectar, Tommy Trash, Brodinski, Zedd, Foreign Beggars, Diplo, Flux Pavillion, Excision, Caspa, Datsik, Kaz James, Treasure Fingers, Alvin Risk, Bart B More, MC Stretch, MC Gunner and Feenixpawl! Massive is one way to put it. Tickets go on sale from Thursday 2 August, with first release $139.95.

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

NICKI MINAJ, TYGA @ PERTH ARENA American singer and fashion challenger Nicki Minaj will bring her arena tour to back to Australia after an East Coast trip earlier this year, in a jaunt that visits Burswood Dome Saturday 8 December. A superstar and trailblazer, Minaj has become one of the world’s most in-demand acts and the numbers (whether it be the multi-platinum albums or millions of social network follows) speak for themselves in terms of her global following. American rapper Tyga will also be opening for Minaj on what is coined the Pink Friday Reloaded Tour. Tickets via Ticketek.



THU 01 Open Mic Bar Orient Open Mic Night Brighton Zukhuta Clancys - Canning Bridge Karma County Clancys - Fremantle Courtney Murphy Como Hotel Rock’n’Roll Karaoke Devilles Pad Jugular Fly By Night Chris Murphy High Wycombe Hotel Bex’s Open Mic Night Indi Bar The Stanleys, Kizzy, Joel Barker, Kite Magic Leederville Lounge James Wilson Lucky Shag Shy Panther, Leure, MF Groom, Bleeding Colours, Felix Baumgartner Mojos Nth Fremantle The Go Getters, DJ James MacArthur Mustang Bar Rubadub Newport Hotel The Aunts, The New Beast, DJ Cookie Norfolk Basement Dr Bogus Paddy Hannan’s, Burswood The Living End, Sons of Rico, Gyroscope DJs Rosemount Hotel Sons of Rico DJs Rosemount Hotel, Beer Garden Clayton Bolger Rosie O’Gradys Fremantle Bill Chidgzey Rosie O’Gradys Northbridge Gordy’s Memorial Settlers Tavern Margaret River Krank, Easy Tigers, Insideout, Dakota Shed Fenton Wilde Sovereign Arms Eleven 11, Siren of Sound and Special Guests Swan Lounge Sugarpuss, Seams, Rich Widow, Sulu, + more The Bird MFO 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 X-Wray Cafe Odette Mercy, Riley Pearce, Stella Donnelly, Kate Gilbertson Ya Ya’s

FRI 02 Midnight Rambler 7th Avenue Bar Gypsy & The Cat Amplifier Bar Mod Squad, Tip Top Sound DJ Bailey Bar & Bistro Dianas, Fucking Teeth, Doctopus, Ham Jam, + more Bakery - Northbridge Anderson Bally’s Bar Mike Nayar Balmoral Conscious Reggae Night Bar Orient - Fremantle DJ Andyy Blvd Tavern, Joondalup Matt Milford Broken Hill Hotel Better Days Brooklands Chasing Calee Chase Bar & Bistro

Dead Set Radio, Further Earth, One Armed Scissor, Midnight Boulevard, Jake & The Cowboys Civic Hotel Back Room SSA, The Bob Gordons, Blindspot, Alex The Kid, Gutter Drakes Civic Hotel, Den Diamond Dave & the Doodaddies Clancys - Fremantle Rhys Smith Trio Clancys City Beach The Go Getters, The Continentals, + more Devilles Pad Evan Steer Flinders Park Hall Ash Grunwald Fly By Night Fremantle Damien Cripps Band, Clayton Bolger High Road Htl Riverton Dr Bogus High Wycombe Hotel Carus Thompson & Band, Leena Indi Bar Jason Ayers Last Drop Tavern The Organ Grinders Legends Bar Insideout Lesmurdie Club Crucial Rockers, Earthlink Sound, Sherrif Lindo, + more Mojos Nth Fremantle Captn K, Simmo T Mojos Nth Fremantle (afternoon) Soul Corporation Moon & Sixpence Harry Deluxe, Cheeky Monkeys, DJ James MacArthur, Swing DJ Mustang Bar Party Rockers Newport Hotel The Suntones, Stoney Joe, Helen Townsend Band, + more Norfolk Basement J Babies Paddy Hannans Burswood Flyte Paramount Nightclub Minute36, The Chemist, Day of the Dead PICA Bar Jonathan Dempsey Pink Duck Lounge Free Radicals Princess Road Tavern Neverborn, Inanimacy, Combined Deathtoll Rocket Room Extreme Aggression:, DJ Cain Rocket Room (Late) The Living End, Sons of Rico, Gyroscope DJs Rosemount Hotel Huge Saint Beeva Feeva Settlers Tavern Margaret River Roly, The Rupert Crook Confusion Swan Lounge Chris Gibbs Swinging Pig Greg Carter Swinging Pig (Arvo) Steve Hepple The Admiral The Novocaines, Dead Owls, Lanark, Man The Clouds The Bird Everlong Acoustic The Boat Neil Colliss The Eastern Midland Cartel, James Flynn & Friends The Ellington Jazz Club Nightmoves Universal Bar Son’s of Fred, The De Grussa Band, + more Velvet Lounge

Ivan Ribic Victoria Park Hotel Lush Woodvale Tavern Spit Syndicate Ya Ya’s

SAT 03 At The Gates Amplifier Bar Usurper Of Modern Medicine, Kucka, Weapon is Sound, Mayor Dadi, Doctopus, Gulls Bakery - Northbridge Flyte Bar 120 Mike Nayar Belgian Beer Cafe J Babies Black Bettys Sol-Lo, Krank Blvd Tavern, Joondalup Hart Duo Blvd Tavern, Joondalup (afternoon) Jonny Taylor Bootleg Brewery John & Shaun Sandosham Burswood Lobby Lounge Midnight Rambler Burswood Meridian Room Hi-NRG Burswood Groove Bar Branches Of Berlin, Misty Mountains, Sully, The Crossbars, + more Civic Hotel, Den Tom Fisher Clancys - Canning Bridge Nathan Gaunt Clancys - Fremantle The Crux Clancys City Beach Paul Ubana Jones Crown Hotel, Collie Boom! Bap! Pow!, + more Devilles Pad Stratosfunk, The De Grussa Band, + more Fly By Night Fremantle Losing Julia High Road Htl Riverton Vdelli Indi Bar Hot Suga Kardinya Tavern Neil Colliss Leopold Htl Bicton Spit Syndicate, Mr Grevis, Creed Birch Mojos Nth Fremantle The Rusty Pinto Combo, Milhouse, DJ James MacArthur, Rockabilly DJ Mustang Bar Gravity Newport Hotel Kizzy Newport Hotel (afternoon) Carus Thompson & Band, Leena Norfolk Basement Black Ink, Dark Or The Day, Xenon, The Rumble Railway Hotel Kickstart, DJ Mel Rocket Room (Late) The Living End, Sons of Rico, Gyroscope DJs Rosemount Hotel Blue Gene Rosie O’Gradys Northbridge Jonny Taylor Settlers Tavern Electrophobia Settlers Tavern Margaret River (afternoon) Kite Magic, Lauren O’Hara, + Special Guests Swan Lounge Ben Taaffy, Charlie Funk’it, + more The Bird The Organ Grinders The Boat Empire, Elise Lynelle, Penny King Quintet The Ellington Jazz Club Soul Corporation Universal Bar Courtney Murphy & Murphy’s Lore Woodvale Tavern

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Joe Black Trio X-Wray Cafe The Crooked Cats, The Kuillotines, Zorba’s Milk, The Beers Ya Ya’s James Teague, Axe Girl, Peter Bibby, Will Stoker Ya Ya’s (afternoon)

SUN 04 Good Karma 7th Avenue Bar Annabelle, Serge, Sea Level, Open Mic Blvd Tavern, Joondalup The Zydecats Clancys - Fremantle Spooky Mens Chorale Clancys (afternoon) - Fremantle Rachel & Henry Climb A Hill Clancys Dunsborough Open Mic Fly By Night WA Youth Jazz Orchestra Fremantle Arts Centre Courtyard Glen Davies High Road Htl Riverton The Organ Grinders High Wycombe Hotel Ensemble Formidable Sound System, The Lucky Numbers Indi Bar Mitch Becker Band, Justin Walsh Folk Machine, Whistling Dogs Mojos Nth Fremantle Doctopus, Blokes In Coats Mojos Nth Fremantle (afternoon) The Rough Housers Mundaring Hotel, Peter Busher & the Lone Rangers, DJ Rockin Rhys Mustang Bar Stone Circle, Arkayan, Brutus, Ultra Sound, + more Newport Hotel Tim Nelson Newport Hotel (afternoon) Dirty Scoundrels Pig & Whistle Kevin Conway Pink Duck Lounge The Living End, The Growl, Gyroscope DJs Rosemount Hotel Bill Chidgzey, Neil Colliss Rosie O’Gradys Northbridge (afternoon) Craig Ballantyne Sovereign Arms Andrew Bond, Jimmy Rockets, Trojan John, Paradise MotorInn Swan Lounge Jake Dennis The Ellington Jazz Club Better Days, Greg Carter The Gate Bar and Bistro, Success Retriofit Universal Bar Damien Cripps Victora Park Hotel (afternoon) Free Radicals Woodvale Tavern The Charisma Brothers X-Wray Cafe Jordie Lane, Felicity Groom, James Teague Ya Ya’s Jammin Band Comp Ya Ya’s (afternoon)

MON 05 Wide Open Mic, Bruno Booth Mojos Nth Fremantle Marco & The Alleycats Mustang Bar The Living End, The Growl, Gyroscope DJs Rosemount Hotel Belle Harvey, Saint Ravine, Empty Cup, + more The Bird

James Wilson The Brass Monkey Plastic Max & The Token Gesture The Deen WAAPA Jazz Vocal Showcase The Ellington Jazz Club Damien Cripps Woodvale Tavern Johnnie Walker & The Rock Bottoms X-Wray Cafe Big Thommo’s Open Mic Variety Night Ya Ya’s

TUE 06 Myra Melford Bakery Leon, Sharmeen, Sea Level Blvd Tavern, Joondalup Courtney Murphy Burswood Meridian Room The Idea Of North Fly By Night Fremantle MC Tomas Ford, Paul Ubana Jones Indi Bar Christian Thompson Lucky Shag Astro, Rag n Bone, Tracksuit Mojos Nth Fremantle Danza Loca Salsa night Mustang Bar Dr Bogus Paddy Hannans Burswood Nat Col & The Kings, Swamp Thing, Minnie Marks Perth Blues Club The Living End, The Novocaines, Gyroscope DJs Rosemount Hotel Pop Candy Steve’s Bar Fat Shan’s Open Mic The Bird Jonny Taylor The Deck, Brusselton Adrian Kelly, Jeremy Greig The Ellington Jazz Club The Tom Tale Jazz Quartet X-Wray Cafe

WED 07

Emerald City Amplifier Bar Trio M Bakery Northbridge Dub Step Crew Blvd Tavern, Joondalup Jazzdezvous Fly By Night Fremantle Fenton Wilde Hale Rd Tavern Nat Col & The Kings Indi Bar Howie Morgan Lucky Shag Swamp Thing, Minnie Marks Mojos Nth Fremantle Timothy Nelson, Luke Dux, Karin Page Moon Café Kate Gilbertson, Helen Shanahan, The Bluebirds Paddo The Living End, The Novocaines, Gyroscope DJs Rosemount Hotel DJ Anton Maz Rosemount Hotel, Beer Garden David Fyffe Rosie O’Gradys Northbridge Cam Avery, Friends DJs The Bird TLC Organ Trio The Ellington Jazz Club Paul Ubana Jones Woodvale Tavern Jay Grafton, Fiona McMartin X-Wray Cafe The Southwicks, Waiting For Bliss, + more Ya Ya’s Touche Amore, Make Do and Mend, Foxes YMCA HQ


EMMYLOU HARRIS DAVE’S GOT A LOVELY BUNCH OF COCONUTS: NOV 1 Clancy’s Fremantle MATT’S BIG HITS: NOV 1 Astor Theatre THE LIVING END: NOV 1-7 Rosemount Hotel PLUG INTO PERTH: 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 + NAT COL & THE KINGS: NOV 6 Charles Hotel; NOV 7 Indi Bar; NOV 8 Prince Of Wales; NOV 9 Settlers Tavern; NOV 10-11 Blues At Bridgetown 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 + CHARLIE MUSSELWHITE: NOV 8 Mojos; NOV 10-11 Blues At Bridgetown 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

TOUCHE AMORE 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 + THE BEARDS, THE SNOWDROPPERS, GAY PARIS: NOBV 14 Mojos; NOV 15 Prince Of Wales; NOV 16 Settlers Tavern; NOV 17 Rosemount Hotel; NOV 18 Indi Bar CATHERINE TRAICOS: NOV 15 Ellington Jazz Club GLENN MILLER ORCHESTRA: NOV 15 Albany Entertainment Centre; NOV 17 Burswood Theatre; NOV 18 Bunbury Entertainment Centre 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 + MUSIC IN THE PARK: CARUS THOMPSON and more: NOV 17 Mawson Park, Hillarys 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 + IN FEAR & FAITH: NOV 22 Amplifier; NOV 23 HQ (AA) DEEP SEA ARCADE, THE PREATURES: NOV

23 Rosemount Hotel + THE SELECTER: NOV 24 Astor Theatre BLAZE BAYLEY & PAUL DI’ANNO: NOV 24 Civic Hotel THE WIGGLES: NOV 24 & 25 Perth Arena + CARAVANA SUN: NOV 25 Mojo’s; NOV 29 Indi Bar; NOV 30 The Cidery, Bridgetown; DEC 1-2 Settlers Tavern; DEC 7 White Star Hotel DARK FUNERAL: NOV 25 Amplifier POUR HABIT, HIGHTIME: NOV 28 Rosemount Hotel + BRITISH INDIA, KINGSWOOD: 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 NATURAL NZ MUSIC FESTIVAL: SHAPESHIFTER, KORA, LADI6, TRINITY ROOTS, MAISEY RIKA and more: DEC 1 Red Hill Auditorium CLASS OF ’60: LITTLE PATTIE, DIANA ROSS, LESLEY GORE, PETULA CLARK, DUSTY SPRINGFIELD: DEC 1 Burswood Theatre JUSTINE CLARKE: DEC 1 The Astor Theatre (10am/12pm/2pm) RUSSELL BRAND: DEC 2 Perth Arena A DAY ON THE GREEN: SIMPLE MINDS, DEVO, THE CHURCH, THE MODELS: DEC 4 Kings Park and Botanic Garden REEL BIG FISH, GOLDFINGER, ZEBRAHEAD: DEC 5 Metro City LAGWAGON, THE SMITH STREET BAND: DEC 5 Prince Of Wales; DEC 6 Rosemount Hotel SHANNON NOLL: DEC 6 Friends Restaurant; DEC 7 Charles Hotel; DEC 9 Icon Restaurant JENNIFER LOPEZ: DEC 6 Perth Arena BENJALU: DEC 6 Indi Bar; DEC 7 Clancy’s Fremantle; DEC 8 The Bird; DEC 9 Clancy’s Dunsborough THE BLACKEYED SUSANS: DEC 7 Rosemount; DEC 8 Mojo’s MOUTHGUARD: DEC 7 The Rocket Room; DEC 8 The Den MISSY HIGGINS, KATE MILLER-HEIDKE: DEC 8 Fremantle Arts Centre VAZ, DEAD: DEC 8 DaDa Records; DEC 9 Mojos

W W W. T H E V O O D O O L O U N G E . C O M . A U

W W W. R O C K E T R O O M . C O M . A U














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38 • To check out the mags online go to







Drum Media Perth Issue #312  

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...