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WA’ S H I G H E S T Q U A L I T Y S T R E E T P R E S S • T H U R S DAY 1 3 D E C E M B E R 2 0 1 2 • 3 1 8 • F R E E

CONVERGE

DO EVAN DAN HATFIELD & JULIANA

IN JEFF MART

EKTOR REGINA SP

INSIDE: HERMITUDE • 65DAYSOFSTATIC • THE PREATURES • SCORCHERFEST www.themusic.com.au


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FOREWORD LINE

NEWS FROM THE FRONT

IN BRIEF Jazz legend Dave Brubeck has passed away just one day before his 92nd birthday. He was the first jazz artist to sell over one million copies of an album. The new record from Birds Of Tokyo will be called March Fires and released March 1. DEFTONES

LIFE AND DEF Legendary genre-bending five-piece Deftones have always been one step ahead of their alternative metal peers. They have spent their career battling on the frontline, always pushing ahead stylistically and crafting crushingly effective metal tracks whilst breaking new ground. Their latest LP effort, Koi No Yokan, has once again established that fact. Here soon for the Soundwave Festival, Deftones have announced a second WA appearance at Metropolis Fremantle on Tuesday 21 May, with new and exciting fellow metallers letlive. Tickets on sale today through Moshtix.

Local indie-rock outfit Stillwater Giants and beatsmith Ta-ku are WA’s entrants in triple j’s Next Crop 2013 artists. Gotye has picked up three Grammy Award nominations, while fellow Aussies Tommy Trash and Ivan Gough & Feenixpawl, featuring our own Georgi Kay, scored one nomination apiece. Macklemore & Ryan Lewis’ Thrift Shop is the first ever number one single on the brand new ARIA Streaming Chart, which collects data from Spotify, JB Hi-Fi Now and Samsung Music. No Australian artists made the top ten.

DEERHOOF

IN THE HEADLIGHTS From their humble beginnings as an obscure San Francisco noise act, Deerhoof have become one of indie music’s most influential bands with their ecstatic and unruly take on pop. One of the most unlikely success stories in contemporary music, they’ve made some of the most difficult and unclassifiable noise of the mid-‘90s, before unexpectedly rising to international prominence as one of indie rock’s most renowned and influential groups. They make their way to the Rosemount Hotel on Thursday 28 February, supported by Runner and Perth. Lifeisnoise.com for ticket details.

Seth Sentry is the winner of the 2012 Channel [V] Oz Artist Of The Year award, beating out fellow top four contenders Reece Mastin, Delta Goodrem and Ball Park Music in the fan-voted competition.

Cult-adored avant-pop band Amanda Palmer & The Grand Theft Orchestra have postponed their upcoming Australian visit, so that Palmer can remain in Boston with an ill friend.

THURSDAY 13TH DEC

UPSIDE DOWN (LAUNCH NIGHT)

FEAT. DCUP. DOORS 8PM – YA YA’S 10PM – GEISHA/$10 FRIDAY 14TH DEC

COVELESKI (EP LAUNCH)

KILL TEEN ANGST, CELEBRATOR, ADAM LIVINGSTON (SOLO) DOORS 8PM/$10 SATURDAY 15TH DEC

THEM SHARKS

FAIM, BURNING FICTION AND WOLVES DOORS 8PM/$10

CLUBFEET

HEIRY FEET To celebrate their upcoming album release Heirs & Graces, synth-pop juggernauts Clubfeet are making their way around the country in February to bring you their wares, including infectious new single Heartbreak (featuring Shela). Renowned for their live show, which has seen them gain a reputation in the US, as well as on our own sandy shores, they play Speakeasy at Villa on Saturday 23 February with local support TBA. Tickets $20 plus BF via Moshtix.

SUNDAY 16TH DEC (DAY) LADY VELVET PRESENTS

SANTA’S SECRETS: CABARET & BURLESQUE DOORS 2PM/$15

SUNDAY 16TH DEC (NIGHT)

FEAR OF COMEDY

HEYTESBERG, GOAT AND SHIPWRECKS DOORS 6PM/$10 MONDAY 17TH DEC

BIG TOMMO’S OPEN MIC VARIETY NIGHT DOORS 7PM/FREE

MAD CADDIES

TUESDAY 18TH DEC

THE GEORGIANS

RACHEL SARGE & MAI BARNES DOORS 7:30PM/$5 WEDNESDAY 19TH DEC

THE CROOKED CATS

CALECTASIA, THE VANS, LOGAN CRAWFORD AND CHRISPY NYLON DOORS 7.30PM/FREE CORNER OF JAMES AND LAKE ST NORTHBRIDGE 147 JAMES STREET NORTHBRIDGE 6003

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

10 • For more news/announcements go to themusic.com.au/news

WELCOME STRANGER 2013 has been a landmark year for Sydney five-piece Strangers; there’s been serious triple j support, whirlwind Sydney/Melbourne residencies, a sellout Lansdowne headlining show, showcases at the 2012 Big Sound music conference and just-announced spot on the illustrious SXSW conference in Austin, Texas. Not bad for a band who’ve just celebrated their second birthday. They stop by Newport Hotel Thursday 14 February; Prince Of Wales, Bunbury Friday 15; Amplifier, Saturday 16; and Indi Bar, Sunday 17. Tickets via Heatseeker and Oztix.

THE JACKSONS

FANTASTIC FOUR With the stunning worldwide success of The Jacksons’ Unity 2012 Tour, the most legendary family in music history is bringing their once-in-a-lifetime reunion show to Australia. A worldwide sensation since the 1970s, Jackie, Jermaine, Marlon and Tito Jackson are thrilled to be returning to Australia after nearly 30 years to perform all their multitude of hits and to pay special tribute to their late brother Michael. They perform at Perth Arena on Thursday 14 March, tickets through Ticketek.

Canadian twin sisters Tegan & Sara have announced the release plans for their latest album Heartthrob, which they say will have a happier sound than previous releases, due February 8. The Australia Council has announced a new grant scheme for small labels, The Recording Initiative, which will offer funding of up to $50,000 to support growth for smaller music businesses.

WWW.YA-YAS.COM.AU

STRANGERS

DZ Deathrays, Hermitude and Muscles are among artists who have reworked songs from the ABC TV program Summer Heights High for the soundtrack’s re-issue. Music streaming service Deezer will be offering 12 months free on the desktop platform as a ploy to find a foothold in the Australian market upon the launch of their free ad-funded service. The Association Of Artist Managers has announced its new board members, with Catherine Haridy re-elected as the Association’s Chairperson with Claire Collins (Bossy Music), Ben Preece (Mucho Bravado) and Greg Carey (Umbrella Music) the new additions. Comedy-rock outfit The Beards have been awarded the APRAsponsored $5,000 Emily Burrows Award, with the 12th edition of the award presented at Adelaide’s Grace Emily Hotel last week.

BLUEJUICE

SECOND EJECTION Golly, there’s a ridiculous amount of action on this New Year’s. No matter what your penchant or style, you’re sure to find something going on that’ll get you partying. Shaping up to be one of the most exciting of the multitude of gigs going on around town is Insert To Play, already chock-full of musical acts, but now even more filled out with the second announcement: Ladyhawke (DJ Set), Bluejuice, triple j’s Deacon Rose, Chance Waters and Smiley have also been rostered on. It all happens in the Supreme Court Gardens on Monday 31 December. Inserttoplay.com for full details.

OR HIGH WATER It’s been almost 30 years since Helmut Geier, aka DJ Hell, set the needle on a house track. He’s been DJing house and techno in all shapes and colours ever since, and it’s been over 20 years since he released his first 12”, My Definition Of House, and he also launched his own imprint International Deejay Gigolos Empire more than 16 years ago. The world-renowned DJ makes an appearance at Geisha on Friday 21 December.

MICKEY FINN

WELCOME TO THE JUNGLE Arguably Inhibit’s biggest series of events, Jungle Fever regularly hosts the biggest heavy-hitting pioneers of jungle and drum’n’bass. For the first instalment of 2013, they’ve managed to rope in both bosses of the legendary Urban Takeover imprint – Aphrodite and Micky Finn, accompanied by their long-time partner in crime, MC Shabba D. It’s hard to find a group more influential in shaping d’n’b anywhere, so make sure you don’t miss out seeing them when they play Villa, Saturday 12 January. Moshtix for tickets.


14th DEC

The Love Junkies 'Oxymoron' single Launch with Apes (Vic), Foam and Puck. Doors 8pm.

15th DEC

A 'Rad' 90's Party with heaps of bands and fun stuff. Dress for it… Doors 8pm.

KWUQVO[WWV" New Years Eve HOUSE PARTY with The Growl, The Chemist, The Atlas Mountains,  Funilingus + heaps of fun DJs. Whole venue party, 8pm - late.

www.facebook. com/norfolkbas ementlounge

Thursday 13 December

BEX’S OPEN MIC Friday 14 December

MILLER CITY SESSIONS

DJ PETE GOODING (IBIZA) & SPECIAL GUEST SAM PERRY Saturday 15 December

27 HASTINGS ST SCARBOROUGH, WA 6019

PH: (08) 9341 1122 INFO@IOH.COM.AU WWW.INDIANOCEANHOTEL.COM.AU 20% OFF ALL MEALS ORDERED 5 TO 6PM. PLEASE PRESENT AD WHEN ORDERING

TOBY Sunday 16 December

MORGAN BAIN Wednesday 19 December

JAY GRAFTON COMING SOON

22 DEC THE WISHERS LP LAUNCHI 23 DEC JEFF MARTIN 29 DEC BLUE SHADDY 31 DEC NEW YEARS EVE W/ VDELLI & GERARD MAUNICK 11


FOREWORD LINE

NEWS FROM THE FRONT

LOCAL LOVIN’ There’s some fighty mine happenings going down soon in WA, and we don’t just mean putting up your Christmas tree!

Local roots rockin’ gal Toby plays her last gig of a super-busy 2012 at the Indi Bar with her full band, this Saturday 15 December. WOLFPACK

HOWL AT THE MOON It’s been a monster year for Wolfpack since they hit the stage in late October, 2011. Two national tours, a line-up change, inclusion on two international punk compilations, supports with international acts Guttermouth, The Business and The Casualties as well as some of Australia’s best including The Meanies, Blitz Babiez and The Go Set. Now, get set for a killer party as the Melbourne punk dynamos return to WA to unleash their debut CD at two monster shows: Friday 28 December at Amplifier (with Chainsaw Hookers, SSA, Scalphunter and The Bob Gordons), and Saturday 29 at The Prince Of Wales, Bunbury (with with Nighthawker and Kettlefingers).

SUITE TUNES Forget everything you thought you knew about classical music and enter the dynamic world of Soft Soft Loud: The Antihero Suite, a trilogy of works happening tonight Thursday 14 February at Fremantle Arts Centre. A compelling collision of cabaret, jazz, classical and new music, this intimate concert brings Australia’s finest musicians together in ensemble for a once-only performance. Fac.org.au for tickets.

REYNEY DAY

Lots of time spent recording demos in old halls and driving around with a camera, visiting childhood haunts is how Sully have spent the last eight months, and they bring it to the fore at A Not So Silent Night this Saturday 15 December at The Rosemount Hotel. One of Perth’s trendiest and most affectionatelynamed nightspots, The Moon Café welcomes back its Going Solo Wednesday night sessions when Natasha Shank, Collector 4 and Rabbit Island play Wednesday 19 December. Covering all our apocalyptic bases seems to be the way to go at the moment, so on Thursday 20 December the Rosemount Hotel hosts Triangle Flight, Wormhole, Battle Of The Planets and The Witches just in case the worst happens. $8 door.

strikes out solo and plays Fremantle Arts Centre’s Courtyard Music series on Sunday 30 December. The Flying Scotsman has a huge night of New Year’s Eve insanity planned for Monday 31 December, with Hamjam, Neutral Native, Mudlark, Man The Clouds, Old Blood and more TBA all playing until 2am. Free entry. Friday 11 January sees local rock five-piece Blind Highway launching their debut EP at The Rosemount Hotel, and they’ve gotten Nervous Wrecks, Slick Rick & The Rhythm Cats, Silver Grenade and Something Humble to support. One of the most exciting swing music and dance performances in Australia, the Summer Swing Smackdown swings its way into the State Theatre Centre Courtyard on Saturday 19 January with The Libby Hammer Quintet, Mama Red’s Malt Licker Minstrels, The Darling Buds of May and Melbourne’s Andrew Swann & His Swingin’ Assassins. Jazz On The Rocks at the Quarry Ampitheatre happens Friday 25 January next year, with the inimitable talent of the five-piece Mace Francis Orhcestra, plus The Shoesmiths New Jazz Ensemble. Wasup. com.au for tickets, BYO picnic and alcohol.

Lucid Dreaming have planned a big Apocalypse day party on Friday 21 December to celebrate the end of the world (despite what Dr Karl might say). Emerging melodic house star Laura Jones DJs at Honey Lounge. Tickets via Moshtix. Saturday 22 December will see the summer vibes continuing with Afternoon Tiki at The Newport Hotel, featuring Dux & Downtown, The Weapon Is Sound, The Brow Horn Orchestra and Day Of The Dead plus The Carnies With Candy and Laith Tyranny DJing and MCing. Free from 2pm. If he’s not smashing the skins for Kill Devil Hills, Davey Craddock or Rabbit Island, he’s smashing the keys for Blackmilk. But now Todd Pickett

There’s one fact of life that all of us, no matter what section of society, abide by as Perth citizens: beach parties. The Leederville Hotel knows this, so they’ve organized a huge beach bash for New Year’s, Monday 31 December. With 80 tonnes of sand dumped into the big room, and DJ Reuben (and special guests Morgan, Pete Francis and Wasteland) providing the beats, this ain’t one for the grommets. For those that had to work NYE, The Leedy is also presenting a gig on New Year’s Day, Tuesday 1 January with Vandalism and John Course.

THE MEDICS BIG DAY ART 2012 WINNER

Grammy-nominated and legendary frontman for super-groups The Babys and Bad English, John Waite heads to Australia for the first time ever next year for a national Greatest Hits Tour, performing a collection of his hits that span a career of almost four decades. He will perform at Crown Theatre on Saturday 16 March. Tickets through Ticketek.

EGO RUSH

Mount Eerie is the current incarnation of inscrutable and transfixing, plainspoken and mysterious soundmaker Phil Elverum. Elverum’s distinctive self-recorded, lo-fi analog sound is known for its composition of ambitious layering juxtaposed with its delicate sparseness. After years of releasing music under the moniker of The Microphones, his show at The Bakery on Wednesday 23 January will give you a chance to see and hear his new façade. Moshtix for tickets.

GIVEAWAYS JEFF MARTIN

Within the pages of this very magazine we chat to The Tea Party frontman and WA favourite Jeff Martin ahead of his solo appearances here next weekend, playing Clancy’s Dunsborough Friday 21 December; Mojos Saturday 22; and Indi Bar fering Sunday 23. To celebrate we’re offering you the chance to win a DOUBLE PASS & TEA PARTY LIVE DVD prize pack, containing tickets to the Mojos gig. Email giveaways@drumperth.com. au with MY PARTEA in the subject header to win.

Legendary Ibiza DJ Pete Gooding’s set goes down this Friday 14 December, but the guys responsible for bringing him here, Miller City Sessions, have announced a line-up of further EDM acts that will bring a taste of the world’s biggest club hotspots to our fair city. DJ Gusto (Saturday 5 January, Metropolis Fremantle; Friday 11, Capitol; Friday 18, Mullaloo Beach Hotel; Friday 25, Capitol), Mark Storie (Boab Tavern, Saturday 12 January), Pete Griffiths (Friday 1 February, Newport Hotel), Scotty Boy (Saturday 2 February, Dusk Lounge; Friday 8, Newport Hotel; Friday 22, Leederville Hotel), MYNC (Thursday 21 February, The Shed; Friday 8 March, Metro Freo), Warren Peace (Friday 5 April, Boab Tavern) and Jason Lema (Saturday 23 March, Wembley Hotel; Friday 29, Mullaloo Beach Hotel; Friday 12 April, Dusk Lounge) will all be bringing in their world-ready beats to various stages around the city over the next few months. Hit up facebook.com/millerbeerANZ for more details.

PUCKETT UP

THE WAITE IS OVER

MIKES TO MOUNTAINS

MILLER TIME

LIFE’S A BEACH

TOBY

Famed for his work in the iconic Australian Crawl, but now more known for his affecting solo work, James Reyne is making his way to Nannup to celebrate Australia day, Saturday 26 January, in style for Rhythms By The River at Nannup Amphitheatre. The Amphitheatre itself is a beautiful outdoor venue situated next to Blackwood River, affording you the opportunity to chill out, have a picnic and indulge in the sounds of this symbolic Australian musician.

One part DJ, one part videographer, Ego is turning music on its head with his multi-sensory live show and video productions. Splicing club-rocking tunes with pop-culture visuals, Ego’s live show is an all-out party for the eyes and ears. Best known for his work as Nice & Ego, he’s that guy who did the triple j Hottest 100 mash-up and he has rocked audiences nationwide, including wowing crowds at this year’s Splendour In The Grass. Now he brings it to Villa on Saturday 22 December.

DJ GUSTO

BIGGER DAY

FESTIVAL NEWS ART ATTACK Our annual Big Day Art competition is back! All you have to do is send us your impression of an artist on the current Big Day Out schedule to themusic.com.au. The competition is now open and entries close 5pm on Monday 7 January. Not only will the winning entry appear as the front cover of Drum Perth, but a lucky winner will also win four passes to the upcoming BDO plus CDs by Big Day Out artists. Feel free to take influence from the psychedelic designs of the 2013 BDO artwork: we wanna see tripped-out Chili Peppers, acid-soaked Animal Collectives and freaked-out Foals… Tech specs: hi-res jpeg/pdf – 300dpi, 26cm x 37cm (no masthead required, although take it into consideration), and we’ll think of our own cover line.

CREDITS

SUMMA SALE Summadayze (Sunday 6 January, Paterson’s Stadium) is set to go gangbusters, with a huge roster (think The Chemical Brothers DJ Set, M.I.A, Fedde Le Grand and many more) ready to power up on the day. Time to pay attention, though: you only have until next Monday 17 December to buy early birds tickets for both Summa and Future Music Festival (Sunday 4 March, Arena Joondalup). Get on to Ticketmaster or the relevant websites to snatch ‘em up.

AMERICAN WOLFGANG There’s one name in electronic music that stands head and shoulders above his peers in dance music: Wolfgang Gartner. Prepare yourselves: he’s hitting Villa on Friday 1 February as part of his enormous Australian tour showcasing his latest release, Overdose. Weekend In America, his debut full-length, is Gartner becoming dance music’s one-man parallel universe, outpacing electro-house and outdoing himself. Tickets $35 plus BF through Moshtix.

BLOOMING TALENTED An internationally acclaimed singer-songwriter and recording artist, Luka Bloom has enjoyed 22 years of success worldwide. Since the release of one of the all-time Irish classics Riverside in 1990, people from all corners of the globe have embraced the true beauty of this remarkable musician. Luka returns in March 2013 for his 11th Australian tour to celebrate his two decade-long career, hitting Fly By Night on Tuesday 2 April. Tickets through flybynight.org.

CONTRIBUTORS EDITORIAL

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

ADVERTISING Sales & Marketing Director Leigh Treweek Sales Executive Matt McMullen

DESIGN & LAYOUT Matt Davis, Nick Hopkins

ADMINISTRATION Accounts Loretta Carlone

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

12 • For more news/announcements go to themusic.com.au/news

And in more BDO news, another round of stellar acts have been announced. Expect to see The Medics, Sugar Army, Chicks On Speed, DJ Show, Emperors, The Chemist, Sons Of Rico, Further Earth, Arts Martial, Rainy Day Women, Boys Boys Boys!, The Love Junkies, Skank MC, Dead Owls, Tomàs Ford and triple j Unearthed winners Foam gracing the Red Stage and Lilypad on Monday 28 January at Claremont Showgrounds.

Following the highly-successful 2010 Australian Tour, Gary Puckett & The Union Gap return to our Shores in February 2013. They were one of the most successful musical groups of the ‘60s, garnering six consecutive gold records and top ten Billboard hits such Young Girl, Woman Woman, Lady Willpower, Over You, This Girl Is A Woman Now, Keep The Customer Satisfied, Don’t Give In To Him, Home and many others. The group will drop into Astor Theatre on Saturday 9 March.

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

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

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

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

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CREATE CONTROL AURAL DISQUIET Beach House’s Alex Scally has strong opinions when it comes to the reasons why people make certain types of music, yet it also corresponds with how people listen to music. He has stated on a number of occasions how he’s disappointed that a lot of discerning listeners deconstruct tones and atmospheres that are created within a given composition rather than focusing upon the song as a whole – that listeners are failing to uphold integrity.

Synth dreamers Beach House continue to flesh out their own world on fourth long-player, Bloom. Alex Scally explains to Brendan Telford why you won’t see the band spruiking their wares via social media. t’s hard to grasp the phenomenon that surrounds Beach House, aka duo Alex Scally and Victoria Legrand. Conceived in the hotbed of Baltimore’s overtly creative scene that has spawned the likes of Deerhoof, Animal Collective and Lower Dens, Beach House crafted two meticulous albums, Beach House and Devotion, that opened up a dreamscape filled with lush atmospherics and glacial sensuality, highlighted by Legrand’s luscious voice. They played constantly, and while their fanbase grew, it was at an incremental pace. Then in 2009 they moved to Sub Pop to release Teen Dream at the dawn of 2010, and the landscape changed. Their third album exploded, meeting with much acclaim and reaching the zenith of many best-of lists, and the duo were suddenly playing packed auditoriums and festival stages. Scally admits that from the outside the shift in popularity may seem incongruous, but from the band’s viewpoint it was a long time coming.

I

“It didn’t feel like a blink of an eye for us, because we had been doing the whole band thing for five years before Teen Dream happened,” Scally states. “But it was strange, because even what happened with Teen Dream didn’t feel that fast either. We found ourselves having to figure out how to play bigger rooms, we had to figure out what we wanted our live show to sound like, even what to look like. But we have had to try to deal with overexposure, which is people liking you or crowds liking you for the wrong reasons. So we’ve tried to not do things that’ll sell tickets, but to stick to things that we really care about. That includes what press we do, what opportunities we take. In some ways we weren’t ready for it, in some ways we were – all we can really do is try to control things, to make it about the music and not anything else.” The balance that Scally and Legrand strike between damage control and compromise is integral to keeping the fragile bubble of their musical aesthetic intact, unaltered by outside forces. Scally intimates that while having a fervent fanbase is important, it doesn’t impact on the songwriting process one iota. “It kinda sounds bad, but we don’t cater to our fans. We do what we want. We don’t prance around or get involved with crowd participation or clapping. We don’t encourage people who don’t really care; we want to bring people into our world, not become part of theirs. If we make things the way we want and people don’t like it, then that’s good. It means they go away and they’re not a real fan. We aren’t a pop thing.”

Such an adamant standpoint helps Beach House to keep separate from another vice of the post-millennial artist – overfamiliarity. With barriers cut down to the point that social media is seen as a viable source of daily contact, interaction and inspiration, Beach House stand tall as a band inherently on their own plane, off the grid, not afraid to avoid filtering their visions regardless of the cost – it is up to the listener to find their way in, not the other way around. “We have worked extremely hard this time around to not have any social content,” Scally affirms. “There are bands that have twenty-five versions of a song – ‘Oh look, here we are playing our song in an elevator!’ Another one that happens is the remix. We had some videos we were going to release; it was this big project that we were working really hard on, and we are only interested in releasing something that is special to us. I think all bands should be trying to do that, because if every band released four things over the course of a record and they really cared about those four things, the internet wouldn’t be clogged with this meaningless crap, where it’s just something to try so you can have another ‘thing’. We want every single thing that we put our name to to mean something; we don’t want something to exist just so our name pops up somewhere.”

There’s more to this story

on the iPad

This ideology extends to Beach House’s latest album, Bloom. The intent was for the follow-up to Teen Dream to be an album’s album; no tracks were designed to stand alone or fit the archetypal pop single format. Bloom is an immersive experience, an experiment in aural isolation. Surprisingly though, most of the writing was done in the cold harsh light of touring, where isolation is almost non-existent. To have the focus and foresight to envisage how songs will coalesce into such a template while also providing shows that fans could interact with seems odd, yet Scally espouses that writing on the road is the only way to stay connected to that insular creative environment so as to not lose sight of their vision. “Writing on the road is really easy – well the genesis of ideas – because you’re stuck playing the same fifteen

THUR DEC 13

FRI DEC 14

to twenty songs every night, and I think all musicians subconsciously think that whilst backstage, or doing soundcheck or you’re waiting to set up, they can be creating something fresh and new, something that staves off the boredom of going through the motions. I think it’s amazing how much comes out randomly at those moments, when you pick up an instrument and let things pour out in that way. It’s your version of personal time, and a lot of things happen or begin to form. So these will build and build, and then it might take us six months to a year of sitting in one place with all of these ideas before anything takes form.” The natural progression of the Beach House sound has been one of increments, the duo steadfastly eschewing any notion of tangential shifts in genre or tempo to instead expand upon their own sound, offering nuance and texture to provide something unique. Bloom then came together, not as a direct statement of intent, but another layer or dimension to their world that is very much a part of who they are. “We wanted to do what we had done three times before, which was make this album to the point where we loved it, then release it, then tour – it’s that simple,” Scally laughs. “We really love doing this, so there’s no reason to craft something, make something that isn’t already there in front of us. We want to keep playing, and playing to people, and to continue to push ourselves, sure. It’s a huge thing to put out a record; it’s very emotional and personal. It’s a time in your life, it’s a reflection of the world around you – a record is many things. But there’s never a ‘what next?’ moment. We don’t try to stymie ourselves intellectually, to think too much into things. Music is all wrapped up in feelings, and you are trying to bring it into a physical reality. Music is spiritual – it’s a very intense thing.” Scally has always been passionate about asserting that music is not a hobby, pastime or attraction for Beach House – it is an embodiment of who they are as people. The marriage of creating music and delivering it to others can however be one of diminishing returns, regardless of the intention. “We have created visuals that we feel will connect with the audience, that will help bring those emotions on stage with us every night,” Scally says of those intentions. “We

SAT DEC 15

“I should clarify that I’m not saying that the creation of tone-based music isn’t interesting as well, more so that I’m commenting on a societal trend, the ADD-ing of the world,” Scally stresses. “It seems that everything is getting faster and more superficial as far as I can tell. Everyone seems more concerned about consuming songs; faster, faster, skip to the next track to see if it’s faster. It feels like there is a trend, or more of a growing disorder, where people don’t want to repeat anything. It’s all about the song, what can I get for three-and-a-half minutes that I can then rehash ad nauseum. I’m worried that people aren’t getting anything from music anymore; that it’s become this bite-sized sugar rush where a person will go, ‘La la la la la’ and everyone responds, ‘That’s awesome, it’s party time!’ Then a week later it’s something else entirely. People clicking on songs that fit into their jogging schedule or something. There is no investment in that; it’s an instant fix that becomes disposable, and therefore redundant. I just worry that this bleeds into the world of the artist too. Bands have said before that they are only going to put singles out, or that albums are dead. You need to challenge people; you need to expand their attention spans.”

work really close with our lighting crew, who we’ve had with us for over a year, and we try to treat each song, we try to bring each song to life. Not just in hue but in colours and shapes – it’s a very intricate process. It took us the first ten or fifteen shows of the year just to get what we have now. And it’s really fun; it’s a whole other thing. You’re thinking, ‘How do you make a song come to life every night, let alone all of them?’ It’s a real challenge, and sometimes we fail. And it changes again when you have a different album, a different base of emotions. “No one can compare writing songs and touring them – they are completely separate. I love touring; there is the constant interaction with people and the inspiration you get from going to those places and meeting those people. Then there is the solitude, the wonderful feeling that is making a record. It’s your own world and you don’t have to share it with anyone. It can be traumatising sometimes, and really joyous in others. I think it’s amazing that there are these two entirely different musical experiences that surround the same thing, and I get to be a part of that. And it’s the same for listeners too; the separate worlds of listening to a record and going to live shows. I get to do it all. I go to a lot of shows and listen to a lot of records, and they aren’t even remotely the same thing; the group experience as opposed to the individual.” WHO: Beach House WHAT: Bloom (Mistletone/Inertia) WHEN & WHERE: Friday 4 & Saturday 5 January, Southbound Festival, Sir Stewart Bovell Park, Busselton

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15


Having existed as a band for nearly a quarter of a century, Converge’s dominance of hardcore, metal and punk is undeniable – however, as vocalist Jacob Bannon conveys to Lochlan Watt, their heads are still more humble than most. o be honest, I genuinely don’t pay attention to it,” responds 36 yearold musical entrepreneur Jacob Bannon to a question regarding his band Converge’s continuously positive critical adoration. He’s had years to get used to it – while their previous output was by no means unworthy, Converge truly turned the world of heavy music on its head with the 2001 release of Jane Doe – an album often seen as a clearly defined rebirth in the band’s stunning discography, of which the iconography and influence is immediately recognisable throughout heavy music all across the globe.

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More specifically however, he speaks in relation to their eighth and most heavily publicised full-length to date, All We Love We Leave Behind. “I appreciate the fact that people give our band the time of day, and let our music into their lives in some way,” he continues. “You can’t really take it for anything more than that, ever, because everybody’s experience with music is subjective and is wholly their own. If we started paying attention to people’s opinions of how we make music, what we do, what’s valid, what’s not, what’s good, what’s not, we’d cease making music that’s honest. To us it’s just about putting our heads down, writing music that is fulfilling to us, and sharing it with people. If I allowed it to have weight, then I think we

would start making different kinds of music. We would start making music to appease people, and to please people, and meet people’s aspirations of what is good. For example, every record you do someone’s going to say it’s the best record you wrote, or the record before it, or the record after it, because everyone has their favorite record, and you just can’t look at music that way. Music is all about the now.” With that in mind, Bannon continues to explain why a band’s latest release should always be their most important – evidently, it seems anniversary tours are for suckers. “I think we’re always the most emotionally in tune with the most recent record we’ve released. I think that’s the way bands should be, because if you’re not, you’re doing something wrong. I’ve always felt that it was odd when bands do a tour of like their old hit record or something like that, because that’s discrediting the emotional substance, and artistic substance of the records they did after that. For me, I wouldn’t want to put out something that was anything less than the record before it. I feel like we should always be refining what we do, improving on what

merch and artwork, as well as putting out the vinyl editions of their releases through his own Deathwish Inc. label. When asked about how he feels about the recent closure of Hydra Head Records – a label run by a long-time friend of Converge’s, Aaron Turner of ISIS, who is in fact a member of and released the latest record from Newton side-project and Australian tour mates Old Man Gloom – the poetic yet savage vocalist has plenty to say.

worked full time. It’s a labour of love. It’s music and it’s a community, and it’s us giving ourselves to it because we believe in the power of aggressive music. It’s very important for people not to take that for granted. I see not only labels breaking up, but bands breaking up because of this all the time. When bands break up, more often than not you hear of in-fighting, or things like that, but usually, all of that stems from outside pressures and stresses that come from functioning as a band, which is essentially a

SEEKING REALITY we do, and becoming more coherent artists, and more technical players in the world of music that we live in. The more we do that, the more we move forward, hopefully that’s reflected in our music. If it wasn’t, we probably just wouldn’t be in a band. We’d just stop.”

Since bassist Nate Newton and drummer Ben Koller joined Bannon alongside fellow founding guitarist Kurt Ballou around the turn of the century, Converge have held it down as a four-piece. They are the definition of eventually massive success through persisting with a DIY approach. The band is still self-managed, still tours in a van that they drive themselves, Ballou still records all their music, and Bannon still designs all their

“You should always be concerned with the future

of all labels, because that’s a huge reality. If Deathwish was smart, was intelligent, rather than releasing music because our hearts’ in it, we would have closed a long time ago. There’s been years and years of our business where we’ve operated in the negative. For the first seven years of our business I didn’t get paid a dime, and I still

small business. It’s a hard sell business, and you’re putting everything you have into it. Eventually people get worn down, and they get broken. “The Hydra Head situation, they got tired of being broke, and that’s a difficult place, and all small businesses have to deal with that in some way. It’s a very

different, difficult world to exist in. As labels we have to support our artists, we promote our artists, and to make the world see and experience their music, yet it’s usually easier to steal the music than it is to purchase it. We exist in a world where we have to literally convince people that the things we love, that we put our hearts into, is something of value. There’s no other world where [the] economy that exists like that.” So does Bannon believe that widespread illegal downloading has been a positive or a negative thing for heavy music? “I don’t know – it depends really,” he responds, pensive for only a second. “It’s a different kind of music community now, where things can be very instantaneous. You can have a band that can come up that can be really talented, really interesting, and all you have to do is record an album at home, and share it. That way there is no investment – there isn’t much in it. It’d be great if everything was that utopian, but it’s not. If it was that utopian, where we could exist in a world where people didn’t pay for music, but everybody went to shows, then that would mean that every show that every band played there would be thousands of people at it, and it would be a joyous and positive experience, and everything would be happy to pay their fucking eight to 15 dollars to get into a show, and would be very helpful, and very enthusiastic.” The situation through his eyes is however quite different. “In reality, you get people who complain about door prices for shows, you get promoters who try to screw over bands, you have people that try to steal merch from bands, you have venues that try to take a merch percentage from bands, where that’s really the only source of income, because the expense of just being there is so much that it’s just not really that profitable to be able to travel thousands of miles to be able to play a show necessarily. You have to constantly worry about your gear being stolen, vehicles get stolen, things get broken into. You can go pay for gas at a gas pump with a credit or debit card and you can lose all your fucking money, because someone hacked the little computer that’s in there. That’s the world we live in. That’s reality. That’s not like a reality where people download records and then everyone goes to a show and everyone lives happily ever after.” Despite his acute vision of the situation, it is still obvious that Converge exists without allowing financial considerations to cloud their admirable intentions. “It’s not about conquering, it’s not about making money… It’s about going out and sharing music with people,” says Bannon of their consistent drive to tour. “We’ll play wherever, as long as we have the time to do it.” WHO: Converge WHAT: All We Love We Leave Behind (Epitaph/EMI) WHEN & WHERE: Thursday 12 February, Amplifier

CONVERGING TOGETHER Converge has retained the same line-up for well over a decade now, a feat that is relatively unheard of in heavy music, which typically sees members swapping and dropping like flies. Prompted to explain his band’s longevity, Bannon reveals how much life on the road can make or break a unit in the early days. “When we were kids, we all had different responsibilities in life – it was sometimes difficult to focus wholly on music. For example, when I was going to college, I was paying for college myself, paying for my apartment, my food, and just my living. There was those expenses, and it was regimented, so you didn’t really have the time and the energy to be able to play in a band at will. You could go on tour for two weeks at a time, otherwise you’re locked into a full-time job or full-time school. It wasn’t an option… When you’re doing those things, it’s tough to get a lot of people in line with the same sort of available timetable. “We shed a couple of drummers for that reason. We lost the second drummer we ever had. He did one European tour with us, and it essentially broke him. He couldn’t get over the lack of sleep, the amount of work; you’re basically sleeping two or three hours a night somewhere on the ground in a squat for six weeks at a time, eating whatever food someone’s generous enough to give to you. Those are hard tours, and they broke a lot of people. A lot of people can’t get through that sort of thing, nevermind financially sacrificing a lot to be there, to do that. Paying for your own plane tickets, coming home, spending thousands and thousands of dollars; it’s a hard lifestyle to romanticise and to maintain. That’s what sheds a lot of members, and that’s a lot of what causes changes… Like when we were kids, people would want to do it, they’d be excited, they’d want to tour, and it’d be a week or two into a tour and they’d want to die.”


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WELL-READ STAR Russian-born, New York-based Regina Spektor tells Izzy Tolhurst why the US right-wing don’t know what they’re talking about, and recommends the Russian novel guaranteed to blow your mind while she’s at it. ew York-based singer-songwriter Regina Spektor is, as Homer Simpson’s father Abe would put it, cute as a bug’s ear. Straight up, she apologises profusely for almost inaudible chews and crunches down the line, as she admits softly on the final evening of her American tour that, “this is my chance to have dinner before the show; so I gotta take the chance”. We joke about unbearably lame waiting music, and even then she’s forgiving and kind, saying, “I’ve actually had some good waiting music sometimes, to the point where you find yourself hoping that people won’t come on the other side. They’re playing like a good old R&B song or Al Green or something… but that MIDI saxophone and reverb are key!”

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This buoyant, dulcet-voiced artist, however, is the same one who’s been quoted as saying, “I’m definitely in the club of people who have experienced great tragedy in their life”. Questioned on the moments that gained her entry into such a guild, Spektor is reluctant to speak on the issue, saying simply and politely, “To tell you the truth, I’m not prepared to talk about that right now… thank you.” But without question things have been difficult. Written into almost every article about Spektor is the fact that she’s “Russian-born” and emigrated at age nine due to the ethnic, political and religious persecution Jews faced in Moscow. She arrived in New York’s Bronx speaking no English, having already journeyed through Austria and Italy, her family finally admitted to the US as refugees by the Hebrew Immigrant Aid Society. While there was a considerable amount Spektor was happy to farewell in Russia, a rich list of Soviet and Eastern European influences and texts have stuck with her, perpetually feeding into the music she writes. “It’s hard to know specific examples because I believe that everything I’ve ever read or seen goes into this big pot, this colander or whatever, and somewhere in there it comes through, in all kinds of different ways,” she explains. “But I definitely feel tremendously inspired by fiction. I love reading stories and I guess I love writing stories. I’ve always loved mythology and fairytales; I love short story writers like Kafka or Tennessee Williams, but then I also love a lot of plays and Shakespeare. But then there’s [American science fiction writer] Kurt Vonnegut. I really love science fiction in that way, I really connect with it. I guess it’s just the flip side of fairytales. “I love Salinger a lot, I love books that have strong parts written for children and he really does that. There’s an amazing Polish writer too who was killed in World War II and he’s not very well known for some reason. His name is Janusz Korczak, you could Wikipedia his life story – it’s absolutely incredible and heartbreaking but he helped reform orphanages, and he really cared about children’s education and how these institutions should be run to make their lives better. He wrote amazing literature that I really feel inspired by. I think that I love novels, but I’m really drawn to the short form in a lot of ways, which makes sense of why I write three-minute songs.” Barely pausing for breath, Spektor adds, “Oh! And if you’re looking for a really amazing book to read that’s Russian, you should read [Mikhail] Bulgako, The Master And Margarita. That book is gonna blow your mind! It’s one of my favourite books ever. But you should get the translation that’s done by two women [Diana Burgin and Katherine Tiernan O’Connor].” So it seems fitting that in 2010, 21 years after her arrival in the US, she performed at the White House as part of Jewish American Heritage Month. Sitting front row were Michelle and Barack Obama, and now, two years after receiving a standing ovation led by Michelle and a nonchalant thumbs-up from arguably the most powerful man on the planet, Spektor says she is “very, very glad,” that the same man won a second presidential term. “I was relieved for his stance on equal rights and the way he campaigns about the middle class, that he cares about a lot of issues I care about – women’s rights, gay rights and equality, education, health care,” she says. “I get really pissed off at the super-right-wing conservative people really go crazy about making him out to be a communist, and they’re quick to call him that, which is always so funny to me because I do come from a communist country. And it’s anything but! So I think making sure that children are educated and making sure that people can afford their health care is anything but communism. It’s not what it’s about at all.” Spektor’s sixth album, What We Saw From The Cheap Seats, was released in May this year, featuring the songs such as All The Rowboats and Don’t Leave Me, the latter a remake of Ne Me Quitte Pas, which originally featured on her 2002 album Songs. Spektor recorded with Mike Elizondo, a producer whose diverse career achievements span from co-writing Eminem’s The Real Slim Shady, to producing a Fiona Apple record, to working with Alanis Morissette on a track that landed itself in The Chronicles Of Narnia soundtrack. It is this album, along with her previous five (featuring such familiar tracks as Samson, Fidelity, Blue and Real Love, the latter a cover of John Lennon’s late-’70s track), that Spektor has been taking on the road, and will share with Australians this week. She will be joined by her husband Jack Dishel, touring as solo project Only Son. Dishel was formerly the lead guitarist for The Moldy Peaches, known best in recent years for their contributions to the Juno soundtrack, including puppy-love duet Anyone Else But You. One therefore reasonably wonders whether the two will perform together, particularly given they have already written and covered several tracks together, the most popular of which can be found on Only Son’s second album, Searchlight. “We’re definitely going to do the duet we wrote together, which is Call Them Brothers,” she says. “It’s really exciting. We love going there. I love getting to go to Australia. The atmosphere there is so fun and I can’t believe that so many people are coming to our shows. Sydney Opera House is one of the coolest venues in all of planet Earth, so it’s very exciting.” WHO: Regina Spektor WHEN & WHERE: Wednesday 19 December, Belvoir Amphitheatre

18 • For more interviews go to themusic.com.au/interviews


PARTY OF ONE Happily back inside “The Monster”, Jeff Martin is taking one last swing around the nation in solo mode before he gets stuck into the next Tea Party album, as he tells Michael Smith. s this writer sat with The Tea Party in one of Sydney’s swankier hotels ahead of their first Australian tour in seven years, it was obvious that though they weren’t glossing over the things that had torn the band apart, they were once again the Canadian comrades in arms responsible for such an iconic body of work. That impression was borne out in spades when they finally hit the stage in July.

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“It was a monster,” Tea Party main man Jeff Martin admits of the reunion tour. He’s taking a break from rehearsing, not only for his extensive forthcoming solo tour but also the band he’s put together for young Townsville artist Kimberley Dawn Lysons, whose debut album he’s spent a year recording and producing. It’s as yet unreleased but has already scored her a feature artist spot at this year’s Woodford Folk Festival. “[The reunion shows] exceeded our expectations and I think for most of the fans it did as well, you know?

and get all the acoustic guitars ready to fire up, you know? So I haven’t thought about a recording yet, but a lot of the venues that I’m playing are set up for that so it can be captured on any given night. So we’ll see if something comes out of it – magic moments. One man, six guitars? That sounds about right.” WHO: Jeff Martin WHAT: The Tea Party: Live in Australia (Vision Entertainment) WHEN & WHERE: Friday 21 December, Clancy’s, Dunsborough; Saturday 22, Mojo’s; Sunday 23, Indi Bar

“I mean in all the years that I’ve played in The Tea Party and all the great, legendary shows that we’ve done and all that, the band’s never been this good. I think the time apart did us the world of good and coming back together, it’s even more potent now. And we’ve finally recorded a live double album, after all these years.” They had released a five-track EP, Live At The Enmore Theatre, recorded back in October 1999, though it was literally just 100 copies released by triple j, the trio augmented by a string quintet. “I wasn’t very pleased with the quality of the EP in ’99, so this is the real deal; it’s the raw power of the band, and what’s even more exciting is the DVD that’s coming out because the footage is incredible from the Hordern Pavilion, and the sound – I mixed it with my engineer, Paul [Pilsneniks], we did it in 5.1 surround sound – and it’s epic. It’s really something to hear.” Australia 2012: The Live Double Album was released in September utilising the Pledge Music website, a fan-driven affair. A portion of the proceeds raised over and above the recording budget was donated to the cancer research fund established in the name of Tea Party manager Steve Hoffman, who lost his battle with cancer aged just 37. “We weren’t ready yet to deal with any record companies per se,” Martin explains of the decision to release independently. “We were still feeling out our intensions and all that stuff, what’s going to go on and everything, so to get a commitment from a record company we’re a bit shy about. So this was one way of doing it so we didn’t have to sleep with the devil and the fans could get to feel like they’re investing in their favourite band, you know?

There’s more to this story on the iPad “And again, that far exceeded our expectations. I mean, I won’t say the figure that was raised but it was large, and it’s great because we’re basically just gonna give it all back to the fans one way or another, with more tours. I’ll make the next Tea Party record in January. So it’s just been wonderful to get back with my two old friends and for us to put the past behind us and make great music again.” And that’s essentially what has prompted Martin to pull his six favourite guitars out and get match-fit for a solo tour of Australia that will see him through to Christmas and that Woodford date with Kimberley Dawn Lysons. “From The Tea Party tour, there were a lot of new faces – well, thousands and thousands of faces,” he laughs, “I noticed that there was a new crowd with The Tea Party, as well as all the old fans that haven’t lapsed. So with these new fans and everything, you know, there’s an interest in them seeing, sort of, where the big Tea Party sound, where does it come from and its origins, and basically a lot of those songs I just started with my voice and an acoustic guitar.

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“The thing about the songs is that, even solo, they stand up. There’s a power in them that’s almost holistic in a way, you know? You can keep distilling it and distilling it and distilling it down to the campfire test and it’s still going to come across. And just because I know The Tea Party – I call it ‘The Monster’ – The Monster is going to take over my life again in the New Year, this is one last chance to go to all my favourite little venues that I’ve got to know so well and do one last solo thing, before it can’t be done for quite some time. “So I’m really looking forward to seeing some old friends, and the intimacy of the shows, because The Tea Party is the big spectacle, and I love it, you know, I love the crowd psychology of that, but I do love the intimacy of the small show, so, one last hurrah. And there’ll be songs from The Armada, from 777 and my solo album, [2006’s] Exile And The Kingdom, so it’s gonna be quite an extensive set, that’s for sure, but it’s got [to be] ‘cause I can change it up every night because there’s a catalogue of so many songs.” And there may also be a live solo album recorded somewhere along the way, to sit beside his double album, Live in Brisbane 2006; 2007’s Live In Dublin; 2008’s Live At The Corner Hotel; and even the 2007 DVD, Live At The Enmore Theatre, he recorded with the Toronto Tabla Ensemble. “I haven’t really thought that far ahead,” Martin admits with a chuckle. “My guitar tech, even as we speak, is disassembling my studio so we can put together my pedal board and all that stuff

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HYPER ACTIVE Feisty beat makers and turntabalists Hermitude aren’t ones to run with the pack. Jo Campbell speaks to one half of the duo, Dubs (aka Luke Dubber) about their new sound, a move to the city and something about a cat-obsessed piano teacher. our albums and ten years in the making, New South Wales-based hip hop/electronica outfit Hermitude have taken another new vector in manifesting their musical diversity with their latest LP, HyperParadise. Having already accrued the Australian Independent Records Association Award for Best Independent Dance/Electronica Album and the 2011 J Award for Music Video of the Year for the smash single, Speak Of The Devil, HyperParadise has more energy than its three precursors and has ventured out into new genre territory encompassing glitch and dubstep influences, a change in tone that Dubs attributes in part to a move to Sydney. “We’ve always been pretty chilled-out beat-making guys but with this one we decided to inject a little more fire, not more uptempo, just more fire and energy all round,” Dubs explains.

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He and cohort Angus Stuart (aka Elgusto) have collaborated in bands since their formative teenage years spent in the Blue Mountains with Elgusto’s dad owning Sound Heaven, a recording studio now known as a hip hop haven, having been the home of Urthboy and The Herd recordings along with every Hermitude album except for HyperParadise. Since the start of last year the pair have been bunkered away in a purposebuilt studio in the heart of Sydney’s CBD on Parramatta Road but Dubs fondly remembers their formative years in the mountains, explaining the name they chose for the outfit. “We started out sneaking in and using John’s studio at night as we could obviously only get in there then after it had been finished being used and we’d do dusk until dawn sessions,” Dubs remembers.

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“We would get in there around 10 or 11pm and stumble out around 7am when the sun was coming up. At the time we were on a property that had these massive pine trees on the edge of a cliff and we’d watch the sun come up from the edge and we just kind of felt like we

were the only people around – now there’s planes going over our heads and we are deep in the middle of Sydney, which is why HyperParadise sounds a bit different. “We’ve been slowly accumulated gear over the past ten years or so and we’ve finally got a place to stash it all. Now we write during the day and basically treat it like a day job. We get here at 10am and leave whenever we finish at 6 or 8 or 10pm or 3am if something is going on. And that’s how we made HyperParadise. The idea was always just to write heaps of music everyday and then just pick the best tunes so HyperParadise was part of a bigger bulk of work; it was just those tunes that were stronger and there were others that just never made it.” Jam-packed with futuristic beats and weird, trippy sounds while still remaining accessible, the LP is genre-defying to say the least, a fact that Dubs says relates to a love of breaking rules, along with an early schooling in all things jazz going back to the duo’s first band incarnation – Funk Injections. “The sound that we make these days has moved on from really jazz-influenced to electronic glitz hop and wonky beats, future beats and dubstep – there are so many new genres coming through in electronic music that it’s hard to keep up so we just listen to as much music as we can and I guess, draw influence. “A lot of massive hip hop tunes were based on jazz samples though, so that was how I discovered and gained a love for hip hop personally, I was brought up on jazz by my dad and hearing jazz that I’d recognised in a hip hop format really kind of made me excited. The hip hip and trip hop that came about in the late ‘90s was a bit jazzy in the sense that it was using jazz samples and was experimental and I guess there weren’t really any rules about what you could and couldn’t do. So over the years we’ve always taken an experimental approach in the sense that we’re always searching for different sorts of sounds or programming different sorts of beats and being a little bit left field.” Accounting for their musical diversity, both Dubs and Elgusto started out on the road to being accomplished instrumentalists in their teens, with Dubs studying

classical piano for six years before going on to study jazz at university level, while Elgusto studied percussion in Cuba as a youngster. “And on his way back he stopped by Hawaii and picked up turntables. I’d known Gus for a few years by then and this is when we started jamming – I brought some keyboards over and he had the turntables,” Dubs remembers. “My dad was a professional trumpet player and was friends with the famous jazz composer Bruce Cale. I’d expressed interest in learning piano and so dad called up his mate and asked who he would recommend as a teacher. He put us onto a classical teacher in the Blue Mountains. She was this crazy Ukrainian women – an amazing teacher, but she was obsessed with cats. She had pictures of cats on every available bit of wall space and she even used to draw her lipstick on with two cat ears, so that her top lip had

these two little lumps, which I presume were cats ears – it’s the only explanation I can come up with!” Hermitude are currently touring the fourth single from HyperParadise’s, The Villain, which, like Speak Of The Devil, sports another well-crafted hip hop danceinspired video directed by Kess Broekman-Dattner. Add to their recent J Award nomination for Album Of The Year for said record, and a busy New Year’s period – one gets the feeling Hermitude is a name we’ll only continue hearing more and more of in the future. WHO: Hermitude WHEN & WHERE: Sunday 30-Monday 31 December, Origin NYE, Fairbridge Village (DJ Set); Monday 31, Insert To Play, Supreme Court Gardens (Live)

A VINYL THING

Tom Birts chats to DJ Mr Thing ahead of his set at Salt On The Beach’s NYE Extravaganza and finds a man of contrasts – a softly-spoken spinner, but a monster behind the decks.

peak softly and carry a big stick. Or, if you’re bonafide turntable legend Mr Thing, carry a fat stack of wax and a resumé beginning in the mid’90s and ending pages later peppered with collaborations and international jet-setting. The former Scratch Pervert and DJ Premier collaborator might be a self-confessed ‘champion nerd’ and ‘a pretty quiet guy’, but when he lets his fingers do the walking and records do the talking, people listen. “I’ve never really done a NYE set outside the UK before,” says the DMC winner from his UK base, “so I’m looking forward to getting stuck into working a set out. As for tunes, I honestly don’t know yet as I’ve got quite a few different gigs to prepare for. The week before I leave I’ll have a better idea of what’s going in there! I get booked to do funk sets and hip hop sets, and some older R&B sets as well, but ideally I like to get there early and see the crowd and work it out from there. Generally, I like to mix it up!”

S

20 • For more interviews go to themusic.com.au/interviews

If you’re planning on keeping an eye out for him in the early crowd, look for the guy at the back of the room noting down breaks and samples with the zeal of a trainspotter at St Pancras station. Mr Thing’s 5000 Twitter followers will know the fanaticism with which he raids the crates and record stores around his South East England stomping ground, and you get the impression his best stories or, rather, those he treasures most, are about rare 45s and hard to find breaks, and not debauched all-nighters – though we’re sure there have been plenty of those as well. His love of all things rare and vinyl led to the well-received Kings Of Hip Hop release with NY legend DJ Premier. “[The album was a] no brainer for me. Premier has been one of my favourite DJs and producers since I heard the Words I Manifest remix way, way, way back. We did our mixes separately, so I didn’t get to go to the studio with him or anything like that but, randomly, I did actually get to meet him a few days after the album

was confirmed, which was great. He’s a really cool guy.” Despite his international connections, Mr Thing is still very much a stalwart of the UK scene, which he thinks is going from strength to strength. “I’m still doing bits and pieces with Essa,” – going by Yungun for their album, Grown Man Business – “and I’m working on a whole LP with Micall Parkinsun. We’ve recorded three or four tracks already and got another five or six waiting to be recorded. We don’t know what it’s going to be called, or even who’s putting it out yet; we’re just working on the music side of it, which is the enjoyable part.” He goes on to say, “Artists like Mystro and Jehst are still dropping great material, and there’s a whole bunch of younger artists like Ramson Badbones doing really good stuff as well. In fact, there are so many artists it’s pretty tough to keep up with!” Rightly counting himself in the more established section of the UK canon, in typical self-deprecating style he waxes lyrical on the necessity of “the balance of the older, more established artists putting out music who can also bring the newer artists through as well – and also the newer guys to keep us older guys on our toes!” Wise words from a DJ with a nice line in keeping people on their feet.

WHO: Mr Thing WHEN & WHERE: Monday 31 December, Countdown To NYE, Salt On The Beach


21


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[2]


EARLY CHRISTMAS AT ELLAWAYS

W

ell the Mayans got it wrong ... either that or our interpretation of their calendar predicting the end of the world on December 7 was incorrect. Anyway, we’re all free to live another day, another gig, another lug in and out, another set of strings, another look at that pedal or guitar you’ve had your eyes on. May as well go for it now; after all you thought you wouldn’t be around. You’ve got a new lease of life make it a musical one. Tame Impala have been making the most of their musical life, traveling the globe appearing on television shows in the UK and America and playing to adoring crowds. They even won respected UK magazine NME’s annual poll for world’s best album. Now they return to Australia to play to home crowds who haven’t seen them in headline mode for a couple of years. What a way to end the year! Muso caught up with Tama Impala main man Kevin Parker to chat about the band’s whirlwind journey. Then there’s our interview with alt thinker and guitar virtuoso Omar Rodriguez Lopez and Le Butcherettes singer Teri Gender Bender about their new band Bosnian Rainbows. Very much like Prince in the way he churns out creative material, Omar places greater importance in the creative process than the end result. In fact, as he discusses in our interview at the band’s Melbourne sound check, a lot of the time he will just shelve finished projects, placing no pressure on himself to ever release them. If you download the iPad version of Muso, which you will find inside one of the SPA title apps, you can view footage of the interview and Corner gig. Speaking of thoughts, Warner Music came up with a great one when they decided to release a local version of Lenny Kaye’s (rock scribe and Patti Smith guitarist) Nuggets album. Nuggets is a compilation of obscure psychedelic, garage rock tracks from the ‘60s. Warner has not only just released a compilation of Australian psy-garage tracks from the ‘60s but also put together a companion piece on which current Australian rock bands do covers of songs which appeared on Kaye’s original Nuggets album. As we love to do at Muso, we catch up with not one but two bands in the studio. Muso witnesses Something With Numbers and Melbourne Ska Orchestra as they complete songs, mould material and get it down on tape. Also in this issue, we introduce a DJ section. Those much maligned DJs are creative types too! We introduce you to two new artists, Nigel Wearne and Joel Havea, and of course we bring you a truckload of new gear to investigate. It’s all inside this issue of Muso ... digest it now, but leave room for your Christmas pudding!

GREG PHILLIPS Muso Editor

CREDITS MUSO. ISSUE 4 - DECEMBER 2012 PH: 03 9421 4499 FAX: 03 9421 1011 ADDRESS: 584 Nicholson St Nth Fitzroy 3068 WEBSITE: www.themusic.com.au EDITOR: Greg Phillips greg@streetpress.com.au DISTRIBUTION ENQUIRIES: distribution@streetpress.com.au LAYOUT & DESIGN: Matt Davis IPAD EDITION: Dave Harvey CONTRIBUTORS: Reza Nasseri, Nyssa Bradsworth, Shannon Bourne, Baz Bardoe, Sean Pollard, Michael Smith, Chris Wilson, Barry Gilmour, Paul Dengate, Scott Cherry. PHOTOGRAPHER: Elaine Reyes (cover pic) PRINTED BY: Rural Press Published by Street Press Australia PTY LTD

The new single, She’s My Baby, from Melbourne four-piece Kingswood, was recorded at Woodstock Studios in east St Kilda by inhouse (and the band’s live) engineer Cam Trewin and mastered by Brian Lucey (The Black Keys, The Sheepdogs) at Magic Garden Mastering in Columbus, Ohio. American singersongwriter Willy Mason recorded his third album, Carry On, in a small South London studio with its owner, producer Dan Carey (Bats For Lashes, Hot Chip, Franz Ferdinand). Former American Music Club mainman Mark Eitzel recorded his seventh solo album, Don’t Be A Stranger, with coproducer Sheldon Gomberg at The Carriage House in Los Angeles. The new album, The Other Side, from regular Canadian visitor Tim Chaisson, was recorded at The Woodshed Studio in Toronto, which is owned and operated by renowned Canadian band Blue Rodeo, under the guidance of producer Colin Linden (Bruce Cockburn, Blackie & the Rodeo Kings, Lucinda Williams). Former Jam/Stiff Little Fingers bass player Bruce Foxton has finally got around to cutting his second album, Back In The Room, nearly 30 years after his first, recording it at his old offsider Paul Weller’s Black Barn Studios, Weller playing on three tracks. Steely Dan’s Donald Fagen coproduced his latest album, Sunken Condos, with Michael Leonhart, recording at Candyland, Hirsch Studios, Sear Sound, Avatar, Audio Paint, Stratosphere and Pat Dillett’s studio. Fade, the new album from Yo La Tengo, was recorded with John McEntire (Bright Eyes, Stereolab, Teenage Fanclub ) at Soma Studios in Chicago.

Ellaways Music will be setting a new trend this year by having their January sale pre-Christmas. Their ‘Pre-Christmas Mega Sale’ will run for 12 days, from 13th until 24th December at their Kedron and Underwood stores. The sale will be on new and pre-loved guitars, brass, woodwind, amps, PA equipment, drums and various other instruments. When asked specifically why the January sale would be advanced, Kedron Store Manager, Anthony Beveridge, said “At Ellaways Music we’ve always tried to remain as relevant as possible to our customers. Next year we will have been in business for fifty years, and as retailers seen some ups and downs. This year, given many are doing it tough, with increased costs, we thought it made sense to bring the January sale forward to Christmas and give our customers a treat.” Musicians can expect to see a great selection of products from Ibanez, Fender, Gibson, Takamine, Maton, Roland, Lag, Gretsch, Drum Craft, Yamaha and many more at heavily reduced prices. “There is over $1 million worth of stock to clear and there will be unprecedented discounts,” said Anthony. “Across some lines we have seventy per cent off the recommended retail price.” www.ellaways.com.au

GALLIN BUYS ALLANS + BILLY HYDES The fall of Allans + Billy Hydes sent the music gear industry into a spin this year, but it seems it’s all falling into place again with most of the former AMG wholesale brands finding a new home and now Con Gallin acquiring the Billy Hydes name… and hopefully securing work for many of those whose future seemed uncertain leading up to Christmas. It was announced on November 28th that Mr. Gallin had negotiated with the receivers, Ferrier Hodgson, for the purchase of the bulk of the Allans Music and Billy Hyde assets, including the trading names Allans Music and Billy Hyde, Allans Billy Hyde, Australian Music Group, Musiclink and Intermusic, together with their associated domain names and websites. Mr. Gallin also confirmed that the flagship stores at Southport (Qld), Sydney, Alexandria, Parramatta (all NSW), Adelaide (SA) and Blackburn and Bourke Street, Melbourne (Vic) will continue to trade. Mr. Gallin also confirmed that the majority of the staff currently working in these stores will remain. The current liquidation sale taking place in the Allans Billy Hyde stores will continue with AMI/Gallin’s adding additional stock from their warehouse and suppliers to give consumers additional discounted items right in time for Christmas. www.gallinsmps.com.au www.allansbillyhyde.com.au

WIN

A SET OF AUDIO TECHNICA HEADPHONES The folks at Audio Technica had named this year The Year of the Headphone and to celebrate released a swag of quality phones for all occasions. Muso has two pair on offer; a set of Premium Open Back ADX700s (RRP $295) for professional use and the more fashion orientated WS77 on-ear phones (RRP $99.95).

AT PREMIUM OPEN BACK AD SERIES Usually in the studio closed-back headphones are used for monitoring purposes. However OPEN-Back headphones are also great for bands and DJs when mixing too.

AT WS77

These on-ear headphones feature interchangeable coloured discs, flat cables and wind-up mechanism.

T SHIRT AND STICKERS

For your chance to win a set of phones, a T-shirt and stickers, simply email Muso at: greg@ streetpress.com.au and leave your details.

Nick Cave & the Bad Seeds recorded their new album, Push the Sky Away, to be released in February, at La Fabrique, a studio based in a 19th Century mansion in the South of France, with producer Nick Launay (Yeah Yeah Yeahs, Arcade Fire, Grinderman, The Living End). Bernard Fanning is currently in Los Angeles finally recording his second album, the followup to his incredibly successful debut, Tea & Sympathy, which he promises will be nothing like that album, with producer Joe Chiccarelli. Biffy Clyro release their new album, Opposites, recorded in LA with producer GGGarth Richardson (Red Hot Chili Peppers, Rage Against The Machine), February 1. Gold Fields began recording their debut album, Black Sun, summer of 2011, decamping to LA to spend six weeks working with producer Mickey Petralia (Ladytron, Peaches). On returning home, the five-piece retreated to a remote manor farm and continued writing more songs, which they subsequently recorded with Scott Horscroft (The Presets, Silverchair) as co-producer/ engineer. Recording and editing of the new and sixth album, Bomb The World (With Kindness), from Sydney three-piece Finn, which includes guest contributions from, among others, former Status Quo bass player Alan Lancaster, was done at bandleader and producer Jim Finn’s 24-track digital home studio Front Room Productions, and mastered by John Bee (Hoodoo Gurus, The Church, Icehouse).

Gear News ARIA GUITARS WORLD

ARIA, the Japanese guitar company (not the Australian Record Industry Association) has been in operation since 1953, but in 2012 are as techo-savvy as any of the major instrument manufacturers. They’re currently promoting their YouTube channel, ARIA Guitars World, which features demos and performances of musicians using ARIA product. ARIA released some great product this year including models in their PE Series, which was first introduced in the ‘70s. The PE range has become a classic of the ARIA range and the PE-1500 RI is a reissue of the very first PE model ever made. The latest model in the PE Series is the ARIA Pro II PE-DC. The top is made from carved solid maple, the back solid African mahogany, ebony neck and mahogany and maple neck. Pickups are two gold-covered humbuckers. Controls include volume, tone and three-position switch. It includes Gotoh machine heads. ARIA also make a quality range of acoustics including the AD-18 (pictured), which features spruce top, mahogany neck, back and sides and rosewood fingerboard. www.promusicaustralia.com

KLOTZ SIGNATURE SERIES JOE BONAMASSA CABLE RANGE Australian music gear distributor CMC Music is pleased to announce that they are now the Australian distributor for KLOTZ AIS range of MI cables. KLOTZ a.i.s. signature cables are named after top artists on the international concert and recording scene, including Scorpions guitarist Matthias Jabs and iconic bassist TM Stevens, and designed in partnership with them. “KLOTZ cables have long been my cables of choice because of their outstanding quality and fantastic sound,” says Joe Bonamassa. “As the logical next step, KLOTZ and I got together at a concert in Munich last year to discuss a partnership – and this cable is the first result. The KLOTZ a.i.s. Joe Bonamassa signature cable offers uncompromising quality and is ideal for studio work, but rugged enough to cope with the life of a touring musician.” The new Joe Bonamassa Signature Cable by KLOTZ a.i.s. is available from music retailers worldwide, as an instrument cable and a patch cable, with straight or angled connectors. The new Signature Cable features the high-quality Golden Tip jack made in Germany by KLOTZ Cables. www.cmcmusic.com.au

MUSE BASSIST CHRIS WOLSTENHOLME AND MARKBASS The people at MarkBass are thrilled that Chris Wolstenholme, bassist for Muse, used MarkBass gear on the recording of the band’s latest album, The 2nd Law, and has been using a Markbass rig on tour. In the studio, he used a MoMark SD800 into a Standard 104HF cabinet and an SD1200 into a Classic 152 cab. On the road he’s being amplified through two SD1200 heads and four Standard 151HR cabinets. Check out the album and the live show to hear Chris’ massive bass tone! For more Muse information and their tour schedule, visit www.muse.mu. MarkBass is distributed in Australian by CMC Music. www.cmcmusic.com.au.

[3]


Muso’s Greg Phillips finds a precious 20-minute hole in Kevin Parker’s busy schedule to chat about life as an international act and the current Tame Impala Australian tour.

R

eleased in October this year, Tame Impala’s critically acclaimed second album Lonerism swirls, meanders, shimmers, sways and radiates joy. It takes you back and it takes you away and now it even contains hits, international hits. The unsmistakable loping bassline of the single Elephant emanating from a Beatles-style Hofner bass was recently viewed by millions of people when the band performed on UK TV’s Later… With Jools Holland. On the other side of the Atlantic, they had already played popular American TV talk show Jimmy Kimmel Live. The killer punch however was winning NME’s respected album of the year poll a couple of weeks ago, ahead of artists such as Grimes, Alt-J, Jack White, Beach House and Cat Power. Interestingly, Pond, which features Tame Impala’s Nick Allbrook and Jay Watson, came in at number ten, and the album by French artist Melody’s Echo Chamber, which Tame’s mainman Kevin Parker produced, was also highly placed at number 16. For Tame Impala, this is their moment… the moment most bands dream of. Tame Impala’s overseas sojourn had created the perfect storm. The music media created the buzz and the band backed it up with amazing performances on TV and on stage. The Boston gig was a stand out for Parker. “They were all memorable in some way but I think Boston, which is kind of a university city, was pretty crazy,” he explains. “For some reason heaps of people got up on stage and started causing trouble. There was heaps of crowd surfing going on. Our guys had to try to keep it all in order without ruining the party.” The television performances were new territory for the guys too. “Jools Holland was only our second ever TV performance,” said Kevin. “It was crazy for us working on this extremely tight schedule. There are things happening every two seconds and people waving their arms around and holding signs. We were in this room with like seven other bands all set up at the same time.” With so many great artists appearing on the show including Sinead O’Connor, the Impala members kept to themselves, choosing not to socialise, apart from Parker who was obligated to have his photo taken shaking hands with the host. Merely two days after arriving back in the country, from “Paris, I guess”, a jet-lagged Parker tells me through a stifled yawn, he’s at

an airport again. This time he’s leaving his hometown of Perth to embark on their first headlining Australian tour for two years. Playing to international audiences and playing bigger shows in general, you’d assume that the band’s gear would need a re-think. As Parker tells though, they have never stopped in their quest to find new and interesting music gear. “We are always on the hunt for cool and new things. Not that we necessarily have the money but we buy things and then work it out later,” he says. “We buy new gear all of the time. We are always looking for new ways to change the sound, screw with the sound.” At this point in the interview, Parker’s voice trails off as he recognises an old school friend at the airport. A short chat ensues between them before a very tired Parker realises what he was doing a couple of minutes prior and rejoins our conversation. I reminded him we were discussing gear and he informs me of his favourite new stage toy. “A thing called an Empress Compressor,” he says. “It changes the level of the sound when you plug in other instruments. I plug the keyboard into this thing and hook that up to the guitar and then the keyboard changes the volume of the guitar. The instruments are interacting with each other, which is kind of a new thing. We never used to be able to do that in a live

environment but we can do it these days.” As Tame Impala’s international notoriety is a very recent phenomenon, nothing has really changed in a financial sense, not yet anyway. They still only tour with the guitars that they each own, plus one spare. “We just take three,” confirms Parker. “We have two guitarists and we have a spare guitar just in case something catastrophic happens but we actually use that at the end of the set. There is a part where we have three guitars going. We generally travel pretty light, we don’t like to take more than we need to... more stuff to carry.” Parker’s guitar is a Rickenbacker he bought in Japan about three years ago but he didn’t start using

just using a Space Echo now. I was thinking about getting a Chorus or something but at the moment, just the Space Echo. It has a pretty nice sounding delay and has reverb as well.” The public first got a glimpse of Lonerism in October, but for the band it’s been a while since completion and on the road, the songs are beginning to take on a new life. “The way we recorded them is so different to the way we play them live,” says Parker. “In the studio it is just me doing all of the stuff then we play them live and there’s a bunch of us and its a different environment altogether. Some of them are longer or shorter. We take the essence of the song and try to interpret it live.” Initially Parker thought that these songs had so much production in them that they would never be able to be reproduced live on stage. “I was thinking that there was absolutely no way we were going to be able to do it,” he exclaims. “At the time, when I was recording, I was kind of resigned to the idea that we wouldn’t be touring it. I got tired of it anyway, because touring has that effect on you… you get sick of it. I was keen for it just to be a recording project and not tour it. There are so many layers on the songs... I didn’t even think it was possible. I wasn’t really looking outside the square at that time.” Another consideration for a band whose star is on the rise, is keeping audiences worldwide interested in what they are doing up on stage. An internationally touring band has to put on a show. Parker, however, has always thought about how the

WE BUY NEW GEAR ALL OF THE TIME. WE ARE ALWAYS LOOKING FOR NEW WAYS TO CHANGE THE SOUND, SCREW WITH THE SOUND.” it immediately after purchase. “I didn’t know how to control it,” he says. “There was too much feedback and crazy stuff going on. I didn’t have the nerve to use it until recently.” Kevin plugs his black and white Ricky into two amplifiers, a keyboard amp he uses to get a di sound and a Vox AC30. For vocal effects, Parker has changed up from the Roland VE20 he had been using. “I’m actually

band are perceived live. It’s a thought which is never too far from his mind. “We have always tried to do things in the set which is not strictly about the songs. It just makes it more interesting and less like we are just playing song after song. It is more of a journey.” One of visual tricks Tame Impala use on stage is an Oscilloscope, which is “like a laser beam which draws the visual representation of the music the band is playing,” explains Parker. “It’s pretty fun and I am getting better at using it as well.” While Tama Impala is Parker’s main project, he keeps his fingers in many musical pies to avoid boredom. One of the 2012 side projects he was involved in was producing the Melody’s Echo Chamber album, a disc which has his fingerprints all over it. “I just got to be the hands of the album, basically,” he says. “I have never had that opportunity to be a producer. I had to think strictly artistically.

TC Electronic PolyTune Boss TU-3 Tuner Pedal Boss AB-2 2-Way Selector Electro Harmonix Holy Grail Reverb Pedal Electro Harmonix Holy Grail Nano Reverb Pedal Boss BD-2 Blues driver Dunlop DVP1 Volume Pedal or Ernie Ball Volume Pedal Boss VE-20 Vocal Performer Boss FV-50L Volume Pedal Boss FS-5U Footswitch Dunlop Cry Baby Wah Pedal Dunlop MXR Carbon Copy Analog Delay Pedal Dunlop MXR Dyna Comp Compression Pedal Boss BD-2 Blues driver DOD FX25 Envelope Filter Pedal (or possibly an FX60 Stereo Chorus Pedal) or ZVex Seek Trem and Empress ParaEq Electro Harmonix Small Stone Phaser Pedal Dunlop Fuzz Face Fuzz Pedal Diamond Vibrato Pedal Moog Mooger Fooger MF 105 MuRF or Boss RE-20 Space Echo Delay Pedal Roland Space Echo

The music was really cool. It was great to be able to realise someone else’s ideas.” Parker is currently honing his studio skills further while helping his bandmates mix the next Pond album. Any talk of Tame Impala album number three is premature. “I only really have a few ideas,” he says. “I don’t really have a defined idea but we’ll see. We have a whole lot of touring to do. When we get back I will have a good idea of what we want to do. All of the ideas I have at this stage don’t even point to an album. I can’t even imagine an album at this point, which is weird. I am usually excited to get onto the next one. I just have too many ideas that aren’t album related. They are more… I don’t know… something else, which I can’t really explain. Somewhere between a recording and a performance. I don’t know!” Art, I suggest? “Yeah maybe! It just might be art.” Parker is keen to to find some time to rest. “I don’t think we have done a headline Australian tour since 2010. It’s just going to be good to play Australia again. I feel like we have almost bypassed the Australian people for a while.” As for rest? “Yeah I guess it will happen at some stage… if I am lucky enough!” Tame Impala play the Pyramid Rock festival on Phillip Island from Saturday 29 December to Tuesday 1 January. www.tameimpala .com.au

Internationalism

[4]


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[5]


Lenny Kaye’s Nuggets compilation of ‘60s era psychedelia and garagestyle rock now has two local companion albums. Greg Phillips speaks to Mick Hamilton from ‘60s Australian band The Moods about the albums, the era and that sound.

Nuggets: Original Artyfacts From The First Psychedelic Era: 1965-1968

T

he Nuggets: Original Artyfacts From The First Psychedelic Era: 1965-1968 compilation, put together by Patti Smith guitarist and some-time rock scribe Lenny Kaye in conjunction with Elektra Records founder Jac Holzman in 1972, is a collection of garage-rock obscurities from the ‘60s. Truth be known, the term garage-rock wasn’t coined until well after these long lost treasures had been released. Forty years on, the set has been re-released. To celebrate, Warner Music has also put out a couple of companion albums. One is

Down Under Nuggets: Original Australian Artyfacts 1965-67

Plastic Gold

Antipodean Interpolations Of The First Psychedelic Era

an Australian version of Lenny Kaye’s original concept featuring obscure Australian psychedelic rock tunes from the same era by bands such as The Elois, The Five and The Throb, alongside more recognisable acts The Easybeats and The Masters Apprentices. The other is a recreation of Kaye’s Nuggets record with the tracks rerecorded by a bunch of current Australian acts including Velociraptor, Davey Lane, Eagle & The Worm, Pond and many others. Mick Hamilton’s old band The Moods are included on the Australian originals compilation with a track titled Rum Drunk, one of only two singles the band ever released in the early ‘60s. Hamilton is as surprised as anyone to be speaking with the media about songs he recorded more than 40 years ago. “It’s nice to be remembered and that people think you are relevant in some sort of way,” he says of the belated interest. “We only really released two singles. We did some other recordings but none of them ever saw the light of day. It was fairly common in those days. A lot of people recorded and disappeared without trace or the record companies decided it wasn’t worth putting them out. We all had dreams of being the next Beatles or Rolling Stones. It took about five minutes for it to become apparent that wasn’t going to happen. Once we got past those dreams of glory, I guess we just wanted a hit record and to have a good time.” More than anything, what the Nuggets original compilations have in common is a sound and pioneering spirit. It’s a sound which many bands today such as Tame Impala attempt to capture. Back in the day, the gear was basic and it was very much a case of experimentation when it came to recording. “I was using a Fender Strat and a Goldentone 40watt amp,” recalls Hamiltion of his gear. “The lead guitarist was using a semi-acoustic Burns guitar through a 50-watt Vox. None of us have any of that stuff anymore,” he laments. “On the B-side of the

[6]

really was a piece of speaker mounted on a carton, corrugated cardboard.”

track that is on the Nuggets album, I used tremolo on my amp to give a distinctive sound and I used my fingers instead of a pick in a quasi-flamenco style just to give it a different sound. Our other guitarist, John, had a treble boost. It wasn’t even a pedal, it was a little box and he used that to overdrive the sound and make it distorted before there were even fuzz boxes. What we knew about recording in those days you could put on the back of a pin. We didn’t have much to do with it. We’d just come in with the songs and perform them. We didn’t have any say about what went on in the control booth.

It was probably twotrack, I can’t remember. I don’t think four-track came in until a couple of years later. What you hear was pretty much what was performed. There was very little messing around, a bit of echo maybe and that was it. We didn’t know what we were doing. It was rudimentary and learning as we go. The bands, the press, everyone was learning on the spot. If I recorded that stuff today, I couldn’t get that sound, wouldn’t know how!” A big part of the Nuggets ‘sound’ was its lack of focus on the bass

– it was very treble-based. The main reason for this was that they didn’t have the speaker technology to reproduce low bass frequencies. “It was almost a concentrated effort on the part of the engineer not to get any bass on the record,” says Hamilton. “When I worked with Festival Records in Sydney, which was more corporate, they really went out of their way to

Lenny Kaye is as surprised as anyone at the adulation he receives for his part in bringing these Nuggets to the fore. “I’m still getting free beers out of it!,” he told me in 2008. “The great thing about Nuggets is that it was a moment in time that was as inspirational as any time in rock’n’roll. To

THE GREAT THING ABOUT NUGGETS IS THAT IT WAS A MOMENT IN TIME THAT WAS AS INSPIRATIONAL AS ANYTIME IN ROCK AND ROLL.” pull the bass right out. They claimed it would distort on people’s radios. At the time we did Rum Drunk, which is on Nuggets, at Armstrong Studios, they used to have a three- or four-inch speaker mounted on a piece of cardboard and they would play the mix through that to see what it sounded like – the reason being that it was the kind of quality people would be listening to. It

be honest, I hardly ever go uptown to New York to see the big international bands. I still like to go into the rock clubs to see who is doing what, to be

at the grass roots of what’s happening. It was a great moment in time. I mean, it was all over the place. Garage rock now is a very specific style and while there were many different components to it back then, what I really liked about it was that first thought, that first idea, that’s what made it great.” At 65 years old, Hamilton continues to play regularly today, backing artists such as Frankie J Holden and Wilbur Wilde, and he still records occasionally. Last year he recorded an album with friend Keith Glass in which they attempted capture that Nuggetsera sound. “We attempted a bit of a throwback to the ‘60s and ‘70s garage sound, almost psychedelic. We had a great time doing it and it sounds pretty good but it doesn’t sound authentic. We tried, we really did! We had guys from that time and instruments from the era, we tried everything we could but it just sounds too slick. It’s almost like you learn too much in the interim. There’s a rudimentary roughness that you only get because you can’t do it any better. If you try to play down to something and you are a better musician than you are trying to be, it is not going to work. In the old days we were stretching the limits to be the best we could possibly be, which wasn’t very good and consequently made it sound great.” facebook.com/ WarnerMusicAU


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[7]


Omar Rodriguez Lopez was back in Australia with a brand new band called Bosnian Rainbows. Greg Phillips spoke to Omar and lead singer Teri Gender Bender about the new project at their Melbourne soundcheck.

A

year is a long time in music, especially if you are Omar Rodriguez Lopez. Since I last spoke to Omar, almost a year ago to the day, he has reformed and toured with At The Drive-In, released a new Mars Volta album, toured with that band, finished and premiered another movie Los

Chidos, and was back in Australia with a completely new group called Bosnian Rainbows. Then there are the others projects he has also completed which have just been shelved, such as the film documentation of last year’s ORL band Australian tour. “We are doing things all of the time, for the sake of doing them,” explained Omar. “The Australian film is a great example. We made the film. It was a great thing. We showed it to our friends. We cut it together, we all love it and then I put it in the closet with three or four other films. For someone who is very result orientated, if they don’t see it come out or see it in a store, it’s like it didn’t happen. As a creative person going through the process, it is quite the opposite. It’s like, ‘We did it! It was amazing! Now what can we do?’” So much happens in Omar’s creative life that he just loses track of things. Another 2012 project he mentioned simply because I reminded him, was an album he recorded with the grandfather of exo-politics, Jordan Maxwell, a guy who bills himself as a lecturer in the fields of ‘secret societies, occult philosophies and UFO-ology.’ “It has all sorts of interesting information on how the world works and how the American

Rainbow Connection

There’s more to this story

on the iPad

legal system works,” said Omar of the recording. “That was really cool. I hope to put that out one day when I have the time.” The musical project which Omar and Teri are now focusing on, however, is Bosnian Rainbows. The band also features Mars Volta drummer Deantoni Parks and keyboard player Nicci Kasper, who plays with Parks in Dark Angels. The music, unlike anything else Omar has been involved in, is a real collaborative process encouraged by the need to shed his former dictatorial ways. “It is a result of my life choices and a new way of living,” said Omar. “This is a new group which is completely a collaborative effort in every sense of the word. It is impossible to even pinpoint a process with this group because literally, everybody does everything. That was the thing when we started this group; everybody had to be a composer, everybody had to be a band leader in their own right. Everybody had to be a producer and engineer and know how to record themselves.” For Teri Gender Bender, being out front of Bosnian Rainbows is also a liberating experience. “It is physically amazing because I use my body as an instrument,” she said. “I am moving everything and letting my body feel the music. With Le Butcherettes, I’d always be focusing on the guitar or not messing up the songs. Here, it is just… free.” Like Omar, Teri has also been in collaboration mode and recently recorded a couple of tracks with Latino superstar Carla Morrison. “We had met before in Mexico. Everyone knows each other there. She’s a songwriter, I am a songwriter, so being able to record her song with her was very natural because of the friendship.” The dilemma of being involved in so many contrasting musical projects is that it would be difficult to continually find a new sound, as opposed to just playing a variation on a sonic theme. It’s suggested to Omar that using different gear, such as a newly purchased guitar, would go some of the way to altering his sound. Of course Omar sees it differently. “ It is more of a thing of getting excited because it is a new project,” he said. “The excitement of when you are entering a new era of your life. Teri had certain things that she didn’t want to do in this group that she did do in Le Butcherettes. I had certain things that I didn’t want to do in this group that I did in my old group, so that is also a defining factor. “The quickest way to define it is knowing what you don’t want to do. For example, I didn’t want cymbals or hi-hats. There’s no bass guitar. Deantoni said he didn’t want certain things and same with Nicki, so you throw it all out and you start the fun part of it.” “Yes it (the new guitar) is wonderful and a good example because that happened quite by chance. We were in Chicago flying out to Europe to start a tour. I happened to go with a friend to a guitar store. Guitar stores never have anything left handed. Here was this 1967 left handed Supro miniature guitar and I knew from the moment I grabbed it that it is all I want to play from now on, and the same with flat wound strings. I knew it was the guitar for this group. It is a shorter scale so the higher part of the guitar is missing so all the really annoying notes are gone.” www.rodriguezlopezproductions.com

OMAR AND TERI UPDATE At The Drive In?

“For me it was rekindling this love affair with these guys that I grew up with, righting some wrongs and getting to now each other and the different families after ten years of not speaking to each other. I spent eleven years saying I would never play with them again and then I played with them. I know now not to say never. Cedric has a wonderful record coming out that he is focussing on. It is a really exciting time for all of us because we are all doing something different.”

The Mars Volta?

“Put that to rest for now but who knows what will happen in the future, but it is a whole new era for everybody.”

Le Butcherettes?

“We’ll hopefully put the Le Butcherettes record out at the end of this year so next year we can be focussed on Bosnian Rainbows.”

Bosnian Rainbows album? “Early next year as well.”

[8]


It took a four-year stint away from his hometown for Joel Havea to deliver his debut album. Greg Phillips speaks to him prior to his homecoming shows.

Nigel Wearne recently released a great folk album titled Black Crow, featuring a warmth and genuineness which will seduce anyone with a real musical heart. Wearne is also an accomplished luthier and chats to Muso about all the aspects of his craft.

I

n any Australian city, on any night of the week, you’ll find a band or singer-songwriter baring their soul on a stage in a venue of some description. Spare a thought also for those Australian artists who left our shores to seek fame,

Making Plans

Havea Good Time

What materials do you generally use for your guitars and from where do you source your timber?

I use a mixture of traditional timbers and whatever I can get my hands on. My latest guitar (a 000-12 Martin copy) has a Sitka Spruce soundboard and Ebony fretboard which are both traditional timbers. The sides and back are Blackwood, which is now a contemporary and common option for instruments, due to its fantastic and unique tone. The timber I used for my latest guitar was grown in the Otways and sourced through a good friend of mine who is a luthier. The bracing is Oregon sourced from some old bed rails I found in my dad’s shed. In the past I’ve used Blackwood and Western Red Cedar sourced from Mitre 10.

How many instruments have you produced?

I’ve built a Martin-style dreadnought, a disastrous 12-string, four lapsteels, a Weissenborn slide guitar, a square-neck dobro, a backpacking travel guitar and a 1920s-style 000-12 Martin copy. It’s taken me anywhere from 20 hours to 200 hours to build a guitar depending on how involved it is.

Are you building an instrument at the moment? At the moment I’m pretty busy with releasing my new album Black Crow, so unfortunately I don’t really have much time at the moment to be building guitars. I’m hoping to start building my next guitar over summer, a Martin-style 0-12 next. It’s basically a smaller version of a 000.

Over what period of time was the album recorded and how long were sessions?

Black Crow was recorded over three days. The sessions were about six to eight hours per day but with some breaks throughout the day. I spent time in the night recording the quieter songs that didn’t require full instrumentation.

How did you mic the acoustic instruments and what kind of mics did you use? I left the mic selection to Mick Wordley. The vocal was a beautiful 1946 chrome-top Neumann U-47 – an original, so it was a real

treat. I’ve used that mic with Mick before and it really suits my voice. My guitar had stereomatched Shoeps pencil mics, Dan’s mandolin had a Neumann KM84, Kat’s fiddle and viola had a Royer 141 ribbon. Andy’s bass had a AEA ribbon mic and we had a couple of Neumann room mics. With the back-up vocals, we had a couple of Sennheisser dynamic mics. It was recorded dry to Pro Tools and then mixed in Adelaide at Mixmasters. Mick ran it through all his analogue gear to give it that ‘tapey’ retro sound. www.nigelwearne.com

fortune or just a gig somewhere other than in their own backyard. Joel Havea had been enjoying an ever-increasing fanbase with his band The Havea Brothers in Melbourne before deciding to backpack Europe with nothing much more than his guitar slung across his shoulder. “I was backpacking with my guitar and had been on the road for about ten months,” explains Havea. “I had no return ticket back to Australia and went to Berlin on a whim, then fell in love with the place and stayed for five months. After that I moved to Hamburg and it’s now been four years and counting. I guess I’m the sort of guy who just goes with the flow and when you remain open for change and new experiences, it’s funny where the road can take you.” Havea has been building a new audience in Hamburg playing regular solo gigs on the famous ‘sinful mile’, also known as the Reeperbahn. “There is an awesome music scene here,” says Havea of his current home. “The city has a great tradition of music from The Beatles all the way to German hip hop, which has its roots in Hamburg.” It’s been a long time coming, but Havea has just released his debut album, You Make Me Believe. The most difficult part of completing the album was culling down a life’s worth of songs into a single record. “It was hard to leave certain songs off the final cut,” says Havea. “It was a matter of finding the right balance of songs for the album as a whole, and also trusting

my producer’s [Achille Fonkam] advice.” Havea’s music has much in common with fellow troubadours such as Jack Johnson and Ben Harper. He is thrilled to be finally coming home to Australia to play the new album tracks to audiences in Melbourne and Sydney over summer. He’ll be bringing his trusted Maton EM325 acoustic with him, which he sees more as a companion than a tool of his trade, as well as a more recently acquired Martin D35, which he recorded most of the album’s guitar parts on. “It has an amazing full,

rich and warm tone and as soon as I first strummed it I knew I had to buy it,” he says of the Martin. “I play with my guitar tuned down to D-standard and use a thicker string gauge. My guitar style is quite rhythmic and groove-based and I find the looseness of the strings helps to add an extra percussive element.” Joel Havea plays the Northcote Social Club in Melbourne on Wednesday 19 December, Baha Tacos in Rye on Saturday 22, and the Backroom in Sydney on Thursday 27. www.joelhavea.com

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Adam Ward knows clubs and club sound. Ward speaks to Muso about both.

For someone used to the magnitude of the Euro dance festivals and the elaborate clubs there and in America, Adam is disappointed that Australian club owners haven’t approached their venues with the same adventurous spirit as their overseas counterparts. “Sound systems are such an auditory and visceral experience. It really needs to be where you spend a lot of your money, most of them here don’t realise that,� said Adam.

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Full Throttle is the Australian distributor of Funktion One sound systems, which Ward believes are currently the best in the world. “There are a lot of clubs in Ibiza using Funktion One which is the club Mecca. There area lot of clubs in Vegas, New York, and Miami that are sporting Funktion One. They are the epitome night club system. Funktion One really owns the electronic music market. They just did a

Funktioning Sound vote of the ten best night clubs in America and I think six out of the ten have Funktion One systems.�

F

“You’ll get a client come to you and they will have an idea,� explained Ward. “Are they doing rock bands or DJs? We specialise in hi-end DJs like Tiesto and Armand Van Helden people like that. We specialise in clubs that they would play in. With some of the clubs, money is no option, they’ll say we don’t care what it costs just build it. Once you get the design brief, you sit down and look at the space, work with the architects and come up with what is best suited to the space.�

ull Throttle Entertainment Director Adam Ward has toured with legends such as Tony Bennett and Frankie Valli and experienced everything in the sound game from production management to tour management to front of house engineering and PA design. He worked in America for 14 years in both LA and Vegas. He knows PA and has seen the DJ market grow extensively worldwide. Ward specialises in the design of sound systems for venues, but how does one design a PA system?

Ward has seen a lot in the club world. One of his most memorable experiences was working a club in Vegas when Prince called up and decided he’d like to play a weekend of intimate shows. The venue was also booked for Tiesto, who at the time was the biggest DJ in the world. prince was contracted to finish at a certain time to allow for PA swap over for Tiesto. prince decided on his second night to play two hour over time, leaving a 3,00o strong Tiesto crowd seething outside. “they were seething and ready to burst out of their skin. This wave of energy came over the venue as these kids rolled in. The DJ dropped the needle onto the first vinyl and the place went instantly into mayhem. It didn’t finish until about 11 o’clock the next day.� With his company and the Funktion One brand, Adam Ward is on a mission. “I believe in sound. It is a passion for me not just a job. What I want to do with Sydney and Australia is introduce people to that really high end audio that I experienced overseas and show people what you can do with sound.� www.fullthrottleentertainment.com.au

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The DJ market in Australia is expanding and as Andre Cato explains, so is Store DJ.

Store DJ Mega Store With stores already in Melbourne, Sydney and Brisbane, the company is now expanding with the opening of their biggest store yet in Cannington, Perth. “Store DJ sells between 70 and 80 per cent of all DJ equipment in Australia,� says Andre. “The Perth store is twice the size of any of our other stores. The new lighting system they have in Perth is quite amazing. All of the staff have iPads. They can flip through all of the different pictures of the lights on the iPad, touch any one of them and that light will turn on in the store. It’s a really interactive way of demonstrating the range of lighting effects they

have to show off the toys.� Store DJ has chosen its staff wisely and now has an expert team knowledgeable with all the latest DJ products, a necessity considering the ever-changing DJ landscape. “Digital,� says Andre in explanation of the direction the DJ market is heading. “Everything is moving towards iOS. These musical DJs can walk into a club with everything synced and quantised on their computer. DJs are now playing 40-50 tracks an hour. They will play a loop from one song, a bass line from another, a drum beat will come from somewhere else, and suddenly they have their own twist and flavour without having seven decks to perform that. It is very much moving into the mobile world. You can see that very clearly with what Pioneer are doing, who have started to incorporate wi-fi into their gear.� Store DJ stock all of the significant DJ brands and are thrilled to be the first official retail outlet for the Funktion One PA brand. Store DJ Cannington opens Wedensday 12 December. www.storedj.com.au



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3 1 0 2 N I S R MATTE

industry as an ar ge ic us m e th in d he nc tre o has become firmly en us M r, be to Oc , we bring you exclusive er in g ad in re e ch th un r la Fo e h. ac Sinc re le ab ch for the industry with unmat ol to l na io tour and in the studio. ot on om l, pr sa ar le he ab re os , sp ck he indi dc un so , m where it matters interviews and gear news fro (Brisbane) and ff O e m Ti ), ne ur bo el (M s sert in Inpres ic. Muso appears as a special in ts over 400,000 readers, all with an active interest in mus ). Muso hi ent. Drum Media (Sydney & Perth owed that over half of SPA title readers play an instrum Our 2011 readers’ ssurveyy sh

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21, August 18, ly Ju , 23 ne Ju , 19 ay M , 21 tles internationally February 17, March 17, April ti t rs fi e th of e on be l il LA in January and w in M M A N at l report in February. ia be ec so sp al a l h il it w ow Muso w sh e released at the trad to cover the latest gear

[13]


IN THE STUDIO WITH

Something With Numbers

It’ll be five years since they released their last album when NSW Central Coast-based five-piece Something With Numbers land their fourth LP next year, but as frontman Jake Grigg explains to Michael Smith, they’re doing things a little differently anyway.

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rom the street, you wouldn’t know there’s a high-tech recording facility tucked away in a sleepy corner of inner-western Sydney’s Annandale, but that’s just what you have in Jungle Studios. It’s a relatively new recording facility boasting an SSL 4056 EG with Total Recall Automation, imported from one of New York City’s biggest studios. NSW Central Coastbased five-piece Something With Numbers have been ensconced in the studio working on their fourth album with the studio’s co-owner, producer Lachlan Mitchell, who produced their first album, 2004’s Etiquette, and was nominated for an ARIA this year for his work on The Jezabels’ Prisoner album (he also runs Attic Studios in Glebe). “I guess I just wanted to work with him again,” said the band’s singer, songwriter and, though he admits his limitations, now proudly third guitarist, Jake Grigg explained the decision to rekindle the working relationship with Mitchell. “We already had a relationship with him so half of the point of when you start a record with a producer is that initial period of trying to get to know the person. We already knew Lachlan, so we didn’t have to go through all that red tape – we just got straight into it.” Something With Numbers recorded their last album, Engineering The Soul, back in 2008 with American producer Tim O’Heir (Dinosaur Jr., The All-American Rejects) in Mission Sound Studios in New York. The band has gone through a few changes in the interim, guitarist Lachlan Scott opting out to start a family and work as a substitute teacher at a selective catholic high school on the Central Coast, replaced by Trent Crawford, and similarly drummer Dave McBeath has moved on and been replaced by Lachlan West, who also plays in The Vines. The other founding guitarist, Tim Crocker, is still very much part of the firm. That’s perhaps prompted Grigg to approach the recording process a little differently. “In the past, we have always rehearsed a million times, got all our parts down to the point where we could play them blindfolded. For this particular recording with Lachlan, I wrote all the songs at home in my bedroom, brought them

into the band, we rehearsed them maybe four times – no one even really knew the songs as we came into the studio.” With this album, the band has been using the studio itself as a creative tool. For Grigg, the perfect example of this open and creative approach to recording is the evolution of a song called Runaway. “We had this song called Fuck Winter, and we brought it in and it’s this real sort of boppy, upbeat number and a tinge of country but also it was a heavy rock song. It was really good, real summery and we were jamming it out and I think accidentally

played the chord and it sounded cool and then Scott [Chapman – bass] played the wrong chord. Then we’re all playing the wrong thing until all of a sudden, we were playing this, dark heroin-dredgy thick piece of music, and we’re all just sitting on the A Minor chord looking at each other thinking, ‘This is fuckin’ bullshit!’ right? So I’m like, ‘Stop, stop, stop – lunchtime’. So everyone went to lunch and I sat in there and wrote a whole brand new song from that one little chord we were jamming on.” Of course, it’s far easier and cheaper to do that sort of thing these days because you can record straight to ProTools, as Something With Numbers have, straight into the digital realm. Another reason for dropping the whole heavy pre-production approach for this album has been simply to try something different, but for Grigg, it’s also been about Mitchell giving him the confidence to do just that. “He made me realise that you don’t have to be ridiculous on the guitar to be able to play. I didn’t start playing guitar until a lot later than most people. I was always a singer and I picked it up because I wanted to write songs and stuff, but I played a lot on this record and that makes me feel proud. “On this record, we’ve really experimented a lot with different pedals and different effects on

the guitars. There are a couple of songs where we specifically tried to make the guitars sound like they weren’t guitars, so you really couldn’t tell what the instrument is, whether it was a keyboard, guitar or bass – so we tried to make a universal sound. “In the past, all we’ve done is plug it into ‘the Marshall stack and have a whack’, you know? This time we wanted to make more of a musical piece than just a bunch of songs. We’ve still been going through pedals into amps, though sometimes we’ll DI the guitar part and then reamp it later, things

like that. I’ve just been using an Orange [amp], ‘cause I’m just addicted to reverb, so I always put that reverb all the way up. But there’s like a whole bunch of other boxes that make music in there. “One of the main pedals we’ve been using is the Pog. It’s one of those toys that you plug into and you’re supposed to be recording and then you find yourself halfway across the universe in your mind, and you’re playing something exotic and you realise everyone’s waiting for you to record your take! It’s really fun. “It’s on, I think, three track so far,” added guitarist Trent Crawford. “I’ve been playing an original ‘60s Gretsch Country Gentleman – I borrowed it from a friend so I’ve had to give it back – but besides that the Bill Nash Telecaster has been getting a lot of play, and the Bill Nash Stratocaster as well. The Les Paul is getting a run – there are probably five, six different guitars that have been getting used – the SG’s been sounding really good, the mandolin’s been getting a run – we’re goin’ for it. We’ve even plugged the acoustic guitar into the electric amp and been getting’ some stupid noises.” Due for release early next year, the as yet untitled album will be mixed by Tim Carr at Studios 301 Sydney. www.somethingwithnumbers.com.au

 



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IN THE STUDIO WITH

Melbourne Ska Orchestra

Muso finds the Melbourne Ska Orchestra kneep deep in recording their debut album, due out in March 2013. Sean Pollard dug Nicky Bomba out of the trenches for a chat.

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alking down Johnston Street in Fitzroy, there’s a street sign just opposite a row of bizarre furniture shops (one presumptuously decked out for Christmas trading in early November) that reads ‘Juddy Roller’. A footy fanatic might mistake it for a tribute to Carlton’s chicken wing-loving captain, but most know it as the totem for a top notch Chapel Street cafe housing work by up and coming and established artists. On this particular sunny Thursday afternoon, Juddy Roller is also playing host to a gaggle of horn players, most decked out in black and white checkered shirts and hats. The reason? Nicky Bomba’s ska-based behemoth, the 30-piece Melbourne Ska Orchestra, have settled in just three doors down in Adelphia Studios to record their latest collection of love letters to the genre. With a tracking rate of roughly seven songs a day, they’ll be needing some caffeine. The studio is a hive of activity as we wander in through its tiny and unassuming facade. Bomba himself is in the live room going over takes with vocalist Pat Powell, trying to nail down a ska-based tribute to The Espy’s Gershwin Room. The two engage in a lighthearted back and forth while trying to get the phrasing perfect and the mood is suitably relaxed. Several other members of the band are in the kitchen and living area trying on a plethora of new duds delivered to them by a ska-loving clothing line from the UK. Melbourne Ska Orchestra as a whole are also preparing for a signing party to celebrate their recent deal with Four/Four music, a subsidiary of the ABC, which will be releasing the album they’re currently tracking. The deal itself has allowed Bomba and longtime producer Robin Mai to set up camp in Adelphia for the foreseeable future, a unique opportunity to utilise a room that normally acts predominantly as a rehearsal space for the likes of Gotye and Kylie Minogue.

“Adelphia has been in the family for many years, ten or fifteen years,” Bomba explains, perched on a piano stool surrounded by mics. “The Greek brothers (Ange, Phill and Kev Andrianakis) run it. A lot of big bands rehearsed here, like Kylie and also David Hirchfelder did the soundtrack to Shine here. The first time I saw the studio it reminded me of Studio 1 in Jamaica - it’s just got that sound. We’d record something and say to ourselves ‘that’s got a distinctive sound’ and would usually figure out that it was in the way that we’d set it up and the makeup of it. I’d always said to the brothers that I’d love to make a studio like this place one day. When the opportunity turned up and when we signed with the ABC – instead of going into a studio, hiring it and losing the vibe that we’d built up here, we said ‘why don’t we pool our resources?’ So

the brothers put in their time, we pooled our microphones, Robin’s gear, my gear and everything and created our own studio right here.” Bomba himself is a man who thrives on big ideas like this. With a CV reading like a who’s who and what’s what of Australian music over the last decade, he is arguably best known for his work as John Butler’s drummer, as well as his prolific solo career and work as an in-demand session player. As we find him right now, he is busy working on a new record with Butler, touring his Caribbeaninspired Bustamento and, of course, tracking with the Ska Orchestra. There is barely a dull moment in his day as he runs around the studio chatting to various visitors and showing off his brand new, ska-styled Vespa. It would seem that the only thing that phases Nicky Bomba these days is the task of trying to relocate 30 ska-loving musos to the same room at the same time. “The hardest thing really has been the scheduling,” he agrees. “Other than that it’s been surprisingly smooth. We’ve been having clean days, starting about 11 o’clock and finishing about eight with time for lunch and dinner. We haven’t whipped ourselves into a frenzy or anything. We find that keeps our heads in the right place. We tracked bass, drums, guitar, organ, piano, horns and percussion all at once. The only reason we wouldn’t have tracked organ or piano is because the guys weren’t here. In the end, we’ve allowed ten days but after the fifth day we’d already tracked nineteen songs, so we ended up just taking the day off. We’ll track all day tomorrow and then Sunday will just be party day.” The secret weapon behind this superhuman rate of work is undoubtably producer Mai, the ARIAnominated workaholic behind records by Nick Cave, Beasts of Bourbon, Daddy Cool, Augie March and far too many more to list. Mai’s experience and deft

touch has allowed the Orchestra to track as fast as they can in a live environment, netting the laidback vibe required. When recording a live band, everything has to be perfect. Mic placement and the types of mics themselves need to be sympathetic to the situation at hand. Ska music is famously heavy on the horns, and Mai’s experience allowed him to make the right choices. “The horn microphones were all Neumann’s – two 87’s, an 89, a 67 and a TLM. The trumpet gets the smoothest top end mic, which is the 89, and the other saxes have a very similar setup, except it’s the TLM, which is a little bit lighter. They’re great mics for the job. They can be distant and still get a really nice top end.” As far as outboard gear goes, Mai and Bomba are running a relatively simple setup. Again comprised of pooled equipment, Mai is utilising the latest

version of Pro-Tools through an iMac. Perched next to the studio’s huge in-house mixing console is an API-6B lunchbox with a JLM HPM500 mixer, four JLM TG500 mic preamps and two JLM PEQ500 EQs. This sits atop a collection of Golden Age Pre-73s. Also in play is a Shadow Hills Mastering Compressor (belonging to Nicki) that features two compressors and a selection of three classic console output transformers. “When we record we’ll bring in stuff like the Shadow Hills, JLMs, bits and pieces and our engineer (Robin) and they’ll stay here,” Nicky details, although Mai is obviously free to come and go as he pleases. “When we’re not here though, there’s still the converters, all the amps, the lines in and everything. It’s all eighty per cent there and if you want to bring in the extras - which we did - you can.” All of these compressors and pre amps are working to serve the sound fed in by Bomba and Mai’s collection of microphones. Bomba is obviously a man passionate about his mics and spends some time detailing every setup and individual piece he’s using. “We had the Shure SM57 on the snare as that’s a bit of a classic sound, then we put in a bass drum mic and a Royer ribbon mic behind the kick as well to get that nice rumble that you need in ska music. All of the guitars were individually mic’d up with a Bayer 69, which is a really versatile mic, and the Hammond has the PZMs already in there so they’re part of the studio now. We just used them.” Of course, no live recording would be complete without some killer room mics. This is a fact that Bomba and Mai knew well when they went into the recording process, grabbing an OPR (Open Plan Recording) Pill mic in conjunction with two Golden Age Project R1 Active mics. “Spill is a natural part of the sound. We embrace it and work with that. So in the end, the room mics were an integral part of the whole process. Fifty per cent of it. With all our recordings, we don’t want it to sound slick and polished and pristine. The music that we love and that we’re drawing from has got that warmth. It’s not about having full range frequencies, it’s about having character and a bit of ambience.” Next, the inevitable mixing process. A tough thing to master at the best of times but with a project this laidback, it’s not surprising to hear the duo will be heading to Bomba’s property in Mt Hotham to do it. “We’ve got most of the vibe down already,” Mai explains. “So it’s really just going to be a case of consolidating that and cleaning it up a little bit.” www.melbourneskaorchestra.com

au.yamaha.com

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Lee Oskar Natural Minor Harmonica REVIEWER: CHRIS WILSON INFO: WWW.MUSICMERCH.COM.AU

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n full flight, nobody goes near him. Any blues or soul singer, he can match,” said blues singer Kerri Simpson in the last issue of Muso about our guest reviewer Chris Wilson, who has been an essential part of the Australian blues and rock scene for over two decades. Whether fronting Harum Scarum, Crown of Thorns or belting out his own songs or classic soul and blues tunes, Wilson is an out and out Australian music legend and one of the finest blues harp players goin’ around. He has just released a new album called Flying Fish and can be seen gigging regularly around the country. Muso is thrilled to have Chris onboard this issue as a guest reviewer. Visit www. chriswilson.com.au to learn more about him. Lee Oskar came to prominence in the mid-’70s as the harmonica player in the legendary funk/r&b band War. You may recall them as the band behind Eric Burdon’s hit, Spill The Wine, or alternatively their own classic Low Rider. Oskar’s style was atypical of the harp styles of the day. He preferred a clean harmonica sound, which contrasted with the heavily distorted Chicago blues sound that many harp players went for. This allowed him to play clean lines with the reed player in the band or allowed him to double keyboard or guitar parts without cluttering the lean tight sound of his band. His style was innovative. He employed multiple tunings, often changing harps within the one song. Around the early ‘80s Oskar began work with Tombo Harmonicas to produce a line of harmonicas that reflected his playing philosophy. The timing of this product’s release was all important. Until this time Hohner harmonicas had held a virtually unassailable position as the premier harmonica of choice among players. Now they had a serious rival. Oskar’s approach was simple yet radical. He produced harmonicas in every key, including major and minor variations - any scale that was playable on a ten-hole diatonic harmonica was manufactured.

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Any scale that could be played on the more cumbersome chromatic harp was also made. Which brings us to the product at hand. One of the first things you notice about Lee Oskar Harps is that the actual holes are larger than those of a Hohner harmonica. Whether the player prefers this is an individual matter; my guess is that this is to aid accuracy when playing. They are generally airtight, giving ease of playing, and this harp is no exception. The reeds are relatively light, giving a bright tone that cuts through a band’s sound with ease. This harmonica was obviously designed by a player for players. Every aspect is designed to give the user the most creative freedom. Traditionally harmonica players play in different modes to deal with major and minor scales in songs. These are called positions. Each of these positions has its own musical twists and turns

requiring various playing techniques. Each position has its own flavor. With harmonicas like the natural minor harmonica, Lee Oskar gives the player another option when approaching a piece of music. It is built so that the player can employ

CHRIS WILSON

all the skills of bending notes and tonal colourings that a player learns, whilst having the true notes of a natural minor scale available. It takes a little practice to master this harmonica but the rewards are fantastic. It brings a unique colour to a tune and I highly recommend you give it a shot. www.chriswilson. com.au

Timberidge Guitars - TRC-4F Dreadnought Cutaway

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On first look in the case, I certainly found this dreadnoughtshaped guitar to be visually pleasing. Solid Cedar top, with clean, smooth lines and a big body. This lovely lady comes with optional adhesive scratch plates in clear, black and tortoiseshell, but not having one definitely gives the body more room to breathe. The matte finish brings out the natural grains and tones of the Bubinga back and sides. Out of the case, it’s asking to be played! The Mahogany neck and rosewood fingerboard is smooth and has great action, making fingerpicking a breeze, and makes for smoother transitions and less fret noise. Cross-

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REVIEWER: NYSSA BRADSWORTH INFO: WWW.JADEAUSTRALIA.COM.AU

aving never heard of Timberidge Guitars before, and knowing they were Australian designed but assembled in China, I honestly didn’t know what to expect... but was pleasantly surprised.

The B-Band A3T piezo pickup, with pre-amp, has line level and mic level outputs. The onboard controls are sensitive and precise, featuring low, mids, highs and presence controls, as well as an onboard tuner for extra convenience. Plugged in, this baby packs a punch, but you do have to experiment with the settings quite a bit to find your own sweet spot. Once you find it, this guitar could rival any Maton or Cole Clark, giving clear and brilliant tones and a full bottom end. Normally, smaller bodied guitars like Martins and Mini Matons, are more ‘ergonomic’ for the female performer, but this is one of the more comfortable Dreadnoughts to play, sitting and standing, and allows for smaller hands to get around the fretboard comfortably. The free (that’s right!) paisley case is light-weight and quite pretty for the gals, (indie for the boys!), and that new guitar smell is always a winner for me! Comparable to the Maton EM320 Dreadnaught, the Timberidge 4 Series is bright, punchy and for under $700, a great first gigging guitar, or second guitar for that louder, rockin’ gig. Nyssa Bradsworth is a Melbourne-based singer-songwriter. Check out her Facebook page.

Allen & Heath Zed60-14fx Mixer REVIEWER: SEAN POLLARD INFO: WWW.TAG.COM.AU

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bracing in the body makes this a super-solid guitar, allowing for very little movement over time, but it’s very light-weight and easy on the shoulders. The black Grover tuners are comfortable and easy to tune initially, but I found that they did slip a little. Acoustically, the Timberidge 4 series Dreadnought is quite bright and clear with a very even sound from the bass through to high tones. I found the D’Addario EXP Long Life strings a tad bright for my liking; however other players may enjoy that tonal range. Unplugged, it has a very mid-heavy sound that would cut through any loud pub, but again, a bit more bottom end would please this Soul/Blues/Folk performer.

GUEST TEST

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ounded in 1969, the Allen & Heath company is based in Cornwall, England. A&H made a name for themselves initially by building a custom quadraphonic mixing console for Pink Floyd; the unit can be seen in the famous Floyd film, Live At Pompeii. These days, they’re known for producing high quality sound systems and a wide range of mixers. Pitched as the perfect mixer for smaller bands, the Allen & Heath Zed6014FX is a versatile unit with a huge number of features. As the 60th addition to the UK-based audio engineers’ wellrespected ZED series, the 14FX has been touted as a companion piece to the recently released 10FX mixer. Immediately, it’s clear that a lot of love goes into Allen and Heath’s Cornwall-built machines, as the unit comes in an eye-catching dark green with nice maroon side plates. All faders and pots are organised and everything is in it’s right place, although drummers everywhere will probably throw their hands in the air in frustration when they realise that Allen and Heath had guitarists in mind when they were putting this particular mixer together. Two of the eight mono channels provided have highimpedance jack inputs that can take a normal level from a standard pickup – the idea being that the guitar can be plugged straight into the mixer without the addition of a DI box. The desk also comes with an AmpliTube 3 free software package for guitar processing, which includes 50 ‘gear credits’ to add to the small but quality range of stomp-boxes, amps, cabinets, microphones and rack effects already featured here.

experience with mixers of this size and price. We did some pretty lo-fi recording with the unit and were extremely happy with the Ambient (echo) setting – especially on the lead vocals. The effects centre itself is easily located and not intrusive to the overall aesthetic on display. It even has a USB input, although many have complained that Allen and Heath have left out a matching cable for some reason. No matter – everyone seems to have spare USB cable lying around these days. It was slightly disappointing, however, that we were only dealing with USB 1.1 and not 2.0 - maybe an idea for the next model. In summary, this would be a great addition or jumping off point for anyone in need of a smallish mixer for live or recording needs.

As far as inputs go, we’re looking at eight balanced XLR, two instrument and six line inputs. Basically, if you’re a guitar band looking at buying your own mixer for practise or recording – you’re in luck here. Another feature of the 14FX is the classy range of onboard effects. The delays and reverbs all sound great and none of them have that strange glassy quality you can sometimes

The focus on guitar and addition of the AmpliTube software is a nice touch and, with clean and easy levels on all inputs, the 14FX is a package that’s hard to fault.

[17]


3

Pork Pie Big Boy Bicycle Drum Throne

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Resplendent in wavy purple fabric, the stool was designed by Pork Pie founder Bill Detamore, an eccentric drum engineer who has customised kits for the likes of Guns n’ Roses, Blink 182 and The Ramones. Detamore has been quoted as saying that his imagination is key to his success, and there are no exceptions here. The stool (or ‘throne’) comes packing a large and comfortable bicycle-style base that is more than equipped to handle the most ample of drummer derrières. You really do feel like you’re sitting on a cloud and no amount of exertion can ruffle the Pork Pie’s rock solid base. The piece doesn’t feature the pivoting action of other throne’s such as the Roc-n-Soc Nitro throne, and is instead built as a solid single unit. In this lies the throne’s only real problem – it seems to be tailored specifically for larger drummers. The height adjustment, although quick and easy to manoeuvre, didn’t quite go low enough for a smaller-framed drummer. Similarly, for your Meg Whites of the world, the seat might be a bit too large and uncomfortable. Aesthetically, the aforementioned purple fabric is offset by a wavy pattern and sparkling plastic covering around the outside of the base. The raised bicycle-style centre section allows the drummer’s legs to lock right into place, avoiding the slipping and sliding associated with heavy kick drum or hi-hat work. There is a real handmade vibe at work here, which sits pleasingly at odds with its glamorous facade. Proudly stating Betamore’s assertion that the throne was ‘made by an American’ on the rear, you can’t escape the feeling that a lot of time and care went into the construction of the Big Boy. When stacked up against your average drum stool, well... nothing compares to it.

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The EQ section, or ‘Tone Contouring’, Bass, Middle and Treble controls, are not your standard bass amp EQ. Normal

REVIEWER: SCOTT CHERRY INFO: WWW.AMBERTECH.COM.AU

tone controls usually boost or cut the same frequency. The BH250 controls multiple frequencies for cut and boost. TC Electronic TonePrint allows you to load signature bass effects into your amp in seconds: Chorus, Flanger, Vibrato, Octaver, Compression or Bass Drive.

BH250 can be hooked up to any cabinet, or combination of cabinets (minimum 4 ohm load). The BH250 can also be run as a Direct Input, so if you need to or just want to travel light you can rock up to a gig with your bass and amp in your gig bag. So how does it sound? It takes no time at all to dial in a great full tone. The input gain accommodated the output of both active or passive basses quite well. For a small amp it kicks out an impressive amount of volume, easily enough for most gigs. And if the venue calls for more, ‘d-i’ it. I loved that I could pack up after rehearsals, put the BH250 in the front pocket of my Mono gig bag, sling it over my shoulder, grab the speaker cab and head to the car. And at $499, it’s more than just a back-up; it’s easily a #1 rig.

REVIEWER: PAUL DENGATE INFO: WWW.GALACTICMUSIC.COM.AU

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Having overcome the early teething troubles, Behringer products on the whole behave very reliably these days. In addition, the recent purchases of Turbosound, Klark-Technik and Midas have made Behringer’s R&D as good or better than anyone’s. And so we come to Behringer’s new range of 12” powered boxes, the B112D and B112 MP3. Both models feature Class-D amps (that means it has a “digital” amp and is therefore light to carry at 12.3kg) and two-channel mixer; plug in two mics or a mic and a line, do a bit of rudimentary tweaking with the two-band mixer (bass and treble) and away you go.

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The MP3 designation lets you know that the box has a built-in USB 3 MP3 player complete with small backlit screen. You can plug a flash drive straight in and hey presto! instant rehearsal or instant backing track depending on your situation. You can even set it to repeat a track for rehearsing, straight off the flash drive - a neat idea. There’s a line level “mix out” so you can pipe the signal from the MPS and 2-mic mixer to the other box. If you’re going to get a pair the logical choice is to buy one with the MP3 player (RRP $459) and one without (the B112D RRP $399). Most importantly though; how do they sound? They’re rated at 1000 watts - this is the latest marketing ploy that all manufacturers are currently employing. We see high wattage specs but no

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You can also choose and load from an impressive list of signature Artist TonePrints, created by bass masters like Nathan East, Charles Cave, Michael Shuman, Gail Ann Dorsey, Mark King and Roscoe Beck. So how can these signature bass effects actually be loaded? There are two ways. First… Beaming! Anyone who owns an iOS or Android device can simply download the free TonePrint App and place the speaker of the device over the magnetic pickup of their bass. Now TonePrint/s of your choice can be beamed through the pickups and cable directly into BH250, which will adapt to become whatever the TonePrint you selected. Alternatively, the amp can be hooked up to a PC or Mac for loading the TonePrints via USB. Once you’ve uploaded your TonePrint you can dial in the required amount.

Behringer B112MP3 & B112D Powered Speakers

ehringer have been with us now for around 20 years. In that time they’ve thrilled and chilled us. They rewrote the book on pricing, making a host of products available at retail prices other companies could only dream of... though sometimes the prices were a hallmark of unreliability and trouble. This is what happens to most pioneers and it was Uli Behringer who pioneered the move to Chinese manufacture many years before others would do so.

TC Electronic BH250 Bass Head

n the right corner, weighing in at just 2kg, is the Swiss Army Knife of the amp world, the TC Electronic BH250 bass head. As far as modern bass amps go, the BH250 is simple and intuitive to use. The front panel has from left to right a single input, an active/passive gain control switch, threeband Tone Contour, the TonePrint control (more on that later), a built-in tuner and mute switch, and the master volume; no room to spare and more features than it seems. The rear panel sports the power switch, mains in, foot switch, USB connection, speaker out, aux in, headphone out and balanced XLR out. So plug in and select the appropriate input gain setting (active or passive)

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REVIEWER: SEAN POLLARD INFO: WWW.DYNAMICMUSIC.COM.AU

arlier in the year, this reviewer had the pleasure of heading to the Rod Laver Arena to witness one of the strangest, funkiest, most mind-blowingly talented human beings ever born perform for two and a half hours. Of course, we’re talking about Prince. His Royal Badness himself led a gun band through a set of hits that simply can’t be paralleled in modern music, whipping the crowd into a frenzy with their top notch instrumentalism and practised showmanship. The whole show was, as every good live show is, anchored together by their skins-man, John Blackwell – a tour de force behind the kit. What does this all have to do with a drum stool you ask? Well, one look at the Pork Pie Big Boy Bicycle Drum Throne and you’ll agree, if Prince’s drummer doesn’t already use this stool, he damn well should!

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mention of whether that is peak power, average power or Steve Power (producer joke!!). So really all you can do is to use your ears and judge for yourself. At these prices, you may not have high expectations for a powered speaker but these boxes are actually pretty decent. They’re competitive volume-wise with more expensive speakers i.e loud and reasonably clean. The actual quality is quite punchy for a lightweight plastic box with a top end horn that does a good job without too much sizzle. I was pleasantly surprised overall. I tried them as a vocal PA, played some Led Zeppelin through them and stuck on some “house”. So, good job, Uli. This box is good value for money and will find a nice niche where young bands will get a good starter system for not much cash. Just remember, kids, they don’t cost $1200 each so use wisely!

Recording King Rd-327 Acoustic Guitar REVIEWER: SEAN POLLARD INFO: WWW.DYNAMICMUSIC.COM.AU

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he first thing you notice upon picking up the Recording King RD-327 acoustic guitar is just how shiny the damn thing is. From blinding gold-plated opengeared Butterbean tuning keys that surround a cascading flowery pattern on the headstock, down the mahogany neck and ebony fretboard adorned by diamond and snowflake-shaped fret inlays, all the way to the impressive body comprised of Adirondack Sprucewood with Rosewood sides, it certainly is a sight to behold. As an American company primarily dealing with acoustics and banjos, Recording King made a name for themselves selling exclusively through the Montgomery Ward department store (famously known as the company that invented Rudolph the Red Nose Reindeer) during the Great Depression – a reputation that has been maintained by the company through the years and ultimately accounts for the old school vibe of the instrument. These days, the parts for the RD-327 (and indeed all Recording King guitars) are made over in China before being shipped back to the U.S for set up and assembly. This particular model lands here in Australia with a price tag of around $1,100, so essentially what we’re looking at here is a relatively inexpensive interpretation of a pre-war dreadnought guitar. Straight out of the box, the RD327 is a great guitar to play. The wide nut lends itself to a multitude of playing styles so whether it’s a gentle flat pick, an energetic strum or an acoustic finger-pick, it always sounds great. A pleasing natural reverb and even better sustain were also present when we really started getting stuck in, although the bass response was a little bit lacking at times. Another slight problem is in the projection of the guitar, as it had nowhere near the booming qualities of something like a Martin D1 - a guitar

with which Recording King models are often compared. This was generally not a problem when tracking though as we used the guitar through a few different mics and found the recorded sound produced to be extremely versatile and strong. Even through a basic Shure SM-57, the RD327 carried a big, distinctive sound and sat really well within a slightly rowdier track. With no pick-up on the body, recording versatility really does need to be this instrument’s bread and butter, and the RD-327 did not disappoint. It’s a fancy guitar, no doubt, and the amount of lacquer on the body gives off a slightly cheesy vibe to this reviewers eyes, but if you’re looking for a dreadnought that won’t break the bank, sounds great and aligns itself with that golden age of American guitar playing, the Recording King RD327 is a great buy.


Hi Watt T40 combo

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t’s a Thursday afternoon and I look out of my office window here at Sound on Stage (www. soundonstage.com.au) and what do I see? A brown cardboard box! Hmm. The distinctive HIWATT logo gives it away. This’ll be the T40 combo then! I lean down to brace myself to carry it into the office and it’s not too bad! Probably about the same weight as a high-gain head. So into the office it comes and in plugs the Strat. This classic British amp company has been around for a few years now, with everyone from Noel Gallagher, The Killers, U2 and even Take That … ahem yup that’s right, Take That, becoming synonymous with the brand. It’s a pretty sturdy little number, more of your Russian farmer girl, short and wide, built for ploughing the fields, rather than the Sports Illustrated model, but definitely with the curves in the right places. It’s built well, with a definite classic vintage feel.

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REVIEWER: BARRY GILMOUR INFO: WWW.CMCMUSIC.COM.AU

So how does it sound? Well, if you want a Jazz Chorus, buy a Jazz Chorus; this is a little rougher round the edges but still clear as a bell, and the dirty side is tight and rich and with very little preamp distortion, the grunt really coming from those tubes. Channel one really will give you that gorgeous blues tone and switching to two with the button on the front or the separate footswitch (sold separately) will have you crunching away for hours with glee. It’s a definite contender for the regular player who actually has a gig most nights of the week but no roadies to lug gear around; not too big and won’t tax the back too much.

As far as physical appearance goes, the D-0R3 would certainly not jump out at you sitting on the racks at your local guitar dealer. It features a simple yet subtle Canadian sitka spruce sound board and bracing that sit well with the Canadian maple body-binding and rosewood back and sides. Oh Canada, eh? These beautifully put together parts lead up to a single-piece mahogany neck with an African ebony fretboard and bridge, which allows your fingers to literally glide across it, such is its ease of use and feel. This is where the D-03R really comes into its own. It may not be amazing to look at, but man is it amazing to play. Straight out of the box the action is perfection and the complexity of sound on display after just a couple of strums is stunning. The first thing this reviewer noticed was the bass response running through the maple wood body, a balance that resonated so well I had to check my surroundings to make sure I wasn’t in a cathedral (or, more realistically, a bathroom). This is tempered by a clear, crisp treble that really picks up the detail in any

You can dial in a tone pretty quickly and I really like having separate gain controls for both channels, although EQ is shared for both. The fact you can switch between 40 and 20 watts is a bonus for those who need to practice at home while mother is still watching Housewives Of Beverly Hills, or the girlfriend is one step away from making sure you wear odd socks to work, but at the same time this little bad boy will keep up with the rest of your gang when you’re out there at Rooty Hill RSL delving into your vast repertoire of AC/DC numbers. All in all, it’s a pretty versatile amp. If you’re using foot switches or a pedal board you’ll get what you need from this without too much messing around. It’s not a true high-gain amp by today’s standards but it’s good. I can’t say I’ve used HIWATT before but by all accounts it still captures a little of the classic HIWATT sound.

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REVIEWER: SHANNON BOURNE INFO: WWW.JADEAUSTRALIA.COM.AU

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Tokai’s “Les Paul” style instruments have been catching my eye for a while with just their sheer quality. You’d be kind of hard-pressed to know really. So, this month I have one of Tokai’s latest “vintage” style instruments, and it is something right up my alley… JAZZMASTER! This instrument has that classic off-set body shape that hangs so nicely. It’s finished in a very ‘60s-looking Lake Placid Blue and features a rosewood fingerboard, solid alder body, sturdy Gotoh hardware, two PAF-style humbuckers, one volume and one tone, a threeway toggle and a REAL Bigsby B5

s a Canadian-based manufacturer, Larrivee have a pretty stirling reputation for producing top notch acoustic guitars. They say everything is a little bit sweeter in Canada, and these hand-crafted, all solid wood instruments are no exception. In fact, Larrivee as a company were given the unique honour of producing the first guitar to be sent into space. Their Parlor model guitar accompanied Col. Chris Hadfield, the first Canadian to man the International Space Station, on his many orbits around the earth. It’s slightly ironic then that, as we look at the Larrivee D-0R3 acoustic electric, it would be hard to imagine a more down to earth guitar.

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Tokai Vintage Series AJG-88

he Tokai Company has long been known for their high quality builds and collectability for some of the older models (SRV played an early Tokai Strat Style guitar and indeed was an endorsee).

Overall this is a versatile instrument that you should be able to manipulate to get whatever sound you’ll be wanting and at priced at $1799 with a tweed case, I’d say it’s a winner!

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kind of playing. Whether you’re really letting fly or just laying back and strumming a few chords, every tone produced was top notch. This model also arrives complete with custom Larrivee pickups which, when plugged into a fairly standard home PA, sounded even and smooth. Even when pushed to breaking point, there were no problems with feedback or perceived need for a buster, which makes the D-03R a viable option as a stage guitar as well as a studio instrument. Seriously, the more you play this guitar, the more impressive it becomes. Its classic Canadian woods and handmade feel allows it to produce, sonically, something of the subtlety its exterior would never imply. It’s easy to play, amazing to hear and hey, if it’s sturdy enough to be played in orbit where angels fear to tread, it surely is ready for anything.

EG-1 Traveler Guitar REVIEWER: SHANNON BOURNE INFO: WWW.HAWORTHMUSIC.COM

s plane flights become cheaper so does the amount of baggage we can take. I have always felt that musicians were unfairly treated in this way and I would rather get on a plane and arrive well rested as opposed to crawling up the highway in the middle of the night and feeling shit for the gig. Call me a wuss but hey… whatever.

The number of tones this instrument can produce almost makes it a “one-stop shop” for choices. You can get killer surf tones, lots of “shoegazer”-approved ambient stuff, throaty rock’n’roll tones a la Neil Young, some fairly good country twang and smoky jazz tones. All you really have to do is work the guitar a bit. I’ll admit that I’m a fan of the Bigsby unit but… they really need to be set up right and worked in to get them smooth enough.

Next thing I tried was a fuzz pedal. The tone was thick and stinky… but I was still able to clean it up with the use of the volume control.

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Vibrato Unit. It brings the entire twang, chime and rock solid tone you’d expect from a custom instrument but without the hefty price tag.

For testing this guitar I first ran it clean into my old Gretsch amp (Supro) 2x12 combo and the sound was very solid except for the fact that I think it needs heavier strings. The pickups pump out just enough juice to put the amp into the crunch zone whilst retaining string-to-string definition. The neck is a matt finish, which makes it super fast. The frets really need to be dressed better with some of them just being slightly too sharp for comfort. I also think the finish is just a little too thick… but I’m only picking.

REVIEWER: SEAN POLLARD INFO: WWW.PROMUSICAUSTRALIA.COM

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The Fane speakers that come as standard have also been around for a good 50 years or so and were the first ever speaker to be rated for 100 watts, keeping up with demands of the manufacturers in the ‘60s.

When it comes to the crunch, this amp has some breeding and it’s from a respectable pedigree. The price is spot on and for what you get, I’d be hard pressed to fault it. It’s a quality amp, with threetone EQ, push-pull mid frequency control and great construction. The only thing missing is a footswitch!

Larrivee D-0R3

Being rather sceptical about the whole “tiny traveller” guitar world I was quite surprised at how much fun and how much I actually liked the tone of this thing! First off it doesn’t look like a cricket bat and it features a very nice “vintage gold” finish. You can plug headphones into it or run it into a set of little speakers, and it also has an INSANE drive unit built in and the whole thing in about the size of a violin when in its case (overhead luggage). The only way I can describe the “headless” design of this guitar is that they cut the headstock off and placed it in the back of the guitar, thus placing the guitar tuners either side of the strings! This design doesn’t make for quick tuning but it does make for a smaller design. The neck feels quite nice and features an ebonised rosewood fingerboard with 21 frets. The single humbucker pickup in this guitar sounds magnificent! It has a clean and articulate tone that is well balanced. It isn’t a ridiculous high output thing so you can get a lot more from it by running overdrives and such but I feel that the tone control could be voiced better to allow more tonal variation. I actually first tested this guitar with my headphones and was surprised (and deafened) by the built-in distortion! Make sure the guitar is turned all the way down before plugging

in. The resulting tone was nothing short of incredible! It was like having instant “Billy Gibbons” tone right there inside the guitar! Amazing! The sounds were just so thick and makes for a powerful touring asset. You could arrive off your plane flight and hire an amp with reverb and tremolo and pretty much plug straight in and cut the whole gig. Plugged into a real amp, the tone of this distortion comes out even more. I found it easy to get notes to feedback and backing down the volume doesn’t actually take the drive level down - it only affects the volume of the guitar. Big thumbs up to Haworth Guitars for making available this aesthetically pleasing and toneful traveller guitar that doesn’t hurt your pride… $729 is money better spent on this than having to pay ridiculous excess baggage fees.

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MORE THAN JUST A BIT PART US indie darlings Evan Dando & Juliana Hatfield have been pals for well over half their lives, and their long-term creative relationship has recently rekindled. Hatfield takes Steve Bell into the inner sanctum of this most public of friendships. ven despite the fact that they’ve had such divergent careers over the last quarter of a century, it’s no surprise that long-time friends and confidants Evan Dando and Juliana Hatfield are still playing shows together. The pair both started out in Boston’s then thriving college rock scene at almost precisely the same time – Dando’s outfit The Lemonheads and Hatfield’s band Blake Babies both emerging there in 1986 – and it wasn’t long before the pair inevitably crossed paths.

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Hatfield approached Dando in a pizza shop the night after having seen The Lemonheads for the first time, and from these innocuous beginnings a long and fruitful bond was established. “I knew there was something special about him,” Hatfield smiles at the memory. “My friend in the Blake Babies had discovered The Lemonheads early on – found their very first single in a little record store – and we all thought they were great and really special and we went to see them, that’s how I recognised Evan in the pizza shop because I’d seen him play the night before, and then I introduced myself. I kind of knew it would be fun, just because I felt there was such a musical affinity that we had, and we both had a very melodic way of hearing things. But yeah, I guess I never knew it would be such a long-lasting friendship – it’s gone on for more than twenty years now. “ It wasn’t long at all before the two bands were not just solid mates but also cross-pollinating. “After I introduced myself to Evan and told him about my band, he’d heard of us already,” Hatfield continues. “So then The Lemonheads came to see us and we went to see them again – we bought them flowers to their gig, and then they drove us home and hung out with us at the place we lived, and we were all like best friends from then on. When the Blake Babies’ original bass player quit, Evan came into the band for a while as the bass player, and it was only when Evan left the Blake Babies that I picked up the bass and taught myself to play, and we became a

trio – I was really influenced by Evan’s bass playing because I thought he had a really cool approach.” Hatfield soon became an accomplished bassist with a distinctive style, even joining The Lemonheads’ for their most revered album, 1992’s It’s A Shame About Ray, although she states categorically that playing a more permanent role in that band was never an option. “I don’t know how that happened – I guess I was just available or something,” she reflects. “I think we were just friends and he needed a bass player, and I could sing too so it just fell together. And I think we were both on Atlantic by that time – I don’t know, I don’t remember the timeline. But I don’t remember it ever being a question that I would stay in the band – I was doing my own thing, and I had my own record deal. I wanted to have my own career and have my music separate – I didn’t want to just be the bass player in The Lemonheads The situation was exacerbated by an incredibly invasive media of the day who became infatuated with the relationship between Dando and Hatfield, prompting constant speculation about whether they were a couple and the status of their respective sex lives, flames Hatfield inadvertently fanned by publicly proclaiming her virginity in the media. “I didn’t know what I was getting into when I signed to a major label and got myself into that publicity machine – I didn’t really have any media training, and I didn’t know really what people were going to be throwing at me,” she muses. “Maybe I didn’t handle it very well, but really all of the questions about Evan and me, we didn’t really answer them because there were never really any answers – we had an amorphous relationship. We had a kind of undefined relationship, so we never defined it publicly because it was undefined; we weren’t trying to be coy and we weren’t trying to be serious, we just didn’t have any answers. And really we were just friends who played music together but we were also affectionate sometimes.

FAKE NAMES

“It was quite invasive on reflection – when I look back I’m horrified, but at the time I was just trying to deal with it and was a bit freaked out by all the attention. Now when I look back I’m like, ‘Jesus, some of those questions were very rude and I should not have even stayed in the room!’ It was terrible, because I was so shy and inexperienced and socially inept, and I just didn’t know how to deal with it. This unease with perceptions about her eventually even impacted adversely on Hatfield’s successful solo career. “I have this sort of phobia about playing as Juliana Hatfield, it’s weird; I don’t want to play shows that are billed as Juliana Hatfield, I’m kinda phobic about it these days,” she admits. “I only want to play if I don’t have to play by myself. I loved touring for many years and I loved being on the road, but about five years ago I just started to burn out a little, and being on the road started to take a toll on me physically. I developed a bit of anxiety about it and I’d lose weight and get really sick, and I’d come home really underweight and miserable, and I realised that touring’s not good for

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“There’s no masterplan – there was no plot or anything, it was all very accidental,” insists Keating, who rarely gives interviews. “I won’t use the word ‘organic’, ‘cause that’s a bit rubbish, but it just started with one song. Then people liked it and so I thought I’d make another and remixes… The anonymity thing was really just to avoid confusion with The Black Ghosts thing I was doing at the time… It just sort of snowballed under its own force.” In the early ‘90s the Londoner formed The Wiseguys with DJ Regal (Paul Eve), who quit after their debut. Ironically, Keating enjoyed greater success on his own. A second Wiseguys album, The Antidote, spawned the crossover singles Ooh La La and Start The Commotion, both licensed for ads. He now refers to all that as “the early days”. Keating purportedly hooked up with Lord online. The Black Ghosts cut 2008’s eponymous album for Southern Fried Records, Damon Albarn a guest. The psy-folk Full Moon was memorably used in Twilight – and included on the best-selling OST. “I’ve never seen the film, even now – not out of deliberate avoidance, I just never got ‘round to checking it out,” Keating admits. On the DVD commentary Robert Pattinson asks what The Ghosts’ song is. “Does he?” Keating says, chuffed. (He’ll subsequently call Pattinson’s character, Edward Cullen, “Bobby Vampire”.) The Ghosts suddenly found themselves fielding a huge number of MySpace ‘friends’ requests from (especially American) female fans. “That was quite a

So is it easier to allay these fears and doubts while touring with her friend of more than quarter of a century? “Evan’s really complicated, so every day is not all puppy dogs and sunshine with him,” Hatfield admits. “He’s very complicated – some days with Evan are funny and filled with laughter and joy, and then there are other days with him where I’m so frustrated and filled with anxiety, and I never know which type of day it’s going to be. The last few times I’ve seen Evan this summer he’s been great, he’s been a great friend of mine, so if that’s what I have to look forward to it will be fantastic.”. WHO: Evan Dando & Juliana Hatfield WHEN & WHERE: Saturday 22 December, Rosemount Hotel

XXXWHY

Former Wiseguy and Black Ghost Theo Keating, aka Fake Blood, tells Cyclone the initial mystery surrounding his current moniker wasn’t planned, rather a happy accident. s Theo Keating dance music’s cleverest DJ/producer? After pioneering big beat with The Wiseguys, the sometime DJ Touché devised the electro-goth outfit The Black Ghosts alongside ex-Simian frontman Simon William Lord. More mysteriously, he introduced the rebellious fidget house of Fake Blood with 2008’s Mars. Some imagined it was Norman Cook. Keating finally disclosed his true identity in Mixmag. Clever.

me. It happens to a lot of people – they burn out and hit the wall. It hasn’t happened to Evan yet though, he seems to love always playing all over the place. He has a lot of energy – I’m more of a homebody than he is.”

In the advent of his tour as part of the massive Origin NYE Festival, xxxy chats with Kosta Lucas about going hard and going it alone in a rather crowded electronic music scene. strange little bubble.” They considered touring the US to capitalise, but decided that their album had “finished its cycle”. Ultimately, any mainstream interest proved “quite transitory” but, says Keating, it was “fun”. The DJ switched focus to Fake Blood, disseminating singles and EPs, his biggest hit, I Think I Like It, and select remixes. Keating recently dropped the first Fake Blood album, Cells, its material “maybe slightly odder or not really straight-up club tracks or for DJs”. He’ll follow the single, Yes/No, with All In The Blink in the New Year. Lord sings on two Cells tracks. The Ghosts last presented 2011’s stellar LP, When Animals Stare. Keating is non-committal about a followup. “They just come ‘round when they come ‘round.” Again, there’s no masterplan. Keating presaged EDM’s rampant hybridisation with Fake Blood’s electro/techno/house. But, while he pays little heed to genre distinctions, dubstep – or, at least, “the tear-out dudestep stuff” – isn’t for him. “The original spirit of that stuff is great, but obviously it went off in a slightly obnoxious direction.” The DJ is returning to our festival circuit, escaping a wintery UK. The one downer? Boarding the plane on his birthday. “I’m really looking forward to coming back – it’s been a while. The stuff I’m playing has shifted. I’m going to be trying out some new tracks, which I’m trying to get finished, and just trying to do the best possible sets I can and [trying to] enjoy myself – ‘cause I always have a laugh when I’m down there. So I’m really psyched for it.” WHO: Fake Blood WHAT: Cells (Liberator) WHEN & WHERE: Sunday 6 January, Summadayze, Patersons Stadium

t may surprise people to learn that xxxy (known to his mother as Rupert Taylor) started his musical journey in a band he now describes as “fairly straight up indie music [that] later got into beta-band-style, stoned weirdness”. Given his style now, one has to wonder why he underwent the drastic transition from rock god hopeful to hotly in-demand producer. In Taylor’s case, the answer is the same one that befalls so many garage bands: “musical differences”. That, and some pretty hard partying it seems. Upfront, Taylor figured “making [his own music] was a solution to that.” He continues, “also, my musical tastes changed as I got older due to going out more (and possible narcotic use), so I was more interested in making dance music and doing it alone!”

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Cue Taylor’s immersion into the house and techno nights of his youth. It was there in countless quixotic bus trips to Manchester with friends he discovered what really got him going and twhat experiences he wanted to impart to listeners through his music. “A good groove, a little bit of roughness and that UK underground rudeness,” he says. And groove is exactly what he does as xxxy. All you need to do is take a listen of Taylor’s slinky, house-inflected UK garage on EP’s like Bash and Everything, and it’s little wonder why he has caught the attention of critics and labels all over the world for the last couple of years. Despite the attention, xxxy’s growing success seems surprising to no one but Taylor himself. “I think if you told the 16-year-old me that I would get to play my music in Asia, America and Australia I would have told you where to go…” He muses that “it can be pretty difficult to get your voice heard as there are a lot of producers around now pushing swung UK music, I think a little bit of luck and maybe having a couple of tracks that really catch people’s ears can definitely help to break someone.” It’s clear Taylor seems to take things in his easygoing stead when it comes to his career trajectory, be it selecting a label to handle his newest release or

choosing from the plethora of opportunities that have befallen him in recent years. One of these is touring Australia as part of Origin. Then again, it’s probably a no-brainer for Taylor. What better way is there to spend New Year’s Eve than with some the world’s best DJs and electronic musicians that you now can count amongst your friends? “Yeah I think I know about half the line-up personally, so it’s going to be a great festival for me and them. It will be nice to have a night off on New Years Eve to see my friends play and hang out, the line-up is incredible, so I hope we can all show the punters a good time and play some great music for them.” So besides dazzling audiences on New Year’s Eve, what else can fans expect from him heading into 2013? For one, it looks like there will be more of xxxy, but Taylor is tight-lipped about what is planned except for that he is preparing himself for “a larger project“ as well as “some really exciting projects already under way, which,” he adds, “will hopefully turn into something good.” Another thing for fans to look forward to might be the appearance of that everelusive full-length release. “Writing an album can be a real labour of love and it’s been a dream of mine since childhood so at some point there will be an xxxy album.” He goes on, “I think I am competent enough now as a producer and have the right vision to make an album, but as they say, the proof is in the pudding.”

WHO: xxxy WHAT: Bash (Halo Cyan) WHEN & WHERE: Monday 30-Tuesday 31 December, Origin NYE, Fairbridge Village

For more interviews go to themusic.com.au/interviews • 43


SURVIVING THE STATIC

From a chance meeting in Sydney’s Broadway to recording in LA, The Preatures have come a long way in less than three years. Michael Smith checks in on their rise and rise with guitarist Jack Moffitt.

More than ten years into their career, Sheffield post-rock heroes 65daysofstatic continue to redefine their sound. Kitt Di Camillo speaks with guitarist Paul Wolinski ahead of their first ever trip to Australia. ver his 37 years as radio presenter on BBC Radio 1, the late John Peel became renowned for his ability to recognize up-and-coming bands. The legendary DJ’s stamp of approval was a badge of honour for young acts, a critical launching pad that would help define many British musicians. Having experienced Peel’s endorsement firsthand with one of their earliest recordings, Sheffield’s 65daysofstatic have felt the full force of the man’s legacy. Peel’s influence in the UK is unmatched, and the moment still remains dear to the band themselves.

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“I remember when it happened,” recalls founding member Paul Wolinski. “He opened one of his shows with one of our demoes called Play.Nice.Kids, which was just about the most exciting thing that had ever happened to us, and it’s still up there as just one of the highlights of the band. We did a John Peel session, but it was after he died suddenly. They already had us booked several months in advance, and then when he died they honoured the rest of the ones that he booked, of which we were one of them. I think there was us on and other DJs broadcasting, that was all part of it; part of a tribute to him. We never met him, but the gap that he left in the English music world, especially radio, was huge.” In the almost ten years since, the post-rock heroes have released four studio albums and a series of EPs to ever increasing critical acclaim. The four-piece of Wolinski, Joe Shrewsbury, Rob Jones and Simon Wright specialize in instrumental soundscapes, and have taken their cinematic tendencies to their most logical extension with 2011’s Silent Running, an alternate soundtrack to the 1972 cult sci-fi film of the same name. “We wanted to try it for a long time,” admits Wolinski. “And we got fed up with waiting for a film maker to come along and ask us to write a soundtrack, so we did it for an old film for this film festival. “That was a really good way to learn a new discipline I suppose, because when we’re writing our music it’s quite an intangible thing,” he continues. “It’s just the four of us in a room, and we come out writing all sorts

DEAL CLINCHER

riven by the duelling voices of keyboard player Isabella Manfredi and rhythm guitarist Gideon Bensen, the self-styled gothic soul five-piece The Preatures formed in early-2010 after Manfredi, lead guitarist Jack Moffitt and bass player Tom Champion met Bensen playing in another band at iconic innercity Sydney venue, the Lansdowne. By April that year they’d recorded an indie EP, and now they’re signed to a major label and about to hit the road to promote their second EP, Shaking Hands, recorded in Los Angeles late last year. Though it turns out the decision to record there wasn’t really planned.

D of stuff that we can’t really articulate to each other. But when we were soundtracking and there was a movie being projected onto the wall and that’s what we were writing about it was such a refreshing thing that there was something tangible that we could put a song to rather than just this weird floating noise.” The band’s enduring success is at odds with their experimental outlook and decidedly un-commercial offerings. The group’s intricate and innovative approach has garnered almost as strong a fanbase here as they have in their native UK, making their upcoming Australian tour a very anticipated event. “We’re still not comfortable in a financial sense… or in any way,” laughs Wolinski. “It wouldn’t surprise me if we can’t maintain it forever, because people are buying less and less music. That’s something I’m not going to spend too much time worrying about, ‘cause it’s gonna happen, no point pretending that it’s not. But we’re very lucky in the loyal following that we’ve built up, and if we were a bit more savvy about things like that we could probably push that to make it work a bit better for us. But we’re not! “We just wanna keep making music. It’s good to be able to pay the bills, pay the rent, but it’d be pointless for us to compromise what we’ve managed to build by trying to find a way to make more money. That would just undo the whole point of the band, you know? So we’ll just keep going until either we feel haven’t got anything new to offer or it’s just physically impossible for the four of us to survive. That one’s probably gonna come first!” WHO: 65daysofstatic WHEN: Saturday 5 January, The Bakery

“It was interesting,” Moffitt remembers. “We had this conversation with the producer at a rehearsal and we were sort of throwing the options around and, you know, they all cost what they cost, and he kind of threw it in at the end, as a sort of joke, like, ‘Or we could just go to LA?’ And it just stuck with me, the idea of doing it there, and we looked at what it would cost and it really was the same. The only expense that we incurred that would have been more than doing it in Australia was staying in Hollywood, and even that wasn’t that expensive for five people.” So the band headed to LA and recorded the EP over five days with Sydney producer Tony Buchen, whose CV includes records with Tim Finn, John Butler Trio and Gin Wigmore among others. “Tony’s been around since the early days. Gideon had actually done an internship with his wife in a music management firm and Gideon had played Tony some of the stuff that we did when we first started and got in touch with the band expressing an interest in working with us on whatever came next, so he’s been a great supporter of the band and helped us to be confident with what we were doing.”

Part of building that confidence came from a task they set themselves as a band, The 66 Project, whereby they would write and record at least six songs over six months, which spawned the five tracks on the new EP. “There was a lot of writing and demoing and, I guess, learning in that time. On reflection it was a really great way to prick the bubble for ourselves, ‘cause we did an EP in 2010 and I don’t think a lot of people have heard it – we put it together to recruit a drummer. The first year of our working together we didn’t have a drummer and we knew we needed one to get anywhere,” Moffitt chuckles. “So we sent it out and then we met Luke [Davison] and were back at square one. We had all this material – Gideon and I had been writing separately, so there wasn’t a shortage of stuff to explore – and then we’d get in the room with Luke and you have to find yourself in the dynamic. “When we decided to do The 66 Project it was to explore that, and when we got to the end of it we felt really good about who we were and what we could do, and I think we were left with some options of, ‘What do we feel the most connection with? And what do we really believe in in terms of what we’d written in the last six to nine months?’ and screwing around and having fun with that.” WHO: The Preatures WHAT: Shaking Hands (Universal) WHEN & WHERE: Friday 14 December, The Bakery; Saturday 15, A Not So Silent Night, Rosemount Hotel

GRASS IS GREENER Solo singer/songwriter Grass Taylor started out in some pretty heavy bands, but it took some travelling – and shamanistic rituals – to discover his true calling. Cam Findlay finds out more. einvention: it’s a word that gets bandied around a fair bit these days, what with our ever-changing industry and the fast-paced nature of the world we live in. At a place in time when one of the world’s biggest hip hop artists, at the hump of his life no less, can reinvent himself as a reggae hero hearkening back to the glory days of the genre, you know that there’s some mystique about the whole idea of leaving behind your past and adopting a new charisma and perspective. At least, there is from the public view.

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Grass Taylor is one such musician who has found himself in this specific stage of his career. After spending years playing in various hard rock bands, such as The Hot Lies, The Scissor File and Brock Downey, Taylor left it all behind and decided to travel the world. 2010 saw his return to the fray, with a brand new outlook on his music and a refreshed passion for it at the same time. It was a decision born out of the negative aspects of the recording industry, as much as a need to forge his own path. “From a creative perspective, it was quite refreshing to approach music from a different angle and strip everything back to just vocals and guitar,” Taylor begins. “But honestly, the decision wasn’t so much made by me. I come to understand that I was never really in control of my career as a band member in a signed act. When you get to a certain level as a band, it’s not just you and your band mates with a say. It’s your label A&R, your manager, promoter, booker, publisher, publicist and so on. Sometimes it doesn’t work out. So this time around I really wanted to steer clear of that whole scene and give it a crack as an independent artist, so I set up my own artist management company, signed myself and the rest is history.” “History” might just be a perfectly apt word for it. In the process of establishing himself as an independent artist, Taylor discovered the work of his father, Taylor Sr, a hired gun drummer that toured during the ‘60s and ‘70s. He played for the likes of John Farnham, among others. It was a surprise revelation for the young artist,

44 • For more interviews go to themusic.com.au/interviews

and a story that would eventually lead him to adopt the ‘Grass’ moniker for himself. “I only learnt the depth of my father’s career recently when he slipped into conversation the time he played Festival Hall,” Taylor says with some amusement. “About six beers later, and he spilled the beans of his wild partying days in the ‘60s, jamming with John Farnham, touring with Billy Thorpe, kicking Rick Springfield out of auditioning for his group, all these classic stories from back in the day, and then came his stage name ‘Grass Taylor’. Dad was a renowned drummer back [then] for his feel and intensity when playing live. He definitely taught me a lot about timing. I thought it would be cool to continue the legacy and keep the name alive.” One intrinsic part of the story that led to the creation of Grass Taylor is the time he took to travel the world in the noughties. Returning to Australia in 2010, Taylor had visited three continents, culminating in time spent in the Amazon Rainforest taking part in shamanistic rituals with a local tribe. “It’s hard not to be humbled going to a place like the Amazon,” Taylor says of the experience. “I spent weeks living among the Shamanic people of the Shipibo tribe, partaking in their Ayahuasca ceremonies and basically gaining a very real understanding of myself. My big realisation from it was that I could also use music for something more positive and beneficial, hence why I’m still on this journey as an artist. WHO: Grass Taylor WHAT: Poet’s Notes & Hidden Tones (Independent) WHEN & WHERE: Sunday 16 December, Scorcher Fest, Rosemount Hotel


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45


SINGLES/EPS WITH MAC MCNAUGHTON

ON THE RECORD

PVT Nightfall

Some rock‘n’roll voices you never forget. Remember the first time you heard The Hives Howlin’ Pelle Almqvist unleash the might of his lungs? Or Jon Spencer? The Vines’ Craig Nicholls? Add to that lineage local boy Mitch McDonald of The Love Junkies, who probably went through at least four microphones just to record this two-and-a-halfminute ripper. It’s not all vocalised bluster – there’s some decent old-school rock riffage backing him up, too. Catch them on the Big Day Out local stage next month, or better yet, launching this single at the Norfolk Basement tomorrow night.

SOFIE LOIZOU Aphoria Horizonte EP Radical Nature Back in the early ‘90s when ‘ambient’ was an incandescent genre, artists like Sofie Loizou were a dime a dozen. The scene has long since moved on so a release like Aphoria Horizonte seems dreamily nostalgic. The title track is the strongest, threaded with the DNA of the Amorphous Androgynous and Boards Of Canada. There’s not a vocal sample or syllable to interrupt the ebb and flow. Both it and Saturday Night Blues could comfortably be expanded to twice the track lengths but they serve as a welcome introduction.

Volkanik

ATO/Warner

Universal Republic

Debut albums can be a jittery, nervous proposition. Therefore, it’s striking how assured Melbourne’s Twelve Foot Ninja are on their initial full-length, despite its versatility. Perhaps it’s their hardworking touring ethic and two previous EPs that provided them with this unwavering self-belief. If there’s a type of modern music these bipolar progrockers don’t incorporate, it probably hasn’t been created yet. King For A Day…-era Faith No More is an appropriate ground zero, and not merely because of Kin’s Patton-esque vocal acrobatics. This is apparent in coherent, natural stylistic melding; after hearing the effortless mix of hard rock riffage, electronica, bossa nova and lounge-like crooning on opener Coming For You, you’ll be pondering why nobody combined them previously. Somewhere, Ill Niño will be wiping tears from their dreadlock-covered eyes. Kingdom’s smooth vocal melodies continue the Patton theme, while also infusing Eastern elements. As a telemarketing announcer once bellowed – ‘And there’s still more!’ Polyrhythm-driven madness will pique the interest of Meshuggah-worshipping djent hordes. Throw in liberal doses of funk, classic rock and metallic riffs and that’s still not entirely encapsulating the \scope. Mother Sky balances prog tendencies with reggae and irresistible hooks, while the groove-laden Shuriken, Vanguard and title track are also winners. Selected heavier riffs feel a tad too similar, but they rarely get bogged down in one idea for long, so it’s of little consequence. Australia’s proggy hard rock scene is crowded, what with Karnivool, Sydonia, Floating Me and Dead Letter Circus leading the pack. Twelve Foot Ninja are an even more wide-reaching proposition. These giant-sized warriors won’t be lurking unnoticed in the shadows for much longer. Brendan Crabb

Two Gallants have always been an intriguing idea; continually mining the depth of ‘70s heavy rock and adhering it with paisley psychedelic folk pop, striving to fuse the fierce with the whimsical. Their fourth record, The Bloom And The Blight, has some incredible moments, but this juxtaposition that works so well for the likes of Black Mountain remains an irksome fit here.

Anberlin took the alternative/rock/emo scene by storm following the release of 2005’s Never Take LIVE Friendship Personal and 2007’s epic Cities. But since then their two follow-ups 2008’s New Surrender and 2010’s Dark Is The Way, Light Is A Place were flops. Their latest offering Vital, again fails to deliver.

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Vital

Ball-tearing opening track Halcyon Days is a misnomer of sorts, with the San Franciscan duo seemingly intent on forging forth down more brutal, larynx-and-ampexploding paths. But the contradiction that their previous albums have often stumbled over rear their ugly heads again almost straight away, with the folky Song Of Songs interspersed with stadium guitar that pierces the bubble with unnecessary bombast. My Love Won’t Wait seems to get the elixir just right, but rather than distil that into the rest of the album, Broken Eyes meanders like the misguided Going To California drain that it is. Ride Away could be a rustic Knights Of Cydonia; Cradle Pyre couldn’t be more forgettable if it tried.

Fans would have thought reuniting with producer Aaron Sprinkle, who was the mastermind behind NTFP and Cities, would have produced some results, but they will be sadly disappointed. While the album’s D Vfirst two tracks Self-Starter and Little Tyrants take you back to where the band were after 2007’s Cities, making you think they have returned to their peak, from here things go totally awry. Vital is a boring album, and this is coming from an avid Anberlin fan. The songs don’t seem to go anywhere and the band have unfortunately lost their aggressiveness and in-your-face attitude, two of the main elements that separated them from other bands in the same genre. Vocalist Stephen Christian still showcases his unique voice, but the songs are dull, way too poppy at times and lack substance and creativity. What’s worse is they have continued to conform to what has become this electronic dance music sensation by overusing synths and electronics throughout the album.

This to-and-fro is a constant bugbear, because there are moments when the softness shines (Sunday Souvenirs) and the brittle balance is shattered in a cathartic rather than haphazard fashion (Winter’s Youth). Two Gallants always teeter on the edge of offering something fresh and innovative, a fusion of folk and riff-heavy histrionics the likes we’ve never seen. Yet while tracks litter their oeuvre that stand the test of time (Las Cruces Jail is true lightning-in-a-bottle stuff), The Bloom And The Blight stands as yet another testament that they cannot maintain it for an entire album.

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Independent

ANBERLIN

The Bloom And The Blight

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Oxymoron

TWO GALLANTS

Silent Machine

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THE LOVE JUNKIES

LIVE

TWELVE FOOT NINJA

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I remember the first thrilling time I heard Pivot, in Planet Video in 2008. I asked the counterperson who it was, citing “It sounds very Warp”. “That’s ‘cause it is on Warp. And one of the blokes is from Perth,” was the reply. My heart swelled with pride. The recent announcement of album number four from the trio caused excitement that, on the evidence of Nightfall, is well invested. Sinister early ‘80s synthesisers with vocals lined with silver-blue lipstick and seemingly produced by an Atari games console, it looks like PVT are a long way off becoming The Presets.

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Create/Control

While it may seem unfair to continually compare Anberlin’s progression to their earlier and better releases, it’s hard to see them returning to that peak. It may seem harsh but Vital may be the weakest release in their decorated ten-year career and it looks like Anberlin’s best days are sadly long gone.

Brendan Telford

Eli Gould

LED ZEPPELIN

MENOMENA

SOUNDGARDEN

Atlantic/Warner Music

Spunk

Mercury/Universal

Talk about a hot ticket. The 2007 Led Zeppelin oneoff reformation for the Atlantic Records’ boss Ahmet Etregun tribute concert holds the official Guinness World Record for highest demand, with 20 million ticket requests made online. Having been historically slated for ramshackle partial reunions since the death of drummer John Bonham, including patchy Page and Plant albums and a universally lambasted Live Aid performance which reunited the surviving trio, it’s been stated on record that fear of failing such expectations had spurred the band – now featuring Bonham’s son Jason – to get it right this time, which as this double CD and DVD document attest they most certainly did. Perhaps what’s most impressive is that none of the aging trio’s skills have eroded, each having remained active in the industry with comparatively low profile side projects. Plant’s voice has lost some youthful vitality, but none of its character. Jones in particular impresses with strapping yet nimble basslines and some fine organ work on the neo-prog creep show that is No Quarter. Flaws? Well, Plant’s sense of pitch during Dazed and Confused temporarily goes for a wander as he proves it is possible to talk out of tune, but this is only the kind of cynical pedantry that occurs when a mega-hyped, TV advertised release comes along. Moreover, it’s a quibble that’s soon buried under an electric blues avalanche courtesy of another near-Hendrixian solo from Page. In all, Celebration Day captures the fitting final chapter to one of rock’s most epic stories, and makes a fine stocking filler for the shaggy-haired reprobate you love. Christopher H James

If ever there were a band that ran the risk of delivering diminishing returns for their new album, Menomena are it. To lose a founding member and become a twopiece, in a group renowned for forging thoughtful, complex and densely layered pop, surely equates to a paring back in a musical scope. Moms defiantly treads even more grandly diverse sonic ground than previous release Mines. It’s quite odd to think that a trio of musicians, so abrasively conflicting in personality to the point of sheer communication breakdown, could still produce the music they do and not have it feel forced, rote or passionless. What eventuates in recording has proven to be the very opposite, and the reduction in personnel has only emphasised their idiosyncrasies.

Judge Soundgarden’s first album in 16 years by its first track and you’ll be sorely disappointed; opening gambit and lead single Been Away Too Long is an unsubtle and self-aggrandising piece of vanilla cock-rock. Thankfully, it’s entirely unreflective of where Soundgarden stand in 2012, as the rest of King Animal picks up where the quartet’s last album left off, pushing the boundaries of the grunge label heaped upon them with sophisticated instrumentation, diverse vocal melodies and excellent songwriting.

THE CHEMIST Spray Paint Or Praise (Still A Statue In The Wind) Independent A new Arctic Monkeys record is… Wait. This isn’t the Arctic Monkeys? Well stick a fag in my mouth and call me Alex if they don’t have that same swagger and obsession with getting on the soundtrack to a Pulp Fiction sequel. Like Mr. Turner, singer Ben Witt sings like he’s reading from a story book while his band create the perfect bluesy backdrop. If this is an indicator for their imminent debut album, then there’ll be some stunned faces that such a lush, dark production can come out of sunny West Australia.

FAT FREDDY’S DROP Silver & Gold Remote Control Firmly established as superstars in their Kiwi homeland since their massively successful 2005 debut, Fat Freddy’s Drop have yet to score big points in Australia. Their stylised hybridization of street, soul, funk and a touch of jazz puts Silver & Gold (the first taster from forthcoming third long player, Blackbird) in the same vein as fellow New Zealanders, Kora. Kinda sounding like a live jam, gradually building over five minutes to a swinging rumination of love of the filthy lucre, it’s not likely to be troubling the Hottest 100 next year, but surely makes them a shoe-in to support George Clinton’s upcoming Aussie tour.

Celebration Day

Moms

A strong thematic undercurrent lyrically ties songs that are otherwise disparate, though no less engaging for it. The duo of Justin Harris and Danny Seim channel the impact of their upbringing, or lack thereof (hence the title), into typically raw emotion: “Heavy are the branches hanging from my fucked up family tree” (Heavy Is As Heavy Does). At times the dense layering of instrumentation only serves to muddle (see Batons), but when there is clarity in their structuring, the music’s really on-point. The whole album seems to work itself up to closing track One Horse, an eightminute epic and one of the highlights of Menomena’s entire catalogue. It’s a stunningly beautiful and moving song that stands out from the rest of Moms. Fingers crossed Harris and Seim can hold the creative will together and continue to explore lyrical riches of the personal and musical riches of the studio. Jeremy Carson

46 • For more reviews go to themusic.com.au/reviews

King Animal

Along with everyone else on the reunion circuit, Soundgarden aren’t exactly revolutionary. Like the two other active dinosaurs of the genre’s big four – Alice In Chains and Pearl Jam – they’re not going to be reinventing the wheel any time soon. It seems that they will, however, continue producing worthwhile music in the style they’re most suited to. Where the quartet always excelled is at creating killer records chock full of deep cuts as good as any single. While nothing stands out like a Jesus Christ Pose, it still consistently delivers with quality album tracks such as the pounding By Crooked Steps and droning closer Rowing. At the very least, it’s a solid, straight rock record – something that’s getting harder to come by. Prior to the reunion when Cornell was occupying himself with Audioslave and subpar solo excursions, he said he’d put a lid on Soundgarden’s career and wanted to leave the band as it was – in the past. With King Animal, they prove there’s still a little gas in that tank. Besides, can you blame Cornell for doing whatever it takes to make us forget the last ten years of mediocrity he’s responsible for? Matthew Tomich


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FRONTROW@DRUMPERTH.COM.AU

THIS WEEK IN

ARTS

BORDERLINE CREEP

ELIZABETH OLSEN AND JOSH RADNOR

SKYLAB

THURSDAY 13 Reefer Madness – a documentary from Louis J. Gasnier that was released in 1936, about Mae and Jack who fall in with a bad crowd and become addicted to jazz, wild partying and reefer cigarettes. As told by a high school teacher at a local PTA meeting. Rooftop Movies, 8pm.

FRIDAY 14

schemes. Curated by Leigh Robb. PICA until Sunday 30 December.

MONDAY 17 Skylab – a film from actor, writer and director Julie Delpy thats an autobiographical comedy about her extended family who come together in 1979 to eat, drink and argue. Part of Lotterywest Perth Film Festival, Somerville Amphitheatre, 8pm to Sunday 23 December.

American Graffiti – a 1973 film directed by George Lucas with Richard Dreyfuss, Ron Howard and Paul Le Mat, about a pack of teens on the edge of their adolescence, celebrating their last night of high school. It’s also got a sweet 1950s soundtrack. Rooftop Movies, 8pm.

TUESDAY 18

SATURDAY 15

Last Days – a rock and roll drama about a musician whose life and career is reminiscent of Kurt Cobain’s. Rooftop Movies, 8pm.

Door and Filters – an exhibition from Sebastian Befumo and Rohan Sibon that’s an investigation of our daily negotiations with differing spaces and materials. Free Range Gallery to Sunday 16 December.

SUNDAY 16 John Nixon: EPW – a solo exhibition from one of Australia’s most celebrated artists. Known for his ongoing EPW (Experimental Painting Workshop) series, Nixon interrogates the medium of painting with bold colour

La Grande Bouffe – a film about a group of French aristocrats who chose to end it all surrounded by food and women in a lush mansion in the countryside. Rooftop Movies, 8pm.

Finding inspiration from a return to his collegian roots, small screen star Josh Radnor went about crafting his newest big screen feature. He discusses growing up and playing things by the books with Anthony Carew. In 2010, Josh Radnor went back to the small liberal arts college in Ohio that he, himself, had attended years before. It was a celebrated homecoming – the star of TV’s neverending How I Met Your Mother screening his first movie, HappyThankYouMorePlease to the

students. Back on the hallowed, historical grounds of his nearly200-year-old alma mater, Radnor could feel the years peel away; in his heart, he felt like he’d never left. And yet, he was 35. “I couldn’t help but realise how much older I was than all the students,” Radnor says,

WEDNESDAY 19

UPCOMING IN ARTS PostSecret Project National Tour – Frank Warren, the creator of the PostSecret project, the world’s most viewed advertisement free blog with six to seven million monthly page views is touring Australia. Warren will be in Perth on Saturday 20 April at The Astor. If you haven’t checked it out do yourself a favour – postsecret.com

THE COMPLETE PACKAGE He’s young, good looking, very funny and a hit with the ladies. Suffice to say, Tommy Little has got it going on, writes Kate Kingsmill.

POST SECRET PROJECT TOUR

“Tommy Little is everything I normally dislike in a comedian,” says Adam Hills. “And yet I like him as well.” It seems Tommy Little’s status as a triple threat – youthful, handsome and hilarious – is enough to intimidate even the most successful of Australian comedians. We catch up with Little in the middle of a writing session

(“It involves a lot of staring at a computer and asking yourself, which word is funnier, arse or bum?”) who sets the story straight. “Here’s the secret – I just slipped him twenty bucks,” Little says. Who knew Hills came so cheap! “Yeah, his career is really on the rocks,” he adds with a sly chuckle. “Sure, he’s got TV shows and

THE DARK ROOM : JOHN ROBERTSON COMEDY

with the phrase, “You awake to find yourself in a dark room...” as the lights go out leaving Robertson (now a floating head) and the games screen as the only sources of illumination. Embodying a classically berating games master persona, Robertson goes on to select individuals (most of whom had answered the cosplay dress-up call) to play the game as hilarity ensues. Able to turn very specific tech and gaming references to appeal to a wider audience while possessing a seemingly limitless energy, Robertson is quite simply a genius conveyor of dramatically comic ideas and unusual characterisations. It’s not hard to see how The Dark Room was invited to feature at this year’s Edinburgh Fringe Festival and has been staged to sell-out crowds across Australia.

in recollection. “I was twice their age, and I couldn’t figure out how that happened, because it felt like I’d just been there yesterday, and all of a sudden kids are calling me ‘Mr Radnor’. After that, I was talking to my producer and I said that I realised that if I dated a student that’d be really inappropriate, and he said, ‘That’s a great movie, write that movie’.” And, thus, Radnor wrote Liberal Arts, a film about going back to the ol’ alma mater shot at his ol’ alma mater. It features him as the 35-year-old ex-student returning to visit a retiring professor (Richard Jenkins) and ending up in the middle of a sustained flirtation with Elizabeth Olsen. The two set about swapping handwritten letters and falling into, well, something. “There’s a creep factor line that you have to stay south of,” Radnor says, of the whole set-up of writing a film in which he gets to make out with a hot young starlet. “You see a 35-year-old guy and a 19-year-old girl, it can make you uncomfortable, but the way I got around that was to make my character himself uncomfortable with it. People always say to me, ‘You wrote this movie just so you could be with Elizabeth Olsen’, and there is a real history of books and films where the author is really

making a case that it’s really a positive thing for these much older men and much younger women to be together, to the point where it can feel like a fantasy. And that’s very much not the case with my movie.” Instead, the film is a study of dissatisfaction, academia and the passage of time, with Jenkins and Allison Janney (herself a Kenyon alumnus) playing teachers turned bitter over the years. “Part of the movie is a celebration of a liberal arts education: the life of the reader, a life of the mind, all that,” Radnor says. “Part of it is a recognition of its limits – if you just live an interior life you can get trapped in there.” And, early in 2012, Radnor took the film back to Kenyon, where this time it was shown for the whole town, who were just as eager to see themselves and their streets on screen as this returning son. Going back again, 37 this time, felt just as familiar. “I remember being in college so exactly – what it was like to walk down that street, have that conversation, drink that beer – yet here I am going to my 15-year [college] reunion,” Radnor says. “Time is just funny in that way – it goes and goes and goes, even if you don’t.”

international success, but woah, behind the curtains, he needs money.” So does Tommy Little have plans up his sleeve to take over Adam Hills’ position in the world as the most likeable and popular comic in Australia? “I would love that, he’s having an amazing career. I think any comedian in the country would love to have anything close to the success that Hillsy’s had. So fingers crossed, if I can keep bribing people, all the way.“ Truth is, Little doesn’t have to bribe anyone. Because Little is just really, really funny. He’s also a master of selfdeprecation. “I’m only in comedy because I suck at everything else. If I could do anything else I would do it. The working conditions and the pay are so horrible that if this is your choice, you’re insane.” So is he a bit insane? “Uh… no…” he sighs, and then, pissing himself laughing again adding, “What a reassuring tone!” Do his friends think he’s insane? “My friends are funny. I’m lucky doing comedy that a lot of people that are funnier aren’t doing comedy.” Little finds ambiguity interesting. “Ethnically and sexually ambiguous, that’s what I’m going for. Suggest to Little that from his material it seems as though he spends a lot of his

time drunk, he pisses himself laughing. “I love that that is the initial perception! And you know what, it’s probably fair. I think it’s towing that fine line of, sure, drinking hacks into your working week, but it also provides a lot of funny stories. I don’t know if you’d call it a fine balance, I think you’d call it just a seesaw gone wrong.” And since he’s currently writing material, alone at his computer, asking himself life’s big questions, how does he know what’s funny? “I find out that night at the gig when instead of laughter, the room is filled with silence and someone winding up their arm to throw a bottle at me! That’s generally a fair indicator.” He prepares a lot of his material but really enjoys audience interaction. “I sincerely find people very interesting, so actually a lot of my material will originate from chatting with the crowd that then turns into bigger chunks of material down the track. I always know where I’m going to start and where I’m going to finish and the stuff in the middle is kind of up to the gods – the comedy gods – that sometimes decide to shit all over me and give me nothing.

LIBERAL ARTS FILM

reluctance or inability to move beyond his undergrad years is brought into focus by the friendships he forms with a variety of students – an unhappy writer, a philosophical hippie and especially the precocious Zibby (Elizabeth Olsen), with whom he develops a mutual attraction. In a bid to give his central character some dimension, Radnor makes Jesse evolved and enlightened in some ways, less so in others. It’s a worthy goal but one that reveals Liberal Arts’ limitations. Jesse may be real and recognisable but he’s also not that interesting, and so is much of what the movie has to say. There’s a bit Radnor gets right, though. He casts astutely and works well with actors, and has a keen eye for visuals and a good sense of pace. With material a little less facile, he could be someone worth keeping an eye on. Guy Davis

WHEN & WHERE: In cinemas Thursday 13 December

WHAT: A Fistful Of Apologies: Warehouse Comedy (Madman)

REVIEWS HELLO LADIES : STEPHEN MERCHANT COMEDY Stephen Merchant’s current stand-up tour, Hello Ladies, sees The Office co-creator stepping out from behind the shadow of his comedic partner in crime Ricky Gervais. But the only shadow cast here is that of the 6 ft. 7 inch Merchant and the be-spectacled funnyman is, to put it simply, downright hilarious on his own. Opener Felicity Ward’s manic shtick never grated and plenty of belly laughs were provided with topics that were never afraid to go too far (hairy arseholes and cat’s vaginas), a perfect intro to the headliner. And what a brilliant hour-plus of comedy Stephen Merchant provided. Kicking off with a note about our ridiculous

“sharky” waters, there was plenty of focus on Merchant’s hunt for a wife through several unsuccessful dating encounters, oft due to his penchant for being rather “stingy” – saving by smuggling popcorn into the theatre, for instance. The show itself was pleasantly conversational, each anecdote flowing into the next smoothly, and he was never afraid to drift off onto a tangent – his rant against Venn Diagrams proving particularly hilarious, with a fantastic call back later in the show. Perhaps his (for now) slightly lesser star status makes him more approachable and/or relatable, but the show felt like catching up with a friend at the pub and simply listening to an extremely funny guy tell a bunch of extremely funny stories. Top notch. Troy Mutton

48 • To check out the mags online go to themusic.com.au/mags

Although he may quip that children of the ‘80s have accomplished nothing, Perth stand-up comedian and 27-year-old John Robertson has certainly made headway with his wickedly clever concept show, The Dark Room. Based on the choose your own adventure game of the same name that this year went viral on YouTube, one can’t help but think Robertson has some sort of attention deficient disorder as he masterfully switches from hilarious topic to topic as he works the crowd before the game begins. The mostly gaming enthusiast turnout was in the palm of his hand from curtain call to kick-out as they mouthed along

Jo Campbell

In ways good and bad, Liberal Arts is very similar to the long, deep, meaningful conversations one might have over wine, coffee or a couple of joints as a university arts student – for every moment of insight or clarity (let’s not go so far as to say profundity), there are three or four that are perfectly intelligent but not necessarily groundbreaking. This is the second feature by How I Met Your Mother’s Josh Radnor as writer-director-star, and he wears his Woody Allen adoration pretty heavily on his sleeve. But while Allen’s stories of white, well-to-do ennui have a witty sense of humour and a strong sense of self, Liberal Arts can offer only platitudes and pleasantries. When Radnor’s 35-year-old Jesse returns to his old uni for a retiring professor’s farewell bash, his


FRONTROW@DRUMPERTH.COM.AU

THIS WEEK IN

COMEDY THURSDAY 13 Comedy Lounge – Andrew Horabin, Greg Fleet, Tien Tran, John Robertson and Mike G are all in tonight’s line-up. The Charles Hotel, doors at 8pm. Velvet Comedy – tonight Josh Makinda will be MCing with Dayne Rathbone headlining and support from Shayne Hunter, Nick Maro and John Dore. The Flying Scotsman, doors at 7.30pm.

FRIDAY 14 Live Comedy On Rottnest Island – tonight Corey White will be MCing with Andrea Gibbs headlining and supports Tien Tran, Shikhar Thakur and Mark Conway. Gov’s Bar, doors at 8.30pm. Friday Night Stand-Up – tonight Laura Davis will be MCing, with Mike G headlining and supports Adam Peter Scott, Bonnie Davies and Tien Tran. Lazy Susan’s Comedy Den, doors at 8pm.

C U LT U R A L

WEDNESDAY 19 Laugh Resort Comedy Club – this week’s line-up is Don Smith and Jackie Loeb. Rosie O’Grady’s Northbridge, doors at 8pm.

Five minutes with

SHAYNE HUNTER What do you like about playing in Perth?

Comedy Lounge – tonight’s line-up is Sam Longley, Tim Beckett, Tien Tran, Ciaren Lyons and Jackie Loeb. The Charles Hotel, doors at 8pm. The Big HOO-HAA! – an improvised comedy show, see two teams take to the stage battle in a competition of wit, humour and mime skills. Lazy Susan’s Comedy Den, doors at 8pm.

People are more appreciative of grass roots live entertainment, as Perth gets less big acts like Lady Gaga and rubbish like that because it’s so isolated. Also, they do not have pokie machines everywhere like in Brisbane. So they attract people with live entertainment. What do you find funny?

TUESDAY 18

Humanity’s stupidity. JOEL CREASY

CRINGE

WITH MARCIA CZERNIAK

Bookings via TryBooking.com. Brisbane Hotel, doors at 8pm. Mojos Monthly Comedy – this week’s line-up includes Mike G MCing with Shayne Hunter headlining and supports Matt Jan, Chris Bedding, Nick Maro and Jermaine White. Mojos, doors at 8.30pm. Comedy At The Conservatory – a brand new night to hit the thriving comedy scene tonight John Robertson will MC with headliner Xavier Susai. Conservatory Rooftop Bar, doors at 6.30pm.

SATURDAY 15

Shapiro Tuesday – the Christmas special hosted by your favourite Christmas elf Joel Creasey.

ART S TA R T E R

What do you find unfunny?

When human stupidity is glorified e.g. reality TV. If an actor was to play you in a movie who would it be? Snookie. As you’re from Brissy have you ever been out in the Valley and how does it differ from Perth nightlife? It’s the same, people waiting in line for STIs WHAT: Shayne Hunter headlining Mojos Monthly Comedy WHEN & WHERE: Tuesday 18 December, Mojos

I loved Christmas when I was younger. I had one of those uncles that dressed up in a Santa suit and gave out presents to us kiddies. Then as I hit my teens and Father Christmas didn’t give me the bass guitar that I asked for, I became a little bit jaded by it all. I mean seriously Mum and Dad, just because all the other musical instruments I had asked for only had a three-month shelf life before I got tired of them… yeah I may still be a little bit bitter about that. But over the last few years I have found my Christmas spirit again and paired it with what some may call slightly OCD tendencies; I now take pride in putting up a perfectly colourcoordinated tree and making sure I give meaningful presents to loved ones... and of course, I obviously hope to get the same in return. And I love Christmas lights. Driving around at night and passing by a house all lit up with reindeer and inflatable Santas turns me into one of those annoying people who drive a little slower as they pass by and say to themselves, ‘Ah, isn’t that pretty?’ So consider my excitement at the prospect of all the Christmas goodness going on in the City this weekend! Perth Cultural Centre is the place to be for the Illuminites Festival of Christmas. What is this you ask? Well, consider it the hub of Christmas activity for a Friday night as the Cultural Centre brings us Christmas tunes, live music, markets, food, Christmas decorations and best of all, a sixmetre walk-in snow dome. In the midst of all this crazy weather, Perth

can finally experience one element of a white Christmas! The weekend continues the festivities with the Perth City Festival of Christmas and the Christmas Pageant, which is back to where it belongs – at night! While childhood memories of being terrified of the tractor float still give me some bad flashbacks, the pageant is something that everyone should experience no matter what their age. And it all kicks off with a mini carnival in Forrest Place from late afternoon before the pageant, which starts at the corner of St Georges Terrace and Barrack Street and finishes at Langley Park. While you’re around the City at night, you can check out all the cool lights, with specific buildings featuring some very nice Christmas-inspired designs… gingerbread house anyone? After such an eventful Saturday night, you can continue the merriment by searching for some handmade Christmas goodies with the Unwrapped market stalls. If you are after something a little bit different from the department store presents, Perth City Christmas Market is where it’s at. With over 50 stalls set up in Forrest Chase there are bound to be some treasures. The Christmas spirit is also present (pun intended) in the movie screenings at Northbridge Piazza. Choose from The Holiday, Christmas With The Kranks, Jingle All The Way, Home Alone, Love Actually and The Muppet Christmas Carol, all screened before Christmas, and there will also be live Christmas carols at the Piazza. So dust off your Santa hat, practice your Jingle Bells and get in the mood for the festivities ‘cause Santa Claus sure is coming to town.

To check out the mags online go to themusic.com.au/mags • 49


50


MISSY HIGGINS BY JACINTA MATHEWS

TOUR GUIDE GIG OF THE WEEK

TAME IMPALA

TAME IMPALA, THE GROWL @ FREMANTLE ARTS CENTRE

Unless you’ve been living: a) under a rock; b) in the cold vacuum of space; or c) in the Andromeda Galaxy, you’ll know that Tame Impala are kind of a big deal right now. After a relatively short amount of years on stage, the group have become national and international superstars, with their funky, psychedelic and powerful brand of garage rock becoming a lynchpin for what is great about contemporary music. A slew of awards from triple j and numerous other music industry bodies…hell, even a Grammy nomination. It seems like nothing can stop the rollercoaster that is Tame Impala from riding around the world. Their second album, Lonerism, is going absolutely crazy, and is sure to be listed on many a Best Of lists this year. Now, the Tame boys are on their way back to their hometown, stepping into Fremantle Arts Centre this Saturday 15 December, joined by garage-blues outfit The Growl. Oztix to get your tickets.

MISSY HIGGINS, KATE MILLER-HEIDKE, ALEXANDER GOW FREMANTLE ARTS CENTRE: 08/12/12

A glance at the line-up for Missy Higgins’ Razzle Dazzle Summer Tour, and it was instantly clear why she packed out one of WA’s biggest venues two nights in a row. Taking opening proceedings, Oh Mercy’s Alexander Gow welcomed an early crowd with a charismatic solo performance that allowed his lyrics to breathe new life. Returning to Australia from a US tour with Ben Folds Five, Kate Miller-Heidke and her backing band were in fine form and knew exactly what moves would get the sea of seated punters on their side and ready for the headline act. Guitarist Keir Nuttall wasn’t as lively as usual, but what he lacked in enthusiasm, he made up for with guitar work. Although MillerHeidke’s music and stage presence was quirkier than Higgins’, their styles complimented each other nicely, and if catchy melodies didn’t win her new fans, the occasional operatic moments would have definitely caught the attention of some. A warm bed of synths took control of the crowd, who, one by one, rose to their feet and drifted towards the beaming stage lights. An unmistakable silhouette burst through the rays of light and into the foreground

of the stage. Missy Higgins received a deafening welcome, and she responded to the roar with upbeat, feel-good single Hidden Ones. From there she rattled off Hello Hello and Set Me On Fire – all tunes from The Ol’ Razzle Dazzle, her latest and third album. She performed her triple j Like A Version of Gotye’s Hearts A Mess, before walking off stage for a few minutes to let guitarist Butterfly Boucher, who co-wrote a few songs on The Ol’ Razzle Dazzle and co-produced the record, play her own song, Warning Bell. You can tell crowd favourites these days not by the amount of people singing along, but by how many people are holding up their phones. No surprise then, when Scar saw the majority of the crowd raise their arms into the air and press record. With an hour and a half to kill and three albums under her name, fans got to hear a few tunes that don’t normally make the cut. Not partial to encores, she bided farewell with Steer, the most recent single of her new album, and disappeared into the cool night’s breeze. No doubt, many avid fans would have returned the following night for a second installment. Daniel Cribb

FRONTLASH

BACKLASH

News that James Murphy is working with Arcade Fire for the group’s next album is, well, damn exciting.

Matthew Tomich’s tanties and now loss of license, ‘racist’ impersonations amongst the women’s ranks – tennis is really trying to sex itself up for summer.

ARCADE SOUNDSYSTEM

STEEL GOT IT

The pretty awesome new trailer for Man Of Steel has already wiped clean any memories of Superman Returns.

PRIME VOICE

Congrats to Julia Gillard on being the Most Influential Female Voice of 2012. Now it’s time to use it for less petty bickering during question time and more kicking arse elsewhere.

DRUM MEDIA IS PROUD TO PRESENTS SHOWS INCLUDING: EVIL EDDIE: DEC 13 Amplifier; DEC 14 C5; DEC 15 Prince Of Wales JEFF MARTIN: DEC 21 Clancy’s Dunsborough; DEC 22 Mojo’s; DEC 23 Indi Bar EVAN DANDO & JULIANA HATFIELD, BAMBINO KORESH: DEC 22 Rosemount Hotel BREAKFEST: KRAFTY KUTS, A SKILLS, DJ YODA, LADY WAKS, THE NEXTMEN, SPECIMEN A, PYRAMID, MARTEN HØRGER, HIGH CONTRAST, CAMO & KROOKED, SPY, MC WREC and locals: DEC 26 Belvoir Amphitheatre SOUTHBOUND: BEACH HOUSE, BEST COAST, BOY & BEAR, COOLIO, THE FLAMING LIPS, SBTRKT, THE VACCINES, BOMBAY BICYCLE CLUB, FIRST AID KIT, MAXIMO PARK, MILLIONS, HILLTOP HOODS, TOTALLY ENORMOUS EXTINCT DINOSAURS, ANGUS STONE, BALL PARK MUSIC, COSMO JARVIS, DJANGO DJANGO, THE HIVES, JINJA SAFARI, LISA MITCHELL, MATT CORBY, SHARON VAN ETTEN, TWO DOOR CINEMA CLUB, BERTIE BLACKMAN, DJ NU-MARK TOY SET, THE JUNGLE GIANTS, LOON LAKE, OH MERCY, RODRIGO & GABRIELA, SAN CISCO, EMPERORS, RAINY DAY

WOMEN, STILLWATER GIANTS, BASTIAN’S HAPPY FLIGHT, THE LOVE JUNKIES and more: JAN 4 & 5 Sir Stewart Bovell Park, Busselton SARAH BLASKO & WASO: FEB 23 Kings Park & Botanic Garden FUTURE MUSIC FESTIVAL: THE PRODIGY, THE STONE ROSES, BLOC PARTY, DIZZEE RASCAL, AZEALIA BANKS, RITA ORA, PSY, BOYS NOIZE (LIVE), HARDWELL, THE TEMPER TRAP, FUN, MADEON, ELLIE GOULDING, STEVE AOKI, GYPSY & THE CAT, RUDIMENTAL, KILL THE NOIZE, FEED ME (LIVE), ZEDS DEAD, ZANE LOWE, NERVO, BORGORE, THE STAFFORD BROTHERS, TIMMY TRUMPET, TENZIN, SVEN VATH, RICHIE HAWTIN, RICARDO VILLALOBOS, SETH TROXLER, MAGDA, COSMIC GATE FEAT. EMMA HEWITT, W&W, ANDY MOOR, SUPER 8 & TAB, BEN GOLD and more: MAR 3 Arena Joondalup DINOSAUR JR., JON SPENCER BLUES EXPLOSION, MOON DUO: MAR 12 Astor Theatre GRINSPOON: APR 5 Prince Of Wales; APR 6 Capitol

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

TENNIS TURMOIL

NOT SO GROOVY

Deee-Lite’s Lady Miss Kier claims to have received a royalty payment of just $39 from 3.1million plays on music site Pandora. 3.1million plays…seriously?

OUR FACE

The top ten mentions and check-ins for Facebook Aus’ don’t paint a pretty picture – One Direction, Big Brother, Fifty Shades Of Grey, Crown Casino and…a shopping centre. LADY WAKS (PLAYING BREAKFEST)

For more reviews go to themusic.com.au/reviews • 51


HOT SHOT

LAUNCH PAD

WILD RETURN

Local pop upstarts San Cisco play a hometown show at The Bakery Friday 14 December, and joining them are Sydney five-piece The Preatures and fellow hometown-ers The Jack Doepel Jazz Quartet. Tickets via Now Baking.

DIG THE BLUES Friday 14 December The Quarry Amphitheatre, City Beach hosts Blues & Roots At The Quarry, featuring Mister & Sunbird, with their ecstatic Latin and ska grooves, surreal cabaret, tender folk and country soul, supported by Toby. Tickets via Ticketmaster, BYO picnic and alcohol.

BLACK BIRDS WITH SHAUN MCILROY (VOCALS/GUITARS)

LAGWAGON @ ROSEMOUNT HOTEL PIC BY AARONVERSIONTWO

History of your act from day one to now: Alex Reid (drums) and I met playing in the band Atvena’s Wake, we grew out of that scene pretty quickly and wanted to have a more natural, jammy sound. We jammed for six months in a room before getting our old friend Jaya Jeffery (Arturo Chaos) in on bass. Having all played in bands before, it all came together quickly.

Tell us about your launch party. We’re launching the single with killer locals Puck and Apache. Sundays are rad, come boogie. 7.30pm, $10.

WHO: Black Birds WHAT: What A Way (Independent)

IMMINENT INFIDELS

It’s been a long run for local faves Timothy Nelson & The Infidels following their WAM Song Of The Year win last year, and now they’re releasing the first single, Talk, from their upcoming second album on Saturday 15 December at Amplifier.

SALMON FOR CHRISTMAS The Rosemount Hotel will host the 2012 edition of its annual Christmas show, A Not So Silent Night, on Saturday 15 December. Headlining the show will be the great Kim Salmon, along with The Novocaines, Jack On Fire, Melbourne’s APES (also playing Norfolk Basement Friday 14), The Preatures, Loose Lips and Sully. The beer garden will also host a who’s-who of local musicians DJing. Tickets through Heatseeker.

WHEN & WHERE: Sunday 16 December, The Velvet Lounge

No, they’re not the Neil Young song, or the Marvin Gaye song, but for the first time ever as a four-piece, hard rockers Heavylove take to the stage Friday 14 December at Hyde Park Hotel, supported by The Order Of The Black Werewolf, Legacy Of Supremacy and Jon Madd.

IN THE ROUGH Local singer/songwriter Jacob Diamond has a new video for his single Losing Game, which was shot at The Bird. Fittingly, he launches it at that venue Friday 14 December with The Seals and Amanda Merdzan.

PUMP IT UP The last Punktured of the year is here to fill your stockings with the heavy punk/rock night bringing Chainsaw Hookers, Adelaide’s Manhattan Jinx (also playing The Railway Hotel Saturday 15), The Decline, Silver Lizard, Blindspot and Castle Bravo to The Rocket Room Friday 14 December. $10.

TOUR DEBUSKI Showcasing tracks from their debut EP Coveleski are embarking on a national tour that also inlcudes Ya Ya’s Friday 14 December with Kill Teen Angst, Celebrator and Adam Livingston (Emperors), and Saturday 15 at The Railway Hotel with Manhattan Jinx and Scalphunter.

CUTTING THE RED TAPE For their latest venture, Robbie Jalapeno and his band The Bureaucrats have called on some film students from Curtin University to roll out the clip for their new single Nosferatu. The band have gathered MC Atticus, Elk Bell and Junior Jaws to support the launch Friday 14 December at North Fremantle Bowls Club.

DRIVING HOME Returning home from a tour of Europe pop/ rock four-piece The Vans have a heap of shows lined up to finish the year – obviously not resting from their already hectic touring schedule. They play tonight at Mustang Bar, and then Ya Ya’s Thursday 20 December; Lat 28 Monday 24; and Prince Of Wales, Bunbury Thursday 27.

WELCOME BACK Drum catches up with Joshua Bowyer from Anton Franc to gather stories from their first tour. tambo covered by a jumper, fiddle-cum-synth and the usual two-part vocals, charango and guitar. Cram all that into a tiny cupboard-sized broadcast studio and that’s where the magic happens.

COMING DOWN How long was the tour and where did you venture to? A gruelling six days, 4,000 km and shows in Perth, Sydney, Newcastle, Rye (Mornington Peninsula) and Melbourne. What was the reason for the tour? To see how our sound would be received by audiences outside of the Perth scene and to further test my relationship with fellow band-mate Jamie Kuzich. We then disguised our intentions by claiming it was to celebrate the release of the first single (The Boat Song) from our upcoming second EP (due March 2013). Favourite venue played at? A toss-up between FBi Social in Sydney and the Grace Darling Hotel in Melbourne. The latter felt very homey and welcoming. Amongst the audience were a number of old friends and collaborators from my Melbourne days, who had witnessed many of my prior musical projects and were therefore particularly interested in what Anton Franc were laying out for them. And we were joined by Sean Pollard (Split Seconds) and fellow Perthians The Warning Birds – throw in a few Perth ex-pats in the audience and it felt like a WA showcase. Anything happen out of the ordinary? Good bands don’t kiss and tell. Worst thing that happened to you while on tour? An hour before the first show, we whipped up some hilarious intro music to walk on stage triumphantly to. No one got the joke… Also we got ripped off by a certain, nameless venue owner. Best thing? We played a live song on FBi radio in Sydney, and about two hours before it, we decided to whip up a new arrangement of old track Letting Go utilising a pillow as a kick drum, a

52 • For more news/announcements go to themusic.com.au/news

CONTEMPORARY MUSIC INDUSTRY NEWS WITH AAROM WILSON.

MORE SPEAKERS EMERGE

Momentum is building for the inaugural Emergence Creative Festival, with another round of speakers confirming international talents spanning the creative industries, from advertising to music, animation, film and interactive. These include Director of Engineering for Facebook in California Lars Rasmussen, Canadian broadcaster and media pioneer Moses Znaimer, Naked Communications’ Adam Ferrier, Twitter Vice President of Growth and International Product Othman Laraki, Samsung Chief Strategy Officer Young Sohn and many more. Registrations are now open to the WAM-supported Emergence Creative, including everything from day registration and separate event tickets from $150 through to student festival tickets and Corporate Bonanza packages. More info from emergencecreative.com.

RADIO MIC ISSUES

Tell us about your release: The new single What A Way was originally written for acoustic, but turned out well with the band. Lyrically the song deals with a kind of self-exile, for a greater good.

What’s next for your act? We are recording a follow up four-track EP with Laurie at Sumo Sound in December, and a video for What A Way.

WAM UPDATE

Based on this tour, what song is guaranteed to make your fans happiest? We’ve got a new tune called Moments In Life, which essentially deals with the anxiety that can accompanies nocturnal self-analysis. Whilst it is a song about existential angst, it is dressed up as a fun, playful, Ryan Adams/Dylan-esque country/ folk/rock tune with a touch of party sax or trumpet (depending on who we know in the town). It is loose as a goose but rather hip movement-inspiring. What advice would you give to any Perth acts planning to tour? If you borrow your friend’s car and stay on their couch, make sure you reverse it into a pylon when you are finished breakfast. Because it makes for interesting conversation at the airport when they drop you off for the next leg of the tour. Write any songs when you were away? There’s a tune called I Play The Fool that I started to write just prior to the tour that we jammed on a bit in between shows. And it really came together. I caught our rhythm section humming it at breakfast, so I think we’re on to something. What can we expect from your return show? We are going to try something quite different for this show. We are taking away all samples and electronic trickery, laying each song out in front of you naked. Lyndon will then add some double bass and fiddle where it fits, I might dig out a couple of songs from an age ago, whilst also debuting I Play the Fool. We will also be debuting a new performance space in an intimate new venue in Mt Lawley called the Noodle Palace. We are joined by two very talented musicians, Heathcote Blue and Jonno Brain. WHO: Anton Franc WHAT: The Boat Song (Independent) WHEN & WHERE: Friday 14 December, Noodle House (JumpClimb Office, 555 Beaufort St, Mt Lawley)

Used widely in the entertainment industry by acts both big and small, radio microphones currently operate in the gaps between analogue TV stations, but at the end of 2013 analogue TV will be shut down and there is currently little provision made for radio mic use post that shut down. In fact, soon a change in the licensing arrangements will be made that will see around 150,000 radio mics currently in use made illegal in many areas across the country, including Perth. To find out more, please call 0402 047 795 or email surangi.sahabandu@acma.gov.au.

FEEDING MORE BACK

The 2012 Music Feedback CD/DVD was officially launched last month, and now the CD/ DVD is being made available to WA-based mental health, youth-focused organisations, education providers and events. The project uses music as a vehicle to encourage young people to talk about mental health concerns and to seek help early, including songs and interviews with the likes of Karnivool, Pond, San Cisco, Emperors, Rainy Day Women, Morgan Bain and Codie Sundstrom. A useful resource in schools and other youth based initiatives, free orders can now be made via Jane Azzopardi on 08 9208 0508. More info from musicfeedback.com.au.

LOOKING FOR LIVE WIRES Have a fresh release ready to launch? The RTRFM Live Wire Fresh Program gives WA acts the chance to receive up to $2,000 worth of promotion for their upcoming release. Head to rtrfm.com.au/livewire, download the application form and get it in by this Friday 7 December for launches in January; 4 January for February launches; or February 1 for March launches. The Western Australian Music Industry Association (WAM) strives to support, advocate and nurture WA talent of all types. Visit wam.asn.au for more info.

ON THE PARKWAY

Byron Bay’s Parkway Drive brings a dose of hardcore Wednesday 19 December at Challenge Stadium (licensed/all ages). They’re joined by I Killed The Prom Queen, Northlane and Survival. Tickets via Ticketmaster.

LOVE IS A CHRISMICAL After a multifaceted year that included the operating of an underground speakeasy/venue in a bookshop in Melbourne, living in a bread truck in Portland and brief jaunts in Europe and America, Darren Hanlon stops by Mojos on Wednesday 19 December to play his ritualistic Christmas shows with James Teague supporting. Tickets via flippinyeah.com.

ROSIE TINTED Showcasing some of the best hardcore music Perth has to offer, Hardcore At The Rosie brings together Atacama Giants, Idle Eyes, El Capitan, Foul Mouth and Mindless at The Rosemount Hotel, Wednesday 19 December for $8.

SURPRISE KARAOKE ATTACK

Local Punk Rock veterans SSA are back in action for a big two-stage bash at the Den/Civic Hotel on Friday 15 December, with a bill includes 11 other punk, hardcore and metal bands. With frontman Eddie AWOL for this one, they’ve invited a roster of five guest singers to help them.


FEEDBACK TIJUANA CARTEL, SUNSHINE BROTHERS CAPITOL: 07/12/12

Facing up to the challenge of walking out to a handful of punters, the Sunshine Brothers made their presence felt immediately with some heavily-‘verbed kick and snare. Having to bring the party vibes despite the little hand barely ticking over eight, the experienced group showed enough composure to ease into their set with some slow-burning dub until enough people had come to join the festivities. Third song in, the room started filling and the bros introduced vocals and some cheeky percussion, keys and melodica to their phat, smooth reggae. Affording their sound guy plenty of room to play with vocal effects, the name of the game was groove, and that we continued to do as a few of the more upbeat numbers (TNT cover included) even bought out some dance moves from the diverse audience. As the seamless transition from house music into the night’s headliners begun the audience just kept on grooving. Tijuana Cartel are one of those acts that it is impossible not to move to. A solid spine of electronic bass and beats embellished with latin vibes, the group have something unique. Not quite a band, but a damn good alternative to a DJ, tonight they just managed to stay on the right side of the “too much backing track” fence. Syncopated percussion and sub-bass pulsating with prominence in the mix, the cartel’s trumpet and virtuosic flamenco guitar had their chance to intermittently run riot over each track, the crowd nearly jumping through the floor during They Come. Taking time to draw some attention to the animated visuals overhead before new d-step single Snappy Tom, like all of their tracks, the group continued to implement more live instrumentation than the recorded versions, something the audience appeared to have no problems with. Turning the showmanship up a couple of notches for main set closers White Dove and Shank Tank, the group were left facing an incomparably loud encore chant before returning for a guitar and percussion flamenco number, and a rather strange closer that avoided blemishing what was a fantastic set. Luke Butcher

THE SEALS, BOOM! BAP! POW!, CHAMELEON BRASS BAND, THE DAVISON BROTHERS AMPLIFIER: 08/12/12

Local bluegrass outfit The Seals celebrated the launch of their Ruckus Juice EP last Saturday by taking an already merry night and ending it with a thunderous crescend(h)o(edown).

Kicking off festivities were Victorian duo the Davidson Brothers, who delivered an effortless set of breezy ditties that culminated in a great banjo duel medley to the delight of the little crowd. The Chameleon Brass Band, an eight-man-strong collective of young jazz savants, unexpectedly emerged from the crowd (although, how you don’t see a tuba that big coming is ridiculous) and unleashed their big brass barrage, shock and awe style. The element of surprise, mixed with the hefty sound that filled the room started getting people moving, leaving them prone to the swamp boogie stylings of Boom! Bap! Pow! Frontwoman Novak Bull possesses a charisma that has the gravitational pull of a small planet, and the energy to power said-planet. Bull not only proved quite the lightning rod for the audience, but also as the perfect conductor for the tight band’s retropop numbers, as she sparked up the swelling crowd with her electrified shimmy and shake. Finally gracing a full room, The Seals took the stage. Talk about a barnburner, their set was so energetic, it’s as if they were brazenly challenging the audience to keep up with their lightning pace and unwavering energy. The crowd, sufficiently boozed and warmed up, was quite happy to take them up on the challenge and it was clear that they were succeeding in spades. Those who weren’t getting flung face first into a wall via a dosey doe, were at the very least unconsciously moving one part of their body, be it a toe tap, thigh slap or big grin. It’s like the Seals treat bluegrass as the science for eliciting involuntary fun. The show balanced experimental looseness and musical complexity to an extent that would have been impossible to do successfully without their high level of musicianship and they deserve major kudos for that. They also deserve credit for introducing something genuinely different to Perth’s popular original music scene; their brand of Ruckus Juice is potentially one of the most unique concoctions of fun out there, the perfect chaser for an fun-fuelled night out. Kosta Lucas

MITZI, THE BROW HORN ORCHESTRA, LILT, WHISKY WINTER, BEARS & DOLLS THE BAKERY: 08/12/12

There was certainly an air of cosiness within The Bakery’s walls last Saturday night, and it was all too fitting that Bears & Dolls would be the first of five bands to grace the stage in front of a small but tight-knit crowd. The sixpiece showcased an array of talent, utilising a feast of different instruments and provided those of us in the crowd who weren’t entirely familiar with their tunes something to sing along to with an extremely catchy rendition of Gorillaz hit Feel Good Inc. Whisky Winter was next to the stage, the duo producing one of the

slower and softer sets of the evening in what was their debut live performance. While still keeping true to the indie/electronic theme of the evening, their performance boasted some breathtaking moments reminiscent of Bon Iver, leaving the crowd feeling warm and content. Lilt was on next, delivering a performance that reflected the confidence of a band feeling fresh and revitalised, the trio having only recently released their debut EP Swim. The electronic production style combined brilliantly with Louise Penman’s pure, yet biting vocals, constructing a very enjoyable set, although by the end one felt the crowd were sufficiently ready for a real boogie. Enter The Brow Horn Orchestra. From the opening riff to the final note, the band had the audience in their grasp. In what has become the norm for a Brow Horn performance, energy levels were high from start to finish. Frontman Nic Owen performed astoundingly well, launching himself around the stage and firing off some blistering solo rapping, all of which was complimented perfectly by the extremely impressive horn section. With the crowd still buzzing from the penultimate band’s performance, Mitzi finally took control of the stage and wooed their audience as had those before them with a groovy live disco sound. While they certainly weren’t as explicit as the Brow Horn, the electro-indie quartet filled the room with their energetic vibes, their latest hit Who Will Love You Now met with the biggest cheers and dance moves of the night. Nursing sore feet the next morning was a testament to the success of the headliners, and those of us who witnessed the band’s first Perth show will be hoping they come back very soon.

who stepped up. Gillespie curates his band very shrewdly and on tonight’s evidence, her appointment seems as genius as Mani’s own acquisition. She kept up effortlessly with perhaps the only band in the world who can surge through gospel, dub, garage rock and bangin’ techno in one set. New song 2012 was a risky opener that paid off setting up the ruthlessly hard Swastika Eyes brilliantly. The only hiccup of the night came early, in the form of a clumsy Slip Inside This House in which the Eastern-flavoured guitars clashed with Gillespie’s vocals, faltering to stay in tune. But this was quickly vanquished by the Stoogesesque metal of Accelerator (from Xtrmntr). Second new song Relativity created some bounce, before confusing many with a complete about-face in time signature at the halfway point, seemingly transforming into a totally different new song altogether. Ending the primary set with a truly euphoric Come Together and poptastic Country Girl, it was hard to imagine how the obvious big hitters left for the encore could possibly top the energy already exerted. Pre-Screamadelica single I’m Losing More Than I’ll Ever Have segued brilliantly into its latter day incarnation, Loaded. Jailbird and the Rolling Stones-y Rocks saw the evening out, ending with a massive 10-minute wall of feedback and distortion that connected the dots back to Gillespie’s first band, The Jesus & Mary Chain. 24 years into their career, a Primal Scream gig is more like therapy than ever before. Mac McNaughton

Kane Sutton

PRIMAL SCREAM, SUGAR ARMY

THE ASTOR THEATRE: 11/12/12 The last time Bobby Gillespie’s troupe graced Perth (for Big Day Out 2011), I joined many teary folk leaving their set halfway through to farewell LCD Soundsystem. Aah, festival clashes from hell. Thus, tonight was the belated equivalent of finishing that exquisite bottle of wine you had to leave at the restaurant ‘cause you had to go to a funeral. Perth’s own Sugar Army, riding a bit of a wave after the well-received release of sophomore album Summertime Heavy, were perhaps affected by being uncomfortably cramped at the front of a large stage; they couldn’t quite muster much momentum. Far too polished to excite with their thunderous rock and with no visible camaraderie between the band members, tonight the army were far from sweet. When Primal Scream lost long-time bassist Mani to his original band (the hell’s-frozenover-so-we’ve-reformed Stone Roses), it was My Bloody Valentine’s own Debbie Googe

For more news/announcements go to themusic.com.au/news • 53


HOT SHOT

ELEVENTH HOUR

PERTH SCORCHER

DOWN ON THE… Head down to The Boulevard Tavern in Joondalup and enjoy some fine local tunes in the lead up to Christmas Saturday 15 December. Kicking off in the Courtyard at 2pm will be T.J. O’Donovan, followed by Ji Deeg and inimitable folk heroes The Renzullo Project.

NOTHING TO FEAR

Andrew and Karen Cooper

AFTER A YEAR HIATUS ELEVENTH HE REACHES LONDON FILL DRUM IN ON WHAT’S BEEN GOING ON AND WHAT’S COMING UP. It’s been a year since you’ve played live. What’s been happening? We are very close to finishing our third studio LP. We spent the first half of the year polishing the songs and the second half recording so yes, we really miss playing in Perth and touring. With five guys committed to their day jobs and families we just don’t have time to rehearse for shows and write new songs at the same time. AJ Maddah will never book us for Soundwave if he reads that.

JENNIFER LOPEZ @ PERTH ARENA. PIC BY ELLE BORGWARD

Recording for the new record went down at Studio Sleepwalker’s Dread. How did the recording experience go for everyone? It’s been amazing. Ron Pollard is a fucking pro and he’s only 28! We choose Sleepwalker’s Dread because we knew we would need at least six months, working with him on weekends and late into the night. He’s sort of become a sixth member by added some keyboard, piano and even backup vocals to the mix. It also helps that his brother Luke is our bassist. Your upcoming gig sees you play The Good Fight For Harmony all the way through. How are rehearsals going? They could be going better. During our last session, Ian decided to start practicing A-League bicycle kicks and cracked one of his ribs. So it hurts him to sing at the moment. This year is your tenth as a band. What have you learnt? That at the end of the day, we’re just a bunch of 30-year-old failed musicians in a shitty local scene that no one cares about. Every word of that sentence might actually be true, but we still find a lot of happiness in hearing something recorded for the first time or playing an old song live. Those tiny moments make all the fighting, embarrassment, anxiety, tiredness and loss of money completely worth it. It’s your first gig in over a year, what’s your tips for punters? Get there early and don’t fucking talk while the bands are playing.

ECILA LATER After three years of exploration, travel and composition, Jazz composer Alice Humphries has grouped together the Ecila ensemble, a collection of 11 talented jazz musicians. They launch their self-titled debut release Wednesday 19 December at Loop Studios in West Perth.

What’s coming up 2013? Releasing the new album, Hobbledehoy Records are re-issuing Hollow Be My Name on vinyl and some shows! WHO: Eleventh He Reaches London WHEN & WHERE: Saturday 15 December, The Bakery

NOW IN ITS TENTH YEAR, SCORCHERFEST TAKES OVER THE ROSEMOUNT HOTEL THIS SUNDAY, AND WE LOOK BACK WITH ORGANISER ANDREW COOPER.

Recently debuting their new and evolved sixpiece lineup, Fear Of Comedy have one final show to cap off the year, and they’re bringing a few of their fave local acts to help them out: Heytesburg, Goat and The Shipwrecks support on Sunday 16 December at Ya Ya’s. $10 entry.

ONE HAND BAND

Local lads Shimmergloom hit the Leedy Lounge Thursday 13 December, with one caveat: drummer Jay smashed his wrist into a million pieces while skateboarding recently, and now haves a few screws and plates inside it. This gig see him returning to the skins with The Renzullo Project and Darren Guthrie in support.

Congratulations on ten years of Scorcher Fest! Thank you. Over the decade, Scorcher has seen a plethora of great artists, and people have jumped on board making sure the festivals have grown. Organisers Karen King and Andrew Cooper have continually assessed how things are travelling and adjusted to meet new demands. The festival started in Adelaide, and as interstate acts started to show interest, we kept close to 80 percent local talent and 20 touring. The ride has been challenging and uplifting while ensuring that what we take on is manageable and enjoyable.

Sunday 16 December sees the very appropriately named Loud Noises night kick off at The Swan Basement. Appearing will be Atacama Giants, El Capitan, Foul Mouth, Deranged and Idle Eyes, free form 4.30pm.

What have been some of the highlights? Seeing bands play some of their early performances like The Beards, Trace… Seeing people enjoy world class live shows also puts a smile on our faces. Seeing bands sell 100 tickets and make $2000 towards their first recordings is greatly rewarding. Making the leap to go national in the larger populated areas and maintaining this, offering opportunities to bands that help themselves continues to be a highlight for Scorcher Fest. The many new friends we’ve made along the way.

SEAMS GOOD

Who do you see heating up the Perth stage this year? Gus Mckay; Stone Circle filled the Rosemount’s main room by themselves last time; some members of One Armed Scissor play their sixth Perth Scorcher and crank it up big time; The Silence In-between will be amazing and sweaty as ever. What do you feel Scorcher Fest offers that other summer festivals do not? More local talent in the festival than most; as a larger hotel-based festival U’18s are welcomed with an adult; bands generally mix with the crowd in front of the stage rather than behind it; you may follow the rise of bands who snuck in their first show at Scorcher Fest without you even realising; and awesome value.

LOUD ROCK

BURGER BASH

Join the Elvis-sonic purveyors of Presley, The Burger Kings and the rockin Billies from the hills, Waltones this Saturday 15 December at The Mustang Bar as they celebrate the festive season in true rockin’ style. Waltones start proceedings at 7pm.

The world’s going to end anyway, so why waste the rest of your life reserving yourself for the weekend. Thursday 13 December, sees four out of this world, Jetson style space-age provocateurs in Seams, Moana, Catlips and Spacemananta grace the Mojos stage and play as if the apocalypse ain’t no thing. Spend every dollar you have, steal from your parents and live life like regret isn’t a thing, ‘cause the world’s over!

CAL ME

This Friday 14 December, Matt Cal, Leah Miche and Chris Parkinson head to Denmark’s Lyra House for a special intimate unplugged acoustic evening. They invite you to join them in this gorgeous little building for a night of stories and songs from the road in 2012. Doors 7pm for $10 with Chai Tea and sweets served during the night. Sunday 16 Matt gathers with his band The Black Heart Sun to play there annual pilgrimage to the White Star Hotel Sunday session in Albany. 5pm free entry.

What are your hopes for the future of Scorcher Fest? We are privileged to already have the March and April dates booked in all five states with applications already coming in. The walls of some venues are already being tested and the talent that we are attracting is always increasing as the word spreads. Scorcher Fest promises something fresh every festival and looks forward to working its butts off to keep up with demand. WHEN & WHERE: Sunday 16 December, Rosemount Hotel

FREE

LIGHT IT UP As the sun starts to set on Friday 14 December, the Perth Cultural Centre will light up with Christmas music, gift markets, food, and fun for the Illuminites Festival Of Christmas. The centrepiece of this year’s Illuminites celebrations will be a giant six-metre walk-in snow dome. Live music will be provided by Just Sax, Belleville and Libby Hammer & The Mistletones.

THIS WEEK’S ISSUE NOW LIVE 54 • For more news/announcements go to themusic.com.au/news


THE GOOD FIGHT FOR HARMONY PERFORMED IN ITS ENTIRETY BY

RACHAEL DEASE FOXES ONLY HOPE

15 DECEMBER 2012 THE BAKERY 233 JAMES STREET, NORTHBRIDGE DOOR SALES $15 - FROM 8PM

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55


13 DECEMBER

2012

DJ BOOTH

FLOORED

PAUL MASTER

plus some great festivals like Stella Polaris, Bestival etc.

NICKI MINAJ PIC BY CALLAN GIBSON

Have you ever been in Perth? Yeah I played in Perth 12 years ago in 2000, I did a tour with Pete Tong and the gig was not bad, I didn’t have much time there so I just saw the beach by the hotel then we left. Artists you’ve collaborated with: Well usually just mates so recently: Chris Coco, Afterlife and Jonathan Cowan.

PETE GOODING Based in: London/Ibiza. What you play... Good music of all genres. What residencies do you have and which crews do you belong to? Well I have been resident for Renaissance since 1998, Café Mambo most the time since 1996. A few career highlights: Main resident at Café Mambo in Ibiza for ten years, won Best Ibiza DJ at the DJ Awards, my radio show The Global Network is on over 100 stations every week. First set, and what was most memorable for you? First set was me, Steve Lawler and two other mates in a little pub near where I grew up, it was Christmas Eve 1991 and about ten mates turned up and that was it.

All time favourite 12”? Lil Louis – French Kiss (ffrr, 1989). What DJs and producers have influenced your own style and interests the most and how? Sasha was my big influence from 1989-1992; Jose Padilla from 1992-now and Luciano from 2009-now. Also Carl Cox, Danny Rampling, Norman Jay, Andrew Weatherall were all influences. Funniest thing that’s ever happened to you when DJing: All these stories are too rude to put in print! Weirdest thing you’ve seen in a nightclub: Maybe the guy who dresses up as a suitcase in Ibiza. Been touring lately? Stories to tell of you recent travels? Yeah, nonstop. This year I have done all over Europe, India, Asia, South East Asia, Brazil, UK and Ibiza,

Production releases: Pete Gooding & Jonathan Cowan feat Kellie Allen – Limbo (Toolroom Records); Pete Gooding feat Kellie Allen – Those Eyes (Seamless Recordings); Pete Gooding – Malibu (Seamless Recordings); Pete Gooding & John Moss – This Music (Refine Music); Pete Gooding – Illusion (Refine Music); and many more. Next big thing to look out for you? The launch of my new label Secret Life Records in January with my track Same Old Street. More info? petegooding. com; secretlifemusic.com. NEXT GIG IN PERTH: Friday 14 December, Miller City Sessions, Indi Bar

SERIOUS SOUNDS pimpin’ brothers – they didn’t even have their guns loaded. My pimps broke out in the James Brown and won him over, so he let us in. We were making people dance for the entire day, not that holding a gun to anyone had anything to do with it.

RANDA & THE SOUL KINGDOM

We chat to a few of the local legends set to appear at RTRFM’s Seriously Sound System this Sunday at its new home, the Urban Orchard.

RANDA & THE SOUL KINGDOM Tell us about your act: We all got sacked from our 9-5 office jobs, grew our hair and thought we’d try funk since no one seemed to know whether it was a sexual position or had something to do with music. Then one day a record label in London signed us up and we’ve only been buying quality op shop gear since. Three most seriously influential artists to your style: Kenny G, Tom Jones and Ali G. Your fave experience at previous SSSs: Thinking that the security guard wasn’t being serious when he said I can’t come in with my

The most serious you’ve ever got about sound/music: When Jimmy Lips said that he wasn’t going to play in the band anymore ‘cause his batty was splitting all his quality pants every time he blew his trumpet. There wasn’t enough time to go op shopping to keep up with the rate of splits. What are you most looking forward to this Sunday? Playing to these people at 11.30pm when we come on as the last act.

CALVINIST PAUL Tell us about your act: I present the Black & Blue and All City shows on RTRFM on Friday nights. I have been volunteering with RTR since 2003. I got into dance music when I was 18 through my close friend Dave who showed me how to mix and took me out events and places such as Digital, Delirium Festival, Spirit Sound Bar, Vibes On A Summer’s Day, and Gatecrasher Summer Sound System. Three most seriously influential artists to your style: Theo Parrish, George Harrison, Ernest Hemingway. Your fave experience at previous SSSs: Underground Sound Solution System, James A, The Elliott Brothers, Bok Choy, the {MOVE} Crew, Dan The Man Vs Rok Tiley

56 • To check out the mags online go to themusic.com.au/mags

and getting my brother’s wedding photos done on the other side of Hyde Park on the same day two years ago. Who are you looking forward to seeing this year? If I had to choose I can’t go past the queen of Full Frequency Rok Riley, MmHmMm, Declan Vs Gonzo, Aarom Wilson, Savoir, El Ritmo DJs, Drastic Soul Sisters… It’s all good!

THE BOSONS Tell us about your act: We’ve been playing together under many different guises for the past ten years. We have toured a little in Europe and Korea, released an EP and are about to release our first full-length LP. Three most seriously influential artists to your style: Four Tet, Hendrix, Bonobo. Your fave experience at previous SSSs: Naik live. Who you’re looking forward to seeing this year: Hamish Rahn from MmHmMm ‘cause he has the greatest story about David Boon we have ever heard. What are you most looking forward to this Sunday? Seeing a whole buttload of stupid-good music with friends. WHAT: RTRFM’s Seriously Sound System WHEN & WHERE: Saturday 15 December, Urban Orchard, Perth Cultural Centre

NICKI MINAJ, TYGA, RUBY ROSE

PERTH ARENA: 08/12/12 Opening the night’s proceedings, Ruby Rose hyped up the already significantly full arena (with the audience ranging from children as young as six to adults 40-plus) with a DJ set featuring the likes of Rihanna, Missy Elliot, DMX and Havana Brown. Shortly after, young rapper Tyga took the stage with a short set that was high energy from the moment he literally jumped out on stage. Performing hits such as Faded, The Motto and the ever-popular Rack City, the rapper jumped off stage to walk through the crowd mid-way through his set. The highlight of his 25-minute set was definitely the end when 15 girls of various

ages were taken up on stage to dance whilst Tyga performed Rack City for the second time. At this point he had taken his shirt off, and as he recited the words of the chorus he turned his microphone to the two youngest girls on stage to help him out. It was adorable, although a little disconcerting when you think about the underage members in attendance. Emerging from a pink and white neon rocket ship, Nicki Minaj brought so much energy to the stage from the second she graced it. Wearing full black, the dramatic performer powered through current hit Roman Reloaded followed by Beez In The Trap and the ever-so-vulgar Did It ‘On Em, and continuing on with hits Proud Of You and Moment For Life before the first of six costume changes for the night. Shooting merchandise

into the crowd with her “Nicki gun” and engaging with audience members was more proof of how much gratitude the star has, before great ballads Right Through Me, Save Me and Marilyn Monroe kept the good vibes flowing. Ending the night with more of her party hits such as Bedrock (at which point Tyga joined her on stage) and finally Starships hyped the crowd for the true party that was to come… it was Nicki’s birthday! As balloons, flowers cakes, fireworks, drinks and confetti covered the stage, video messages from the likes of Lil Wayne, Brtiney Spears, Kanye and Keith Urban were played before the audience sang Happy Birthday to the overwhelmed star. Truly ending the night on a high note. Chantelle Gabriel

FIVE OF THE GREATEST BREAKS CLASSICS WITH MARTEN HØRGER 1. PLUMP DJS – ELECTRIC DISCO (FINGER LICKIN’, 1999) This is what really got me into the whole breaks sound. I loved it so much, at one point I even had a club night called Electric Disco. 2. KRAFTY KUTS – BASS PHENOMENON (AGAINST THE GRAIN, 2006) This was the first record to start a new era of breakbeat/ electro crossover. 3. DEEKLINE & ED SOLO – HANDS UP (STANTON WARRIORS REMIX) (HOT CAKES, 2008) So simple, but yet so epic.

Great message and just so different to what else was out at that time. Big hit from two very close friends of mine.

4. HARDY HARD & LADY WAKS – MINIMAL (MENU, 2007)

5. BOOGIE ARMY – SEX DRUGS ROCK’N’ROLL (RECORD LABEL, 2007)

Come on, I had to put one of my tracks in here. WHEN & WHERE: Wednesday 26 December, Breakfest, Belvoir Amphitheatre, Upper Swan


MC BOOTH

AUDIO FIEND

RAPAPORT

Tech step stalwart Audio (aka Gareth Greenall) has been keeping the d’n’b fires alive this year with the release of a tightly produced new album and an array of side-projects to boot, Jo Campbell discovers.

Daytime name: Joel Rapaport From: Sydney What residencies do you have/ crews do you belong to/acts do you play in/with? Record label – Big Village; Bands – Hip hop trio Loose Change; Live art-Rap gameshow Sketch The Rhyme; and live bands The Phonies and Svelt. How did you get your MC name? Used to call myself J-Rap, and Blaze from Next Level Records told me that was a crap name. I explained my surname, he said just call yourself that, and I thought, ‘Actually that ain’t a bad idea’. What you rhyme to... Laid back – boom bap made by Loose Change producer extraordinaire P.Major. On a solo tip, more UK grime and minimal Bass sounds. Ya style? “Jew Boy Swag”. Career highlight/s: Big Village – Big Things Tour as tour manager of 18 rappers and producers mostly in one bus. Performing Sketch The Rhyme in Edinburgh Fringe Festival in 2011 with a full Scottish crew I’d only met days before. Doing the midnight set New Year’s Eve at Peats Ridge festival with my band The Phonies in only speedos and a flap-hat. All time fave rhyme on a produced track: Too hard, a few that come to mind: “I like ‘em black, brown Puerto Rican and Asian” – Phife; “I ain’t a rapper, I’m a psychic link to a parallel world” – Roots Manuva. Fave MCs and why? Atmosphere – feels like he is speaking direct

FHF @ METROPOLIS FREMANTLE

to YOU, poetic lyricism and deft flow. Roots Manuva – bad man rhythms of roots reggae with rude sensibility and a sophisticated swagger. Mos Def (aka Yasiin Bey) – that thing where he goes up in pitch at the start of each line, and supreme musicality as an MC. Phife – simple, well-crafted rhymes with so much funk. Fave producers and why? Dilla (of course) – redefined the sound of hip hop. DJ Premier – true hip hop simplicity and soul. Best MCing performance by an Australian you’ve ever seen? Mantra: oneman show, no DJ, sitting on a stool at the loft, 2010. All class – his skill is unequalled in this country in my opinion.

Funniest thing you’ve seen when up on stage? Had a thong (footwear) thrown at me by audience member. If you’ve been in MC battling comps, most memorable experiences? Losing Australian Scribble Jam 2006 in final round. Missed out on free trip to Ohio to compete in Scribble Jam USA, instead received a pair of Reeboks. I dance like a… toddler at BBoy battle. Production releases: Patterns Mixtape – free download, grime/electronica beats. More info? rapaport.com.au and bigvillagerecords.com.au. NEXT GIG IN PERTH: Friday 14 December, Hussle Hussle, Mojos

2012 has been a year of studio collaborations for Audio (Gareth Greenall to his folks), and the release of his third artist album, Soulmagnet out on Virus Recordings. Having embarked on a solo recording career with niche label, Tech Freak Recordings, which handled his debut album To The Edge of Reason, Audio says the switch to Virus in 2010 was a professional dream come true.

Audio is part of bass outfit Pixel Fist, an offshoot of now-defunct Resonant Evol, comprising Audio and Jason Bull (Mackie) hailing from Resonant Evol with the addition of Lorne and MC Stapleton. This year has seen the outfit touring with dubstep icon Benga along with the release of Pixel Fist’s brutally cranking remix of Benga’s originally quite mellow I Will Never Change. “The Pixel Fist project was a completely new idea but it does have myself and Mackie from Resonant Evil in it, alongside our lifelong friend Lorne and Stapleton MC,” relays Audio. “The dates are coming in nicely and with our recent work with Benga we hope it will continue to grow.”

“Freak Recordings gave me my first big releases as a solo artist, which I’ll always appreciate, but time and people move on and my sound naturally evolved into something not so suited to that label,” he explains. “Also, Virus is my dream label, so it was a no-brainer to sign with them.”

WHO: Audio WHEN & WHERE: Saturday 15 December, Villa

GIVEAWAYS CAPITOL NYE Our Member’s Only giveaways this week have you sorted for both New Year’s Eve and New Year’s Day – you can thank us on 2 January while you’re rolling around in your bed unable to walk because of too much partying. First up, Sydney indie-dance outfit Rufus are taking over Capitol with the help of Voltaire Twins, Bastian’s Happy Flight, Death Disco and

FRIDAY @ AMPLIFIER CAPITOL

more, and we’ve got FIVE DOUBLE PASSES. Simply email giveaways@ drumperth.com.au with RUFUS NYE in the subject header.

WONDERLAND NYD BAGRAIDERS

And then you can pretty much walk out of Capitol and jump on a bus to Belvoir Amphitheatre for Wonderland NYD, featuing Pnau, Flume, Bag Raiders (DJ Set), Alison Wonderland and more. To win one of TWO DOUBLE PASSES

to get on board this psychedelic rollercoaster ride down the rabbit hole, email giveaways@ drumperth.com.au with RABBIT HOLE in the subject header.

SATURDAY @ AMPLIFIER CAPITOL

SATURDAY @ NEWPORT HOTEL

AFTER PARTY FEATURING

VERY SPECIAL GUESTS SUPPORTED BY BOOMTICK DJ’S AMBAR. WEDNESDAY 26.12.2012 DOORS OPEN AT 10PM TICKETS: $15+BF FACEBOOK.COM/BREAKFEST FACEBOOK.COM/AMBARNITECLUB

NEW YEARS EVE 2012 / 2013

MONDAY 31 DEC 2012

$15 | PRESALES FROM BOOMTICK SHOP FACEBOOK.COM/AMBARNITECLUB BOOMTICK.COM.AU

To check out the mags online go to themusic.com.au/mags • 57


13 DEC - 19 DEC

2012

THURSDAY 13/12

DANCEFLOOR OF THE WEEK

EMPIRE BAR Dave Vino rocks the funky Friday night beats.

CLAREMONT DJ Tea King of The Soul Purpose gets funky on Fridays.

EVIL EDDIE

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

EXTREME AGGRESSION @ ROCKET ROOM

EVIL EDDIE @ AMPLIFIER The man originally behind Butterfingers, Evil Eddie, emerges from his lab, he is ready to show the world what he’s been hiding in Welcome To The Country, which he’s touring around the country. Presented by Street Press Australia. Tickets via Oztix. DCUP

UPSIDE/DOWN @ GEISHA/YA YA’S A new weekly Thursday night, student-based party with good vibes and better beats upstairs at Geisha, this week featuring Melbourne’s DCup supporting his new single I’m Corrupt. Down at Ya Ya’s featuring bands from 8pm, with party music and more. $10 for both.

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

SERIOUSLY SOUND SYSTEM @ URBAN ORCHARD, PERTH CULTURAL CENTRE There’s some seriously super dance gigs on this weekend, but for this weekend’s d-floor of the week we can’t go past some local lovin’ with RTRFM’s Seriously Sound System taking over a new venue and kicking on ‘til midnight! The splendiferous surrounds of Perth Cultural Centre’s Urban Orchard will play host to an epic day of local dance music from live acts and DJs alike, kicking off at 2pm. Doing their thing live this year will be Randa & The Soul Kingdom, The Brow Horn Orchestra (pictured), Pimps Of Sound, Shy Panther, The Amani Consort, Lilt, Savoir, The Isolites, The Bosons and MmHmMm. And mixing things up on the 1s and/or 2s between the live action you can catch DJ sets from Zeke, Micah, Rok Riley, Declan Vs Gonzo, Craig Hollywood, Aarom Wilson, General Justice Vs Simba, Calvinist Paul, Drastic Soul Sistas and El Ritmo DJs. Pre-sales via rtrfm. com.au for $15 for subscribers and $20 general admission. They’ll be a bit more on the day, so we suggest taking advantage of cheaper action! VENGEANCE

OUTBREAK @ VELVET LOUNGE Live drum’n’bass from Freqshow, plus Child’s Play, DJ Deflo feat Design MC and DJ Screech from 8pm ‘til 1am.

KABARET THURSDAYS @ MALT SUPPER CLUB Add some soul to your Thursday nights with nine-piece high-energy band Stratosfunk. $10 from 8pm.

HIP HOP KARA”YO!”KE @ THE BIRD Perth’s seminal monthly hip hop karaoke night returns – throw your gang signs up and get rhymin’. Free before 8pm, $5 after – become an Xmas starrr.

ROSEMOUNT HOTEL Sons Of Rico DJs take over the decks in the beer garden.

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

VENGEANCE @ AMBAR Not ones to miss out on the Christmas festivities, everyone’s favourite home of the underground, Ambar, are bringing the Christmas cheer with Sydney’s Vengeance, supported by Blend & Tee EL, Oli & Marty McFly, Black & Blunt and Ben Mac & DNGRFLD, plus the Laneway Silent Disco with Meet Mark, Bexwun, MR eD, Len Bones, JS, EZ PZ, BassChild, Informant, Devo and Jon Ee supplying a notso-silent night. $15 from 10pm. TOM PIPER

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

THE ONLY, TOM PIPER @ VILLA

DJs Bryn Jones and Jimmy Thorne rock the beats.

The Only head to Villa for the Ministry Of Sound Annual 2013 launch, along with Tom Piper, supported by Chiari, Ace Basik, Jackness, Slappin’ Plastic. Tickets via Moshtix.

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

KETRACEL

DJ Tony Allen hosts Retro Thursdays.

Boulevard Tav’s new weekly Old Skool R&B night.

FRIDAY 14/12 HUSSLE HUSSLE @ MOJOS

MC and co-manager of Big Village, Rapaport has contributed extensively to the Sydney hip hop/ arts scene in various groups and artistic projects as an MC, manager, musician and producer. He hits Mojos for Hussle Hussle, supported by DJ Realms, FG and Speek Easy.

BLOW’N’UP @ CIVIC HOTEL An indigenous hip hop showcase featuring Knowledge Bones, KP, Big Sexy, Tera, Lil Statik, Jamahl Ryder, Flewnt, Bjah, Kurse of Perth, Runinmukz, DJ Zeke and Bryte MC.

NICK SKITZ, JAMES SPY @ TAMBREY TAVERN

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

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

DEVILLES PAD Wild, sexy R&B and explosive rockabilly with Bang Bang Betty & The H-Bombs, plus Mondo DJs, Les Sataniques GoGo and more. Doors 6pm, $10 after 8.

EVE NIGHTCLUB THURZ 151 @ BOULEVARD TAVERN

Barry Simpson and the local guest DJs bring you the sound of Motown, northern soul, R&B and modern soul for $10 from 8pm in a special Christmas edition.

AMPLIFIER/CAPITOL

INSTITUTION @ CLAREMONT

Jon Ee gets you ready for the weekend.

MOTOWN & SOUL @ FLY BY NIGHT

Nick Skitz has been a heavyweight in the hard dance scene for many years, and he’s bringing James Spy to Karratha.

CULTURE CLASH @ NEWPORT

THE AVENUE

Ocean Hotel. Facebook.com/ MillerBeerANZ for full details.

SATURDAY 15/12 SPECTRASOUL

SPECTRASOUL, AUDIO @ VILLA Inhibits final event for 2012 features lords of the deep and soulful Spectrasoul, joined by tearout tech king Audio, supported by Voltron, Defyre, Frantik, Darren D and MCs Xsessiv and Bear. $30+BF via Moshtix.

EVIL EDDIE @ PRINCE OF WALES Evil Eddie emerges from his lab, he is ready to show the world what he’s been hiding in Welcome To The Country. Presented by SPA. Tickets via Oztix.

JAPAN 4 @ AMBAR The sounds of Buda, Blend, Micah, Bezwun and Marty McFly bang into your mind at the home of the underground. $12 before midnight, $15 thereafter.

LD BOAT PARTY @ CARNAC ISLAND Aarin Fraser, Twenty97, Shaddow Brothers, Valle Zoo, Jake Winter & Kane Winter, Aaron Richards and Abisedon bring smooth Lucid Dreaming beats to the ocean aboard the Karma IV. $100 via aarin@ luciddreamingproductions.com.

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

METRO FREO DJs Roger Smart, Ben Carter and Wazz keep the party tunes rolling in the big house, plus DJ DTuck brings the ‘80s and ‘90s hits upstairs.

DEVILLES PAD

The Backyard Project’s Bird On The Wire returns for round three, featuring Qwerk, Ketracel, Allstate and Josip Peran. $10 from 10.30pm.

THE AVENUE The Friday night party rocks ‘til the sun comes up with Stefan.

THE GENEROUS SQUIRE

EVIL EDDIE @ C5

WHALE & ALE

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

Evil Eddie emerges from his lab, he is ready to show the world what he’s been hiding in Welcome To The Country. Presented by SPA. Tickets via Oztix.

DJ Spinback lets rip with party classics from the last three decades.

SOVEREIGN ARMS

THE CARINE

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

Miller City Sessions brings Pete Gooding to inject summer Ibiza vibes into the Indian

58 • To check out the mags online go to themusic.com.au/mags

THE BROWN FOX Jon Ee lays down the funk as the sun goes down.

THE CORNERSTONE Millie Bro bangs out the pub and club anthems.

THE CLINK Az-T shakes the foundations from R&B to electro and everything in between.

CLAREMONT DJ Dan keeps the good weekend times going.

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

SUNDAY 16/12

Daisuki are glazing up the ham with MmHmMm, Eleventeen Eston, Gulls and selektors Andrew Sinclair and Nik Ridikulas. $5 before 9pm, $10 after.

CHURCH & CHAPEL @ NEWPORT HOTEL The DSB DJs rock out a new weekly Sunday session from 4pm.

THE AVENUE Az-T rounds up your Sunday Sesh.

EVE NIGHTCLUB DJ Slick brings the good times and tunes.

CLAREMONT HOTEL DJ Double Dee brings the Sunday Sesh, plus Sunday Driver live.

WEDNESDAY 19/12 MIND ELECTRIC

Unwind to the newest grooves in hip hop/nu-soul/house/funk from Leon Osborn, Viv G and Luke Pierre. Free before 10pm, $5 after.

Ang3l fires up with dancefloor destroyers ‘til late.

PETE GOODING @ INDIAN OCEAN HOTEL

Ang3l delivers the music for the masses in Cannington’s fave night spot.

BIRDHOUSE PARTY @ THE BIRD

BIRD ON THE WIRE @ GEISHA

Az-T brings the noise to kickstart the weekend.

THE CRAFTSMAN

DAISUKI’S R&B XMAS @ GEISHA

The Supersonic Sounds of the Johnny Nandez Hammond Explosion, plus Feminem Christmas drag floor show, Italian Stallion DJs, GoGo and more. Doors 6pm, $10 after 7.

SOVEREIGN ARMS

Once again Lokie Shaw fires up the Saturday night soundtrack.

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

THE WEMBLEY

BAD SANTA PARTY @ NEWPORT HOTEL Bangin’ electro-house anthems courtesy of Mind Electric.

VOGUE WILLIAMS @ EVE Brian McFadden’s other half will be hitting up Eve for one night, supported by resident DJ Crazy Craig.

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

HAMJAM DJS @ THE BIRD Hamish Rahn and James Ireland spin their favourites all night, free from 8pm.

UPCOMINGS DUSKY @ AMBAR

London-based duo Dusky’s sound is influenced by everything from Detroit techno to bumping UK garage and avant-garde electronica, and they bring it to the surrounds of Ambar Thursday 20 December, supported by Bazil Zemplys, Graduate and more.

KENDRICK LAMAR @ ASTOR THEATRE No less than two months after the release of his second studio album Good Kid, M.A.A.D City, Kendrick Lamar has become 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.

UPCOMINGS NICK SKITZ: DEC 14 Tambrey Tavern, Karratha RAPAPORT: DEC 14 Mojos VENGEANCE: DEC 14 Ambar PETE GOODING: DEC 14 Indi Bar EVIL EDDIE: DEC 13 Amplifier; DEC 14 C5; DEC 15 Prince Of Wales Hotel MOS THE ANNUAL: TOM PIPER, THE ONLY: DEC 14 Villa SPECTRASOUL, AUDIO: DEC 15 Villa DUSKY: DEC 20 Ambar + DJ HELL: DEC 21 Geisha TERRAVITA: DEC 21 Shape THE STAFFORD BROTHERS: DEC 21 Villa + EGO: DEC 22 Villa KENDRICK LAMAR: DEC 22 Astor Theatre BREAKFEST: KRAFTY KUTS, A SKILLS, DJ YODA, LADY WAKS, THE NEXTMEN, SPECIMEN A, PYRAMID, MARTEN HØRGER, HIGH CONTRAST, CAMO & KROOKED, SPY, MC WREC: DEC 26 Belvoir Amphitheatre MOVE 5TH BIRTHDAY: THEO PARRISH: DEC 28 Ambar ORIGIN NYE: CHASE & STATUS (DJ SET), FLYING LOTUS, KNIFE PARTY, GASLAMP KILLER, SHOCKONE, BENGA & YOUNGMAN, BARE NOIZE, FRICTION, GEMINI PEARSON SOUND, DMZ, GOLDIE, BEN UFO, BROOKES BROTHERS, ED RUSH, PARIAH WILKINSON, MARKY & STAMINA, SKISM, SIGMA, DELTA HEAVY, XXXY, NEW YORK TRANSIT AUTHORITY, DILLINJA, INSPECTOR DUBPLATE, METRIK, JAKES, DODGE & FUSKI, DC BREAKS, MENSAH, BAR9, DISTANCE, DARK SKY, OM UNIT, EXAMPLE & DJ WIRE, PHETSTA, HERMITUDE (DJ SET), DEACON ROSE, DOCTOR WAREWOLF, THE SUBSTANCE: DEC 30-31 Fairbridge Village RÜFÜS: DEC 31 Capitol INSERT TO PLAY: 360, URTHBOY, HERMITUDE, DRAPHT, LADYHAWK (DJ SET), DEACON ROSE and more: DEC 31 Supreme Court Gardens CHI POPTION: DEC 31 The Bakery COUNTDOWN TO NEW YEAR’S EVE: THE CUBAN BROTHERS, MR THING, N’FA and locals: DEC 31 Salt On The Beach CLUB PARADISO: FRIENDLY FIRES (DJ SETS), KAZ JAMES, DJ HELENA, MR WILSON and locals: JAN 1 Salt On The Beach CUBAN CLUB: THE CUBAN BROTHERS, YACHT CLUB DJS, RUSS DEWBURY and locals: JAN 1 Flying Squadron Yacht Club WONDERLAND: PNAU, BAG RAIDERS (DJ SET), FLUME, TIM & JEAN, GRAFTON PRIMARY, ALISON WONDERLAND, ELIZABETH ROSE, WHAT SO NOT, INDIAN SUMMER DJS and locals: JAN 1 Belvoir Amphitheatre + VANDALISM, JOHN COURSE: JAN 1 Leederville Hotel SOUTHBOUND FESTIVAL: SBTRKT, COOLIO, HILLTOP HOODS, TOTALLY ENORMOUS EXTINCT DINOSAURS, DJ NU-MARK TOY SET, AJAX, ALISON WONDERLAND, FLUME, PARACHUTE YOUTH, 2 FAT DJS, ANDO, BOSTON SWITCH & LEE DRUMS, DJ AXL, FLUORO, FRANKIE BUTTON, THE HOUSEJUNKIE, MANDY B, MC AMANI, MUTCHY & LZ, PAPER PLANE, PUSSY SHOOGAH, Q-BIK & SEEKA, ZELIMIR and more: JAN 4 & 5 Sir Stewart Bovell Park, Busselton


Celeb

rate

Remember Fight Back!

Cancer Council Relay For Life Perth 13 & 14 April 2013 2pm—2pm VenuesWest Athletics Stadium This fun 24 hour team event helps Cancer Council WA continue to fund vital cancer research, prevention programs and support services for all West Australians. For more information and to register visit

MF CFRR000672G

Join the Adventure!

LOADED DICE PRESENTS...

CITY

25th JANUARY 2013 [AUSTRALIA DAY EVE] VENUE METRO CITY, 146 ROE ST NORTHBRIDGE SUPPORT N1, T’DODGE, REXOP, SKOPTIX, TERRANCE N PHILLIP, TRACTION, STYLEE MC, X-SESSIV, SEEKA ENTRY 10PM-late DATE

TICKETS MOSHTIX.COM.AU , OZTIX.COM.AU ALL MOSHTIX & OZTIX RETAIL OUTLETS ALL LIVE CLOTHING STORES, THE DJ FACTORY WEB WWW.ANDYC.CC WWW.FACEBOOK.COM/ANDYC ENQUIRES INFO@LOADEDDICE.COM.AU

www.relayforlife.org.au, or call 1300 65 65 85.

59


THU 13 Evil Eddie Amplifier Bar Husky, Morgan Bain, Ricky Green, Whisky Winter Bakery - Northbridge Howie Morgan Belgian Beer Cafe Joel Barker, Jay Howie Clancys - Canning Bridge Open Mic Night Claremont Hotel Courtney Murphy Como Hotel Rock n Roll Karaoke Devilles Pad Bex’s Open Mic Night Indi Bar James Wilson Lucky Shag Stratosfunk Malt Supper Club - Mt Lawley The Vans, Danni Stefanetti, James MacArthur Mustang Bar The Brown Study Band, Red Sky, Bad Shannon, Heytesburg, Sons of Rico DJs Rosemount Hotel Clayton Bolger, Bill Chidgzey Rosie O’Gradys Northbridge Lightning Jack, Jay Grafton Settlers Tavern Margaret River Damien Cripps Sovereign Arms Jen de Ness The Boat One Trick Phonies The Gate Bar and Bistro, Success The Mystery Men The Shed Off the Record Universal Bar Two Plus One Woodvale Tavern Razzamataz, J.D and the Dewy Meadows X-Wray Cafe

FRI 14 Midnight Rambler 7th Avenue Bar Thy Art Is Murder Amplifier Bar Mod Squad, Tip Top Sound Bailey Bar & Bistro San Cisco, The Preatures, The Jack Doepel Jazz Quartet Bakery - Northbridge Mike Nayar Balmoral One Trick Phonies Belmont Htl Dean Anderson Bentley Hotel Matt Milford Broken Hill Hotel Pop Candy Carine Glades Tavern Raise The Flag Charles Hotel Zarm Duo Clancys - Canning Bridge The Crux Clancys - Fremantle The Angus Diggs Clancys City Beach The Luxatones Clancys Dunsborough Bryn Jones, James Thorne Claremont Hotel Trevor Jalla Como Hotel Ben Campain, Qynn Dunsborough Tavern Ali Towers East 150 Bar Adrian Wilson Elmars Aiden Hargreaves Empire Motown & Soul Night Fly By Night Fremantle Flash Nat & The Action Men Gloucester Park Greg Carter Greenwood Hotel

Dirty Scoundrels Hale Rd Tavern Brad Wintle, Velvet Stone Herdsman Lake Tavern Clayton Bolger, Damien Cripps Band High Road Htl Riverton Dr Bogus High Wycombe Hotel The Reals Highway Hotel The Kickstarts Hotel Rottnest HeavyLove, The Order of the Black Werewolf, Legacy Of Supremacy, Jon Madd Hyde Park Hotel Pete Gooding, Sam Perry Indi Bar Ben Merito, Pete Gooding Indian Ocean Brewing Company New Vintage Kalamunda Htl DJ Grizzly, Slickenside, Melee Lakers Tavern The Organ Grinders Legends Bar Chasing Calee M On The Point Seams, SpaceManAntics, Moana, Cat Lips Mojos Nth Fremantle Harry Deluxe, Swing DJ, Cheeky Monkeys, James MacArthur Mustang Bar The Love Junkies, Apes, Foam, PUCK Norfolk Basement Nosferatu North Fremantle Bowls Club Stu Harcourt Paddo Flyte Paramount Nightclub Acoustic Licence Peel Ale House Acoustic Licence Princess Road Tavern Reuben Queens Tavern, Highgate Prisoners of Faith, Spear Brittany, This Other Eden, Tempest Rising Railway Hotel Chainsaw Hookers, The Decline, Manhattan Jinx, Silver Lizard, Blindspot, Castle Bravo, Extreme Aggression:, DJ Cain Rocket Room Adam Morris Rose and Crown Hotel Archer and Light, Runner, Our Man In Berlin, Patient Little sister Rosemount Hotel Howie Morgan (duo), Kinshin Sail & Anchor Almost Famous Saint Tijuana Cartel Settlers Tavern Margaret River Robbie King Karaoke South st Ale House Greg Carter, Karaoke Springs Tavern The Recliners Steve’s Bar All This Filth, Chainsaw Abortion, Kimura, Left To Die Swan Basement Lipstick Pickup, Rubbertime, Scarlet Therapy, Big Chillum Swan Lounge Greg Carter, Robo Mosquito Swinging Pig Jacob Diamond The Bird J Man & Rosie The Boat Simon Kelly, DJ Vicktor, James Ess, George Green The Brass Monkey Acoustic Aly The Brook Craig Ballantyne The Eastern Light Street The Gate Bar and Bistro, Success Switchback The Principal

Krank, Glenn 20 The Shed The Charisma Brothers Tsunami, Mosman Park Ivan Ribic Victoria Park Hotel Switch Woodvale Tavern The Gypsie Howls X-Wray Cafe

SAT 15 Timothy Nelson & The Infidels Amplifier Bar Eleventh He Reaches London, Rachael Dease, Foxes, Only Hope Bakery - Northbridge Dove Bally’s Bar Howie Morgan (duo) Balmoral Mike Nayar Belgian Beer Cafe Raise The Flag Boulevard Tavern DJ TJ Brighton Sugarfield Brooklands The Funkalleros Clancys - Fremantle Zarm Duo Clancys City Beach Jon Ee Claremont Hotel Johnny Nandez Hammond Explosion, Feminems, Mondo Disc Jocks, The Italian Stallion, Les Sataniques Devilles Pad Ringmasters Fly By Night Fremantle Lush Glades Arts & Produce Market (Byford) Infiniti Gosnells Hotel The Charisma Brothers Gypsy Tapas House Highgate Crt Passionworks Herdsman Lake Tavern The Kickstarts Hotel Rottnest Toby Indi Bar Little Ebony Indian Ocean Brewing Company Andrew Winton Kalamunda Htl Neil Collis Kingsway Bar & Bistro Karaoke Lakers Tavern Rhythm 22 M On The Point Sunshine Brothers, Earth Link Sound System Mojos Nth Fremantle The Wal-Tones, The Burger Kings, Rockabilly DJ Mustang Bar Everlong Newport Hotel Overload Peel Ale House Sean Scott Port Kennedy Tavern The Mojos Quarie Bar & Bistro KennyL Queens Tavern, Highgate Manhattan Jinx Railway Hotel Kickstart, DJ Perry Rocket Room Better Days, Childs Play Sail & Anchor Tijuana Cartel Settlers Tavern Margaret River Remember The South, Gone By Morning, This Will Stop The Machines, Ruin Of A Runaway Swan Basement Greg Carter, Spritzer Swinging Pig Leon Osborn, Viv G, Luke Pierre The Bird DJ Peta, DJ Jewel The Brass Monkey Shawne & Luc The Brook

60 • To check out the mags online go to themusic.com.au/mags

Dirty Scoundrels The Gate Bar and Bistro, Success Slim Jim & the Phatts Woodvale Tavern Thy Art Is Murder, Boris The Blade, Paradise In Exile, Anchored YMCA HQ

SUN 16 Good Karma 7th Avenue Bar Kevin Curran, Chasing Calee Balmoral Jamie Powers Belmont Htl Nathan Gaunt Breakers Bar (Geraldton) Ricky Green Brighton Chris Murphy Broken Hill Hotel Brad Wintle Brooklands Wesley Goodlet Jamboree Scout Carine Glades Tavern Chasing Calee Chase Bar & Bistro Madam Montage, Crank, Ever Bloom, Feedback, Lock Down, Manic Mondays Civic Hotel, Back Room The Zydecats Clancys - Fremantle Ensemble Formidible Clancys Dunsborough Hi Nrg Crown Perth, Groove Bar Music Rocks the Fly By Night Fly By Night Fremantle The Seals Fremantle Arts Centre Courtyard Conny the Clown Gosnells Hotel Glen Davies High Road Htl Riverton The Organ Grinders High Wycombe Hotel Morgan Bain Indi Bar Retriofit, Dove Indian Ocean Brewing Company Acoustic Aly Kalamunda Htl Sophie Jane and the Chilly Bin Boys M On The Point Aiden Hargreaves Mahoganny Inn Tom Takeover, Earthlink, Future Soundz, Corby, Simmo T Mojos Nth Fremantle Peter Busher & the Lone Rangers, DJ Rockin Rhys Mustang Bar Matt Williams Northlands Roundhouse Tavern Two Plus One Ocean View Tavern Hailee Blackburn Peel Ale House Kevin Conway Pink Duck Lounge Kizzy Port Kennedy Tavern Matt Milford Portofinos Restaurant Jack & Jill Quarie Bar & Bistro Belleville, Samuel Spencer Queens Tavern, Highgate The Aunts, Old Blood, Burn Habit, Darren Guthrie Railway Hotel Raise The Flag Ravenswood Tavern Scorcherfest Rosemount Hotel Neil Collis, Bill Chidgzey Rosie O’Gradys Northbridge Mike Nayar Sail & Anchor DJ Anaru, Howie Morgan Project Saint Michelle Spriggs Settlers Tavern Margaret River

Christian Thompson South st Ale House Craig Ballantyne Sovereign Arms Leighton Keepa Springs Tavern Stu Mckay Stirling Arms Guildford Foul Mouth, El Capitan, Atacama Giants, Deranged, Idle Eyes Swan Basement Lillian Stargazer, Distant Lights, WayneWright, Montage Swan Lounge Darren Gibbs, Matt Angell Swinging Pig DGK Skate Video Launch The Bird Greg Carter The Gate Bar and Bistro, Success Karin Page The Principal James Wilson, The Healys, Blue Hornet The Shed Retrofit Universal Bar Damien Cripps Victoria Park Hotel Adam James Wanneroo Free Radicals Woodvale Tavern The Charisma Brothers X-Wray Cafe

MON 17 Courtney Murphy, Chris Murphy Crown Perth, Groove Bar Marco & The Alleycats Mustang Bar Plastic Max & the Token Gestures The Deen Damien Cripps Woodvale Tavern Johnny Walker & the Rock Bottoms X-Wray Cafe

TUE 18 Courtney Murphy Crown Perth, Meridian Room Ben Merito Lucky Shag Danza Loca Salsa night Mustang Bar Stu Harcourt Paddo Barefaced Stories The Bird The Tom Tale Jazz Quartet X-Wray Cafe

WED 19 The Academy Amplifier Bar Parkway Drive, I Killed The Prom Queen, Northlane, Survival Challenge Stadium Bernadine Greenwood Hotel Fenton Wilde Hale Rd Tavern Jay Grafton Indi Bar Howie Morgan Lucky Shag Suicidal Tendencies Metropolis Fremantle Flash Nat & The Action Men Mustang Bar Daisy Clover, Burn Habit, Julz Evans Paddo Atamaca Giants, Idle Eyes, El Capitan, Foul Mouth, Mindless Rosemount Hotel David Fyffe Rosie O’Gradys Northbridge Ham Jam The Bird Sugar Blue Burlesque, DJ Jewel The Brass Monkey Jocelyn Male, Riley Pearce X-Wray Cafe

TOUR GUIDE DARREN HANLON MANHATTAN JINX: DEC 14 Rocket Room; DEC 15 Railway Hotel HUSKY: DEC 12 Mojos; DEC 13 The Bakery SAN CISCO, THE PREATURES: DEC 14 The Bakery BIG JAY MCNEELY: DEC 14 Fremantle Arts Centre PUNKTURED: MANHATTAN JINX and more: DEC 14 Rocket Room APES: DEC 14 Norfolk Basement; DEC 15 Rosemount TAME IMPALA: DEC 15 Fremantle Arts Centre ABBE MAY: DEC 15 Prince Of Wales; DEC 21 The Bakery RAISE THE FLAG: DEC 14 Charles Hotel; DEC 15 Boulevard Tavern; DEC 16 Ravenswood Hotel NOT SO SILENT NIGHT: KIM SALMON, APES, THE PREATURES: DEC 15 Rosemount Hotel DARREN HANLON: DEC 19 Mojos SUICIDAL TENDENCIES, UNWRITTEN LAW, THE DUDESONS: DEC 19 Metropolis Fremantle PARKWAY DRIVE, I KILLED THE PROM QUEEN, NORTHLANE, SURVIVAL: DEC 19 Challenge Stadium REGINA SPEKTOR: DEC 19 Belvoir Amphitheatre JEFF MARTIN: DEC 20 Fremantle Arts Centre; DEC 21 Clancy’s Dunsborough; DEC 22 Mojos; DEC 23 Indi Bar EVAN DANDO & JULIANA HATFIELD, BAMBINO KORESH: DEC 22 Rosemount Hotel + WOLFPACK: DEC 28 Amplifier; DEC 29 Prince Of Wales SHARON JONES & THE DAP KINGS, LOS CORONAS: JAN 1 Fremantle Arts Centre LOS CORONAS: JAN 2 Clancy’s Dunsborough; JAN 3 Settlers Tavern JOHN BUTLER TRIO: JAN 3 Leeuwin Estate, Margaret River; JAN 4 Castelli Winery, Denmark SOUTHBOUND: BEACH HOUSE, BEST COAST, BOY & BEAR, THE FLAMING LIPS, THE VACCINES, BOMBAY BICYCLE CLUB, FIRST AID KIT, MAXIMO PARK, MILLIONS, ANGUS STONE, BALL PARK MUSIC, COSMO JARVIS, DJANGO DJANGO, THE HIVES, JINJA SAFARI, LISA MITCHELL, MATT CORBY, SHARON VAN ETTEN, TWO DOOR CINEMA CLUB, BERTIE BLACKMAN, THE JUNGLE GIANTS, LOON LAKE, OH MERCY, RODRIGO Y GABRIELA,

HUSKY ART OF SLEEPING, SAN CISCO and more: JAN 4 & 5 Sir Stewart Bovell Park, Busselton 65DAYSOFSTATIC: JAN 5 The Bakery BOYS OF SUMMER: DEEZ NUTS, COMEBACK KID, FOR THE FALLEN DREAMS, HAND OF MERCY: JAN 9 Amplifier; JAN 10 YMCA HQ SANDI THOM: JAN 10 Fly By Night MARDUK, ORDER OF ORIAS: JAN 10 Amplifier X FACTOR LIVE TOUR: SAMANTHA JADE, THE COLLECTIVE, BELLA FERRARO, NATHANIEL WILLEMSE, SHIANE HAWKE, JASON OWEN: JAN 16 Challenge Stadium NADÉAH: JAN 18 Fly By Night THE VENGABOYS: JAN 19 Metropolis Fremantle NIGHTWISH, EYEFEAR, BLACK MAJESTY: JAN 20 Metropolis Fremantle ESG: JAN 20 The Bakery ALESTORM: JAN 22 Amplifier + MOUNT EERIE: JAN 23 The Bakery WOODS: JAN 23 Bakery WEEZER, BALL PARK MUSIC, CLOUD CONTROL: JAN 23 Perth Arena TWELVE FOOT NINJA: JAN 24 Prince Of Wales; JAN 25 Amplifier; JAN 26 Mojos + JAMES REYNE: JAN 26 Nannup Ampitheatre YANNI: JAN 27 Perth Arena JEFF THE BROTHERHOOD: JAN 27 Mojos BIG DAY OUT: RED HOT CHILLI PEPPERS, THE KILLERS, YEAH YEAH YEAHS, VAMPIRE WEEKEND, BAND OF HORSES, ANIMAL COLLECTIVE, SLEIGH BELLS, FOALS, ALABAMA SHAKES, OFF!, GRINSPOON, AGAINST ME!, GARY CLARK JR, NICKY ROMERO, MORGAN PAGE, LOGO, EVERY TIME I DIE, DELTA SPIRIT, ME, HUNTING GROUNDS, JEFF THE BROTHERHOOD, DEATH GRIPS, ADVENTURE CLUB, JAGWAR MA, HOUSE VS HURRICANE, AVALANCHE CITY, TOUCAN, THE MEDICS and more: JAN 28 Claremont Showgrounds THE SMITH STREET BAND, BOMB THE MUSIC INDUSTRY, THE BENNIES: JAN 31 Prince Of Wales Hotel; FEB 2 Rosemount Hotel FROM THE JAM: JAN 31 Capitol COLIN HAY: FEB 1 Bunbury Ent. Centre; FEB

2 Regal Theatre; FEB 3 Mandurah P.A Centre THE WATERBOYS: FEB 2 Perth Concert Hall THEE OH SEES: FEB 2 The Bakery HUSH: DOM MARIANI, JOE MCKEE, BIG OLD BEARS, FALL ELECTRIC, APRICOT RAIL, RACHAEL DEASE, SIMONE & GIRLFUNKLE, RAINY DAY WOMEN, DAVEY CRADDOCK & THE SPECTACLES, MOUSTACHE, JAMES TEAGUE, THE STALKER FAMILY, AMANDA MERDZAN, TODD PICKETT, COLLECTOR: FEB 3 St George’s College SLEEP ∞ OVER: FEB 3 Geisha ELECTRIC PRELUDES: BRETT DEAN & RICHARD TOGNETTI: FEB 6 Perth Concert Hall AN EVENING ON THE GREEN: ELVIS COSTELLO & THE IMPOSTERS, SUNNYBOYS, JO JO ZEP & THE FALCONS: FEB 6 Kings Park & Botanic Gardens PERTH FESTIVAL: MACEO PARKER: FEB 7 Chevron Festival Gardens PERTH FESTIVAL: NORMAN BLAKE & JOE PERNICE, DIRTY BEACHES: FEB 8 Chevron Festival Gardens PERTH FESTIVAL: DEAD CAN DANCE: FEB 9 Perth Concert Hall LANEWAY FESTIVAL: ALPINE, ALT-J, BAT FOR LASHES, CHET FAKER, CLOUD NOTHINGS, DIVINE FITS, EL-P, FLUME, HENRY WAGONS & THE UNWELCOME COMPANY, HOLY OTHER, JAPANDROIDS, JESSIE WARE, JULIA HOLTER, KINGS OF CONVENIENCE, THE MEN, MS MR, THE NEIGHBOURHOOD, NICOLAS JAAR, PERFUME GENIUS, POLICA, POND, REAL ESTATE, THE RUBENS, SHLOHMO, SNAKADAKTAL, THE TWERPS, YEASAYER: FEB 9 Perth Cultural Centre PERTH FESTIVAL: ARCHIE ROACH: FEB 10 Chevron Festival Gardens DESCENDENTS, BOUNCING SOULS, FRENZAL RHOMB, BODYJAR: FEB 10 Metro City GIN BLOSSOMS: FEB 10 Capitol PERTH FESTIVAL: GODSPEED YOU! BLACK EMPEROR: FEB 11 Chevron Festival Gardens PERTH FESTIVAL: DEER TICK, TWO GALLANTS: FEB 12 Chevron Festival Gardens


X-WRAY

Food •

Coffee days

7

Thursday and The Friday special

13/12 Dewy

Sound late

• Jazzamataz! with J.D Meadows (free from 7pm)

14/12 • guests)

Saturday Sporta

• till

The $5

Gypsie Howls (plus entry from 8:30pm

15/12 (free

DJ

Chubby 8:30pm)

from

Sunday 16/12 • / Click Brown

The Fox

Charisma Brothers (free from 4pm)

Monday 17/12 • Johnnie Walker and The Rock Bottoms (they are the best band that you have ever heard in your life, ever) Tuesday Tale

18/12 Quartet

Wednesday / Riley Lot 4 • • 9430

• (free

19/12 Pearce 3 9399

13 •

• (free

The from

Tom 7pm)

Jocelyn Male from 8:30pm)

Essex St Fremantle xwraymusic@gmail.com

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CELEBRATING 180 Acts playing 2012 Spring/Summer Scorcher Fest Circuit: (Some TBA) Touring /Local: Where Originated From/ Where Performing Grass Taylor VIC/Adel,Bris,Melb,Per,Syd; Angel At My Table LUXEMBOURG/Adel,Bris, side shows Adelaide,Syd,GoldCoast, Crossing Red Lines NSW/Adel,Melb,Syd side show Syd, Adl; David Turpie VIC/Adel,Syd,Melb; Partisan Code NSW/Bris,Melb,Syd; Willie Ames CALIFORNIA/Adel,Bris; Cletus Kasady NSW/Melb,Syd; Festival Hall QLD/Bris,Melb; Spear Brittany VIC/Melb,Per; The Good Lucks SA/Adel,Melb, The Shanghai Times VIC/Adel,Melb; The Vanns NSW/Bris,Syd; Without Parachutes NSW/Melb,Syd; Jatin Puri INDIA/Syd; Oliver Sean PORTUGAL/Syd; Dark S.paid VIC/Adel; Emma Rowe and the Two Other Guys NT/Adel; Gemma Louise Kirby QLD/Per; Kingston Downes VIC/Adel; MASSIVE VIC/Adel; Riot Runners SA/Syd; Sammy G NSW/Melb; The Louds WA/Melb; Walk The Plank SA/Syd; (50 In The City; Alda Sky; Black Stump; Craig Atkins;Crash Plan; Dirty Boulevard; Dylan Badenoch; Ellipsis; Equilibrium; Existential Deception; Filthy Lucre; For Glory; Free Of Chains And Burden; Hollow Eyes; I, The Universe; Indiago; Jimmy Marin; Less Than Three; Lill P; Lucid Dream; Marky Sparkle; Monkey Juice; MisM {Monotony is Misery}; One Fell Short; Otto's Jacket; Psycho Surgery; Roadhaul; Scarred Hearts; Slick Arnold; Sunlight; K&A; The Violet Crams; Thursdays Friend; Vulturelight; SA) (Alla Spina; Atlas Echoes; Bandito Folk; Briony Mackenzie; Emeritus; F.O.O.D.; Focus; Hill60; Honeyflood; I Am A Magician; Kodiak Empire; Kodiak Lawn Party: Kris Nyunt and The Classifieds; Love Hate Rebellion; Misdivine; Payne Rd; Phil Hancock; Ryan Ricard; Skin and Bones; Slow Riots; The Bumbacluts; The Uncanny; XT; QLD) (BioState; Cameron Oates; Dylan.; Fenian; James Caddy; Josef Prasil; KMZ; Macca; Maddison McCarthy; Mikey and the Alignment; Rabid Zulu; rat verses rabbit; The Sandy Jeffersons; Shred the Evidence; Telling Silence; The City At Night; The Cum Stained Trackies; The Electric SunKings; The Hedonistic Pleasures; The Spitting Swallows; This Weather; TJAY; Tomcat; Tripwire; Ultimatum; Woodlock; Your Local Hero; VIC) (Armada Vale; Astro Lix; Bad Shannon; Blackjack; Dead Set Radio; Diamond Eye; Die Gestalt; Ebonnie; Echostone; Kat & Kane; KimLouise; Kindhearted as a Goddamn Wolf; Legacy Of Supremacy; Lizzyspit; Mason Vellios; Mooch; Naked Flame; New Animals; One Armed Scissor; One Too Many Camel; Reapers Riddle; Robert Hinton; Seasta Chani; Seer Cya; Severity One; Shouting at Camels; Stone Circle; Subject 2 Change; The Idle Front; The Merrics; The Renzullo Project; The SilenceInbetween; Underground Hound; WA) (Broke; Catches & Halves; Chub!; Flick The Bean; Fox Control; FunkHouse; Gang of Brothers; Jamie Hibberson; Justine Wahlin and the Men; Livy; NeeQ; Nonne MC; Ocean Alley; Phreshboi; Sons of Mercury; Sophie Payten; The Pepperheads; NSW) All Band Profiles (from different genre’s, ages & backgrounds www.scorcherfest.com.au plus links to music, film clips and social media. C U @ SCoRCHeR FeST. Much better for you than an antidepressant! Massive thanks to all the acts over the 10 years & looking forward . . .

Adelaide Sun 18th Nov The Duke of York Brisbane Sun 25th Nov Spring Hill Hotel Melbourne Sun 9th Dec Noise Bar Perth Sun 16th Dec The Rosemount Sydney Sat 22nd Dec Valve Bar & Venue ONLINE $25 www.scorcherfest.com.au or $30 at the door 12 noon til late, Fully licenced, Food available, +18 and U18 with legal guardian before 6pm (conditions apply), Photo ID for alcohol & guardianship

61


EMPLOYMENT

FOR SALE

ADMINISTRATION

CD / DVD

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

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

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

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

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

SALES & MARKETING

Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 13287

Radiohead Fully Illustrated Book & Interview CD. Sealed. Brand New. $10 Ph: 0449 713 338 iFlogID: 20481

DRUMS High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www. youtube.com/user/sydneypollak iFlogID: 19832

GUITARS Acoustic Yamaha Guitar, Solid Top, Great Sound and Condition, Comes with Carry Case, $420 ONO May Swap or Trade, 0421690000, jman0023@gmail.com, QLD iFlogID: 19700

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

MERRY F’ING XMAS

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Get it at www.thespaced.com

Quality showreels compiled and produced for actors at affordable rates by Melbourne based production company. Call Aaron 0451 208 675 http://cardboardemporium.net

TOOL Concert Poster - Big Day Out, Gold Coast Parlands 23Jan2011. Adam Jones Artwork - Ltd Edition. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338. iFlogID: 20493

TOOL Concert Poster - Brisbane Entertainment Centre 24Jan2011. Adam Jones Artwork - Ltd # Edition of 50. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph: 0449 713 338. iFlogID: 20487

TOOL Concert Poster - Melbourne Myer Music Bowl 02Feb2011. Adam Jones Artwork - Ltd Edition # of 100. Mint Condition. 60 x 45cm on Heavy Card. $90 Ph0449713338. iFlogID: 20491

STUDIO GEAR Roland Boss Digital Recording Studio 8 Track and Professional CD Burning and Mastering System All in One, Portable with Multi Effects and Loops, 0421690000, May Swap Trade, jman0023@gmail. com QLD iFlogID: 19698

RADIOHEAD Supercollider / The Butcher 12” Vinyl. Available Record Store Day only. Rare/Out of Print. Brand New/Unplayed! $40 Ph.0449 713 338 iFlogID: 20483

Thom Yorke, Burial, Four Tet 12” Vinyl. A side: Ego, AA side: Mirror. Rare/Out of Print. $60 Ph: 0449 713 338

iFlogID: 20532

MUSIC SERVICES DUPLICATION/ MASTERING Transfer your old master AUDIO DAT or MINI DV tapes to media files. Full quality, no compression. Call Aaron 0451 208 675 http:// cardboardemporium.net iFlogID: 20274

OTHER ++ play more chinese music love, tenzenmen ++. www.tenzenmen.com iFlogID: 14468

Award-winning Experienced, Qualified Music Producer: 1.Doing Instrumental version of any song for $40. 2. Mix your multi-tracks for $50 and produce personalized original instrumentals for $50. 3. Check lovenabstudio on soundclick.com. email: vangelis2133@yahoo.com iFlogID: 18269

BAND BIOS, PRESS RELEASES & PR

Are you a band that wants a bridge to the media? Let me provide budget PR services for your band. Contact Michael at m_olliffe@hotmail.com. iFlogID: 20610

VINYL

OTHER

Cliff Richard, Aled (not Alan) Jones and the Saint Winifred School Choir all wrapped into one for THE Christmas hit of 2012!

PRODUCTION

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People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@yahoo.com.au

FILM & STAGE

TOOL Concert Poster - Big Day Out, Auckland MT Smart Stadium 21Jan2011. Adam Jones Artwork Ltd Edition of 100. Mint Condition. 60 x 45cm on Heavy Card. $70 Ph0449713338.

iFlogID: 20485

Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15452

High Definition YouTube video demonstrations of cymbals. ZILDJIAN, SABIAN, PAISTE, UFIP, MEINL, WUHAN, STAGG, PEARL... www. youtube.com/user/sydneypollak iFlogID: 19834

Prince 21 Nights Oversized Harcover Book w/CD. 13.8 x 9.9 x 1.2 inches 2.4 kg Sealed. Brand New. $25 Ph0449713338

Music publicity. Do you want to get noticed? Affordable exposure for your band by someone that actually cares! www.perfectlywrite.com.au Drop me a line!

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

PRINTING Premium CD packaging & CD replication, Australia wide. 70% recycled card at no extra cost. iFlogID: 20499

RECORDING STUDIOS Recording, Mixing and Mastering services. Inner West, Sydney Digital Editing, Analogue Tape Recording, Full range of microphones and equipment. Contact Peter Holz: 0437 712 927. www. phmelectronic.com iFlogID: 20286

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

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

VIDEO / PRODUCTION You want music video produced? Visit finncut’s channel on Utube Contact Matti. finncut@gmail.com

DJ

SINGER

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

SINGER WANTED

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OTHER

GUITARIST

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SINGER SINGER SEEKING A GRADE BAND THAT HAS THEIR S**T TOGETHER. PRETTY OPEN IN REGARDS TO GENRE BUT PREFERABLEY ROCK. FOR VOCAL REFERENCE VISIT www.facebook.com/delsantomusic. Please contact: steveshifter@ hotmail.com iFlogID: 20356

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

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

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

iFlogID: 16936

Email: n_spa1@yahoo.com.au / Mob: 0433 730 340.

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Im Richie, casual guitarist wanting to do some gigs and write originals, stuff like Pennywise, Nirvana, Anti-Flag, Sublime whatever really ill learn it, 0420247623.

MARKETING BY N: Photography and Graphic Design services for the music, film and fashion industries. Album covers, promotional materials, website graphics / photos.

Get your Band or Business Online Cost effectively from $299 including Hosting, Shopping Cart and 5 email addresses! SINGER WANTED for Sydney based progressive rock band. Looking for permanent male lead vocalist to complete 5 piece line-up. Not necessarily Ian Kenny, Mike Patton, Thom Yorke or Jeff Buckley required. Looking for a creative, professional and motivated individual. Originality is encouraged as the music is open to a range of vocal styles and expressions. To hear current demos and get contact details, goto: www.reverbna tion.com/ borahorza Feel free to email borahorzaband@hotmail.com iFlogID: 20523

SERVICES GRAPHIC DESIGN Get your Band or Business Online Cost effectively and PROFESSIONALLY - from $299 including Hosting and email addresses! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15450

Get your Band or Business Online Cost effectively and PROFESSIONALLY- from $299 including UNLIMITED pages. Logos, Hosting and 5xemail addresses and much more! Contact info@bizwebsites.com.au or see www.bizwebsites.com.au

Contact info@bizwebsites.com.au or see www.bizwebsites.com.au. iFlogID: 15454

PHOTOGRAPHY - PROFESSIONAL Creative/concept Promotional shoots $150. Ideal for Press Releases, artwork and content momentum. www.shauntakesphotos.com. facebook.com/ shauntakesphotos iFlogID: 20466

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

TUITION $25 PRIVATE MUSIC LESSONS singing guitar keyboard piano drums violin tuition music instruments sales service & repairs ph: 0418 172 506 JAC MUSIC SCHOOL - EPPING iFlogID: 20244

WANTED OTHER Looking for music that is fresh and original??? Check out www.thesecretcity.com.au

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

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Online andprint classifieds iFlog.com.au

62 • To check out the mags online go to themusic.com.au/mags

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Drum Media Perth Issue 318