WA’S HIGHEST QUALITY STREET PRESS • THURSDAY 7 MARCH 2013 • 328 • FREE
NEWS FROM THE FRONT
IN BRIEF Future Music Festival didn’t get off to the start it was hoping for, with the hospitalisation of Swedish EMD superstar Avicii, and Rita Ora’s throat infection precluding her from performing. Adrian ‘Ajax’ Thomas, Australia’s leading electro DJ and one of the country’s most respected dance music producers, was tragically killed last Thursday after being struck by a truck in Melbourne’s inner north. It was the Bang Gang founder’s 42nd birthday.
RULE OF THREE It is clear that triangle-themed art rockers alt-J (∆)’s love for Australia is mutual – their Mercury Prize-winning debut An Awesome Wave has been certified gold by ARIA and achieved its highest chart placement globally in Australia, peaking at number nine on the album chart earlier this year. Adding to the critical acclaim and commercial success, tracks from An Awesome Wave made three appearances in triple j’s Hottest 100, including an impressive third place finish with Breezeblocks. Add onto this their spectacular Laneway show, and it’s easy to believe the hype. They return to play some of their biggest shows yet in Australia, including at Challenge Stadium on Saturday 27 July. Ticketmaster for tickets.
A wanted internet troll has been outed as Tristan Barker, the 18-yearold son of former John Butler Trio and Split Enz drummer Michael Barker. The younger Barker is accused of creating the notorious online opinion page, Facebeef. After cleaning up at the Oscars, Golden Globes and BRIT Awards for her Skyfall single with co-writer Paul Epworth, British superstar Adele has signed on to perform the theme music for the next James Bond instalment. Justin Timberlake and Mumford & Sons main man Marcus Mumford have been working together on the soundtrack for the upcoming Coen Brothers film, Inside Llewyn Davis, due for release later this year.
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BOOM GOES THE DYNAMITE For the first time since the 1980s, legendary new wave band the Boomtown Rats will reform for a world tour, and Australia is luckily one of the destinations. Fronted by the ever-enigmatic Bob Geldof, the band formed in their homeland of Ireland back in 1975, and were a staple on the UK charts until their split in 1986. Their final performance as a whole was at the Self Aid concert that same year. To date, their biggest song was the hit I Don’t Like Mondays. With the original lineup of Geldof, Pete Briquette, Simon Crowe, and Garry Roberts, this will be a first for many long-time Boomtown Rats Fines, as they haven’t played in Australia since 1979. They hit Challenge Stadium on Tuesday 8 May. Ticket details to come soon.
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Leichhardt Mayor Darcy Byrne has spoken out about the council’s handling of The Annandale Hotel in the year’s leading up to its recent closure, saying that former owners Matt and Dan Rule have every right to feel hard done by with past decisions regarding development applications and licensing. Following a baggage belt issue at Sydney Airport’s Terminal 2 that caused their luggage to be lost in transit, New York punks Mindless Self Indulgence were unable to make their slot at Melbourne’s Soundwave Festival.
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Chris Torpy, the lead singer for experimental Sydney metallers We Lost The Sea, sadly took his own life over the weekend. The sevenpiece posted a statement on their Facebook page, and are understandably devastated by the news.
Following the success of his intimate headline dates in July 2012 – with all shows selling out in under minutes – and with his band The xx playing two huge sets at Metro City on Monday 1 and Tuesday 2 April, Jamie xx will on Sunday 31 March at The Bakery, over the Easter long weekend. Apart form his work with The xx, Jamie xx’s production and remix work stretches across a breadth of influences and genres, including remixes for Four Tet, Glasser, Florence & The Machine and the amazing album with the late Gil-Scott Heron, We’re New Here. Tickets for the show through nowbaking.com.au.
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In an Australian music festival first, indie favourite St Jerome’s Laneway have announced that they will be branching out Stateside, with a North American launch date due to take place at an unnamed, yet supposedly quintessential US city later this year. This follows successful expansion to both New Zealand and Singapore.
LETS GET TRUCKIN’ Already announced to co headline Cherry Rock 2013, the band that Joshua Homme describes as “the best band in the world”, Swedish fuzz rock legends Truckfighters have announced their first national tour of Australia. With three classic stoner rock albums, a documentary and tours across Europe, USA and South America under their belt, Truckfighters have been blowing away audiences since 2001. With a new, as-yet untitled album set to be released this year, expect to hear some of the new riff-filled tunes from the kings of the fuzz rock face melters when they hit The Rosemount Hotel on Friday 3 May, supported by The Devil Rides Out and The Sure-Fire Midnights. Tickets through Oztix.
THIS IS LIVIN’, BARRY You all know Barry Humphries: a comedian, satirist, painter and author, and arguably the greatest entertainer Australia has ever produced. His characters, including Dame Edna Everage and Sir Les Patterson, have been inscribed as classic Australian icons. He is also a legendary lover of music. Humphries’ last outing as Master of Ceremonies with the Australian Chamber Orchestra, in 2009, showed off his encyclopedic musical knowledge, and now he has curated a concert that celebrates the lost music of composers alongside favourites from The Threepenny Opera, with cabaret diva and legend Meow Meow coming along to help out with the racier moments. It all happens at Perth Concert Hall on Wednesday 8 May. Tickets through Ticketek.
SET SAIL Eclectic LA-via-Portland outfit Yacht will return to Australia for a run of headline shows this April and May, alongside the previously announced Groovin’ The Moo festival. Yacht borrowed their moniker from an alternative school in Portland, which their precociously talented frontman Jona Bechtolt attended in his teens. Far from the sedate, wind-driven sea craft initially conjured by the name, it actually stands for Young Americans Challenging High Technology – and his band have been living up to these lofty ideals for the past decade, harnessing the intrinsic power of computers and electronica to provide a unique and idiosyncratic soundscape that’s as beguiling as it is intriguing. They play The Bakery on Friday 10 May, tickets through Now Baking.
YOU SPIN ME RIGHT ‘ROUND Following the overwhelming success of last year’s Record Store Day, for the fifth year running, Australia is set to pull the crowds into stores across the nation for this day dedicated to the local record store. To misquote Mark Twain, reports of the demise of the record store are very much exaggerated. Yes, there are still record stores! And yes, Australians still love them! The actual date for the day – in which you should try your darndest to make it down to your record store to support them, and possibly pick up some bargains – is on Saturday 20 April, but you can jump on the bandwagon on http:// www.facebook.com/RecordStoreDayAustralia, where they’ll be hosting a 100-day countdown to the event.
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LIVE! The legendary Mick Thomas and The Roving Commision with guests. Tix thru Heatseeker. Doors 8pm.
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NEWS FROM THE FRONT
CAPTAIN KIRK Capturing the energy of a killer live show and laying it down in the studio is by no means an easy feat, but in the case of blues and soul multiinstrumentalist Shaun Kirk, the transference was surprisingly seamless. Recorded and filmed at Wick Studios in Melbourne, Shaun’s latest album and accompanying DVD, The Wick Sessions, sees Kirk take his one-man-band set up of guitars, harmonicas, pedals and gadgets to a whole new level. To celebrate the release, Kirk is bringing his ever-evolving live show out of the studio and onto the road, hitting Indi Bar on Wednesday 20 March; Quindanning Inne, Thursday 21; Snook’s Music Club, Denmark, Friday 22; Settler’s Tavern, Margaret River, Saturday 23; and Redcliffe On The Murray, Pinjarra, Sunday 24 March.
HEADS ABOVE WATER After launching to a sold out Revolver Bandroom in Melbourne, pub rock quintet The Deep End are now turning their focus to melting the faces off the rest of Australia and New Zealand for their huge self-booked tour. Often described as the bastard child of AC/DC and Guns n’ Roses, The Deep End are the pinnacle of the underground Melbourne rock’n’roll scene as it stands. Although likened to their pub rock counterparts, they’ve continued to evolve through their releases over the years, creating their own sound that has that certain edge that grabs you by the back of the head and leaves you fist pumping and screaming for more. They hit The Rosemount Hotel on Wednesday 24 April, before heading to Mustang Bar on Thursday 25, C5 Friday 26 and the Civic Hotel on Saturday 27 April.
WHAT GOES DOWN… RAINY DAY WOMEN Straight out of a whole slew of big shows, including almost every festival to go down since the new year, Rainy Day Women officially launch their brand new EP, Friends, on Friday 8 March at Amplifier. Fellow, er friends Bastian’s Happy Flight, 44th Sunset and Place Of Indigo all support on the night.
THE WARNING BIRDS The Warning Birds emerged onto the big stage late in 2011 when they took out the prestigious WAM Rock Song Of The Year Award with their debut album cut, Sally. Now they hope to follow that up with a new EP, Battle Plans, which they’ll launch on Friday 15 March at Amplifier with Dead Owls, 8 Bit Love and Jacob Diamond.
BOBBY ALU After a massive summer playing packed out stages at Woodford, Earth Freq, Folk Rhythm & Life Festival and more, Bobby Alu is proud to release the first single, You Know, from his upcoming second album Take It Slow. Given that his eponymous debut album has just peaked at number two in the iTunes Australia World Music charts, it’s definitely safe to say Take It Slow is keenly anticipated among Bobby Alu converts. He brings that taster to Mojo’s Bar on Thursday 14 March; Indi Bar, Friday 15; Settlers Tavern, Margaret River, Saturday 16; and Clancy’s Fish Pub Fremantle on Sunday 17 March. We have FOUR DOUBLE PASSES to give away to the Mojo’s show, with a free copy of the single included. Get on to email@example.com with the subject line “BAD BOY BOBBY” in the tagline.
A very special show is on the horizon for The Kill Devil Hills. On Saturday 9 March, the intimate surrounds of the Fremantle Arts Centre’s inner courtyard will be the scene of a rare acoustic(-ish) set, with special guests joining the band on stage, as well as support from the wonderful Felicity Groom. The band will be using footage form the show for an upcoming live DVD, so head down if you want to be immortalized in film. In case you didn’t know (and we hope you do, so you don’t get fined), the state election is this Saturday. So the Bird found it fitting to celebrate the changeover (or not) of political power in our fair state. DJs Toby Abbott and Jew-lia Gillard will be slinging fresh dancefloor beats to the democratic masses, with free entyr to those who voted. After many years of slogging around the country with his guitar and unique voice, Morgan Bain has become a favourite young singer-songwriter. With a few great releases under his belt, he takes the time to play at Ya Ya’s on Saturday 9 March, with Logan Crawford and Boston Chevy supporting him.
BIRDS OF TOKYO Over the years, few bands have made as much of an impact from a Wes Australian perspective as Birds Of Tokyo. The years have been good to the band, with both critical and commerscial success meeting each one of their recordings. Now, the band have release March Fires, their fourth album, and one that is set to blow the atmospheric rock quotient up a level. They bring the album back to home audiences tonight, Thursday 7 March, at The Prince Of Wales, Bunbury, and Friday 8 at Fremantle Arts Centre. For those who haven’t snapped up tickets yet, though, we have FIVE DOUBLE PASSES to give away to lucky fans for the Fremantle show. Just hit up giveways@drumperth. com with the subject line “BIRDS ON FIRE”.
A labour of lost love that has taken the last few years to write and record, Stu Orchard & Crucial Colours launch their debut EP at Mojo’s on Sunday 10 March.
After seven national tours and two full-length albums, The Decline are packing their bags in preparation for their first ever international tour, which sees them take on Europe this May. With constant requests from European fans, this tour was a long time coming. Signing with European booking agency Rage Tours, The Decline will tackle Austria, Belgium, Germany, France, Switzerland, Czech Republic, Slovenia and Italy, including an appearance at Clammotterock Festival and a show with The Story So Far in Paris. But first, they need to kick it all off with a fundraiser, happening on Wednesday 20 March at the Rosemount Hotel. Friends and fellow punkers Silver Lizard, Alex the Kid, El Capitan &and Waynewright all support on the night.
WORST POSSIBLE OUTCOME
The week’s on us now: one of the greatest local success stories of recent years, Fat Shan Records is celebrating it’s second birthday. And it wouldn’t be a birthday with a worthy party in the shape of the Fat Shan Festivus, happening this Saturday 9 March at The Bakery. Apricot Rail, The Community, Don & Jon, Kučka, Perth, Runner, Shy Panther and Timothy Nelson & The Infidels. all play on the night. Head to nowbaking.com.au for tickets.
The Witching Hour is the place for rock’n’roll after midnight every two weeks. It continues after a great month this Saturday 9 March The Blazin’ Entrails and Worst Possible Outcome, with DJ Tyranny himself spinning pure fucking evil ‘til the early hours of the morning. Plus there’ll be prizes and more, with free entry!
The Moon’s weekly solo performance night, Going Solo, continues to impress, and Wednesday 13 March will be no different, as Shane Corry (from Galloping Foxley’s and Ireland), Mitch Becker and Sam Carmody of The Warning Birds all lend their sufficient solo chops to the backyard on the night. As always, the venue is free entry.
Looking to get weird after a day of voting this Saturday 9 March? Ya Ya’s probably has the ticket for you. The dangerously liberated Electric Toad will head up a night featuring the equally whacked-out Man The Clouds and Yokohomos supporting, along with The Melt Earthquake – a lovechild jamzone between Electric Toad and Zealous Chang. $5 from 6pm.
ANOTHER ONE DOWNE Australia’s crown prince of polyester has been making the world laugh for more than 25 years, and he’s funnier than ever in his new solo show. Bob Downe is finally returning to Perth as a special Mother’s Day treat to swing and sing his way through 20 Golden Greats. Downe is one of Australia’s most loved and enduring comedy characters, and has been a mainstay on television channels and radio stations. And he has done the one thing that cements you as a typical Australian character: he’s appeared on Kath & Kim. He brings the laugh-out-loud outrageousness he’s known for to the Astor Theatre on Sunday 12 May. Showticketing.com.au for tickets.
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NATURAL RESONANCE the Qwartz Electronic Music Awards in France ahead of another European tour. Off-stage, the band’s traction is self-evident. Channeling the innate creepiness of dolls and other lifeless playthings of early childhood, Perth director Julia Ngeow filmed the debut video for the EP’s single, Rewind. For a Perth-made record and a Perth-made video, Rewind is a lucid dream. Certainly, the Kučka EP is distinguished by the soundscape Lowther crafts: the ominous dronings and scratchings meld like the buzz of cicadas into a heatwave. Lowther works into a kind of bleakness seen in the empty, open expanse of old-time electronica oddballs like Aphex Twin and Orb. Nonetheless restless, Lowther evidently has plans to broaden her electronic act into an immersive and interactive experience. “I really want to get into more interactive music, I just finished my degree and I did like an audio game installation for my final project. I made a multiplayer MIDI controller, so four people play that, and there was a dice you rolled using the Wii remote that was like all connected up to this big screen, and it was in multi-channel surround, and it had live instrumentalists, so you kind of went ‘round and played on this controller and controlled the sounds all around,” explains Lowther.
Path to Laneway, A$AP Rocky, Qwartz, PVT support: everything is coming up Kučka. The diminutive Laura Jane Lowther tells Callum Twigger about chords that arise in nature, Wii remotes, vaginas and, of course, how to pronounce the name of her three-piece experimental electronica outfit – and just what exactly that name means. ou pronounce it kooch-ka,” says Lowther, enlightening those of us unfamiliar with the role of the caron, the little arrowhead above the c that makes č. “Okay, so my friend Eva, she’s from Croatia, and I travelled over there with her for a while, and we’d been friends for ages… and she just started calling me kučka. And I thought it sounded awesome, and it worked.”
This still leaves the semiotic payload of the word ambiguous. Lowther clarifies. “It means bitch, kind of literally female dog,” she adds, laughing. “But kind of endearing as well… like, so, my friend’s mum, she’s Serb too and she calls me so many different, like… they just swear constantly. She actually calls me vagina, but in Serb. Kitch-ka. And to us it’s really gross and weird, but to them it’s just normal. So it’s not that bad to say kučka… it’s endearing.” Swearing aside, Kučka has already redefined itself in the 18 months since its inception. Originally, Kučka was Lowther’s solo project, and the superstructure that crystallised in 2012 – the experimentation, the scratching, the biting, the humming – still very much defines the act’s sound. But subsequent to the earlier shiftings and rummagings online, Kučka has blossomed to include Jake Steele (of Injured Ninja) on analog synthesisers and Katie
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Campbell (of Catlips) on electronic beats. “Jake was already playing with me… [and] I bumped into Katie at uni, and she was just like sitting in the foyer… she was just making noises with her sound machine, and I didn’t even know her, I just had a hunch she was cool. She was at WAAPA in the year below me, but doing the same course – composition. I’m really impulsive, when I have an idea I’ll just do it straight away, but Jake is quite cautious, which works, because we kind of even each other out,” says Lowther. Kučka’s eponymous debut EP was six tracks of gestation and filtration through Lowther’s particular and petite perfectionism. In the wake of the glistening now-three-piece’s EP, Kučka have gone from strength to strength. Lowther, Steele and Campbell took the Perth Path to Laneway gong; beating stiff competition (salute to Runner) to perform live on Laneway’s Eat Your Own Ears stage ahead of Poliça, Japandroids, and fellow West Coast champions Pond. The internet was paying attention, and weirdo-rapper princeling A$AP Rocky liked what he heard. Lowther’s vocals featured on two tracks on A$AP’s debut Long.Live.A$AP. “I’m not currently working on anything with him…” Lowther qualifies, “he just had an album released,
and it happened really quickly… [they] got in contact with me and asked if he could sample some vocals from my EP, so I sent some over to him... then [they] got back to me a few weeks later and was like ‘A$AP’s all good for you to sing on the record too; can you just sing this small fragment’, which happened to be the chorus from his, like, first track from his EP. That was pretty crazy, but I didn’t know that at the time – I was just like ‘sick’, and I sent it back, and then a few weeks later A$AP emailed me, and then he said he wanted to Skype, and then he told me that he wanted to do another track where I was doing, like, vocals on it, which ended up on the album too, which is Fashion Killa… so, yeah,” she beams. “It was really early in the morning for me, I just kind of woke up, and I just had this email like ‘A$AP wants you to Skype right now… do my hair, put it on, and I was, like, kind of nervous, but he was just so chilled that he kind-of sang through what he wanted me to do, I did it… I dunno, he’s nice!“ Besides A$AP, Kučka are set to provide support for alt.rock trio PVT’s upcoming WA show and headline Fat Shan’s Festivus – a premiere register of home-grown capability in its own right. Lowther’s project are also booked to perform at
“I kind of set it up like a game show, so I had someone hosting it, and you could walk around the space and… I want to create – biophany is when every kind-of living thing in a fully natural environment, a forest or something, all the animals and the sounds they make all fit on a spectrum,” Lowther details. “All of the animals, say, in an area will have calls and stuff and they all fit together, and there’s things like studies showing that places where there are lots of loggings, the sound of the machinery, if it’s in a particular frequency spectrum, the animals that use those frequencies actually suffer because they can’t get their calls to each other. “So I found all this out last year because I was just like nerding out; I was just interested in it... So I found that, and then I also thought about what would happen if they kind-of evolved to take on more electronic sounds. So I did a whole bunch of field recordings and then mashed them up with electric buzz… natural field recordings, and then recordings of man-made sounds, and then mashed them together and as you played this game it created this landscape… It’s hard to describe without seeing it, and it was in four channels. Yeah, it was just a cool musical experience, although not everyone would call it music.” Biophany at least seems real enough: apparently the universe resonates at a B flat note 57 octaves below C, although Lowther can’t confirm this factoid. “Probably! I don’t know what I meant though, when I was recording all these electricty hums they were all at different notes… I don’t know, I heard that electricity is a G in Australia maybe. Could be an A… but yeah.” Perhaps we can leave it to Kučka to find out. WHO: Kučka WHAT: Kučka EP (Wood & Wire) WHEN & WHERE: Saturday 9 March, Fat Shan Festivus II, The Bakery
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The godfather of funk, George Clinton, tells Dan Condon why his Parliament Funkadelic can still blow minds after 45 years. eorge Clinton is in a Los Angeles hotel room when he answers our call, his croaky voice sounding not-atall like it did on those records that made him a star through the 1970s.
All Stars, the P-Funk horns, my granddaughter, my sons – both of them will be there…”
For music as adventurous as the spacey funk of Parliament and the wildly psyched-out Funkadelic fare, it has stood the test of time remarkably well. The odd synth sound might seem particularly dated and visions of the future off kilter, but it generally holds up. “I never thought about it. I just knew that I would be here for a long time, I knew that I would stand the test of time; I’m not going nowhere,” Clinton says of the longevity of the music. “I’m certainly happy that the music is surviving too.
“Doing some sessions,” he says sharply when asked what brings him out of his home city of Detroit. Prying further, the sessions he is recording sound interesting. “It’s some Parliament stuff. I’m working on a new record, an album for a cartoon; we’re doing an album for a cartoon called Dope Dogs.
“Back in the late-‘70s I pretty much knew that we had something that was gonna [stay] around. I had no idea about hip hop coming on and taking it further, but I knew that the music itself was gonna be around for a while.” As crazy as the music of Parliament and Funkadelic gets – and it does get crazy – Clinton says its foundation is built on something solid but simple. “Motown set the stage. I always wanted to have a collation of music, all styles of music, a family band. Motown started that up. “After we got started doing that I realised that characters – you know, like Dr Funkenstein [introduced on 1976’s The Clones Of Dr. Funkenstein] and Mr Wiggles [first heard on 1978’s Motor Booty Affair] – the characters last longer than entertainers, so I looked at it like cartoon characters and I figured that was the way to keep it alive for a long time, putting stories in the songs and characters in the songs.
“I’ve been putting out music as P-Funk All Stars but this will be the first one for a long time for Parliament,” he explains, before adding that they are “about a quarter of the way through” the album’s recording. The chaos of a Parliament Funkadelic live show, which Australian audiences can witness again this March, is something that one needs to experience to truly understand. Anywhere up to 30 people on stage sing, dance and play all manner of instruments – all prodigiously – while Clinton stalks the stage, pointing at band members, giving hand signals and croaking out a few verses of his own every now and then. “We have pretty good signals. Everyone follows my signals pretty good, so it’s pretty loose looking but it’s really organised chaos,” Clinton assures of the Parliament Funkadelic live experience. “There’s a lot of traffic on the stage but everyone pretty much knows what they’re doing. I usually call off the songs according to the audience; it’s been working like [that] for years so we’ve got it down pretty well – it’s pretty organised.” This trip will reportedly see them performing as a 22-piece as they bring a show they’re calling the ‘Galactic Space Circus’. “Kidd Funkadelic, he’ll be there this time, Ricky Rouse will be there, the P-Funk
“I realised then that it would be around a long time. I just needed to keep up with the changing trends in music and the best way I figured to do that was to take the music that parents hate. Whenever I hear that parents hate something then I know that’s the new music. Or when I hear old musicians say, ‘That ain’t music! That ain’t music!’ then I know that that’s the new music. That works pretty good. When it gets on their nerves then I know that’s the new music; you just gotta make yourself learn to like it. Kids love to get on your nerves so if they get on your nerves with new music, you just gotta get in it with them.” His output over the past 45 years has been incredibly diverse, but Clinton’s personal musical preferences remain much the same as always.
STILL (NOT JUST) KNEE DEEP
“We try everything because all the members in the band like all kinds of music so we pretty much play everything. I’m still partial to doo-wop and Motown, they are my favourite types of music. Then that evolves right into psychedelic and it grows into the rest of the stuff we did. But the basic music [I love] is love songs from the ‘50s and dance music from the ‘60s.” As for funk these days, Clinton says he hears it most evident in electronic music and hip hop, but is certain that a funk band revolution is not far away. “It goes around and comes around; right now the funk is in the form of the hip hop. But you will get some funky bands in a minute, probably European bands or something. I mean, it’s already happening but you’ll probably see a lot more of it in a minute. Techno music and dance and electronic music has a bit of funk in it, but the funk bands will probably show up pretty soon.” Given the fluid nature of the Parliament Funkadelic live show and the 45 years’ worth of material the band has to choose from, Clinton admits putting together a setlist can be tough. “The band wants to do a lot of new stuff all the time, but people want the old stuff, so you have to kind of bridge all that stuff. We have so many songs and that’s why we play so long most days.” Indeed, a three-to-four hour set is fairly standard for the group and Clinton hopes the forthcoming Australian shows will go on just as long. “Oh yeah, until they pull us off the stage,” he laughs. At 71 years of age, with a well-publicised past packed with hedonistic debauchery, one would forgive Clinton for wanting to wind down. Not much chance of that, though. “Not really, I mean I still can outlast pretty much everyone else in the band onstage,” he gloats. “They’re really punks when it comes to staying on stage for a long time. I don’t feel no signs of fatigue.”
WHO: George Clinton & Parliament Funkadelic WHEN & WHERE: Thursday 7 March, Metro City
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MINDSET New Zealand’s State of Mind haven’t DJed as a duo in Australia for nearly five years. Ahead of their only Australian date, Matt O’Neill speaks to Stuart Maxwell about the drum’n’bass veterans increasingly sprawling empire. t’s surprising to learn of State of Mind’s origins. One of New Zealand’s most influential contemporary drum’n’bass outfits, State of Mind have helped catapult their country’s fertile drum’n’bass community to international recognition over the past nine years through not just their own releases but, via their label SOM Music, those of their countrymen. “We feel part of the drum’n’bass community down here,” Stuart Maxwell, one half of the duo, says. “Our label works hard to support the best of New Zealand’s producers. We’ve released artists like Dose, Borderline, Cern, Trei, Concord Dawn and the Upbeats. In fact, I’d hazard to say we are the most active New Zealand label in terms of drum’n’bass.”
“Sometimes, it can be a pain. Organising releases, artwork, getting barcodes, dealing
JUMPCLIMB AND THE LEEDERVILLE HOTEL PRESENTS
with PR people... That can all be a pain,” the producer laments. “But, having said that, it is very rewarding. With SOM Music, we really just wanted to put out music we liked. It was really that simple. Oh, and we got sick of dealing with other labels!” Since 2004, they’ve released three albums: 2006’s Take Control, 2009’s Faster Than Light and 2011’s Nil By Ear. In addition to their own label, they’ve released productions through respected international imprints Shogun Audio, Total Science’s CIA Recordings and, perhaps most prestigiously, Black Sun Empire’s BSE Recordings. Yet, their success has actually been somewhat incidental. The pair never actually harbored any serious ambitions of being producers. For all of their compelling work in the years since, their formation was largely predicated on the fact that the right person somehow accidentally heard their friendly experiments. “There were no plans whatsoever,” Maxwell explains. “We were just two mates making beats for fun. We never even gave our music to anyone. To be honest, I don’t know if we would have. The owner of Samurai Records, Geoff Presha, actually came across a misplaced CD with our music.” “He gave that to Total Science while they were over here,” the producer continues - inadvertently explaining how an unknown drum’n’bass act ended up with their debut release on Total Science’s label. “Then, they came up to us when they finished playing and basically said ‘Did you guys make this?’. We were pretty lucky.” It puts a different spin on the pair’s output. There’s a certain professionalism to State of Mind’s career that has made them something of an institution. From the high-polish sheen that decorates their own productions to their star-studded collaborations with legends like Black Sun Empire and Jade, they’re simply a world-class act. That origin story shifts that perception a little. While still a world-class act, State of Mind are recast somewhat. Seemingly hardline careerists, there’s nevertheless always been a cavalier attitude to the pair’s movements that hasn’t quite gelled. However, that beginning reveals a sense of freedom and humour. It helps contextualise the rest of the narrative. “We just thought it would be cool to record our set, headlining that festival, and then release it for everyone,” Stuart Maxwell says, for example, of the pair’s decision to spontaneously release a free live album last year. “People who went could listen back and think, ‘Fuck yeah, that was me gurning out in there’.” “There is a difference between State of Mind & State of Mind Live,” he clarifies. “When we DJ, we use a combination of CDJ, laptop and controllers. When we do live, it’s very much live, with all sorts of hardware and our mixing console. Since it was a live show, we thought it made sense to make it free. Besides, everyone would just share it anyway.” Once one sees that side of the duo, it’s hard to miss it. By way of example, their Facebook influences read “Venga Boys, David Hasselhoff, Yello & Speak (the Hungarian Rapper)”. Their music, meanwhile, has always had a playful bent to it. Potent and aggressive, their productions’ cascading synth lines have nevertheless always been quite colourful. “The album we’re currently working on is shaping up to be much harder than our last,” Maxwell counters. “There are still a few lighter moments by the looks of it, but it’s certainly not fluffy bunnies. Drum’n’bass has been really cheesed out recently, with certain labels pushing for chart success as opposed to what’s actually cool or genuine. I guess this is a response to that. We made some other types of music for our last record. That was fun, but we are a drum’n’bass group. You know, I don’t think there is anything wrong with staying to one genre for a band. Look at AC/DC or something. They never went through a synth pop or country phase.”
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“I think New Zealand has a sound,” the producer muses on the sound of State of Mind and their contemporaries. “It’s pretty dark, all things considered. There isn’t really anyone making that pop’n’bass sound. It’s weird because, on the whole, it’s a pretty nice sunny place. You’d think we would all be happy!” Perhaps their attitude is most evident in what they ultimately choose to value. It’s easy to glance over their CV and see drum’n’bass businessmen and network professionals. Except, their consistent live shows and album releases don’t actually fit into that mold at all. They’re expensive, labourintensive endeavours that the pair don’t have to do. Yet, they’re currently prepping their fourth album (“We have actually done enough music already, but we are just going to keep making tunes right up until the middle of the year,” Maxwell says. “I think we plan to release around November.”) They’re upcoming Australian DJ set will see both members of the group in the country for the first time since 2008. Put simply, State of Mind prioritise art over commerce. They’re smart about it. They’re conscious of the industry, but they’re ultimately not beholden to it. They began as two mates making beats for fun and, while their current incarnation may look different, it’s obvious that’s still their general mission. “There’s still a place for an album. It’s a nice way for fans to collect your music. It gives you a bit more space to release a weird tune or two you might not otherwise put out,” Maxwell reflects, then reconsiders with a laugh. “Whether or not people still sit down and listen to a whole album start to finish is another thing.” WHO: State of Mind
w w w. j u m p c l i m b . c o m
12 • For more interviews go to themusic.com.au/interviews
WHEN & WHERE: Saturday 9 March, Villa
WHERE THE WILD THINGS ARE Walking the frigid streets of New York City, Jack Tatum, the prodigious mind behind US act Wild Nothing, talks to Benny Doyle about the quiet times and being a product of his inspirations and surroundings.
lthough he’s been based in the hectic epicentre of cool, Brooklyn, since recording his cinematic second record Nocturne, Jack Tatum is a small-town guy at heart. All the textures and moods found in his celebrated 2012 sophomore LP were sketched out during a stint living in Savannah, Georgia, almost 700 kilometres south of his childhood home, Blacksburg, Virginia. Worlds away from his current location, it’s a town devoid of hustle and bustle, the lack of distractions allowing Tatum to concentrate solely on bringing his vision to the fore. He’s quick to concur that the tracks paint an honest picture of who he was and what he was feeling at that point in his life.
“I totally would say that [the songs] are representative of me at that time, living in Georgia. We were touring a lot on [2010 debut] Gemini at that time so I was coming back between those dates, back to Savannah, and just chilling out for a while, so I had a lot of time to write and relax. It was very interesting, I didn’t really mean to end up there, it was just something that happened; I knew a friend down there and I was in-between places at the time, and I was getting a little bit bored of being in Virginia. I loved growing up there, but I’d lived there for twenty years of my life – I was ready to do something different.
“That’s the question that gets asked a lot, but I think we are in such a [strange] position as a band – and I really do think of it as a band – I feel that it’s straddling this weird line at the moment,” he muses. “I’m still really controlling to a certain degree, but it’s hard, especially for me because I have very specific ideas for songs, and that’s just how I’ve always been and that’s how I’ve always written. I don’t just get one idea, I get ideas for the entire song. And once those are there it’s hard to have any wiggle room. WHO: Wild Nothing WHAT: Nocturne (Spunk/Co-Operative)
“So I moved down there and found myself again in this pretty slow environment, which in a lot of ways helped me, and has always helped me I think with writing,” he reasons. “Pretty much all these songs I think I wrote while I was there, and there was definitely a certain amount of self-induced isolation, as far as it wasn’t about my personality or mood – I was very happy. But I was really able to buckle down and not distract myself with any other things, and to be perfectly honest I didn’t really know many people there and I didn’t take the time; I was constantly coming and going, so when I was there I was just like, ‘Well, I’m going to work on some music’. I think that definitely shows on the album – it’s kinda like Gemini, it’s an album that is born out of getting trapped inside of my own head.” The songs that make up Nocturne became Tatum’s companion during this time: not girls, not friends, not possessions. The record doesn’t have specific points, nor any sort of direct messages; it’s a feeling – an overall expression. He was without general goals, left simply with an abundance of spare time to explore his inner workings. What Tatum found was a certain amount of concern in the direction he was heading with music and life in general, and he cites the period as a very transitional phase of his life. “I just felt like I was in a place where I wasn’t sure where I wanted my music to go; I didn’t know what I wanted it to sound like,” he informs. “I was very happy with how Gemini turned out and in a lot of ways it was an experiment for me in working with interesting genres and pulling from all these older indie-pop bands and eras and trying to make my own thing out of it. And it was more so, that record, about trying to fit into that idea of the music I was listening to at the time, and a certain amount of myself seeped into it naturally because that’s what happens. But I struggled with that eventually, I was like, ‘Do I want to keep doing this? Do I want to introduce other things to my music?’ “Then there was this thing, where from the time I started making music with Gemini, that type of music for that time, there was so many bands doing that and there was this big influx of that kind of music, and home recorded stuff especially, it had this peak and then it fizzled out a little bit. And I was worried where my place was and where I was going to go. But I tried not to think about it too much and eventually I realised it was stupid. I’m the sort of person that gets inside their head and questions things, but when I realised that I could do just what came naturally to me, that was the best direction for me to take anyway.” But just where does Wild Nothing fit in the greater scheme of things? Do you classify it as indie, shoegaze, psychedelia, dream pop? And what are the acts being paid homage to? Is Tatum more into New Order or Talking Heads? Reading internet blogs, album reviews and general comments on social media and other platforms, it’s clear that people have trouble pinning his sound and touchstones down, not that it’s stopped them from trying to trap the 23-year-old. “It doesn’t really bother me because since the beginning of this project and since Gemini, I’ve kind of set myself up for that,” he rationalises. “I make music that is very referential so therefore there’s always going to be comparisons happening, which is fine because I’ve always been very open and honest about the music that I love, because I think I am just a fan of music first and foremost, even more so than I consider myself a musician, y’know – I love music. So I don’t get too bummed about it, and in a lot of ways it’s kind of flattering. But I don’t just want to be a carbon copy of the past, and I think a lot of my music exists outside of those references and can be very contemporary.” The other big question lingering on the lips of fans: when is Tatum going to keep the studio door open for his live bandmates and allow the act to progress from personal project to fully-fledged group? The ginger-haired lad is still holding onto his perfectionist tendencies, sure, but as Wild Nothing becomes quite something, onstage interpretation will naturally find its way onto record – it’s simply a matter of Tatum letting go.
For more interviews go to themusic.com.au/interviews • 13
A NEW TESTAMENT As Bad Religion settle into their fourth decade as one of the world’s most prolific punk rock bands and release their sixteenth record, guitarist, songwriter and businessman extraordinaire Brett Gurewitz tells Daniel Cribb that if the band had formed over the past few years, it would have “failed miserably”. short phrase written in memory of someone, usually as an inscription on a tombstone, is known as an epitaph. But what the term commonly evokes in the minds of alternative music lovers is the vast catalogue of the label of the same name. When Bad Religion’s Brett Gurewitz founded the small indie label back in 1980, maybe he was paying tribute to a close friend or family member who had passed away. Today, however, the label’s name more appropriately relates to the dying genre it once exclusively played host to.
“In the beginning, I thought it would just be a punk label, and I didn’t plan more than three years ahead, and I never have. But the time came when I had to sign something else… punk rock, in terms of the punk
rock that Epitaph had been doing in the mid ‘90s, had sort of become mainstream rock, and I was not in the mainstream rock business. We’re an indie label, and so that was sort of out of my league to do that stuff. Underground punk bands were just selling nothing, so if I put those out I just wouldn’t have a business, and all the people that work for me would go hungry and their children would die.” Punk rock isn’t what it used to be, but luckily Bad Religion dug their claws in deep when the genre was at its prime, and to this day, as they enter their thirty-third year as a band, are still reaping the benefits. “Nobody likes this kind of music anymore,” Gurewitz says of punk rock. “The people we’re selling records to are not sixteen-yearold kids – maybe a few, I mean, don’t get me wrong – there’s a few kids that like their dad’s music or something,” he laughs. “The thing that makes a punk band different than the kind of music that’s happening nowadays is you have to be able to play – you have to be able to pull it off live and be motherfuckers onstage. If you’re some screamo band or dubstep band or something like that, then it’s all programming, it doesn’t matter, you can go up there and do karaoke. But in a punk band, you have to play your instruments like a motherfucker. And to do that you can’t keep breaking up and changing members and all that.” Although Bad Religion has had their fair share of line-up changes over the years, the creative core of the band has remained the same for the most part. On two occasions Gurewitz stepped back from the band to focus on Epitaph, firstly from ‘83 to ‘86, and again from ‘94 to ‘01, but always found his way back – even if he isn’t a touring member of the band anymore. While he shares songwriting duties with frontman Greg Graffin, he hasn’t actually toured with the band since a European tour promoting the band’s twelfth studio album, The Process Of Belief, in 2002. So if you’ve seen Bad Religion at any point since 2002, you wouldn’t have seen Gurewitz. “I don’t look at it as one side of things. I’m lucky that I get to still be in the band and have a label and get to do lots of interesting things.” Although it may seem like a somewhat unorthodox way of running things, their formula is working. The latest release through Epitaph is the band’s sixteenth studio album, True North. The album sees them doing a complete circle and returning to their roots with 16 songs crammed into 35 minutes. And although they’ve created an album with a similar feel to their earlier material, they’re in no way recycling and regurgitating old riffs or melodies. “It was the record Greg and I wanted to make, and I think maybe it felt a little bit like we had lost the plot on the last album, if not lyrically, maybe musically,” he admits. “We really remembered the things that were driving us in our heyday, you know. Things like making sure there’s no bullshit in the song, making sure that the chorus is hard-hitting, making sure that the message is honest, making sure that there’s no fat on the bones, making sure that the intros aren’t indulgent – that they pull you in, but then you’re hit with a chorus before you’ve got time to think. All the sorts of things that we thought made punk rock better and more exciting than the bullshit rock that was happening when we started the band. Sometimes when you’ve been doing it a long time you lose sight of why you did it in the first place, and I think this time we remembered, so I think that’s what made the record good.” Returning to the songwriting style of 1988’s Suffer and 1989’s No Control is only part of the reason True North feels like the early days of BR. When they rocked up to the studio to begin fleshing out True North, their co-producer, Joe Barresi, had just picked up a 2” tape machine and some tape for his evergrowing collection, and mentioned it could be an option.
“We weren’t really connecting that with the idea of, ‘Well, we’re making an old school record, let’s record in an old school way.’ But it sounded like fun and we had made most of our records that way, in the old days… I think there’s something [really cool] about tape. I’m not one of these purists that say you have to do it that way, but it gives you some freedom because it takes away a lot of choices. That might sound like a contradiction, but you’re just going to play it as good as you can when you know you’re on tape. You’re not worried about recording it, and moving it around, and adding all kinds of bullshit to it, so you put everything else out of your head and you just play as hard as you can.” With most of the band around their fifties, it’s not uncommon to hear them joke onstage about putting their backs out or rattling off dad jokes about younger bands or more interesting genres at festivals. All it takes is a sarcastic comment from Graffin hinting that whatever record they’re currently working on might be their last, and fans worldwide go into panic mode and the internet is overrun with news posts about the band calling it quits.
Featuring: Lawrence Mooney (MC), Lawrence Leung, Gordon Southern (UK), Joel Creasey, Asher Treleaven, Mike G (USA), John Robertson, Emma Zammit and many m o r e . . . Astor Theatre - March 22, 7:30pm perthcomedyfest.com.au
“We’re so fucking old now that we keep making records and everyone keeps thinking it’s our last. Especially if you make a good one, then they really think that. Although, this one seems like it was a particularly good one. I feel it’s very successful artistically, I don’t know if it will be successful commercially, but that doesn’t really matter to me at this stage of my career. “The band is really happy with the record, and so, when you make a really good one, of course it’s tempting to say you want it to be your last, but I don’t think we can do that. Honestly, I don’t know what could cause us to stop making records. We enjoy it too much, you know. When we go a little while without doing it – without writing or recording songs – Greg and I start to yearn to do it again. It’s not like we’re dependent on it for our livelihoods – he’s a professor and I’m a business owner, so we’re doing it for love, we’re not doing it for money. So I don’t see why we’d ever have to stop.” WHO: Bad Religion WHAT: True North (Epitaph/Shock)
14 • For more interviews go to themusic.com.au/interviews
SORTA ROTTEN AND INSANE Seattle trio The Presidents Of The United States Of America are winding back the clock to bring us their smash hit debut in its entirety, but as frontman Chris Ballew tells Steve Bell, it wasn’t all wine and roses at the top of the music mountain. strange phenomenon hit radio airwaves in the Australian summer of late-1995. A new Seattle band began to get heavy rotation – so far so de rigueur, this was, after all, at the tail end of grunge’s halcyon years – but instead of heavy music with dark lyrics this trio was playing a form of hyper-happy pop quite unlike anything heard before. Their instrumentation was requisitely whacky – featuring regular six-string guitars re-routed into a two-string bass (“basitar”) and a three-string guitar (“guitbass”) for a completely novel sound – but it was the string of happy, nonsensical songs with titles such as Lump, Peaches and Kitty that really grabbed hearts (if not minds) all over the country.
The self-titled album from which these songs all originated was the debut offering by Seattle outfit The Presidents Of The United States Of America, and it ultimately sold enough copies to go platinum five times in this country, making Australia by far the band’s biggest market. “We sold more records per capita there than we did anywhere else,” recalls frontman and songwriter Chris Ballew. “Australia was where we got our Beatlemania moments in; running for a car, barricades collapsing under the weight of the fans, or engineering getting safely from the hotel to the gig and stuff like that. It was nice to have a tiny taste of that life, you couldn’t pay me to be in The Beatles though – if that was my life I’d be pretty sad – but it was pretty fun to taste it. It started our love affair with Australia.” Ballew believes that the reason the songs resonated so well with Australians is that we’re a nation of people who enjoy our leisure and our fun. “I think in my experiences and travels and time spent talking to Australian people, their demeanour is perfect for our music,” he smiles. “In all our time spent making music in The Presidents, the best songs are created out of doing nothing – relaxing with friends, jamming in a backyard in the summertime, or having a day where you’ll just ride your bike – and out of that relaxation comes a song. There’s an undercurrent where the
by-product of living a good life is in the music, and Australian people appreciate a good life – and that doesn’t mean a fancy life, it just means taking time to be with the people you love and good food, and that’s all you really need. Deep down in the DNA of the music is something that resonates with the DNA of Australians.” Harking back to the mid-‘90s when The Presidents were creating their debut, it seems that at least an element of the band’s playful muse was a reaction to the inherent earnestness of grunge and much of the other music dominating culture at the time. Ballew had been raised in Seattle but had been living in Boston when grunge broke, and he returned home to a completely transformed city. “I dunno man, it’s kind of like if your kids were in a sixth grade play, and then suddenly they wanted it to be on Broadway,” he reflects. “Everyone was looking around thinking, ‘Who’s going to be scooped up next?’ It was an exciting time because you could book a show on a Tuesday night and the place would be completely full of people, because everybody wanted to see the next big thing – that was an amazing environment to experiment in, and it turned out to be perfect for us. “I’d been making music in Boston that was kind of dark – I remember Nevermind came out when I was living [there], and thinking to myself, ‘Oh, somebody did this for me, I don’t have to make this record’, because I was trying to make music like that – music that was melodic but dirty and gritty. So I just happily stopped working on that, because I had to admit that it wasn’t really my voice, but I was sort of in a dark space in Boston. So Nirvana came out and I totally identified with it, but then when I moved back I’d worked through those dark vibrations and really wanted to lighten things up.” Obviously it was a surreal time when the album first exploded, but ultimately massive success wasn’t everything that the band had hoped for. “Yeah, it was everything at once – exciting and disorienting, and a lot of joy,” Ballew remembers. “There
“Our wheel fell off our trailer, it’s like falling off our trailer, but we’re just in Oklahoma getting it fixed,” begins Rhoden. And were they driving fast when this happened? “Yeah, we were, it started smoking and now it’s falling off. But it’s okay, we’re okay,” he assures with a laugh. The band are currently finishing off the last few shows of their North American tour in support of their latest release, 2012’s Floral Green. The album has been by far the bands biggest record since they formed back in 2003, and shows their maturity and growth from their earlier melodic hardcore roots to a more polished and refined sound that still mixes the elements of rock, hardcore and grunge. Floral Green was met was rave reviews from music critics from around the world and it’s still something that Rhoden finds hard to fathom. “Yeah, it’s really cool; it’s kind of crazy that people care. It’s also crazy that we get to travel the world because of it,” he says. Floral Green saw the band again enlist the help of producer and friend Will Yip, who also assisted Rival Schools frontman Walter Schreifels on 2011’s Shed. Yip has also produced and engineered work from other notable luminaries such as The Wonder Years and Balance And Composure. Believing that Yip had done such a great job with Schreifels on Shed, it was an easy decision for the band to throw their trust behind him in totality. “He’s a young dude that loves music and we get along well and we trust him,” Rhoden concludes. Now, in 2013, it’s ten years since Rhoden and other founding members twin brothers Ned and Ben Russin began their journey as Title Fight, and it seems pretty hard to comprehend for the soft spoken and at times shy Rhoden. “I’m happy with the ‘career’ or ‘run’
16 • For more interviews go to themusic.com.au/interviews
And with success comes expectation. The band’s 1996 follow up, II, had some great moments but just didn’t gel en masse in the same way, and by the start of 1998 the dream was over – The Presidents split up. They’ve reunited numerous times in the intervening years and released more music, but never really recaptured the magic of that incredible first spell together. “The interesting thing is that I felt the pressure but I didn’t really define it – I didn’t understand fully the dynamic of that pressure for me personally,” Ballew muses. “The Presidents’ music had a really innocent core, but with additional innuendo and irony and suggestive lyrics added on – that chemistry between innocence and sexuality was what made
us work, but I did not have control of that chemistry as a songwriter. It stressed me out, because I was expected to repeat that – it’s like doing a painting with your eyes closed and it’s successful and everybody says, ‘Do it again!’, but you can’t do it again because your eyes were closed. “Not knowing that was the exact dynamic I was facing, I sort of retreated into myself and freaked out and ended up quitting the band and everything. Now I understand it and can appreciate what The Presidents are without feeling the pressure to repeat it, so I get to enjoy that dynamic and that chemistry. There were a lot of things about the situation in the ‘90s which disoriented me and made me nervous and I didn’t understand them, but now I feel like I understand them – I respect what The Presidents have achieved, and I didn’t really respect it back then. I felt more like the Sex Pistols – I just wanted to crash and burn up and break up immediately at the height of the first record, but I couldn’t convince anybody else to do it.” WHO: The Presidents Of The United States Of America WHEN & WHERE: Saturday 16 March, Metropolis, Fremantle
A JOURNEY THROUGH TIME
The past year has been massive for Pennsylvania’s melodic hardcore outfit Title Fight, bringing them back to Australia in March. Guitarist/vocalist Jamie Rhoden phones Eli Gould from their broken down van and reflects upon ten years of history. t’s quarter past six in the morning when the phone starts buzzing; on the other line is one fourth of Kingston, Pennsylvania’s Title Fight, guitarist/vocalist Jamie Rhoden. Things aren’t going to plan right now.
was also some sadness, and the relaxed, laidback lifestyle which spawned the songs was gone – all of a sudden we’re in charge of a multinational corporation with lawyers and record labels and everything, it was pretty weird. We hold famous people to such high regard, and we think that their lives are this fairytale, storybook experience – we’ve all plotted and scarpered to get to this supposedly magical party that’s happening in fame town – but when you arrive it’s actually very complicated and messy, and there’s a lot of jerks and the lighting is bad and the lunchmeat is warm. No one wants to hear that though.”
Coming back from being one of the biggest bands in the world after a long hiatus can put a drain on any band, but the worldrenowned Journey are taking it all in their stride. Cam Findlay talks to drummer Deen Castronovo about appealing to a new generation. or whatever you want to call it that we’ve had. It’s pretty unusual for any relationship that you started when you were twelve to stay this long,” Rhoden explains. His reflection on their decade together even leads him to consider how young they were when they agreed upon the name Title Fight, after a random conversation with bassist/vocalist Ned Russin taking place while they were only in the sixth grade. Title Fight’s debut full length Shed was released in 2011 and they solidified their position in the hardcore/ punk scene worldwide. They then embarked on tours in support of Shed, including a run that saw them support punk heavyweights Rise Against. While the tour was an exciting prospect for the band, it wasn’t exactly what they were expecting. “Yeah, it was comfortable,” the guitarist jokes, before he concedes, “but it was kind of weird playing arenas, we ended up playing 12,000 cap (capacity) rooms – it was pretty unusual.” For some bands reaching huge stadiums and fan bases can be their ultimate goal, but for Rhoden and his band mates they prefer to stay modest and remain humble. “I like the smaller, more intimate shows, as generic as that probably sounds. Realistically, I mean I don’t even know if I’d like to be that popular,” Rhoden honestly reveals. With their current US tour winding up Rhoden and Title Fight’s next chapter will see them continuing their support of Floral Green. “Yeah, we’re just finishing this tour… then yeah Australia, Europe, Japan, a lot of touring, a lot of cool stuff. I’m excited.” WHO: Title Fight WHAT: Floral Green (Side One Dummy/ Shock Records) WHEN AND WHERE: Wednesday 13 March, Amplifier Bar; Thursday 14 YMCA HQ (all ages)
ourney were one of the biggest bands of the ‘80s, there’s no denying it. Tracks like Any Way You Want It, Who’s Crying Now and, of course, Don’t Stop Believin’ cemented the group in the psyches of almost everyone in the developed world, the latter reaching the highest number of iTunes downloads for any song ever in 2009, when it was re-released. Their live shows only compounded this: alongside Pink Floyd, Deep Purple and Black Sabbath, Journey joined that lauded establishment of huge stadium rock bands that blew the regular live show to pieces. But, like many bands, Journey found themselves burnt out after many years of recording and touring, and amicably split in 1987. For a young drummer and huge Journey fan named Deen Castronovo, this was a tragedy, but one that would eventually change his life for the better, in his words.
“It’s been great, pal,” Castronovo energetically says across the line. “We’ve had three shows so far, it’s been real good. And yeah, we’re ready to hit the rest of the stages in Australia now, we’re pumped.” Castronovo is, as you might have guessed, talking as the drummer of Journey, a position he has held since 1999, not long after the band’s reformation. Castronovo had spent the intervening years between the group’s breakup and then honing his craft and touring with groups that would inevitably lead to his placement in Journey; Bad English, Ozzy Osbourne, Hardline, Social Distortion and more all featured his drumming at one time or another. “I remember I was around 16 or something when Who’s Cryin’ Now came out, and I had just broken up with a girlfriend,” Castronovo remembers. “I just fell in love with the band, and they became one of my biggest inspirations – them and KISS. And then when they broke up, I was really disappointed because I felt like they had so much more to give, so much more music to make. But it kept me wanting to play music, so I did, and when I was asked to become the new Journey drummer, I was like,
‘What? Me? You serious?’” He laughs. “But it changed my life, and it’s just been so much fun since then.” 2011’s Eclipse World Tour firmly established the return of Journey, and eradicated any doubts of the band’s staying power in a new century. Following the platinumselling success of Revelation in 2008, Eclipse marks the fourteenth studio album for the band. But it was the tour, which won awards the world over for it’s sheer magnitude, that brought Journey into the minds of new fans. “Oh dude, it’s an honour,” Castronovo answers when asked how he feels about being involved in such a monster tour. “It’s just great to be, well, for one, working; number two, doing what I love; and number three, being there for the fans. You know, Journey has some of the best fans in the world, there’s no denying that. There’s just so many people who have stayed on from the old recordings and are back for more, and they had to wait ten years for new music! But on top of that, and most importantly, we’ve got this whole new generation of fans who are just finding out about our music. You know, songs like Don’t Stop Believin’, that I listened to when I was just a kid, these songs are timeless. You hear them played now just as much as they were back then, and they mean just as much to people now as they did back then. You hear them a lot on TV shows like Glee, and I have people come up to me and say, ‘Dude, how do you feel about that?’ You know, I don’t care. Our music’s reaching new fans, and whether it’s old or new music, it doesn’t matter… when you go to a Journey show, we’re all trying our hardest to bring you the best show we possibly can, and the fans know that. We’ve got young people, old people, it doesn’t matter. They’ve all come to have a good time, and that’s what we give ‘em.” WHO: Journey WHEN & WHERE: Thursday 7 March, Perth Arena
STOP MAKING SENSE Moon Duo began as a Wooden Shjips side-project in 2009. Touring the country in support of Dinosaur Jr and The Jon Spencer Blues Explosion, band co-founder Sanae Yamada explains their work since to Matt O’Neill. oon Duo occupy a weird space. An abstract mix of synthesisers, guitar, vocals and drum machines, their work is too psychedelic to be viewed as particularly populist. That said, it’s also far too populist to be viewed as a freewheeling, experimental indulgence. It’s not helped by the fact that their work is constantly viewed in comparison to that of San Franciscan psych warlords Wooden Shjips.
Julio Bashmore, aka Mathew Walker, has gone from airing underground bass house to crafting post-dubstep soul for the Mercury-nominated Jessie Ware. Cyclone gets the low-down from the Bristolian DJ/producer ahead of his upcoming Australia tour.
“I’m not sure, actually. It’s hard for me to hear our music or the Shjips with any real objectivity. I do think there’s some overlap and I know there’s some point of difference but it’s hard for me to say what each of those things actually are within our music,” multi-instrumentalist and band co-founder Sanae Yamada explains. “All I know is Moon Duo is what happens when Ripley [Johnson, co-founder] and I get together to create songs. “Wooden Shjips is what happens when he interacts with those guys. It’s just different processes and I can’t really say what the differences are with each of the products,” she continues. “I do think, with the music we make on our albums, we tend to think of things more in terms of songs. When we do other projects, we stretch out and get our space jam on, maybe. Who’s to say where that stands us in relation to other bands, though?” It’s not a fair comparison. Moon Duo fit in more with their latest touring partners. Both Dinosaur Jr and The Jon Spencer Blues Explosion have called on the pair to support their Australian tours this year and it isn’t hard to see the sympathies that unite the three acts – a certain appreciation for archetypal rock’n’roll volume and songwriting compounded by an earthy sense of the experimental and spontaneous. “We knew we wanted to try and see what we could with two people – which can be a challenging set-up with rock,” Yamada says. “So, in regards to guiding principles, there was an inherent minimalism.
t’s time!” Mathew Walker enthuses. He’s heard good things from Jessie Ware, just here for Laneway. “She was like, ‘You’re gonna fuckin’ love it’.” Walker, slightly distracted, is conducting phone interviews from a bus. “I couldn’t say it at the time, but this guy just got on, wasted, and he has his trousers around his ankles,” he later bursts out. When Walker started working with Ware, the pair hooked up by their shared management, he was still living at – and working from – his parents’ crib in Bristol. “We made the track If You’re Never Gonna Move about three years ago – so it’s actually quite a long time ago.” That song was originally entitled 110%, and released as the second single from Ware’s Devotion, but a legal drama forced the singer to drop a sample of the late Big Pun’s The Dream Shatterer. She totally overhauled it. “I’m not sure what happened when they were trying to clear the sample,” Walker says. “I think it just hadn’t gone through properly – and then I think they cleared pretty much everyone from the Big Pun camp except for one person and then they kicked up a huge fuss about it. But it’s a shame, really, because we’re both Big Pun fans.”
“I However, we also were really fascinated with ideas of repetition and just a general exploration of sonic minimalism. Really, our original idea was simply to be a band that played the music we wanted to and said ‘yes’ to everything.” The band have released three albums to date – 2010’s Escape, 2011’s Mazes and 2012’s Circles. As their career has progressed, their work has grown more focused. While the pair have no ambitions of breaking through to the mainstream, it will be interesting to see where their songs take them in the future. It isn’t too hard to imagine them being the breakthrough pop act of the San Francisco underground scene. “I try not to get too wrapped up in that sort of stuff. It can be a bit of a slippery slope. Sometimes we’ll start out with an idea for an album and we’ll end up running away from that idea to wherever the process is leading us. Usually very far away. I mean, for Mazes, we thought it was going to be our dark Berlin album – and it’s totally California. For Circles, we thought it’d be really chaotic and edgy. “And it’s definitely not that,” Yamada laughs. “I mean, we ended up settling on the idea of cosmic disco. Maybe it’s close to that? Really, you never know where you’re going to end up. You just get into the mix and build whatever seems right at the time.” WHO: Moon Duo WHEN & WHERE: Tuesday 12 March, The Astor
Discovering house through Daft Punk, Walker messed around with the turntables (courtesy of an older brother) and production gear. There was a phase of playing in bands, Walker picking up guitar as well as keys, but club music won, with him issuing that Dirtybird EP. “At that time, I was really into the UK funky scene that we had over here – which was really strong – and so I’d always just made that. Then, when I made the Dirtybird EP, that was me trying to copy Justin Martin – in fact, all I wanted to do was sound like Justin Martin... Then they liked it – obviously, it sounded nothing like Justin Martin, but I did my best. But right now, ‘cause I’ve got my own label, I don’t really have to sound like anyone, so I’m just doing whatever comes out. It’s actually quite soul-based at the moment.” Indeed,
having consolidated his profile with 2011’s smash Battle For Middle You, Walker launched Broadwalk Records, unleashing Au Seve. He’s also departed Bristol for London. “’Cause I never went to uni, I’ve lived in Bristol for all my life, 23 years, it feels like a good opportunity to live somewhere else, get a bit of perspective on things – and it’s been great for that. I really enjoy it.” Bristol is the home of trip hop (and, in Reprazent, intelligent drum‘n’bass), yet Walker didn’t always feel a part of the local scene. “I was like a bit of a black sheep in Bristol in that I was pushing and making house music, and most other people were dubstep and stuff.” Ironically, as Walker “matured”, he’d come to “appreciate” his bassier peers, such as Peverelist. Since Devotion’s UK top five success, Walker has fielded opportunities to produce other vocalists but, for now, he’s content recording with friends like Ware and Bristol’s Javeon McCarthy, touted by The Guardian as “the Britstep R Kelly” and the voice on Father Father. Walker considers it “shocking” that his “instrumental acid house beats” should cross over. The rockcentric NME, Ware supporters, reviewed Au Seve and the recent Husk. “It’s kind of strange, ‘cause I’ve never made songs with the intention of them getting into the charts or anything crazy like that.” Walker is unsure about cutting an album of his own, questioning the format’s relevance to listeners (but not artists). In Australia Walker will play “a blend of the old and the brand new.” It will be “the same old shit,” he laughs self-effacingly. “I think that’s what everyone wants to hear, so I’m happy to play it!” WHO: Julio Bashmore WHEN & WHERE: Friday 8 March, Grand Lane
For more interviews go to themusic.com.au/interviews • 17
SINGLES/EPS WITH DANIEL CRIBB
ON THE RECORD
BURNING FICTION The Story Will Continue…
I See Seaweed MGM
A band that can’t seem to do anything wrong, British India’s latest single, Summer Forgive Me, doesn’t disappoint. Frontman Declan Melia takes his singing into an area of his vocal range he doesn’t usually exercise, which is shame, because at that level, his voice really kicks in. Jump in your car, get on the freeway, wind you windows down and crank this song.
ANTELOPE Perennial Independent You don’t have to look far in Perth to find talent of international quality, and with their latest single, Perennial, this Perth five-piece have firmly inked their name on this city’s ‘to be watched’ list. Forming in 2011, they’re still a fairly new band, and thus this tune pertains a certain innocence in its execution – a refreshing element and something that seasoned bands are unable to produce.
After Oregon punk rock trio Broadway Calls released an EP in 2011 that didn’t quite stack up to the quality on 2009’s Good Views, Bad News record, it was crucial they pulled themselves back into the game with their next release. But approaching album number three with no label, there seemed to be little hope. With the triumphant release of album number three, Comfort/Distraction, Broadway Calls have surfaced from what could have been their demise with their best release to date, and also one of the best punk rock releases of the past few years.
I have to admit, the spelling and grammar Nazi in me cringed and made some cruel jokes about Tasmanians being LIVE backwards after my initial glance at the spelling of L-Y-K-E Giants, but I finally brought myself to listen to the album, and was extremely gratified when I did. Working with American producer Sylvia Massy (Tool, Red Hot Chili Peppers) has instilled an entrancing, more mature quality into Tasmanian three-piece Lyke Giants, whose sound is a hundred times the size of their home state. Their debut album Fires Thieving Time presents crisp, deeply entwined tracks that evoke a longing for summer VD nights and long car drives down the winding coast.
FIRES THIEVING TIME
Not only did they manage to put together a killer album without a label, their self-funded project saw them returning to The Blasting Room (Rise Against, NOFX, Alkaline Trio), to work with Descendents’ Bill Stevenson, who engineered and produced Good Views, Bad News. The best way to describe Broadway Calls in their current state is two parts punk, one part pop and a sprinkle of rock – something along the lines of a what Green Day would sound like today if they hadn’t gone horribly wrong. Comfort/Distraction contains 11 heartfelt tunes that anyone can relate to because they’re widely open to interpretation, without being too vague. They have worked with such a formula in the past, and mastered it on this record. Although they signed to No Sleep Records for its release, Comfort/ Distraction is hard proof that punk bands can succeed without labels in the current musical climate. Daniel Cribb
By gosh, I’ve had some good luck these past few weeks. It may be because my desk is the first place new CDs find themselves in the Drum office, but there’s been a month of quality releases that have sharpened the point of 2013’s entry into the regular music schedule. Now, and with much anticipation, The Drones have released their ninth long-player (including live albums). And if you need any more proof that The Drones can do no wrong, here it is. I See Seaweed is pretty much what you would expect from The Drones by now. Gareth Liddiard drawls his ascetic and often severe lyrics across deep, dense mountains of sound. The opening title track bounces lithe guitar licks and a climbing piano tune against a few points of huge orchestration and passion. How To See Through Fog, the already lauded first single off the album, drives the aesthetic home, as Mike Noga’s drums pound in retaliation to the keys. A Moat You Can Stand In explodes with fervent passion, Laika plays out like a crescendoing Lynchian dreamtate, and closer Why Write A Letter You’ll Never Send delivers a message of futility through the album’s most intimate song. As always, Liddiard’s lyricism is at first impenetrable, guided by the dark and explosive nature of The Drone’s music. But then the whole feeling of the album unfolds, and you become enraptured in its context. I See Seaweed, the opening track – and in a sense the entire album – throws together a whole bunch of abstract ideas and remembered, nostalgic moments that feel painful and glorious at the same time. The main message of the album may be taken from the last track: “We’re animals, and we can’t help doing what animals do,” Liddiard implores, before “I’m only trying to make the world/ a much less painful place.” Well, with I See Seaweed, you may have had a little success in that.]\ Cam Findlay
Summer Forgive Me
No Sleep Records/Shock
BROADWAY CALLS Comfort/Distraction
Comparing this new EP to Burning Fiction’s debut full-length, Don’t Lose Touch (’09), it’s clear that in the past four years they have spent their time carefully refining every aspect of their sound and songwriting. After releasing their debut album, they quickly resurfaced in 2010 with their contribution to a three-way split with Jet Market and Part Time Killer. Spending more time on stage than in the studio has paid off, and resulted in a strong comeback from one of Perth’s more promising punk rock bands.
It’s easy to get lost in the various tracks of this album. If you can make it past opening track Waiver without putting it on eternal repeat, you will experience layers of heart-crumbling, passion-rich sound that warrant every ounce of your attention. And if you can’t give each track every ounce of your attention, each track deserves a second, or tenth listen. The Thieving Fires is certainly a stand out track; a carefully crafted combination of ambient riffs, towering vocals and lyrics that stick to you like the plague. Each song is well rounded, and has the capacity to sound just like every other alternative/indie-rock song in existence. Yet Lyke Giants keep you constantly guessing, with each track throwing a curveball in the form of another captivating riff or astonishing vocal change.
A long way from their self-titled EP, with richer, more evocative vocals, and a far more dream-like quality, the Tasmanian trio have produced an album that will see them quickly skyrocket to national recognition. Renee Jones
Silver Hills Independent Despite an interesting obsession with, and being influenced by, Brownes Mocha Chill (maybe they’re secretly endorsed by the company?), Silver Hills are well on their way to securing a prevalent place among Australia’s psychedelic shoegaze heavy hitters. With that said, at times these songs feel a little forced. That’s not to say this release lacks energy or flow, it’s just one that shows a band finding their sound and experimenting to find out what works best.
ALKALINE TRIO Torture Doctor Epitaph/Shock Alkaline Trio’s last effort at a full-length wasn’t their best, and most people, besides die-hard fans, may have given up hope. Fear not, the second single off My Shame Is True (due out in April), Torture Doctor, sees a return to the sounds of 2005’s Crimson. A Matt Skiba (guitar/vocals) classic, Torture Doctor is simple, catchy and straight to the point. Returning to the sound that attracted a cult following, My Shame Is True has the potential to be one AK3’s best record yet.
BOOM! BAP! POW! Suit Independent “You’re so cute I wanna wear you like a suit, I think you’d look pretty good on me,” sings BOOM! BAP! POW!’s Novac Bull over and over again in the chorus of Suit, with a melody that dances its way around quirky guitar riffs and drumbeats just as playful. The only place to go after the song finishes is back to the start, and there’s only so many times you can hit repeat on a tune before it loses its magic, so hopefully those waiting for another release won’t be waiting too long.
Often, the most visceral dance music can be tracked through the ingestibles that fuelled the artists making it. To that, we thank Cypress Hill for digging their reefer, The Chemical Brothers for being partial to MDMA and Primal Scream for owning shares in Pfizer. Late ‘90s Aussie techno-larrikins sonicanimation always seemed to be charging their UDLs. Thus, hits like Theophilus Thistler and Love Lies Bleeding managed to pack dancefloors with DayGlo-coloured, tongue-filled cheeks.
Rita Ora’s debut album appears in the wake of Rihanna, MIA, et al, when the ‘fiercely independent, hardpartying, street-smart girl’ shtick has mainstream appeal. Of all her predecessors, Ora’s vocals are most reminiscent of Gwen Stefani, an inspiration she openly credits. Her pop album lacks the punch of a groundbreaking artist, and doesn’t offer anything new. It unashamedly targets only one audience – club-goers – and adheres unflinchingly to EDM conventions.
So, returning after a six-year hiatus, the duo are clearly still not taking themselves too seriously. Once More From The Bottom seems lyrically aware that their stock has not remained high and that there is much work to be re-done to get back up to speed. Embracing this, the band funded the album with a very successful Pledge Music campaign, even getting fans to contribute video footage for lead single I Will Be Twisted (bitter break-up tale in rave form; far from the strongest offering here). However, this winning modernisation of practices has not been extended to their style. Taking the Gotye route on a folk-buskering cover of The Message starts a collection of songs that jumps around genres that are either close to, or well past their sellby date. There’s primitive dubstep wub-wub on Punk On The Dancefloor, kindergarten pleasing house in The Pick Up Artist and an apparent tribute to Cotton Eyed Joe in (Hey Lady) I Just Wanna Dance. It’s all kinda innocuous fun that neither inspires nor offends, until the bizarrely awful Space Invaders-meets-opera Twins.
The first track, ridiculously titled Facemelt, fails to make any sort of statement, unlike Roc The Life (track two). Here, she defines her sassy, hedonistic philosophy, and demands a glamorous, moneyed life, which sets the tone for what follows. The catchy lead single How We Do (Party) is not dissimilar from Katy Perry’s T.G.I.F., as its premise sees a hung-over Ora wonder “what went on last night”. This and Radioactive are infectious and are the album’s centrepieces.
It’s still hard to fathom these stalwart punk rockers Bad Religion formed all the way back in 1979, and now with three decades of history behind them, their latest release, True North, comes in as album number 16 – a pretty staggering number – and they’ve proven, like a fine wine, they are still getting better with age. Coincidentally, album number 16 also contains 16 tracks that are all laced with the perfect amount of upbeat tenacity, pugnaciousness and truculence; all of which seem compiled together so effortlessly it will add yet another outstanding addition to their already legendary discography.
Once More From the Bottom
So the UDLs remain firmly on the Sonic rider, leaving an occasionally amusing yet ultimately dated taste in the mouth. Mac McNaughton
18 • For more reviews go to themusic.com.au/reviews
On Been Lying and Hello, Hi, Goodbye her sensitive side is glimpsed beneath her tough gal façade. These songs provide a little diversity – and a pause in her frantic pace – but this format is well established. The most forgettable track is Shine Ya Light, though it samples reggae so it deserves a credit. Samuel J. Cox
Bad Religion definitely haven’t lost their edginess, and while they’ve become the grizzly veterans (all six members are now middle-aged men) of the punk rock world, they are still not afraid to take aim at the government, religion and society as a whole in their music. Look no further than tracks like the first single, appropriately titled Fuck You, which contains the hookladen chorus: “Sometimes it takes no thought at all/The easiest thing to do is say fuck you!”, followed by their trademark “whoa-ah”s. Dept Of False Hope takes a clear shot at the US government, whereas musically, they have changed some elements of their songwriting, in the form of a slower, more purposeful track Hello Cruel World. However, songs like Nothing To Dismay, and My Head Is Full Of Ghosts sound very reminiscent of their much older material – fast upbeat punk rock songs. True North continues to solidify Bad Religion’s empowering dynasty, confirming and reiterating that they are still one of punk’s pre-eminent bands. Eli Gould
THIS WEEK IN
Life Of Pi – a film based on the best-selling novel by Yann Martel, Life Of Pi is a magical adventure story. Rooftop Movies, 8pm.
Goddess – we have ten double passes to giveaway to Goddess, an Australian romantic comedy directed by Mark Lamprell which opens in cinemas, Thursday 15 March. Elspeth Dickens dreams of finding her “voice” despite being stuck in an isolated farmhouse with her twin toddlers. A web-cam becomes her pathway to fame, with Magda Szubanski For your chance to win stalk The Drum facebook.
SATURDAY 9 Silver Linings Playbook – a romantic comedy-drama film directed by David O. Russell, with Bradley Cooper and Jennifer Lawrence, who took home the 2013 Academy Award for ‘Actress in a Leading Role’. Rooftop Movies, 8pm. The Importance Of Being Earnest – a play by Oscar Wilde that was first performed in 1895 at St. James’s Theatre in London, it is a farcical comedy about mistaken identities, giddy confusion and love. Directed by Kate Cherry, Opening, Heath Ledger Theatre, 6.30pm, to Thursday 28 March.
SUNDAY 10 Oz Comic Con – indulge your inner geek at this convention, with David Nykl, Emilie Ullerup, Richard Dean Anderson and William Shatner, voice artists Paul Eiding and Chris Sabat, as well as New York Times best selling science fiction author, Sean Williams. Think Chasing Amy but in real life. Perth Convention and Exhibition Centre, full day event.
TUESDAY 12 Performing Arts Perspectives – in its seventeenth year, this is a showcase of year eleven and twelve students’ assesment performances in dance, drama and music. His Majesty’s Theatre, 7.30pm.
BURLESQUED FOR SUCCESS The Miss Burlesque Australia competition has become a key event for aspiring performers across the country. Aleksia Barron spoke to the 2012 Miss Burlesque winner Briana Bluebell ahead of the state finals.
There are few words as potent as ‘burlesque’. Even if you’ve never heard the term before, it’s immediately evocative: a rich, luxe word that rolls off the tongue, ending in a flourish. It’s little surprise that this vintage art of erotic titillation has become so beloved of so many Australians – in an age of hypersexualisation, the art of the tease is making a comeback. One of the leading lights of Australia’s contemporary burlesque scene is a woman who goes by the name Briana Bluebell. Bluebell won the 2012 Miss Burlesque Australia competition and, though that means she can’t enter the contest again, she’s been using her talents and experience to judge the current crop of aspirants. “I’m really passionate about judging,” says Bluebell. “I love to help the performers who are up and coming, and just give them a bit of guidance. I love giving them feedback and helping them improve where they can.” Bluebell first came across burlesque while in London with friends. “I saw this gorgeous little show – it was quite raw at the time – called Miss Polly Rae,” she explains. (Of course, Polly Rae has since gone on to become a burlesque sensation with multiple world tours to her name.) “The show was quite cheeky and funny and a little bit of striptease and a little bit of comedy. We came back to Australia and we thought, ‘Oh, we really want to do this here,’ and then we discovered that there was already a [burlesque] scene.” Bluebell began performing in a group with her friends before eventually choosing to pursue a career as a solo artist. Of course, any emerging performer will tell you that the hardest part is building a name for yourself, and the desire to become better-
known saw Bluebell enter the very first Miss Burlesque Australia competition in 2010. “I saw it as a bit of a business opportunity – a platform to promote myself,” she explains. Even though she was just, in her own words, “having a go”, Bluebell won her State Final but came second in the national Grand Final. “I was a bit disappointed,” she admits. “I thought I’d give it a rest in 2011 and re-enter in 2012.” When she took her tilt at the 2012 title, she was well and truly ready. “I put everything into it so if I’d lost I would have been pretty disappointed.” Fortunately, a loss was not on the cards. “To win it, I was just so elated.” The Miss Burlesque Australia crown is about to be passed on – the State Finals will be taking place around Australia in the coming weeks (incorporating the My Boylesque competition for the guys), with the Grand Final set for Saturday 25 May. Performers across the country will be vying for the title (and no wonder – it comes with $10,000 worth of cash, prizes and sponsorship). However, what all the performers need to remember to bring is a little bit of their uniqueness. After all, everyone finds inspiration from different sources, and Bluebell is no exception. “One of my Grand Final performances last year was based on James Bond because I just love the Bond movies – I think they’re just fantastic. I love the music and the storylines and the colour and costume.” Fair enough – after all, that’s what so many people love about burlesque. WHAT: Miss Burlesque Australia WHEN & WHERE: Saturday 9 and Saturday 16 March, Fly By Night
ARTS NEWS The Perth International Comedy Festival – twenty-five new acts have been added to the already bursting PICF. Psychical comedy darlings The Pajama Men are returning to The Astor Theatre. The UK’s Daniel Kitson is coming back and Gina Yashere is coming to Perth for the first time. A couple of Scots are heading over: Craig Hill and Daniel Sloss. Hypnotist Peter Powers and comedy rockers Axis Of Awesome will be here, as well as Tom Gleeson, Greg Fleet, Dave Callan and Brendon Burns, who will treat PICF with his Doctor Who themed show. This year the local WA talent includes, The Dark Room, Mike G, Jeff Hewitt, Xavier Susai, John Conway, Suns Of Fred, Damien O’Doherty, Tien Tran and Josh Makinda. The PICF session will be on again this year, featuring comedians like, Dayne Rathbone, Sami Shah and John Robertson/Tegan Mulvaney with their new improv show. Bob Downe has also been added to the line-up. The PICF runs Wednesday 1 May to Sunday 19 May, for more info head to perthcomedyfest.com.au.
THE PAJAMA MEN
20 • To check out the mags online go to themusic.com.au/mags
GOING IN BLIND Aside from the challenge of having to play a character on both sides of a tenyear gap, actor Oliver Ackland had to attend boot camp in physical preparation for his starring role in new Australian sport drama, Blinder, he tells Guy Davis. It’s relevant to anyone but perhaps especially so for actors, who often have to adopt a new skill set with each new role they take on. There’s the moment of elation when you’ve landed a plum job, followed quickly by a realisation that you now actually have to do that job. And as Oliver Ackland, star of the new Australian sport drama, Blinder, recalls with a laugh, that realisation was “I’ve got to learn to play footy! And that was just for starters.” In the film, directed by Summer Coda’s Richard Gray, Ackland – whose credits include the ABC miniseries, The Slap, and the underrated teen thriller, Wasted On The Young – plays Tommy Dunn, in his younger years a star player for the Torquay Tigers, an amateur Australian Rules football team. But his involvement in a sex-and-drugs
scandal derailed the possibility of a pro career, and Tommy spent the next ten years in the States. When the Tigers’ beloved coach dies, Tommy returns to his coastal hometown to pay his respects... and finally come to terms with the past. “It’s this odd coming-of-age story in a way,” says Ackland. “I liked the fact that there’s this ten-year age gap in there, so Tommy starts off as this carefree guy who’s sort of playing by his own set of rules. He’s a bit wayward, really, and he then turns a corner and starts putting everything into his football. Then there are scenes ten years on, after the scandal, where he’s comes back to Torquay for his community, his family and himself, just trying to put the pieces back together. That whole ten-year gap in the story, playing both sides of that, and the fact that
there was this shift in him made it appealing.” Sydney-based Ackland admits that learning the ins and outs of Aussie Rules was a challenge, especially when he and co-stars Angus Sampson, Bob Morley and Josh Helman were put through an eightweek boot camp by former AFL star (and Blinder producer) Glenn Archer prior to filming. On top of that, six weeks of shooting the film’s dramatic scenes were topped off with three weeks of footy at the tail end. “Playing a physical role like Tommy was appealing to me but it was a steep learning curve,” laughs Ackland. “They realised, though, that having us simply playing footy was the best way to shoot those scenes. We also had guys who play club footy week in week out in the film, and they were not backing off.
So there were a few injuries along the way.” Much of Blinder was filmed in the Victorian coastal town of Torquay, and the local ambiance gave the film’s cast and crew a chance to add a little realism. “We did get to stick our heads in the local footy club’s change rooms and the training sessions, so we got a feel for that. And just the town on top of that – we were there for maybe a week before we started, so we hung out and listened and learned. Communities like that tend to be tight-knit, with everyone knowing everyone, and here everyone wanted to help out. Sometimes you’ll find people feel they’re owed something when you’re filming in their area but with this one everyone wanted to chip in.” WHAT: Blinder In cinemas Thursday 7 March
REVIEW THE IMPOSTER FILM Just when you think The Imposter has reached a new level of implausibility, this blackly intriguing documentary springs another surprise on you, asking you to suspend your disbelief one more time or to question the motives of everyone – and I mean everyone – playing a part in this strangerthan-fiction true story, one that’s reminiscent at times of the great Errol Morris’ best docos. Director Bart Layton has a fascinating tale here: three years after 13-year-old Texan tearaway Nicholas Barclay disappeared, his family got a call from Spain, where a young man claiming to be Nicholas had turned himself in to authorities,
WAT C H I N G
claiming he’d escaped from a ring of kidnappers who’d altered his appearance and forced him to speak in a foreign accent. Of course, this was not Nicholas – and the film gives 23-year-old French con man Frederic Bourdin ample opportunity to explain why he posed as this missing boy – but the Barclays bought the story and welcomed him with open arms. Maybe they wanted desperately to believe Nicholas was still alive. But, as The Imposter hints, maybe they had something to hide as well. It’s compelling stuff, given added texture by the deceiver at the centre of the story offering his account of events, and Layton gives it the morbid appeal of the best true-crime yarns. Guy Davis In cinemas
C U LT U R A L
WITH MARCIA CZERNIAK
IT’S BACK E8, S2 This Week On Girls? Tonight’s ep reveals Hannah’s past of OCD (a mental health issue Lena Dunham was diagnosed with as a child). Adam is back in full flight: he attends AA and offers to bring cookies as his contribution (not nice ones though, as he’s not a fan). There he opens up about his painful breakup with Hannah. The honesty of his speech touches a fellow attendee, who sets him up with her daughter Natalia (Shiri Appleby). Marnie discovers that Charlie has basically become “a bourgeois nightmare” due to the success of Forbid, an iPhone app he created. The 11 members of his office even do a Harlem Shake. Shoshanna disregards her moral compass and makes out with a doorman at the party of her Snooki look-alike friend Radhika, who makes Ray want to throw up. Hannah begs a psychiatrist, played by Bob Balaban, to tell her concerned parents she is okay, but she is clearly rattled (eight
times over). [Always good to see ex-Freaks & Geeks mum Becky Ann Baker reprise her role as Hannah’s mum.] Girl Talk Of The Week: “You’re never going to look this good again. The clay is dry. Okay, you can’t dress like a magician’s assistant for very much longer.” Ray to Marnie. Shirtless Adam Watch? Adam rolls over in bed and consumes off milk (rock bottom); this leads to him attending AA, and guess what? He’s topless. Girl On Top? Marnie, as she is finally honest enough to herself and Ray about her true dream to sing. Honourable mention: Shoshanna for making out with the doorman and throwing her predictability to the wind. What We Learnt: That slogan t-shirts are still fashionable in AA: Adam’s group leader dons the slogan “too many freaks, not enough circuses”. Cassandra Fumi Screening every Monday night, 8.30pm, Showcase
It seems ‘tis the week for elections. During the week we have had the election of the new Pope over in Vatican City and this weekend we have the state parliament election to decide who is going to be the Western Australian Premier for the next few years. And when you think about the connection between the election of a religious leader and the election of a political leader… there really isn’t a lot of difference. Both are figureheads for mass organisations as such and both need to live up to the expectations of their public. Both make promises that sometimes don’t eventuate and have a hard time admitting when their organisation is in the wrong, and both seem to have a problem with gay marriage. So it makes me wonder, what would happen if they took traits from one another’s election process? Imagine the state election, or even the federal one to be held at the end of the year, and if we all got together to have secret ballots for who shall be leader. I am guessing we would end up in lock down forever and continuous black smoke would come blowing out of the chimney. Probably not very ideal. At all. But on the other hand, imagine if the cardinals who were front runners for the big seat took on an election campaign in the lead up to the election of their new leader. It could surely help the
papal conclave process along a little. Pope Benedict was elected in two days (which is said to be quite quick), with four ballots taking place before he was named and took his place on the balcony to announce his election as Pope. Imagine being in Saint Peter’s Square for that victory party. But behind it all it seems there is one commonality and that is the media coverage in the lead up. While here in WA the politicians up for election are right in front of the cameras as they are busy campaigning and kissing babies, over in the Vatican, news crews have been camped out around Vatican City since Pope Benedict gave his resignation speech. We even know that he has been taking it easy since his last day in office… although I am not too sure about the validity of the reports of him watching television. But hey, who knows? And if it were true, what shows would he be watching? Would he be a The Vicar Of Dibley kind of man? Or maybe True Blood is more his style? So on this week and weekend of big elections, take note. While we may have no control over who is the next man in white, we do have a voice as to who governs our state. So we should use it wisely ‘cause in two years time when you complain about the price of electricity, the public transport system or the state of arts funding support, you want to make sure you had your say.
Short Film Competition entry form
Go to .au ncpic.org d an a lo n w to do entry form
All entries mu be received bst 18 October 20 y accompanied 13 b an entry form y
The National Cannabis Prevention and Information Centre (NCPIC) Short Film Competition gives young people between the ages of 15 and 25 years the opportunity to showcase their creative talent and express their thoughts and ideas around cannabis issues.
Brief The film can be in any style or genre (i.e. drama, comedy,
documentary, science-fiction, etc) but must be a 30 second TVC (i.e. in the style of a TV commercial) and creatively explore the issues and risks surrounding cannabis and driving.
Prize Money There will be one national
winner selected, with prize money offered of $5,000 for the producer of the winning entry. There will be two runner-up prizes of $2,000 each.
To check out the mags online go to themusic.com.au/mags • 21
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TOUR GUIDE GIG OF THE WEEK
METALLICA PIC BY GRAHAM CLARK
CLAREMONT SHOWGROUNDS: 04/03/13 With a surprisingly efficient, fast moving entry line and the clouds wrestling the sun, the last leg of Soundwave 2013 was off to a good start. The ball kept rolling as Sharks opened proceedings on the main stage, partying like they hadn’t slept since Adelaide. But shortly after, at stage 6, Northlane suffered from some noise bleeding over from the main stage, as Memphis May Fire showcased the best metalcore Texas has to offer just around the corner. French pop punk hardcore outfit Chunk! No Captain Chunk! showed little remorse to the early punters at stage 4, but unfortunately that wasn’t many. Even by the time Deaf Havana took over, things were still slow. Despite that, there was no denying the dapper English lads loved every minute of their first trip to Australia. While She Sleeps demanded circle pits and mic shouts, which eventually saw stage 4 fill up with bodies that flew in every direction - the exact same attitude stage 6’s Miss May I pertained. When the ever-interesting Tomahawk graced the main stage, vocalist Mike Patton manipulated various dials and boxes, creating a dissonant cacophony, keeping the crowd fixated on every more. Unfortunately, when Periphery took to stage 3, both crowd and band seemed uninterested in forming a connection. Vocalist Spencer Sotelo varied his vocal styles too often, failing at more than he succeeded. When Anthrax let all hell loose on the main stage, the rapt crowd was instantly Caught In A Mosh. Vocalist Joey Belladonna’s mullet incited the crowd into war dance. Their iconic set culminated with a raucous cover of AC/DC’s TNT. It wasn’t until Billy Talent hit stage 2 midafternoon did bands begin utilising lighting to enhance their show. While frontman Benjamin Kowalewicz joked that Sum 41 had to pull out due to a “massage mishap”, fans waiting for their set didn’t seem too impressed - probably because they actually did cancel in 2011 due frontman Deryck Whibley catching pneumonia. A huge crowd gathered back at the main stage for the veteran Slayer, as they ripped through classics young and old. Replacements Jon Dette (drums) and Gary Holt (guitar) injected new enthusiasm to mainstays like Die By The Sword and Altar Of Sacrifice. The six-piece Deer Hunter, surprisingly pleased with their small stage 5 crowd, dispensed dynamic alternative/stoner/progressive rock. With original singer Jesse Leach back in the fold, Killswitch Engage played their dated nu-metal to a huge crowd, despite gracing the relatively small stage 3.
A brisk walk back to the main stage, and, with an overload of nostalgia, two thirds of Blink-182 serenaded an at capacity mosh area at sunset. They may be getting older and their songs more serious, but they still ensure plenty of dick jokes onstage. Travis Barker’s fill in, Bad Religion’s Brooks Wackerman, gave him a run for his money, before Linkin Park welcomed in the night with a set a lot heavier than expected. If you’re not quite convinced by recordings, their live show will do the trick. Stage 3 fell behind schedule, but when Sleeping With Sirens surfaced, they made up for it with one of the best performances of the day. Welcomed by an ominous chanting intro, Ghost were the first band late enough to fully utilise stage 3’s lighting, and frontman Papa Emeritus II’s garish costume led him in the running for the new Pope appointment. Bring Me The Horizon put on the most brutal performance stage 3 saw all day. The always outspoken frontman Oli Sykes began urging punters to “get the fuck on stage”, some trying their luck, much to the alarm of security. The juxtaposition between Cypress Hill and Garbage on stage 2 was intense, but it seemed a large number of people gathering at in the area were there to watch both. Although Garbage did their best to keep things heated, it was cool and everyone seemed tired by the time The Offspring followed. Luckily their arsenal of greatest hits managed to raise the roof – or at least incite punters to climb on them, as a roadie stopped their set until 50 or so punters on top of the toileti building got down. Before an impenetrable crowd, Metallica capitulated the evening in timeless style. A giant ramp made main man James Hetfield visible even from the back row. Tried and true quotes amping the throng; the band explored their extensive back catalogue, dispensing such hits as Sanitarium and Harvester Of Sorrow. There wasn’t a still head in the place as Seek & Destroy ended the band’s encore and also the tour. Their hunger for metal sated, the sunburned crowd’s exodus began.
David Bowie’s long-awaited The Next Day will be released in Australia this week. All editorial discretion will be switched to unthinking idol worship.
Police brutality at the Sydney Mardi Gras is up for all to see on YouTube: witness a policeman brutally slam-down onto concrete an unarmed, half-naked 18-year-old. It’s pretty chilling.
Part woman, part-plasticine comedienne Joan Rivers ADALITA went on the offensive about British songstress Adele’s weight, attacking her size on the Letterman Show last week. Adam Hills responded with a very hilarious and very public downsizing of Rivers, reiterating an opinion shared by many: fuck you, Joan Rivers.
THINK OF THE CHILDREN Last week, American scientists “cured” a baby of HIV. Basically, a combination of anti-virals and pre-emptive treatments successfully reduced the deadly virus to below detectable levels. It’s an important step in the battle against AIDS.
It may be a Tuesday, funnily enough next Tuesday 12 March, but that is no excuse to miss out on three of the biggest bands to emerge from the alternative rock annals in, well, ever. The indomitable power-rock threesome created between J Mascis, Lour Barlow and Murph, Dinosaur Jr have been at it for almost thirty years now, off and on, and have shown no signs of slowing down in recent years. Their incredibly direct and energetic shows are the stuff of lore. Supporting them will be a band that may just have the rare space of sitting above Dino Jr in the energy stakes: the Jon Spencer Blues Explosion, still riding high from their creative resurgence and the wholloper that was last year’s Meat + Bone, play in between the Dinos and the youngest band on the list, Moon Duo, the cacophonous and driving partnership between Wooden Shjips’ Ripley Johnson and Sanae Yamada. They all roll into the Astor on that weekday-but-fuck-it Tuesday night.
DRUM MEDIA IS PROUD TO PRESENTS SHOWS INCLUDING: GEORGE CLINTON & PARLIAMENT FUNKADELIC, GREG WILSON: MAR 7 Metro City DINOSAUR JR., JON SPENCER BLUES EXPLOSION, MOON DUO: MAR 12 Astor Theatre GRINSPOON: APR 5 Prince Of Wales; APR 6 Capitol
BOB EVANS: MAY 2 Settlers Tavern; Mar 3 The Bakery; MAY 4 Prince Of Wales SOMETHING FOR KATE: JUN 7 Astor Theatre
ONGOING: GIGNITION: Upcoming band showcases 4-8pm monthly on Sundays at The Railway Hotel CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel
Daniel Cribb, Eli Gould, Dan Grainge
DINOSAUR JR, JON SPENCER BLUES EXPLOSION, MOON DUO @ ASTOR THEATRE
After four drummers pulling out before the tour began, a flare going off in Sydney and injuring someone, bands missing sets over east, and a slew of hashtags, sunburn, booze and partying, Perth managed to round out Soundwave 2013 in style, and minimal hiccups along the way.
FRONTLASH BOWING BEFORE BOWIE
KARMA KARMA KOREA We never really get sick of talking North Korea here at Drum headquarters. It’s too much fun. The US has shrugged off the threats nuclear retaliation in wake of more pressure on North Korean ambassadors and cash transactions. They probably know that it’ll only hit a cow in the Midwest or something anyway.
ALWAYS GREENER Last week, Chinese gardeners in Chengdu were apparently caught spray-painting grass green with large chemical trucks. Seeing as most Australian grass is still its mottled late-summer brown, we hope local horticulturalists take note.
For more reviews go to themusic.com.au/reviews • 23
FEEDBACK LP to many positive reviews, the duo were keen to show what all the fuss was about. Without any form of introduction the pair absorbed the crowd immediately, producing faithful renditions from their latest release, General Dome, with the likes of opener Houdini Crush, Cyclopean and Split Like A Lip..., as well as the title track of the album. Arone Dyer’s vocal delivery was pitchperfect and she could hardly suppress her smile throughout the performance, while her other half, Aron Sanchez, though ultimately expressionless throughout the set, provided layers of light and shade with some innovative guitar-playing.
CAT POWER PIC BY TONI WILKINSON
Twenty minutes after the openers left the stage, a roar of cheer signalled that Kristian Matsson, aka The Tallest Man On Earth, had made an appearance. He jump-danced his way across the stage and made a few bows to the audience before picking up his guitar and instantaneously making every single person in the crowd fall in love with him again, if not for the first time. Beginning with crowd favourite King Of Spain was a wise choice, prompting the entire audience to chorus along with him while setting spirits high. “I apologise if I fall over while I’m up here”, he remarked, “I lost nine hours of my life on the way to Australia and I’ve just gained three back since coming to Perth, so I’m still trying to adjust.” This apparent jetlag did nothing to cripple his performance, as he played through Love Is All, To Just Grow Away and 1904 seamlessly. Like The Wheel’s sobriety had some fans doing all they could to hold back the tears, until Matsson counteracted with the much catchier Burden Of Tomorrow. A two-song encore was obviously welcomed with open arms, before the man surprised us all with a third encore song, The Wild Hunt. This reviewer witnessed several outbursts of emotion in the form of crying upon making his way out of the festival garden – I think that speaks for itself, don’t you? Kane Sutton
TANGLED THOUGHTS OF LEAVING, SOLKYRI, ANTELOPE ROSEMOUNT HOTEL: 02/03/13
CAT POWER CHEVRON FESTIVAL GARDENS: 26/02/13 Considering the incredibly patchy live form for which Cat Power is known, it was a bold move scheduling her for not one but two shows as part of the Perth International Arts Festival. Still, there was reason to be cautiously optimistic; the demons that had plagued her so vehemently in years past were, evidently, quelled, and she was touring on the back of last year’s excellent Sun, an electro-pop record that had some outstanding moments. The start was unassuming as band members filed out one by one to the repetitive guitar notes of Adeline Fargier. That simple introduction gently developed into a fantastic interpretation of The Greatest, one of the few songs played that didn’t feature on Sun. It was a powerful, promising start, and evidenced a live show that had much meatier production than those previously. From there, however, it unravelled. There were no dramatic, abrupt culminations to songs or on-stage histrionics, but on the whole it was a messy, unpolished performance. For the most part, Chan Marshall aka Cat Pwer’s voice got buried beneath playing that was too robust and much of the set was dogged by sound issues. When she was given room to move, though, things perked up considerably. The marvellous Bully, for instance, was a reminder of just what she is capable of, that unique, nuanced voice still with all the balance and beauty to knock the stuffing right out of you.
But those moments were rare and outside of them Marshall looked desperately uncomfortable on stage, seemingly reluctant to play the role of lead singer and mumbling incoherently between tracks. In her earlier performances, she sought respite by clinging to her guitar, putting her head down and singing for her life; tonight, she played the instrument just once and the rest of the time wandered about the stage fidgeting anxiously. The catharsis that came with her declaration that it had been ‘a terrible performance’ resulted in strong renditions of Peace And Love and Ruin, but they couldn’t erase the shoddiness that preceded them. It’d be great to see Marshall get back to where it all began, a stripped-back live show that thrusts her vocals and songwriting to the fore and dispenses with the need for her to coordinate a band and engage a crowd. At the moment, quite simply, she is assuming a role she cannot play. Rick Bryant
TALLEST MAN ON EARTH, BUKE AND GASE CHEVRON FESTIVAL GARDENS: 01/03/13 Although it is a sad fact of life that all good things must come to an end, Perth’s International Arts Festival was at least making sure it would go out in style. The penultimate evening of the event played host to a sold-out show, with Brooklyn’s Buke & Gase the first of two acts to take up the reins. Having just released an adventurous new
24 • For more news/announcements go to themusic.com.au/news
The fantastic thing about instrumental shows is that what the bands lack in lyrical content, they make up for with their explosive physical energy, and anyone with at least half a brain knew that Tangled Thoughts Of Leaving’s EP launch would certainly be the best place to get their fix this weekend. Perth’s very own fivepiece Antelope proved this fact straight from the offset, blasting the modest crowd with a wall of sound in what was a furious opener. The drumming performances were a sight to behold, the sticks a blur and looking ready to snap at any moment, while the guitarists’ clear, driving riffs opened a world of imagery for the audience’s collective mind to explore. NSW’s Solkyri were next to grace the stage in front of a slightly more substantial audience, and although their number was two fewer than their predecessors, their sound was just as prominent. Drawing inspiration from post-rock greats Mono and Mogwai, the band’s melodic focus again let the imagination run wild. Stranger was a standout track, the ten-minute epic beginning soft and delicate and building to a chaotic crescendo of sound along its course. The general consensus among the crowd afterward was that we’ll all be there when they come back. As if the anticipation wasn’t bad enough, technical issues forced Tangled Thoughts of Leaving to delay the start of their performance by 25 minutes, so when they finally picked up their instruments, the crowd were ecstatic. From there, the band played their brand-spanking new EP in its entirety, and what a treat it was to hear. Ron Pollard may have called it an “attempt”, but the band were as composed and well-rehearsed as ever, and seemed to enjoy it as much as the audience. Pollard was going nuts, howling as loud as his lungs would allow him due to the sheer amounts of adrenaline coursing through his veins, while Ben Stacy was completely in his element on the drums. An excited cheer went up from the crowd when the band announced they would be releasing a full-length album this year, and if this EP is a sign of things to come, rest assured it will be one of the best we hear in 2013. Kane Sutton
KISS, MÖTLEY CRÜE, THIN LIZZY PERTH ARENA: 28/03/13 As you pass the branded comic books, ice lollies and stubby coolers, it’s hard to tell if KISS’ profligate merchandising is a post-modern comment on the smash‘n’grab nature of the rock music industry, or the worst kind of opportunistic capitalism. Maybe both. Maybe neither. But suspend your cynicism, all ye who enter here. Tonight had a band, who between them had spent over 300 years on the earth, singing The Boys Are Back In Town. It had Tommy Lee playing drums to Skrillex’s Bangarang, upside down on his 360 Drum Rollercoaster. And it had Gene breathing fire, Tommy shooting sparks, Eric drumming in the rigging and Paul smashing his guitar in the wanton finale to a what can only be described as a rock‘n’roll extravaganza. First, Thin Lizzy. Performing in their current arrangement since 1996, sadly without Phil Lynott, the six-piece delivered their Celtic rock to the early crowd with verve. Vocalist Ricky Warwick ripped through their back catalogue, the highlight being an extended Whiskey In The Jar. As their biggest hit played them out, the arena was on its feet. Mötley Crüe were the next layer of filling in our rock baguette. Despite some problems with the vocals – to anyone thinking ‘the content’, please, that’s not in the spirit of the evening – the hair-metal filth-merchants delivered. Opening with a march to the stage, through the crowd, with standard-bearers, they launched into Saints Of Los Angeles and a set that was more like a circus. There were girls on ropes, stilt-walkers and fire; the perfect icebreaker. The curtain went up, the lights went down and what we got was a hot KISS with tongues. The opening wall of flames behind Singer’s kit singed eyebrows as much as Simmons’ flapping appendage raised them, to the tune of Detroit Rock City. From the opening chords to the encore of Lick It Up, I Was Made For Lovin’ You and Rock And Roll All Nite, KISS delivered. Before the choruses and confetti, the crowd heard material from new album Monster, and live favourites Shandi, Love Gun and God Of Thunder. We wanted the best – we got the best. KISS delivered. Like tonight’s veteran performers, Perth’s new arena showed that despite the craggy exterior it can put on one hell of a show. The KISS Army may be more ageing generals than fresh faced privates these days, but they packed the concourses, escalators, seats and standing areas, proving that if you build it, they will come. If you finish it, they might even come back. If it means Perth gets another night like this, full of wanton, indulgent enjoyment, I hope they do. Tom Birts
GIGNITION RAILWAY HOTEL: 24/02/2013 The pint-sized Toni Etherson cut a small figure on stage but her rich voice, of which she was in complete control, was immense. There was ingenuity in cover choices and a confidence that ensured she was captivating from start to finish. TJ O’Donovan continued the solo acoustic vibe but added intrigue with the shrewd use of a loop pedal. The instrumental Mornin’ Blues was particularly engrossing as neat guitar lines and some creative percussion were layered expertly on each other before the tender Flesh & Bone capped a memorable set. Seasoned player Johnny McIntyre was heartfelt and earnest but lacked variety, and before long songs melted into each other. His is a voice that has incredible power but its muscle should be flexed less frequently. The self-proclaimed ‘psychedelic shoegaze’ of five-piece Silver Hills was, as the name suggests, up and down. There were some impressive moments when the band came together tightly and loudly, but at other times the keyboardist’s influence went missing. The ‘90s pop rock of final act Ethereal was less inventive, but their choruses landed lustily and there was energy in spades. It was a more polished performance and fittingly ended another Gignition spectacle. Rick Bryant
Hard-rocking five-piece and local heroes Birds Of Tokyo have just dropped March Fires, appropriately in March, and will showcase the band’s sonic evolution with a run of home state dates on their massive national album launch tour. Catch them at Prince Of Wales, Thursday 7 March, and Fremantle Arts Centre, Friday 8. Tickets can still be purchased through Heatseeker.
The X Factor’s Ronan Keating is making his way around Australia next March, joined by fellow Irishman Brian McFadden, the duo playing Crown Theatre Tuesday 12 March. As a solo artist Ronan Keating has sold more than 25 million records worldwide, alongside 30 million records with Boyzone, which combined with McFadden’s 40 million albums moved adds up to… a lot of record sales. Tickets via Ticketek from Monday.
GOT A FLAT WARNING BIRDS Sam Carmody – Songwriter/Vocals
STU ORCHARD What’s your band’s history? I was kicked out of my first band in high school ’cause I couldn’t sing. I moved to Melbourne and started cutting my teeth as an anonymous solo/acoustic performer, and then spent time performing up in Brisbane. I came home to Perth a few years ago, and since then I’ve released three EPs and a debut album, and performed with guys like Dave Graney and Bob Evans. Most recently, I’ve been working on my new EP, Crucial Colours. Tell us about your release: Crucial Colours is a seven-song EP, with atmospheric tracks between each song. It’s got a live, garage sound, and a lot of songs are heavily-layered (Space Monkey has about 50 vocals and 20 guitars). I got to work with my genius friend Nick Duff on songs like Mzungu, and a personal highlight is the freight train sample that colours a couple of songs. How did you go about recording the EP? We put the bed tracks down as a band at Lonewolf Studio, then messed around with it for the following two years, pushing producer Jason Hayles to new physical, mental and emotional limits. Most of that time was spent on the track Space Monkey. We got horns on all the tracks too, which really lifted the sound. Tell us about the launch party you’ve got lined up: I’ve got a crack team of musos together in my band – Nick Duff, Ben Stacy, Daniel Hall – plus a horn section, which is a first for me. I’m stoked. Julio Cadriguez, That Velvet Echo, Old Blood and The London Bureau will be rounding out a great line-up. It’s on Sunday, March 10, at Mojo’s from 4pm. What’s next on the horizon for yourself? Berlin! I’m heading there in May to record an album. It will be totally different to Crucial Colours... more off-thewall and cutting edge. I’m trying not to spontaneously combust with excitement. WHO: Stu Orchard Band WHAT: Crucial Colours EP (Independent) WHEN & WHERE: Sunday 10 March, Mojos.
What’s your band history? Warning Birds happened very much by accident. A couple of years ago I was in the process of recording a solo project and I’d asked my cousin Bensen Thomas to help with tracking. He’s very gifted with arrangements and more adventurous than I, and quickly the recording sounded less like the singer-songwriter project it had started out as. I had met Carmen Pepper years before at a gig and we’d bumped into each other again online, exchanging new songs and catching up. I checked out her music and remembered how much I’d loved her voice. I asked her to come in to originally sing some backing vocals and again the recording seem to transform into something better than I could have envisioned. Also at the time I’d run into drummer Tim Bates who was working the drive-thru at McDonald’s – his genius way of networking. He came in and tracked his parts and before we all knew it we were in a band.
Establishing itself quickly as the go-to night for punk and hardcore fans in WA, Punktured returns for another round in 2013, bringing with it a host of great acts. Scalphunter went from strength to strength after the release of their second EP last year, and they return to possibly destroy the stage they did last year. Plus there’s Radelaide’s The Lizards and local supports Blindspot, Suburban & Coke and them sharks. It all goes down at The Beat Nightclub on Friday 8 March.
DUKES UP Originally forming in 2003 by guitarist/vocalist Jamie Rhoden and brothers Ned (vocals/bass) and Ben Russin (drums), Title Fight started as a way for these young kids to explore their burgeoning love of music. With the addition of guitarist Shane Moran in 2005, their tireless practicing eventually transformed them into one of the most exciting punk acts in recent memory. They hit Amplifier Wednesday 13 March and YMCA HQ Thursday 14 (all ages).
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 as 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.
Ex-Perthian Morgan Joanel makes the lengthy trip back home to launch her new EP, Borrowed & Blue, this Friday 8 March at Ya Ya’s. The multi-talented songstress will be playing a special, intimate show in the heart of her old city. Co-headlining the night will be Rachel & Henry Climb A Hill, fresh off a run of dates that have proven their folkiness is a big ticket in the city. Moana and Miranda & Gordo support. $10 on the door.
LASERS IN SPACE
Tell us about your latest release: Battle Plans is our debut six-track EP. I think people would have no idea the overkill that had gone into this EP. It comes in at a brisk twenty-two minutes but it’s the result of a very long time in the studio, two years of writing and recording, scrapping and starting again. I think it all stemmed out of going from a singer-songwriter-with-a-band-type outfit to a fully-fledged band. Learning what that meant for our sound and how to balance the separate visions we all had was really challenging and took some time but it was important, and rewarding.
If you were lucky enough to catch the Psychonaut laser show last month, you may have been left wanting for more lit-up craziness. Well, fear not, sci-fi fans, because Astro Pig, along with The Branson Tramps, The De Niros and The Potent Remedies are heading up another laser rock show, this time at The Velvet Lounge on Saturday 9 March. Expect laser lighting, smoke machines and general audiovisual mind-buggery with the cream of Perth’s rock/punk crop. Free entry.
How did you go about recording it? It began at Fremantle Recording studios with Brian Mitra and then the bulk of it was tracked and mixed with Andy Lawson at Debaser Studios. Brian is a talented, progressive engineer and it was with him that we experimented at the beginning and began to discover what it was we were trying to do as a band. Andy, who we’ve worked with for over a year now, is really patient and calm-headed and helped keep us in line and get it done.
Hey, have you checked out the West Coast Blues & Roots line-up yet? Of course you have: it’s a doozy, with the likes of Paul Simon, Iggy & The Stooges, Ben Harper, Santana, Steve Miller Band and so much more. Blues & Roots have been giving local bands the chance to appear on stage with those luminaries through the Breakthrough To Blues & Roots comp on the festival website. The final goes down at Mojo’s on Wednesday 12 March, where the finalists (yet to be named) will battle it out for that cherished slot.
Tell us about your launch party: We’re launching Battle Plans at Amplifier Bar on Friday 15 March supported by Dead Owls, 8 Bit Love (VIC) and Jacob Diamond. What’s next for the band? We’ve never really stopped writing and recording. I think it’ll be straight back into the studio for us. WHO: Warning Birds WHAT: Battle Plans (MGM) WHEN & WHERE: Friday 15 March, Amplifier
TO THE OTHER SIDE HIT THE FLOOR Mighty bastards of blues The Floors, surf-macabre midnight highway roamers Day of the Dead, partystarting poprock darlings Tracksuit and Johnny Ajax of the late, great and infamous punk outfit The Homicides all make their way to PICA Bar on Friday 8 March in order to provide a night of dirty, surfy, poppy, punky rock, all for free from 7pm.
DEAD CAN WALK
CATS ARE BACK Having spent much of 2012 touring overseas, The Cat Empire are home making plenty of noise in the studio, writing and recording their new long player, one that is a return to the original anthemic party sound for the group, whose energy and uniqueness has won over hearts and headphones across the globe. Due in May 2013, they’re introducing it to us a little early, playing Fremantle Arts Centre Sunday 10 March with Flap! And more TBA. Tickets via Heatseeker, Mills, 78’s, Planet, Star and FAC.
Originating as a bedroom project of Coel Healy, Water Graves soon evolved after he started jamming with guitarist and singer Blake Hart in the living room of an old house in Fremantle. They combine electronic production techniques, lo-fi textures and watery synth tones together with dreamy vocal harmonies. On the lead up to the release of their debut EP, Water Graves play their first live excursion at The Bird on Thursday 7 March, supported by Seer Wave, Weeks and Sacred Flower Union. $5 entry.
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DOUBLE DON Inspired by one of Broken Social Scene’s best albums, You Forgot It In People (at least in Drum Perth’s mind), Don & Jon took a break from their session touring duties and threw all their talent into a big melting pot, producing a body of work that covers a multitude of ideas with no true classification. The resulting album is a heady and powerful charge of driven sounds, which you can check out yourself when the duo launch it at The Bird on Thursday 8 March, and then at Fat Shan’s Festivus at The Bakery on Friday 9.
FAT SHAN FESTIVUS II NEVSKY PROSPEKT
Chris Healing – Director What’s happened with Fat Shan Records since last Festivus? We’ve gotten a little fatter, a little older and perhaps a little wiser. We’ve continued to support the music industry and had some amazing in-store shows. We also got new fairy lights.
Stuart Mckay – Guitar/Vocals What’s your band’s history? Myself and bassist Haydn began playing acoustically at first until we found our drummer Pat on Gumtree of all places. Since then we have been playing solidly at all the usual haunts around Perth and we’re now finally ready to unleash our debut release. It’s taken a while to get it out there, but in playing the songs live for so long I think it has helped to build anticipation for this release.
What do you put your success down to? Lots of hard work and a true passion for supporting local music. What’s your proudest contribution to the music scene? We don’t take any commission on local sales and in the past year we’ve sold over $20,000 worth of local music.
Tell us about your latest release: Our debut release is a five-track EP entitled Poseidon’s Ire. How did you go about recording the EP? We recorded it with WAM nominated producer Rob Agostini at Soundbaker Studios over three days in November, with additional recording of vocals at my humble abode. It was a relatively painless affair being that we were well rehearsed, and we had a good idea of what sound we wanted to achieve for the EP.
MACHINE WALSH Courtyard Music at Fremantle Arts Centre has consistently presented a stellar line up of free music, perfect for those lazy Sunday afternoons. The annual event is WA’s best free music series with performances from some of the country’s most respected, talented and in-demand artists. This Sunday 10 March, The Justin Walsh Folk Machine sing the epic tale of Burke & Wills. From triumph to tragedy, determination to despair, climb aboard as they take you on a 3000-mile musical odyssey.
Tell us about your launch party that’s happening: Our launch will be at The Rosemount Hotel with support from Hailmary, Midnight Boulevard and Dirtwater Bloom. Entry is $10 or $15 with a copy of the EP and when you buy an EP or shirt we will be offering you the choice of receiving either a chocolate éclair or French macaroons forged by my capable hands for making such a worthy purchase. It’s become somewhat of a tradition at our live shows.
What’s next on the horizon for your act? We’d like to head over to the east coast at some point for a tour and eventually record an album. But in the meantime we’re just going to keep doing what we’ve been doing, and that’s playing live as much as possible and seeing all the other great bands Perth has to offer.
WHO: Nevsky Prospekt WHAT: Poseidon’s Ire EP (Independent) WHEN & WHERE: Saturday 9 March, The Rosemount
Sunday. Sun day. Makes sense, right? Well, local folk/rock fiends The Flower Drums want to drag the summer weather out a little bit, so they’re hosting a Sunday fun day at The Bird on Sunday 10 March. They’re the cap off to a day of truly diverging music, with Mayor Dadi, Mei Saraswati and Childsaint playing in the leadup. $5 entry.
Melbourne’s Bob Sedergreen is one of Australia’s jazz treasures, with a career at the top going back decades. Bob has accompanied international legends of jazz including Dizzy Gillespie, Phil Woods, Milt Jackson, Royce Campbell, Nat Adderley and Jimmy Witherspoon. As a pianist, leader, composer and educator, he has been an inspiration to many, including Garry Lee, who will perform with him on vibraphone and guitar at The Ellington on Thursday 7 March. Tickets through ellingtonjazz.com.au.
Forthcoming gigs? Following our huge birthday show we’ve got Record Store Day in April – that’s always exciting. We’re getting a bunch of local musos to spin some of their favourite vinyl during the day, plus Sincerely Grizzly are playing an acoustic set, as well as The Chemist. Then we’re off to The Novocaines single launch at The Rosemount carrying on the Record Store Day shenanigans with a merch desk there! Upcoming releases we should be excited about? PUCK just released their debut single from their upcoming EP, so everyone should look forward to that. Apricot Rail just released an amazing album that everyone should listen to. I know that The Chemist have a new album coming out, The Growl too which are both going to be amazing. Also excited to see what comes up next from Runner and Shy Panther as they both delivered excellent debut EPs. Amanda Merdzan’s new EP is rad and Sean O’Neill is on his way back from the UK with new tunes. Perth acts we should be watching? Apart from the ones that are playing Festivus, Rabbit Island are amazing, Antelope are pretty wicked, Mudlark are cool too... PUCK, Lanark, The Bosons, there really are too many to list! What sort of celebration is in order? Apricot Rail, The Community, Don & Jon, Kucka, Perth, Runner, Shy Panther and Timothy Nelson and The Infidels are all playing and it should be an amazing night. There might be cake, too. WHAT: Fat Shan Festivus II WHEN & WHERE: Saturday 9 March, The Bakery
ELI WOLFE From: Sydney, NSW Tell us about your band: Self taught lefty with a penchant for writing, day dreaming and painting along with a bit of film and 3D. It’s a meditative experience for me, playing music doesn’t involve much thinking at all. I play solo shows and over time, have met some great players in local areas who join me on some band shows, too. What brings you to the west side? Good friends and a tour in support of the next new EP release Perfect Moment. This EP offers more to the idea of evolution in sound and musical accompaniment from the delicate sounds on the previous release Cards Are On The Table. The recorded songs are larger, yet remain strongly connected to the emotional experiences that initially inspired them and at the end still feel alive, which is satisfying. Written on my acoustic guitar, they translate live as solo performances or with a band, which keeps things adaptable for frequent touring. Past WA tour experiences? Touring the breadth of WA longitudinally is always a visual spectacular, especially in spring. I’ve toured here quite a number of times. Broome to Margaret River, Perth to Margies, and on our mammoth 23,000 kilometre, eight-month Community Australia Tour in 2010, we toured here for over a month coming across from NT and heading out through SA. Last stop before WA? A great venue called The Clarendon, which is in the Blue Mountains, NSW. What can we expect from your live show this time around? There will be the new songs of course and I’ll be playing with a band on some of the songs, too. It’ll be a fun night, good vibes and chilling out with friends. Tell us about the best show you’ve had? It’s cliché but when you slip in the pocket you can be playing in a paddock by yourself and still buzz. Worst show? None. Number one item to take with you on tour? Guitar Craziest destination a tour has taken you to? A very old factory warehouse converted into a club/ venue on the outskirts of Dresden, Germany, to driving in a snow blizzard to a bar buried up to its windows in snow while touring eastern Canada. Best thing about getting home? Having different T-shirts to wear. Must have item on your rider? Fresh Yak milk and cheese sliced in geometric shapes. Best game to play on long trips? Snowboard Hero app is okay along with a number of others. Pretending you are flying outside the tour van while driving passes the time well too.
Describe your ultimate tour date? Being involved and touring with one of the big festivals would be a lot of fun and a great experience. WHO: Eli Wolfe WHAT: Perfect Moment EP (Magic Journey Recordings/MGM) WHEN & WHERE: Thursday 7 March, Clancys Fish Pub (Fremantle EP launch); Saturday 9 March, Town Square, Port Hedland
THIS WEEK’S ISSUE NOW LIVE 26 • For more news/announcements go to themusic.com.au/news
LOUNGING AROUND Held every Thursday night at the Leederville Hotel, the Leederville Loungeroom is your weekly dose of lounge-based music, comedy, visual arts and everything in between. Hosted by electro-cabaret devil Tomás Ford, each week three live bands and a comedy/cabaret perform before being interviewed by the gracious host. Add on a bunch of games and prizes to be won, and it’s the best weekendbefore-the-weekend night out there. Chainsaw Hookers, FAIM, The Branson Tramps and Sam Cribbs all perform tonight, Thursday 7 March.
HOT LOCAL GIG
FEAR OF COMEDY
THE KILL DEVIL HILLS
Launching their latest track From Ashes this Sunday 10 March at Geisha Bar (innerspace), Fear Of Comedy’s Vocalist Laith Tierney gives us the story behind the single.
PERMANENT ISOLITION Perth’s very own champions of the ‘60s sounds of Jamaica, The Isolites, launch their debut album Shake It Up with a massive Caribbean party at Devilles Pad on Friday 8 March. Combining searing horn riffs and swinging rhythms with the boy/girl vocal talents of Tayo and Coo, The Isolites’ mix of original songs and authentic covers of great Jamaican artists always sets the dance floor on fire. Supported by Special Brew, DJs Lady Cara and Johnny Safari and the Les Satanique Gogo dancers. $10 entry.
THE DATE TO DRIVE The Date are back with their latest single Let Me Drive, which will be launched at the Rosemount Hotel on Thursday 7 March with friends the Sun Orchestra, Tourist and the Red Embers. The single is taken off their forthcoming album Sedated, to be released in June 2013. Recorded at Yo-Yo Studios by Malcolm Clark and mastered at Forensic Studios by Simon Struthers, Let Me Drive features the band at their swinging blues-rock best
PRINCELY PALS Join WASO’s principal musicians in recital as they perform their favourite chamber works in Fremantle Arts Centre’s intimate Inner Courtyard for In Principal. The superb individual talents of WASO’s principal musicians are celebrated in this recital, with repertoire from 19th century Paris to 21st century Perth. Andrew Nicholson (flute), born and trained in the UK, and Giovanni Pasini (viola), born and trained in Italy, join forces on Thursday 7 March. Tickets $35 through fac.org.au or 9432 9555.
Brendon Humphries – Vocals
“It epitomises the themes of the full length album Delapsus Resurgam... which translates to, ‘If I Fall, I Shall Rise’. The whole death/rebirth cycle is something the band is very familiar with. We’ve constantly evolved – we broke up and got back together, experienced multiple line-up changes and abandoned our entire back catalogue to make way for what you’re hearing now. A lot of people thought we were crazy or that we should have changed the band name – but ‘the band’ is an entity unto itself, and like an individual – it experiences change and growth – both positive and negative. The lyrics were written as I was getting my life back together after a particularly dark period. Musically, inspired by dark, progressive post-rock stuff, Shaun came up with the riff and it grew from there. A month later we had an eight-minute epic.
Who’s playing your event and who should punters be most excited about seeing? This is going to be a more intimate courtyard performance, accompanied by piano/keys and some backing singing. Felicity Groom will be opening the night. So, there’s two good reasons to get along. What gave you the idea for this show? We’ve been wanting to do this kind of show for a while, having adapted our set many times interstate or overseas to play with a different kind of feel. Why Fremantle Arts Centre? Probably having seen the Sonic Sessions stuff there - the feeling in the inner courtyard space, with a packed house, under the open sky, is pretty damn special. What are you hoping to capture with the live recording? We’re heading to Europe in July, so hoping to include some new songs, some old songs rethought. What’s next? After we get back from overseas we’ll be finishing recording the next studio album, been writing away for that...
We recorded it last April 8 2012 at Sleepwalkers Dread with Ron Pollard, and hope to finish the full album by July. In the meantime, we’re planning a video clip and national tour.
WHO: The Kill Devil Hills
WHO: Fear Of Comedy
WHAT: Live recording performance
WHAT: From Ashes (Independent) WHEN & WHERE: Sunday 10 March, Geisha Bar
WHEN & WHERE: Saturday 9 March, Fremantle Arts Centre
RAINY DAY WOMEN FRIENDS EP LAUNCH Friday March 8
AMPLIFIER BAR, PERTH
With Bastian’s Happy Flight // 44th Sunset // Place of Indigo
Tickets $10+bf through Oztix.com.au or $15 at the door
W W W . R A I N Y D A Y W O M E N . C O M . A U For more news/announcements go to themusic.com.au/news • 27
FLOORED PRODIGY PIC BY GRAHAM CLARK
FUTURE MUSIC FESTIVAL
JOONDALUP ARENA: 03/03/13 It was big enough to completely lose your muchachos and never bump into them again (no thanks to the increasingly annoying problem of ‘festival mobile network breakdown’), but props must go to the organizers for seemingly squeezing a massive crowd into Joondalup Arena without feeling like we were sardines in a salted tin can. The loss of ‘EDM Headliner’ Avicii along with the last-minute withdrawal of Rita Ora left quite a few fans miffed to start the day, who had no choice really but to get on with things. The sweat factor was certainly high, the heat singeing those let in early enough to witness the very oddly placed Nylon at the Cocoon Heroes arena. Trading more on good looks and other people’s songs, they covered a list of hot tracks complete with back-up dancers, leaving techno fans dumbfounded as to why they were singing an Azealia Banks song on this stage only a few hours before the real thing was playing on another stage. Over in the White Rabbit Saloon, Alfred Gorman was warming things up with one of the most diverse sets of the day, happily slinging everything from Roots Manuva to Hot Chip to ‘Roses. Junior’s impressive skills were unfortunately displayed in a rather sparse Warrior’s Dance Arena, but it can’t be long before this dude is truly given the line-up respect he deserves. Zane Lowe followed up with a bass bashing, the early heaviness of nil concern to the bang-brains lapping it up. Ellie Goulding was the first big act of the day, the Mariachi zone filling up like a Mexican bloodbath. There’s no doubt she has an impressive set of pipes, but the live band didn’t really seem to gel, the strong wind and average mix not helping. Things did pick up as the set progressed though, Goulding saving the best for last, finishing off with Coca-Cola’s newest sing-a-
llong jijingle l A thi C ld H Anything Could Happen and an unexpected dubstep version of Lights, before finally finishing with the fun loving Starry Eyed. Cocoon saw Magda pushing a sophisticated set of groove-based techno with a dash of melodic minimal, the number of people dancing through the sizzling sun testament to the quality of her set. Still, there was just something not right about dancing to techno in the open air. Next time FMF, give us a rave cave, please. Complete with some epic skips and vinyl-flying trainwrecks Seth Troxler then battled the wind with a similarly shaped set, upping the tempo midway in preparation for the extremely late Ricardo Villalobos. UK pop drum’n’bass outfit Rudimental made their live debut in Perth and failed to disappoint, opening with new single Waiting All Night featuring Elle Eyre in a set full of crowd pleasers like Not Giving In and Feel The Love. FUN.’s front man and show pony, Nate Ruess pranced onto the Mariachi stage delightedly to begin the American indie-rock band’s performance. The setlist mainly comprised of tracks from their most recent album, Some Nights, and featured many audience chants from some of the more popular singles. Self-perpetuating hype machine and hater-of-themoment Azealia Banks’ blend of aggression and sass completely owned the Mariachi zone, demonstrating that, while she’s not the most articulate offence-shooter, she’s worth the hype when it comes to the music. One of the best sets of the day, and in the mix for one of the best outfits. 1991 was particularly dope. PSY finished off in the only we he could; doing the Gangnam Style (for the second time in his allotted half-hour). It was met with much amusement and a frenzy of crazy styled dancing. His sincere and humble thank-you at the end of the set was surprisingly touching, even if it was partially to big up the next single. Hello: YouTube. The K-Pop superstar made way for another showman in Steve Aoki, who lived up to his rockstar persona, spewing champagne any chance he could, and providing
28 • To check out the mags online go to themusic.com.au/mags
some vocals for his set-standard one-two punch of Bloody Beetroots’ Warp 1.9 and their re-work of Refused – New Noize. And even though the mainstage soundsystem seemed to struggle at times with the abrasive sounds produced, most were too busy bouncing to notice. Professor Hush was literally bouncing off the Saloon walls during his hour of indieelectro and funk power, his energy-soaked dance moves themselves worthy of a video hit. Canadian dubstep producers Zeds Dead have maintained the ‘dirty dub’ sound throughout their career, whilst still preserving a level of inventiveness that certainly lacks in some areas of the scene. The boys dished up some very quick transitions, which allowed for lots of song selections in spite of a few technical difficulties. Their new remix of Prodigy’s Breathe, commemorating the 20th year anniversary of Fat of the Land, went down as a real treat, along with Andy C’s d’n’b re-work of Get Free by Major Lazer. Following them Germany’s Boys Noize introduced his giant skull to a crowd ready to get down to his grinding tech-electro, rocking through a fairly even mix of all three of his albums, each track tweaked enough to be a little more banging, and none feeling out of place amongst the others. Fans of his were happy the set ran over time, although Borgore appeared a little miffed, which in turn probably just added a little more bite to his brostep beats. Back on the main stage, “What the fuck’s goin’ on?” began Dizzee Rascal, launching into a set dripping with ‘tude and tidee toons. Bassline Junkie invoked dance pandemonium, as did Fix Up, Look Sharp and Dance Wiv Me. The Stone Roses were met with thunderous applause as they launched into a blinding set that proved well worth the wait. Fool’s Gold was a natural highlight in what was easily one of the best long-awaited festival sets WA’s ever witnessed. Collars up to Ian Brown. A rare foray in the Wake Your Mind arena found Cosmic Gate pumping out some fast-paced trance to an appreciative crowd, with Emma Hewitt slinking on to stage to provide some vocal work only heightening the amount of ‘hands in the air’. Sven Vath served up some banging techno varieties on his Coccoon stage, stirring up some energy amongst the crowd. “Quality, love, spirit and fun... and of course we love to dance”, Vath proclaimed. “I’d like to introduce my friend Richard Hawtin”. Cheers echoed as Richie Hawtin stepped to the decks, showing us why he is recognised as a major influential part of the Detroit techno scene. Coupled with a minimal but captivating light show, Hawtin played out some of the minimal techno we’ve grown to love over his spanning music career. After a 45 minute wait for The Prodigy to get their shiz together, idiot levels had reached fever pitch, highlighted by an de-shirted fellow climbing up onto the tent’s roof and jumping around like he thought he was walking on the moon. Obviously not an astronaut.
Rooftop Movies. Out of one to Dub we’d rate them all Dub. What makes it into your top six at the moment? Mei Saraswati, Yarhkob and Usurper for their dope Wicked Man Redux remixes, Malcolm Clark for the work he’s done on our new record, our first EP which we’re about to release for free on The Community bandcamp, and sitting under a Willow tree. What’s the strangest place your music has taken you? On a road trip through the suburbs collecting TVs and sledgehammers.
WEAPON IS SOUND What are the six essential things everyone should know about you? 1. We play dub. 2. We like things heavy and psychedelic. 3. We’re not your traditional dub band. 4. Every sound you hear be it on record or on stage is generated live.
5. We’ve nearly finished our debut album, tracked live and engineered at Yo-yo! Studios. 6. Did we mention dub? What were the last six gigs you played, and what rating would you give each of them (scale of one to six)? Community Stage for city of Vincent, Bob Marley Outernational, We Don’t Like Reggae at The Railway, the Tyrannocorp Tiki Bar gig the Newport and New Years at
Which six people (living or dead) would you have at a dinner party? We can’t think of six people worth exhuming to sit at a dinner table. Think of the smell. What’s six words that describe you? Studio dub-style. Psychedelic substance. Vibing. Direct. WHO: The Weapon Is Sound WHAT: Rubadub WHEN & WHERE: Thursday 7 March, The Newport Hotel
DJ BOOTH GEMINI Based in: London, UK What you play... Euphoric Epic Energy Whatever What residencies do you have and crews do you belong to? INSPECTED! We have a great crew, from Koan Sound, Culprate, Boy Kid Cloud. The record label I own and run with Ryan is my pride and joy! A few career highlights. Every time I play Australia it KILLS it. My first play on Radio 1 was pretty cool. First set, and what was most memorable for you? First set? Probably in some basement in some dive in Leeds where I went to university at well past my bedtime. All time favourite 12”? Oh – 12” – as in vinyl? Probably Mike Oldfield’s Tubular Bells. Modern day albums (6”) – Muse – Absolution? What DJs and producers have influenced your own style and interests the most and how? The greatest people who have influenced my sound I would say are actually classical film composers – Hans Zimmer, John Williams. Got to include guys like Chopin too. Subfocus had a big part to play with the more electronic stuff. Weirdest thing you’ve seen in a nightclub? Donkey. Russia.
How healthy do you see your hometown’s scene? There are some great people coming through! http://soundcloud.com/ culprate, https://soundcloud. com/asaofficialmusic. https:// soundcloud.com/boykidcloud Been touring lately? Stories to tell of you recent travels? Erm too many to type haha. Have you ever been in Perth? If so, what can you remember of it? You guys know how to party – last time I was there I remember the vibes were so so good. Great taste. Any Perth producers tickling your fancy? Oh with the internet I’m afraid I lose all track of where people are from – Australia does have some amazing talent in general though!
Artists you’ve collaborated with. Koan Sound, Culprate, ASA, Feed Me.
Once yee ol’ Warrior’s Dance Arena headliners got started though, there was no stopping ‘em. Hit after hit, Prodigy saw some of the loosest individuals appropriately losing it, Poison producing particular highs. Those who couldn’t get in to the Warrior battle grounds due to initial overcrowding, or didn’t stick around for the second half of Hardwell’s Avicii-replacing extended set found themselves witness to an incredibly polished and professional 50-odd minutes
courtesy of British quartet Bloc Party. Frontman Kele Okereke was affable and crowd-stirring in a set that mostly steered away from latest album Four, opting instead for a slew of old faves like Banquet, Positive Tension, This Modern Love, Hunting For Witches and the one-two finale of Flux and Helicopter. Having only been to this side of the world once before, it was a cracking way to finish the day for many. With a festival pushing up towards
50,000 people, you have to tip the hat to the organisers for making an effort to spread it out, and providing a plethora of free water stations throughout the event. And while the Prodigy situation pissed a few off, one feels the only way it could have been avoided was if (the allegedly quite ill) Avicii actually turned up to spread the love.
Next big thing to look out for you? Been working really hard on my next release – can’t wait to start rolling the album out! What should people expect from you when you tour here? Hopefully the time of their lives!! Where can people get more info? Facebook.com/Gemini Twitter.com/thisisgemini Soundcloud.com/thisisgemini WHO: Gemini WHEN & WHERE: Saturday 22 March, Ambar
Aarom Wilson, Troy Mutton & James Hunt
TEN THINGS YOU DIDN’T KNOW ABOUT
BINGAY @ CONNECTIONS Paul Fletcher - Director (JumpClimb) What’s happened with Bingay since it began? Bingay started off as a fortnightly Wednesday night at what used to be called Manhattan’s Bar in Victoria Park. We had a cover charge and Sandy Beaches was our host. In fact there was an ex-editor of Drum Magazine who hosted it for us in drag once…his legs were amazing. Since then, we moved it to The Queens as a free weekly Wednesday night where it gained a lot of momentum before finally settling into our amazing home at Connections on Thursday nights where we’re now booked out a week in advance regularly. What do you put the success of Bingay down to? Hilarious drag queens who love doing it. Hannah Conda, Val Nourished and Barbie have been stars playing with our balls each week, plus our amazing intern Kelly and Connies superstar Toni are there each and every week ensuring that punters are looked after. Also we give out free pizza and dildos, which I think probably helps. Has anyone ever worn their birthday suit to Bingay? There was an occasion while we were running it at The Queens when a Bingay fan hit me up on Facebook and dared me to do a lap of The Queens in just a g-string. I, of course, said fuck off. He persisted, so I set a challenge that if he could get our Facebook page an extra 500 likes in five days I would do it. And he amazingly did it. Needless to say, there was a lot of tequila had that night.
If Bingay was a stripper, what would its stage name be, and why? Alotta Via Brators Who takes the cake for the best/ craziest shenanigans at Bingay over the last year? There is a lot of nudity and general inappropriate behaviour and commentary every week, but usually shit goes fairly awry when the drag queen doesn’t have to work the next day and they use their bar card quite significantly while hosting. There are too many ridiculous situations to put it down to one, but there is usually a granny doing laps of Connections without her top on by around 10pm. What are you most proud that Bingay has contributed to the
Perth nightlife scene, and why? The fact that a couple of straighties can run a gay night that brings both the straight and gay community together. We’ve been running Bingay for about two years now and it’s the biggest it has ever been right now, and we’ve never been prouder. The support that Gavin and the team at Connections have given the night and us at Bingay’s “new” home over the past year has been huge and we thank them for that. What other gigs have you got coming up? An amazing two week gig called “My holiday in Bali”. But in all seriousness we’ve got Sampology at The Leederville Hotel TOMORROW! Plus some exciting new concepts about to be
FRAT HOUSE FRIDAYS @ METRO FREO
FRIDAYS @ AMPLIFIER
launched at The Aviary, Beaufort Street Festival planning has just started, plus a heap more. It’s going to be a massive 2013! What sort of celebration is in order (who’ve you got playing on the night, anything out of the ordinary planned)? Male strippers, obnoxious drag queen banter, free dildos, a heap of lube and we’ll just see what happens from there. WHAT: Bingay at Connections 1st Birthday Party WHEN & WHERE: Thursday 7 March, Connections Nightclub
IRL Name: Eliot Mireylees 1. I have been involved in the Perth music scene since 2008. 2. I drifted through most genres of music before settling in what is essentially house music. 3. I completed a nine-week Beginner DJ Course at Nu Skool Academy in 2009 which fast tracked my beat matching ability over a few months. 4. Later that year I did a six-month Electronic Music Production course at SAE Institute Perth. 5. I started DJing out in Perth at the start of 2010 under the name Mireyleese, I was a resident at the F*nked Up nights at Geisha and Bar Open. I was a finalist in the Limelite DJ comp that year, and also played in the Habitat DJ comp. I had a set at the In The Mix Perth Christmas Party and later supported Snob Scrilla at Villa as well. 6. In late 2010 I was diagnosed with a Congenital Cholesteatoma in my right ear, a non cancerous tumour
that forms from birth on the inside of the ear drum. I had it removed a few months later and was left with a huge ear canal, lucky for me I only lost twelve decibels of hearing in that ear! This stopped me DJing for over a year while I recovered. 7. I mix Deep House, Tech House, Minimal, Techno, House, UK Bass, Garage and everything in-between. I struggle to answer the simple question - what type of music do you play? 8. I play a live two-hour set every Tuesday between 12-2pm on The Backyard Project Online Radio. 9. I am a cat man. I have two cats and couldn’t imagine living without them. 10. I LOVE sushi! WHO: QWERK WHAT: Fresh Produce: Prime Cuts Edition WHEN & WHERE: Friday 8 March, Ambar
SATURDAYS @ NEWPORT
WEDNESDAY 13 MARCH • AMBAR DNGRFLD | TAPEHEADS
FACEBOOK.COM/WHOSZED | SOUNDCLOUD.COM/ZEDSDEAD
To check out the mags online go to themusic.com.au/mags • 29
7 MAR - 13 MAR
GEORGE CLINTON & PARLIAMENT FUNKADELIC, GREG WILSON @ METRO CITY
DANCEFLOOR OF THE WEEK
The Godfather of Funk and his 22-piece psychedelic circus extravaganza are about to touch down. They’ll be delivering the complete 22 piece P Funk Space Circus to Australian fans for the first time since Clinton’s last full scale tour of Australia back in 2002. Tickets $101 from Oztix. Doors open 7:30pm.
BINGAY @ CONNECTIONS A Grindr Party special featuring free pizzas, bingo with drag queens, free from 7 ‘til 9.30pm, Lovers Adult Gift Store giveaways and more, plus free entry to POP! afterwards.
CHASE THE SUN THURSDAYS @ THE DEEN Relaunching Thursday nights at The Deen with a line up to entice your inner Tropicana. Starts at 7pm.
POP! @ CONNECTIONS A big dosage of bright, bubbly, sugar coated pop tunes courtesy of four performances by the Queens of Connies, paying homage to diva faves. Doors 9pm, free ‘til 10pm, $5 after.
Sampology’s legendary “Super Visual” live shows have earned him an undeniable reputation as one of the leading audiovisual DJs in the world. The past few years have seen him playing a number of the world’s greatest music, film and arts festivals including the Berlin Music Festival and The Edinburgh Fringe Festival. He plays the Leederville Hotel on Friday 8 March. Final release tickets currently on sale for $20 through Moshtix. his exclusive dubplate edits and a contemporary club slant alongside our own funk juggernauts The Brow Horn Orchestra and Charlie Bucket. Tickets $18 through Heatseeker. MYNC
THE AVENUE Jon Ee gets you ready for the weekend.
FRIDAY 8/3 AEPH
Aeph’s sound has been described as a dark melodic mixture of classic composition and surrealistic synthesisers. A retro futuristic vision of music combined with ultra modern riffs, great versatility and a finesse that rivals the likes of Daft Punk and The Prodigy. He’s playing alongside Moving Fusion who are curently one of the most successful duos in the international drum’n’bass scene. Tickets $30 via Moshtix.
WHY MAKE SENSE: JULIO BASHMORE & T. WILLIAMS @ GRAND LANE PERTH Why Make Sense is a boutique event featuring artists that do not fit into compartments, filled with people that just want to live without the constraints of labels. Set in the laneway made infamous by the works of Bonsai and Twoone, Why Make Sense draws from its surroundings to present a unique set of artists over two big nights. Catch the Australian debut performance of production heavyweights Julio Bashmore and T. Williams on Friday night. Tickets $40 from Moshtix.
DJ HUGO MENDEZ @ THE RAILWAY HOTEL Holding a DJ style that’s a unique blend of African, Caribbean and Latin rhythms, DJ Hugo Mendez brings a percussive explosion that includes everything from heavy Afro grooves, to calypso funk and heavy Cumbia. He’ll be bringing some of these vintage styles up to date with
THE AVENUE Claremont’s worst kept secret keeps the Friday night party rocking till the break of dawn with Lokie Shaw.
THE GRAND DJ Reuben lays down the funk as the sun goes down to fire you up for the start of the weekend.
FLUID @ VELVET LOUNGE MILLER CITY SESSIONS: MYNC @ METROS FREO Arguably the biggest act on the Miller City Sessions tour, with recent credentials including remixes for Avicii and Azari, MYNC is fast becoming one of the biggest names in contemporary house music. His latest release, Stadium, has been signed to Calvin Harris’ label and was debuted at the WMC in Miami where he co-headlined with Calvin Harris. Tickets $10 on the door.
URTHBOY @ MOJO’S AEPH @ GEISHA
Motown, northern soul, R’n’B and modern soul for $10 from 8pm.
Urthboy’s latest album, Smokey’s Haunt, has received a phenomenal response after debuting at #14 on the ARIA Album Charts. It has been nominated for a J Award and was long-listed for the Australian Music Prize with The Australian giving it a five-star review as well as receiving praise from the likes of Rolling Stone to The Sydney Morning Herald and beyond. Witness one of Aussie hip hop’s biggest names this Friday alongside up-andcomers One Sixth and Jimblah
AMPLIFIER/CAPITOL Jamie Mac spins indie/alt classics from midnight at Amps, while Caps satisfies your ‘90s desires with DJs from 11pm.
FHF @ METRO FREO Frat House Fridays and the Death Disco DJs rock bangin’ indiedance, plus red cups, cheerleaders and college-themed craziness.
Lquid d’n’b beats to replenish your soul provided by Greg Packer, AJM, Devo and Dart, plus visuals from Trent & Matt. Free from 9pm ‘til late.
SATURDAY 9/3 STATE OF MIND @ VILLA
Direct from Auckland, Kiwi drum & bass gods State of Mind return to Villa Nightclub this March for one massive night only! The boys have become notoriously prolific producers in the past few years with releases on a broad spectrum of labels throughout the d’n’b scene. Tickets $25 from Moshtix. GOLD PANDA
Following on from Julio Bashmore and T. Williams on Friday night comes the ambient, refreshing sounds of Gold Panda who has just dropped in his new EP, Trust, playing along the slightly darker, Maribou State. Early bird tickets $25 from Moshtix. URTHBOY
DJ DAN ‘DOUBLE DEE’ DEELSTRA @ YA YA’S YaYa’s own resident DJ Dan ‘Double Dee’ Deelstra drops the beats every Friday night from 11pm-2am.
THE SWITCH @ SHAPE Shape’s fortnightly reckoning with the forefront of EDM. Entry $15 on the door, opens 10pm.
DORCIA @ LIBRARY The usual disc jockey deviants bringing the party noise all night long.10pm and $10 thereafter.
MOTOWN & SOUL @ FLY BY NIGHT Barry Simpson and the local guest DJs bring you the sound of
30 • To check out the mags online go to themusic.com.au/mags
Western Sounds presents James Nutley ‘On Tap’ house music all night long in the heart of Perth.
THE QUEENS Nothing but the best tracks from none other than Fiveo.
THE BRASS MONKEY DJs Peta & Jewel turn up the volume for Saturday night hedonists.
BAR120 Little Nicky mixes up a storm full on party style.
SAIL & ANCHOR Catch the Child’s Play DJs mashing up all styles for Saturday.
SUNDAY 10/3 SUNDAY SESSIONS @ THE AVIARY
Enjoy a Sunday Session at The Aviary listening to Vince Peach and King7 spinning vinyl of vintage blues, soul, funk and original R&B. Wash it down with a cocktail jug or two for $16
CLUB BAY VIEW Clubba legend FIVEO rounds up your Sunday Sesh in full on green light mode!
THE GRAND Cool cool jazzy funky Sunday Vibes as Perth’s newest venue presents TOAST this week with Tastes Like Chicken & Armee.
MONDAY 11/3 MANIK MONDAYS @ DEEN
TUESDAY 12/3 BACKPACKER NIGHT @ HIP-E CLUB
Perth’s most famous backpacker night with DJ Roger Smart and DJ E-Funk. Free entry ‘til 10pm.
WEDNESDAY 13/3 WEDNESDAYS @ NEWPORT
A midweek party fix that won’t destroy your bank account, Freo’s biggest student and backpacker night is all about three rooms of DJs, no cover charge, free pizza and poor-student-priced Carlton Draught and VB.
STUDENT NIGHT @ ROSEMOUNT URTHBOY @ CAPITOL Urthboy continues the Western Australian leg of his Australian tour with a raucous performance at Capitol. One of the shining lights of the Oz hip hop scene, the rapper, producer and label honcho has helped our domestic scene grow to be stronger than ever before. Make sure you’re on the barrier when Urthboy takes the mic this Saturday along side up-and-comers One Sixth and Jimblah. This will be one party you don’t want to miss.
UNI-QUE @ SCOTSMAN
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.
Student/backpacker night with Plastic Max & The Token Gestures and DJ Birdie on the decks. Free entry.
WHY MAKE SENSE: GOLD PANDA & MARIBOU STATE @ GRAND LANE PERTH
Lady Carla plays ska, reggae, rocksteady, calypso, mento and dub. Free entry from 6pm. Overlords Dave Jackson and Armee select their finest tunes from 8pm.
THE GENEROUS SQUIRE
SAMPOLOGY @ THE LEEDY
ISLAND NIGHT @ HULA BULA
Child’s Play and Resident EightoEight DJs from 8pm.
R’N’R KAROKE @ DEVILLES A hell of a night out for your vocal chords every Thursday from 6pm.
Indie-dance bangers from Death Disco DJs, DJ Ryan spinning ‘80s classics upstairs and Eddie Electric indie/classics from midnight in Amps.
EIGHTOEIGHT @ NORFOLK BASEMENT
RETRO THURSDAYS @ EVE Step back in time with Retro Thursdays! The EVE DJ Team blast hits from the past plus drink prices go old-school. Free entry with student ID, or $5 entry until 11pm.
DEATH DISCO/PURE POP @ CAPITOL/AMPLIFIER
DJ Anton Maz brings you postpunk, indie-pop and rock goodies outside in the beer garden for free, with live bands inside from 8pm.
ROULETTE @ GEISHA Bass music, with free entry from 9pm.
CHEEK @ RED SEA Shenanigans and house party vibes with the Cheek DJs and friends. Tonight you can wear shorts too!
ONE PEOPLE BAND @ VARIOUS One People Band, named after the track Different Colours One People from the Victims album by the late reggae legend Lucky Dube, have vowed to continue with the message of peace, love and unity in honouring the legacy of Dube, with whom they have toured and performed with for many years. Stepping up behind the mic is the amiable and equally charming Thuthukani Cele, who is doing a remarkable job taking Lucky Dube’s prophetic words to both international and local audiences. The group play Fly By Night on Friday 15 March, and Mandurah Performing Arts Centre on Wednesday 20, with more dates TBA. Onepeople. bplaced.net for more info.
WARREN PEACE @ ROEBUCK HOTEL
UPCOMINGS GEORGE CLINTON & PARLIAMENT FUNKADELIC, GREG WILSON: MAR 7 Metro City DJ HUGO MENDEZ: MAR 8 Railway Hotel SAMPOLOGY: MAR 8 Leederville Hotel AEPH: MAR 8 Geisha MILLER CITY SESSIONS: MYNC: MAR 8 Metropolis Fremantle URTHBOY, ONE SIXTH, JIMBLAH: MAR 8 Mojos; MAR 9 Amplifier NINA LAS VEGAS: MAR 22 Prince Of Wales; MAR 22 Newport Hotel; MAR 23 Amplifier DANIEL BORTZ: MAR 22 Velvet Lounge DENZAL PARK, UBERJAK’D: MAR 22 Villa NETSKY: MAR 23 Villa MILLER CITY SESSIONS: JASON LEMA: MAR 23 Wembley Hotel; MAR 29 Mullaloo Beach Hotel; APR 12 Dusk Lounge
Miller City Sessions continue to bring the biggest and best of the worldwide DJ scene to Perth, supplying a taste of some of the planet’s dance hotspots to home audiences. Warren Peace, the pioneer of the ‘Vegas Sound’ is resident DJ at the coveted XS Nightclub, part of one of the most popular hotels on the strip – the Wynn. Not only does he share the stage with fellow DJs including Deadmau5 and Steve Aoki on a weekly basis, he’s remixed for some of hip hop’s greats like Jay-Z and 50 Cent. He plays the Roebuck Hotel in Broome on Saturday 16 March.
SETS ON THE BEACH: MAR 24 Scarborough Beach Amphitheatre
VIVA LAS VEGAS @ VARIOUS
MILLER CITY SESSIONS: WARREN PEACE: APR 5 Boab Tavern
She’s no stranger to our fair shores, and it’s no secret that when Nina Las Vegas comes to Perth, shit goes down. Since 2009, she has been one of the biggest DJs on the Australian dance circuit — not to mention her dedication to bringing the newest, biggest and best beats to thousands every week on triple j’s House Party and with her Mix Up Exclusives sets. She’s sure to bring her indomitable energy and skills when she spins on Thursday 21 March at The Prince Of Wales Hotel, Bunbury; Friday 22 at the Newport Hotel for their New Look launch party; and Saturday 23 March at Amplifier. Tickets through Oztix and the venue for the Bunbury show.
DENZAL PARK, UBERJAK’D @ VILLA The Ministry of Sound Clubbers Guide To 2013 is loading up for its annual tour to guide your journey through the boomin’ dance floors and bangin’ dance music of 2013. The Perth stop of the Clubbers Guide To 2013 tour stomps into Villa on Friday 22 March and features the gents behind the double-pack, the duo producing huge, crushing apocalyptic anthems, Denzal Park, and the guy with a reputation for partying all night long, Uberjak’d, here in person to shine a musical torch for 2013. Supported by Chiari, Jackness, Ace Basik and Slappin’ Plasti. Tickets are $25+BF through Moshtix, with special VIP tickets $40+BF.
MARK PRITCHARD, DAN THE MAN: MAR 28 The Bakery DRAPHT, N’FA JONES, SEVEN & MR. HILL: MAR 28 Rosemount Hotel PVT, COLLARBONES: MAR 30 The Bakery STANTON WARRIORS, FAR TOO LOUD: MAR 31 Villa + JAMIE XX: MAR 31 The Bakery THE XX: APR 1 and 2 Metro City
YACHT CLUB DJS: APR 12 Amplifier; APR 13 Prince Of Wales BAAUER. EATS EVERYTHING: APR 24 Metro City THE POTBELLEEZ: APR 26 Capitol MOVEMENT FESTIVAL: NAS, BLISS N ESO, 2 CHAINZ, CHIDDY BANG, JOEY BADA$$, ANGEL HAZE, SPIT SYNDICATE: APR 30 Red Hill Auditorium SETH SENTRY: MAY 9 Breakers Bar, Geraldton; MAY 10 Villa; MAY 12 Newport Hotel + YACHT: MAY 10 The Bakery EXAMPLE: MAY 10 Metro City GROOVIN’ THE MOO: ALISON WONDERLAND, DZ DEATHRAYS (DJ SET), EXAMPLE, FLUME, MIDNIGHT JUGGERNAUTS, PEZ, SETH SENTRY, SHOCKONE, TUKA WITH ELLESQUIRE, URTHBOY, DJ WOODY’S BIG PHAT ‘90S MIXTAPE, YOLANDA BE COOL and more TBA: MAY 11 Hay Park, Bunbury A$AP ROCKY: JUN 30 Metro City
THU 7 MARCH 2013 Howie Morgan: Belgian Beer Cafe, Perth Rachel & Henry Climb a Hill: Clancys Canning Bridge, Applecross Eli Wolfe: Clancys Fremantle, Fremantle Courtney Murphy: Como Hotel, Como Bob Sedergreen, + Friends: Ellington Jazz Club, Perth Bex’s Open Mic Night: Indi Bar, Scarborough James Wilson : Lucky Shag, Perth Matt Gresham, Toni E: Mojos Bar, North Fremantle Tired Lion, Pat Chow, Wake, DJ James MacArthur: Mustang Bar, Northbridge Rubadub feat. The Weapon Is Sound: Newport Hotel, Fremantle The Date, The Red Embers, The Sun Orchestra, Tourist: Rosemount Hotel, North Perth Sons of Rico DJs: Rosemount Hotel (Beer Garden) , North Perth Clayton Bolger: Rosie O’Gradys, Fremantle Bill Chidgzey : Rosie O’Gradys, Northbridge Open Mic Night+Claire Warnock: Settlers Tavern, Margaret River Fenton Wilde: Sovereign Arms, Joondalup Haydn Ward, Dylan Roggio, Stephanie Robson: Swan Lounge, North Fremantle Water Graves, Seer Wave, Weeks, Sacred Flower Union: The Bird, Northbridge Jen de Ness : The Boat, Mindarie Gidget Duck, The Muldoon Wing: The Flying Scotsman, Mount Lawley Mike Nayar: The Shed, Northbridge Off the Record: Universal Bar, Northbridge Descent: Velvet Lounge, Mt Lawley Andrew Gioia , Shaun Rammers, Anea Duratovic Quintet: Ya Ya’s, Northbridge
FRI 8 MARCH 2013 Deuce: 7th Avenue Bar, Midland Rainy Day Women, Bastian’s Happy Flight, 44th Sunset, Place Of Indigo: Amplifier Bar, Perth Jason Cleary, Shannon Jenkins: Art Gallery Of WA, Perth Mod Squad , Tip Top Sound DJ: Bailey Bar & Bistro, Joondalup Free Radicals: Bally’s Bar, Ballajura Mike Nayar: Balmoral, East Victoria Park Courtney Murphy: Beau Rivage Restaurant, East Perth Electrophobia: Belmont Tavern, Cloverdale Matt Milford: Broken Hill Hotel, Victoria Park Acoustic Aly: Brook Bar & Bistro, Ellenbrook Chris Gibbs: Captain Stirling, Nedlands James Wilson : Chase Bar & Bistro, Baldivis
Make Believe Me, Lights Of Berlin, Here Come The Cavalry, Where Oceans End: Civic Backroom, Inglewood Dave Brewer Trio: Clancys City Beach, City Beach Julian Price: Clancys Dunsborough, Dunsborough The Underskore Orchestra: Clancys Fremantle, Fremantle Trevor Jalla : Como Hotel, Como Local Heroes: Crown Perth (Meridian Room) , Burswood Bring In THe Weekend feat.+Rok Riley: Defectors, Mt Lawley The Isolites, Special Brew, Lady Carla, Johnny Safari, Les Sataniques GoGo: Devilles Pad, Perth Ali Towers: East 150 Bar, Ascot One Trick Phonies: Edz Sportz Bar, North Coogee Joe Southwell, Sam Nafie, Belleville: Ellington Jazz Club, Perth Jane Germain, Ian Simpson: Forrest Place (Afternoon) , Perth Sean Roche: Fremantle Workers Social & Leisure Club, Fremantle Dirty Scoundrels : Gate Bar & Bistro, Success Greg Carter: Greenwood Hotel, Greenwood Astrobat: Herdsman Lake Tavern, Wembley Envy: High Road Hotel, Riverton Steve Parkin: Hyde Park Hotel (Courtyard) , North Perth New Soundland: Indi Bar, Scarborough Ben Merito: Indian Ocean Brewing Company, Mindarie Better Days: Kalamunda Hotel, Kalamunda Gypsy Marsala: Kulcha, Fremantle Adam Hall & the Velvet Playboys, Cheeky Monkeys, DJ James MacArthur, Swing DJ: Mustang Bar, Northbridge Dead Reckoner , The Loved Dead, Jonathon Brain, Nevada Pilot: Norfolk Basement, Fremantle Plastic Max: Osborne Park Hotel, Osborne Park Flyte: Paramount Nightclub, Northbridge Hugo Mendez, The Brow Horn Orchestra, Charlie Bucket: Railway Hotel, North Fremantle Copious, Serial Killer Smile, Gimbo, Paltiva: Rosemount Hotel, North Perth Flash Nat & The Action Men: Rosie O’Gradys, Fremantle Billy & the Broken Lines: Rosie O’Gradys, Northbridge Howie Morgan Duo: Sail & Anchor, Fremantle Nightshift: Sail & Anchor (Upstairs) , Fremantle Penny & The Mystics: Settlers Tavern, Margaret River Jamie Powers : Springs Tavern, Beechboro A Nameless Fear, Abandonearth, Between The Seconds, Silver Grenade: Swan Basement, North Fremantle Tinder Thieves, Jack Stanley, Scott Ruthenberg: Swan Lounge, North Fremantle Frenzy, Greg Carter: Swinging Pig, Rockingham Don & Jon, Lee Jones, Hamjam: The Bird, Northbridge J Man & Rosie: The Boat, Mindarie Clayton Bolger: The Eastern, Midland Easy Tigers , Stu Harcourt : The Paddo, Mt Hawthorn Krank: The Shed, Northbridge Jen de Ness : The Vic Hotel, Subiaco Retroofit: Universal Bar, Northbridge Naik, Diger Rockwell, The Collab Jam Band: Velvet Lounge, Mt Lawley Glen Davies: Victoria Park Hotel, Perth
Slim Jim & Phatts Inc.: Woodvale Tavern, Woodvale Morgan Joanel, Rachel & Henry Climb a Hill, Moana, Miranda & Gordo: Ya Ya’s, Northbridge
SAT 9 MARCH 2013 Courtney Murphy, Murphy’s Lore, Tip Top Sound DJ: Bailey Bar & Bistro, Joondalup Retrofit: Balmoral, East Victoria Park Flyte: Bar 120, Hillarys Mike Nayar: Belgian Beer Cafe, Perth Jonny Taylor: Bootleg Brewery Bar, Margaret River The Mojos: Brook Bar & Bistro, Ellenbrook Animal, Axe Cane, Graham Greene Band, Light Shift: Civic Backroom, Inglewood Childsaint: Clancys Canning Bridge, Applecross The Crux: Clancys City Beach, City Beach Mod Squad : Clancys Fremantle, Fremantle Acoustic Aly: Como Hotel, Como Future Wives Club: Defectors, Mt Lawley Johnny Nandez Hammond Explosion, + more: Devilles Pad, Perth Howie Morgan , Saffron Sharp: Ellington Jazz Club, Perth The Kill Devil Hills, Felicity Groom: Fremantle Arts Centre, Fremantle Mike Compton, Hardrive Bluegrass Band, Bluegrass Parkway: Fremantle Workers Club, Fremantle Dirty Scoundrels : Gate Bar & Bistro, Success Astrobat: Greenwood Hotel, Greenwood The Charisma Brothers: Gypsy Tapas House, Fremantle Chris Murphy & the Holy Rollers: High Road Hotel, Riverton The DomNicks: Hotel Rottnest, Rottnest Island Matt Gresham: Indi Bar, Scarborough Helen Shanahan: Indian Ocean Brewing Company, Mindarie Gina Williams, Guy Ghouse, David Hyams: Kulcha, Fremantle Steve Hepple: Leopold Hotel, Perth Rhythm 22: M On The Point, Mandurah Flash Nat & The Action Men: Moon & Sixpence, Perth Freeway, Murder Mouse Blues, Empire Blues, Weapons of Mass Satisfaction: Mount Helena Tavern ((Afternoon)) , Mount Helena The Rusty Pinto Combo, Milhouse, DJ James MacArthur, Rockabilly DJ: Mustang Bar, Northbridge Kizzy: Newport Hotel (Afternoon) , Fremantle Sean Scott: Port Kennedy Tavern, Port Kennedy Nevsky Prospekt, Midnight Boulevard, Hailmary, Dirtwater Bloom: Rosemount Hotel, North Perth Blue Gene: Rosie O’Gradys, Northbridge Kris Buckle: Royal Palms Resort, Busselton, Busselton Better Days: Sail & Anchor, Fremantle Ben Merito: Settlers Tavern, Margaret River Mat Cal & The Black Heart Sun, The Renzullo Project, Ji Deeg, Salv: Swan Basement, North Fremantle
32 • To check out the mags online go to themusic.com.au/mags
The Itch, Bath, Villain: Swan Lounge, North Fremantle Tandem, Christian Thompson: Swinging Pig, Rockingham The Organ Grinders : The Boat, Mindarie We Move Walls, This Will Stop the Machines, Kathleen Watson: The Eastern, Midland Laser Rock Show, Astro Pig, The Branson Tramps, The De Niros, The Potent Remedies: Velvet Lounge, Mt Lawley Daren Reid & the Soul City Groove: Woodvale Tavern, Woodvale Morgan Bain, Logan Crawford, Boston & Chevy: Ya Ya’s, Northbridge
SUN 10 MARCH 2013 Good Karma: 7th Avenue Bar, Midland Velvet & Stone: Balmoral, East Victoria Park Adam James: Belmont Tavern, Cloverdale Glenn Musto: Broken Hill Hotel, Victoria Park Mike Nayar: Brooklands Tavern, Southern River Chasing Calee: Chase Bar & Bistro, Baldivis Needing Cherie: Clancys Dunsborough, Dunsborough The Zydecats: Clancys Fremantle, Fremantle Adrian Wilson: Como Hotel, Como Hi-NRG: Crown Perth (Groove Bar) , Burswood Nueva Salsa Orchestra, Gina Williams, Guy Ghouse, David Hyams, Sonja D’anne, Julius Lutero: Ellington Jazz Club, Perth Fear Of Comedy, Rag & Bone, Like Junk, Heytesburg, DJ Jessica: Geisha Bar, Northbridge Hi-NRG: Groove Bar, Burswood The Organ Grinders : High Wycombe Hotel, High Wycombe Minnie Marks : Indi Bar, Scarborough Retriofit: Indian Ocean Brewing Company, Mindarie Christian Thompson: Kalamunda Hotel, Kalamunda Stu Orchard, Old Blood, The London Bureau, That Velvet Echo, Julio Cadrigues: Mojos Bar, North Fremantle Peter Busher & the Lone Rangers, DJ Rockin Rhys: Mustang Bar, Northbridge Sea of Tunes, Tim Nelson, DJ Tom Drummond: Newport Hotel (Afternoon) , Fremantle Andrew ‘Walter’ Morgan, Trevor Jalla , Mike de Velta, Empire Blues: Peel Estate Winery, Karnup Dirty Scoundrels : Port Kennedy Tavern, Port Kennedy Better Days: Quarie Bar & Bistro, Hammond Park Velvet: Queens Tavern, Highgate, Highgate Penny & The Mystics: Redcliffe On Murray, Pinjarra David Fyffe, Neil Colliss: Rosie O’Gradys, Northbridge Howie Morgan Project: Saint, Innaloo Mooditj Brothers: Settlers Tavern, Margaret River Blackhart, Strangelove: South st Ale House, Hilton Craig Ballantyne: Sovereign Arms, Joondalup Matt Angell, Stu Harcourt : Swinging Pig, Rockingham The Flower Drums, Mayor Dady, Mei Saraswati, Childsaint: The Bird, Northbridge Jonny Taylor: The Deck Marina Bar, Busselton
DJ Nathan J, DJ Nizbet, Pasha: The Flying Scotsman (Afternoon) , Mount Lawley Retrofit: Universal Bar, Northbridge Coburn Sound, Helen Towsend Band: Velvet Lounge (Afternoon) , Mt Lawley Acoustic Aly: Wanneroo Tavern, Wanneroo Electrophobia: Whistling Kite, Secret Harbour Electric Toad, Man The Clouds, The Yokohomos, The Melt Earhtquake: Ya Ya’s, Northbridge
MON 11 MARCH 2013 Chris Murphy, Courtney Murphy: Crown Perth (Groove Bar) , Burswood Cameron Buma: Ellington Jazz Club, Perth Courtney Murphy, Chris Murphy: Groove Bar, Burswood Open Mic: Mojos Bar, North Fremantle Tripple Shots: Mustang Bar, Northbridge Plastic Max and the Token Gesture: The Deen, Northbridge Big Thommo’s Open Mic Variety Night: Ya Ya’s, Northbridge
TUE 12 MARCH 2013 Chris Murphy: Crown Perth (Meridian Room) , Burswood A celebration of the music of Whitney Houston feat.+Amanda Dee: Ellington Jazz Club, Perth Ben Merito: Lucky Shag, Perth Cradle Of Filth: Metropolis, Fremantle The Empty Cup, Naik, Leon Osborn, Ravs: Mojos Bar, North Fremantle Rich Widow, Moana, Catbrush, The Golden Slums: Ya Ya’s, Northbridge
WED 13 MARCH 2013 Dillip Parekh & Junior Bowles: Clancys Canning Bridge, Applecross Bernadine: Greenwood Hotel, Greenwood Fenton Wilde: Hale Road Tavern, Forrestfield Aiden Varro: Indi Bar, Scarborough Shane Corry, Mitch Becker, Sam Carmody: Moon Cafe, Northbridge Almost Famous: Mustang Bar, Northbridge Arlo Guthrie: Octagon Theatre, UWA Lionizer, The Southwicks, Jackdaws, The Itch: Rosemount Hotel, North Perth David Fyffe: Rosie O’Gradys, Northbridge Craig Skelton, Stone Circle, Conan Chapman: The Paddo, Mt Hawthorn
TOUR GUIDE COLLARBONES: Saturday 30 March, The Bakery
Soweto Gospel Choir: Mar 7 Perth Concert Hall Eli Wolfe: Mar 7 Clancy’s Fremantle; Mar 9 South Hedland Town Square, Port Hedland Birds Of Tokyo: Mar 7 Prince Of Wales; Mar 8 Fremanlte Arts Centre George Clinton & Parliament Funkdalic: Mar 7 Metropolis Fremantle Deep Purple, Journey: Mar 7 Perth Arena Nick Cave & The Bad Seeds: Mar 8 Red Hill Auditorium Gary Puckett & The Union Gap: Mar 9 Astor Theatre The Cat Empire, Flap!: Mar 10 Fremantle Arts Centre Dinosaur Jr., Jon Spencer Blues Explosion, MOon Duo: Mar 12 Astor Theatre Ronan Keating, Brian Mcfadden: Mar 12 Crown Theatre Title Fight, Luca Brasi: Mar 13 Amplifier; Mar 14 Ymca Hq Mat Mchugh: Mar 14 Settlers Tavern; Mar 15 & 16 Mojo’s The Jacksons: Mar 14 Perth Arena Paul Kelly, Neil Finn: Mar 14 Kings Park & Botanic Garden Live At The Quarry: Reminiscing Feat. Glenn Shorrock, Wendy Matthews, Doug Parkinson: Mar 14 & 15 Quarry Amphitheatre One People Band: Mar 15 Fly By Night; Mar 20 Mandurah Performing Arts Centre Damien Dempsey: Mar 15 The BakeRy John Waite: Mar 16 Crown Theatre Presidents Of The United States Of America, Hey Geronimo: Mar 16 Metropolis Fremantle The Mark Of Cain: Mar 17 Capitol Mutemath, Big Scary: Mar 19 Astor Theatre William Elliott Whitmore: Mar 23 Mojos West Coast Blues’n’roots: Robert Plant & The Sensational Space Shifters, Iggy & The Stooges, Chris Isaak, Paul Simon, Rufus Wainwright, Status Quo, Tedeschi Trucks Band, Fred Wesley & The New Jbs, Newton Faulkner, Kitty, Daisy & Lewis, Grace Potter, Mama Kin, Blue Shaddy, Ben Harper, Santana, Steve Miller Band, Wilco, Bonnie Raitt, Jimmy Cliff,
Michael Kiwanuka, Ash Grunwald, Benjamin Francis Leftwich, Julia Stone, Gossling And More: Mar 23 & 24 Fremantle Oval This Will Destroy You: Mar 23 Rosemount Hotel Sticky Fingers: Mar 27 Rosemount Hotel; Mar 28 Prince Of Wales Hotel; Mar 30 Settlers Tavern Benny Walker: Mar 27 Indi Bar; Mar 28 Clancy’s Fremantle Guy Sebastian: Mar 28 & 29 Crown Theatre Battleships, Nantes: Mar 30 Amplifier; Mar 31newport Hotel Pvt, Collarbones: Mar 30 THe Bakery Hits & Pits Festival: Mad Caddies, Good Riddance, A Wilhelm Scream, Voodoo Glow Skulls, The Flatliners, Diesel Boy, One Dollar Short, Jamie Hay, Jen Buxton, Totally Unicorn, Paper Arms: Apr 1 Metropolis Fremantle The Xx: Apr 2 Metro City Luka Bloom: Apr 2 Fly By Night Dead Letter Circus, Breaking Orbit: Apr 4 Prince Of Wales, Bunbury; Apr 5 Rosemount Hotel Frank Turner: Apr 4 Amplifier Global Beats & Eats: Blue King Brown: Apr 6 Liddel Park, Girrawheen Birdy, Lewis Watson, Lakyn Heperi: Apr 6 RiveRside Theatre Grinspoon: Apr 5 Prince Of Wales; Apr 6 Capitol Hungry Kids Of Hungary: Apr 11 Newport Hotel; Apr 12 Capitol Damon & Naomi, Guy Blackman: Apr 13 Rosemount Hotel Rotten Sound: Apr 14 Amplifier Josh Groban: Apr 16 Kings Park & Botanic Garden Extreme, Richie Kotzen: Apr 16 Metro City Zucchero: Apr 17 Regal Theatre Buzzcocks: Apr 18 Rosemount Hotel In The Pines: The Panics, Usurper Of Modern Medicine, The Volcanics, Adam Said Galore, Schvendes, The Bank Holidays Suo, Circus Murders And More Tba: APr 21 Somerville Auditorium Silverstein: Apr 22 Amplifier The Black Seeds: Apr 24 Metropolis Fremantle
The Deep End: Apr 24 Rosemount Hotel; Apr 25 Mustang Bar; Apr 26 C5; Apr 27 Civic Hotel Fairbridge Folkworld Festival: Tinpan Orange, Mama Kin, Kristina Olsen, Frank Yamma, Nicky Bomba’s Bustamento, Flap!, Saruzu, Gleny Rae Virus And More: Apr 26-28 Fairbridge Village Dig It Up!: Hoodoo Gurus, The Flamin’ Groovies, Peter Case Band: Apr 28 Astor Theatre The Rubens, Oh Mercy: May 2 Prince Of Wales; May 3 CapItol; May 4 Settlers Tavern Bob Evans: May 2 Settlers Tavern; May 3 The Bakery; May 4 Prince Of Wales Black Sabbath: May 4 Perth Arena The Bad Shepherds: May 8 Astor Theatre +Boomtown Rats: May 8 Challenge Stadium Tegan & Sara: May 9 Metro City +Yacht: May 10 The Bakery Cradle Of Filth: May 12 Metropolis Fremantle Evermore: May 16 Newport Hotel; May 17 Player’s Bar; May 18 Charles Hotel Funeral For A Friend: May 17 Amplifier; May 18 Prince Of Wales, Bunbury Groovin’ The Moo: Alpine, The Amity Affliction, The Bronx, Frightened Rabbit , Hungry Kids Of Hungary, The Kooks, LaSt Dinosaurs, Matt & Kim, Regurgitator, Tame Impala, Tegan & Sara, The Temper Trap, They Might Be Giants, Yacht And More Tba: May 11 Hay Park, Bunbury Tame Impala: May 18 Belvoir Ampitheatre The Gaslight Album: May 19 Metro City Deftones, Letlive: May 21 Metropolis Fremantle The Ghost Inside: May 23 Amplifier Airnorth Kimberley Moon Experience: Guy Sebastian, Mark Seymour, James Reyne, Gurrumul Yunupingu: May 25 Jim Hughes Amphitheatre, Kununurra The Seekers: May 30 Riverside Theatre Icehouse: Jun 2 Cable Beach Ampitheatre Something For Kate: Jun 7 Astor Theatre P!Nk: Jun 25, 26, 28 & 29 Perth Arena Buddy ‘N’ Roy: Together ‘N’ Alone: Jul 25 Albany Ent. Centre; Jul 26 Mandurah P.A Centre; Jul 27 Astor Theatre +Alt-J: Jul 27, Challenge Stadium One Direction: Sep 28 & 29 Perth Arena Andre Rieu: Oct 29 Perth Arena
Thursday 7/3 • The Obscurities
Friday 8/3 • The special guests The Tailor ($5 Saturday Annie
10/3 • The (4pm-6pm) / Fox (7pm-10pm)
Monday 11/3 • The Rock Bottoms town but, in didn’t know it Tuesday Jazz
Whiskey Pocket with Tanglewood & entry from 8:30pm)
Sunday Brothers Brown
Charisma Click • free
Johnnie Walker and were living in a devil their defense, they was a devil town. •
Wednesday 13/3 • Acoustic showcase with Molly Black & Stu Orchard (free from 8:30pm) Lot 4 • • 9430
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Published on Mar 6, 2013
The Drum Media entered the Perth landscape with a view to bring the ethos of its iconic East Coast brothers to the vibrant music scene that...