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triple j, Street Press Australia and Fasterlouder PRESENT

THE BEACH TOUR With very Special Guests Millions and Chaos Chaos (USA)


Tickets available from | 08 9370 5888 | Astor Theatre Box Office direct San Cisco Album out now




IN BRIEF Dates for the 2013 instalment of Splendour In The Grass have been pencilled in, with the three-day event taking place Friday 26 to Sunday 28 July. This year will mark the first time the festival has been held at its new home at North Byron Parklands. Although live music didn’t feature as strongly as certain stakeholders had originally hoped, the National Cultural Policy still looks to inject $235 million into the arts sector. The “ten-year vision” is designed to create an environment where local musicians can thrive as opposed to an immediate cash grab.


BAA BAA BYE After two huge years of relentless writing, recording and performing, and appearances at just about every national festival you can think of, Brisbane quintet Ball Park Music have announced their final headline national tour for 2013. Still riding the wave off of their 2012 sophomore effort Museum, Ball Park Music have made something of a coup with their enticingly energetic live show and devotion to their fans. Now the Thank Ewes Tour will be a chance for the band to thank their loyal fans for supporting them over the last two years. This’ll be your last chance to catch them before they head back into the studio to knuckle down on a third album, so don’t miss out when they play Metropolis Fremantle on Friday 12 July, supported by Eagle & The Worm and Jeremy Neale. Tickets through Oztix.

Clive Burr, the former drummer of Iron Maiden, has passed away in London, age 56, after suffering from multiple sclerosis. Burr joined the band in 1979 and played on three albums including defining records Killers and The Number Of The Beast.





DIAMONDS ON THE DANCE FLOOR Rihanna is currently dominating global charts with Diamonds, the fastest-rising single of her career to date (which is saying something), and the first single from Unapologetic, her seventh studio album in just seven years. Diamonds also just marked Rihanna’s twelfth time at number one on Billboard’s Hot 100 chart and with only a six-year, one-month, two-week stretch between her first number one chart topper with SOS on May 13, 2006 and the release of Diamonds last week, she is officially the fastest female artist ever to receive 12 number one titles at the top of the Hot 100. But enough with the facts: what you want to know is that she’s coming to Perth Arena on Tuesday 24 September. Tickets and more info through











HOOT HOOT To celebrate the release of her highly anticipated debut LP Nightswim (released this Tuesday just gone), Owl Eyes is thrilled to announce she will be heading out on tour around the country in May and June. Playing shows in all major cities, this is the first time Owl eyes has toured nationally since her sold out tour in May 2012, and the first opportunity fans will get to hear the new material live. A remarkably deep, ultra-modern, vibrant collection, ‘Nightswim’ not only showcases Brooke’s signature pop sensibilities and sublime taste, it firmly establishes her as one of music’s brightest and most innovative songwriters. She plays Axmplifier on Friday 24 May, with special guests Collarbones. Tickets through Oztix.

4 • For more news/announcements go to

MASTER OF THE HOUSE In his own words, Beni is “A very curious motherfucker”. He’s been that way since the beginning, too, from the formidable years spent watching his father perform to the genre-jumping Avalanches gig that inspired the producer to pick up turntables and sharpen his DJ skills on school days. He’s kept at it since then, releasing a series of incredible music that has spanned more than a decade. There’s the tunnel vision techno of O.P.U.L.E.N.C.E., the head rush hooks of Last Night, and the gear-shifting grooves of Yeah, a telling look at the film score tendencies that lurk beneath Beni’s laser-like loops. The man heads to The Aviary on Easter Saturday 30 March for a special long weekend gig with guest supports to be announced. And it’s free entry!

In a recent interview at the recent NME Awards in London, drummer Matt Helders has suggest that the Arctic Monkeys will release a fifth studio record sometime this year. The location of Laneway USA has been announced, with Michigan’s Motor City, Detroit, pencilled in to host the event, happening Saturday 14 September.



Guns N’ Roses fan Darren Wright is seeking $5,000 in damages from Axl Rose after the controversial lead singer threw a microphone into the crowd at Gunners recent show at Perth Arena, knocking Wright’s front teeth out,. The new album from trailblazing British metal band Black Sabbath , titled 13, will be released on June 10. This will be the first record from the band in 35 years. The mother of Michael Jackson and the King of Pop’s three children – Prince, Paris and Blanket – are seeking £26 billion (almost $38 billion Australian) in compensation from AEG Live, the concert promoters who were behind Jackson’s scheduled 50-date stand at London’s O2 Arena. Jackson passed away in the lead up to the performances in 2009 at his Los Angeles home. British prog arena rockers Muse look to be touring Australia in December, with Matt Bellamy announcing the news via Twitter. Melbourne MC Seth Sentry took out top honours at the SXSW #BoldStage rap battle, beating US freestylers Devin Miles and Snow Tha Product. Sentry’s win has secured him the support slot on LL Cool J’s forthcoming Authentic tour around the States.


TAKE IT TO THE COUNTRY Building on the announcement last week of her metro tour of churches and cathedrals (where she heads to St Joseph’s Church, Subiaco on Wednesday 5 June), Kate Miller-Heidke will be embarking on her first extensive regional tour since 2009. The past year has been a whirlwind for Kate as she undertook two national tours, dates in Asia and Europe, a handful of festivals including Splendour In The Grass, Woodford Folk Festival and Pyramid Rock, a headline tour across the US, as well as a return visit to support the newly re-formed Ben Folds Five in stadiums throughout the country. Taking place in theatres around the country throughout May and June, the tour stops by Mandurah Performing Arts Centre on Thursday 6 June and Albany Entertainment Centre on Friday 7. Tickets through Ticketek and for the Mandurah show.

DO THE SHUFFLE They are part of Australia’s emerging electronic elite. With a spot on triple j’s music program lineup (Friday Night Shuffle) as well as Australian and International festivals, The Aston Shuffle released their debut longplayer Seventeen Past Midnight to critical acclaim (featuring what Rolling Stone call “the best dance single to come out of Australia in a decade”, Your Love), and they’ve proudly debuted their live show across the country. Now, with Start Again giving all and sundry a taste of their latest album Can’t Stop Now, The Aston Shuffle are heading on the road once again, stopping by Ambar on Wednesday 24 April. $25 on the door.


MAKING THE COMMITMENT In 1992 the Alan Parker film The Commitments, based on the short novel by Roddy Doyle, was released. The Commitments is something of a rags-to-riches story that sees the group fall just short of stardom. The movie received massive international recognition, nominated for Grammy’s and Academy Awards, and won several BAFTA’s and Brit Awards. Now, Andrew Strong will be touring The Commitments show Down Under to celebrate the 21st anniversary of the film. The 8-piece band will be performing all the hits that were not only made famous from the film but received incredible chart success in Australia. Get committed at Metropolis Fremantle on Thursday 22 August, tickets through Oztix.

22nd MAR

LIVE! Red Engine

Caves, Spacemen Antics & Ray Finkle. Doors 8pm.

23rd MAR

LIVE! The Aunts,

The London Bureau, Dear Hella and DJ Cookie. Doors 8pm. www.facebook. com/norfolkbas ementlounge

Thursday 21 March

BEX’S OPEN MIC NIGHT Friday 22 March


Saturday 23 March



BEN MERITO Sunday 24 March

SHOVEL AND THE GUN Wednesday 27 March







IT’S PRONOUNCED NU-CLEE-AH Hold onto your party pants, kids; Perth’s prodigal sons Bombs Away return to Perth on Saturday 4 May to headline their own show at Villa! One of the few acts to hold down five concurrent places on the ARIA, iTunes, Djdownload, Djtunes, and Beatport charts concurrently, Bombs Away are our reluctant war heroes – their remix work is loved by the Brits and Americans equally, and their original work (Swagger, Supersoaker) smashed national radio play and the Australian iTunes chart. With four decks and two mics, the duo use anything at their disposal to get the crowd sweating, dropping lyrics, loops, samples, a cappellas and synths over the fattest tracks and their own bootlegs and tunes. Tickets through Moshtix, with a special Boomtick VIP option.

PRIME MERIODONAL Norma Jean have continuously pushed the boundaries of heavy music, releasing a slew of seminal albums including O God, The Aftermath and The Anti Mother, and cementing themselves at the forefront of the metal world. This trend continued with the release of their fifth full-length Meridional, which has since been describes as their magnum opus. Renowned across the globe for their chaotic and pummeling live shows, the band incites rabid fanfare, and they expect no less when they play Amplifier for The Academy’s Masquerade Ball on Wednesday 8 May, with special guests TBA. Tickets through Moshtix and Oztix.

FIELD OF DREAMS After almost a decade working as a producer with bands such as The Middle East, Tim Hart (Boy & Bear), Emma Louise, and then some, Back On The Milks is the first, unadulterated (full cream) taste of Mark Myers’ new solo project, The Starry Field. Self-produced over six years, the tracks are often personal and heartfelt, drawing from his experience with love, family, travelling, and his father’s cancer. Back On The Milks is a diverse debut, and with a sound best described as alt-country synth-pop, Myers’ ear for production is apparent throughout. He heads to The Bird on Saturday 13 April to launch it.

HOUSES TO TOWERS The Siren Tower is not an easy band to define. They keep their heads down, work hard and put their music into the world; what is made of it after that is of little concern. Only months ago, the local collective gave us their debut long player, A History Of Houses. The album is a dense reflection; a statement of reverence for this land and it’s peoples, the band’s spiritual font. It’s a voice that is shared by the mob, and it’s resonating across the entire island. It’s made it strong in our city, but now the band are embarking on a pretty big national tour to get the word out there, with the local leg winding it up at Mojos on Saturday 4 May. Tickets on the door.


BACK THE BULL The Toronto-based production duo of Mike “Digits” Gonek and Evan “Yo Ev” Norton masterfully creates total chaos party music; full of hip hop, electro and tropical riddims. With a CV full of remix work and releases out on Mad Decent, T&A Records, Slow Roast/Fools Gold, Dim Mak and Trouble & Bass, Torro Torro have the attention of Knife Party, Porter Robinson, Zeds Dead, Clockwork, Diplo/ Mad Decent, Annie Mac, MSTRKRFT, Crookers, Dillon Francis, Steve Aoki and AC Slater. As you do. After slaughtering it at South By Southwest and the Miami Winter Music Conference, the duo make their way to Ambar on Friday 19 April to give Australian audiences their first taste of their magic. Tickets $20 on the door.

Josh Fontaine’s 6s & 7s finally make a return for the year, playing The Bird on Friday 22 March. Methyl Ethyl and the Shy Panther DJs support on the night. $5 entry. Perth-based singer-songwriter Jade Diary writes atmospheric indie pop with touches of fantasy and melancholy. A unique blend of Birdy, Ingrid Michaelson and Karen Carpenter, she has established herself as a truly unique musician. She plays Clancy’s Fish Pub Fremantle on Saturday 23 March, supported by Minky G & Rosco and Codie Sundstrom. An afternoon jamboree of Kustom Kulture, cars and music is going down at Devilles Pad this Sunday 24 March in Hot Rods To Hell, bringing hot rod and rockabilly together. Headlining the day will be Vegas-styled roots rock boys The Burger Kings, plus there’s “international sinnin’ sensation’ Barbara Blaze and Tiki troublemakers The Kahuna Daddies. Oh, and of course over 50 hot rods on display, DJs and activities for the kiddies. They’ve been running a series of great little acoustic gigs at their chosen home at PICA Bar of late, and now Teledex are hosting something of a mini fest when The Spiff Tyres (Sean and Paul of The Spitfires) tone down their usual crazy-fun sounds for an intimate set, with Benny Mayhem, Elk Bell, Wheels McKenzie and Sean Fry also making an appearance on Saturday 23 March. On Sunday 24 March blues-rock fellows Old Blood headline a gig at Mojo’s, with a great stream of supports including Crooked Cats, Mt Mountain, The Beers and more scheduled. Plues, there’ll be a live skate display and free BBQ! Free entry 2-4pm, $8 after 4pm.

FESTIVAL NEWS TIME YOUR HITS If you’re a punk fan, then you’re probably well aware that the 2013 Hits & Pits Festival is about to embark, with the Eastern States fans the first to reel from the blows from the likes of Mad Caddies, Good Riddance, A Wilhelm Scream and Voodoo Glow Skulls. The Perth leg happens on Monday 1 April at Metropolis Fremantle, and now the set times have been posted on the Hits & Pits website, so you can get your slamdancing organized properly. Finds Hits & Pits on Facebook to check it out, and hit up Oztix for tickets.

Underground Resistance have something of a bone to pick with Fascist exercise regimes. They don’t feel comfortable conforming to the bourgeois capitalist stylings of modern aerobics, so they’re now hosting a frequent set of Punk Rock Aerobics classes, with the first one happening at The Rosemount Hotel’s lounge area this Thursday 21 March. A favourite Fremantle chill-out venue, X-Wray have a few great little gigs on this weekend: Friday 22 March, Bryan Rice Doulton and The Galloping Foxleys lay down some sweet guitar tunes; Saturday 23, DJ Camborghini keeps it spinning all night; and Sunday 24 The Charisma Brothers play before Click Brown Fox. Tuesday 26 March, Burst & Bloom headline Mojo’s Bar. They are very ably supported by Rich King Matthews, Val Verde andf Blake Skinner solo. Entry $5 from 8pm. Wednesday 27 March, Fremantle Blues & Roots Club presents Mitch Becker Duo featuring Jean-Guy. Supports on the night include Minky Gardiner duo & folk pop artist Carolyn Thomas. Entry $6, doors at 8pm. Wednesday, March 20 - Going Solo at the Moon late night cafe presents Nora Zion, Mei Saraswati and Rabbit Island. This week the artists will go on at 8:30pm. Entry to restaurants is always free. Thursdays are a tough day; the weekend’s almost there but just out of reach… Solution? Spaceman Antics are clinically proven to clear up those mid-week blues, and they play this Thursday 21 March at Ya Yas. Supports come in the form of Black Swan and Ibis Elm. Entry $5 from 7.30pm. And fancy a party this weekend? YaYa’s is throwing a monster musical bash on Saturday 23 March with esteemed rockers Bishi Bashi and Split Cities at the helm. Proudly supported by Children and Santa Muerte. JADE DIARY Entry $10 from 8pm.

GET YO YOUR GROOVE ON One of the foremost artist-supporting organizations in Perth, th the Funk Club has been going strong for ten years nnow, and are excited to be celebrating a decade of bringing the best funk, jazz, soul and more to audiences with a series of shows, the biggest being the inaugural Groove Music Showcase. Covering the whole gamut, form funk soul and dub to reggae, hip hop, drum & bass and everything in between, the Funk Club guys are currently looking for bands and DJs to get on board the event, which is happening at Salt On The Beach on ANZAC Day, Thursday 25 April. 14 bands and 14 DJs will be selected. The entries close TOMORROW, Friday 22 March, so get in on it now!


On the back of blitzing SXSW and crowds across the US and the UK, San Cisco have announced they’re hitting the road as soon as they get back to Australia for The Beach Tour throughout May and June. San Cisco are currently making their mark on the UK and US with support slots with The Vaccines, Darwin Deez as well as playing their own headline shows and their debut appearance at SXSW. The four-piece have been smashing their sets and impressing crowds internationally, with NME naming them Radar Band Of The Week and as the so-named “Gotye-slayer.” Helping to get the beach party started at The Astor Theatre on Saturday 1 June will be Brisbane four piece Millions and Chaos Chaos from the US. Tickets through Show Ticketing and the Astor box office.

HAMMER IT HOME Get ready for a big ol’ throwdown when two giants of the electronic dance circuit, Ben Clock and Derrick May, settle it like gentlemen for Throw The Hammer, happening at Capitol on Wednesday 24 April. Derrick May’s narrative is wedged into electronic music folklore. From the 1980s, May and his group The Belleville Three went about restructuring electronic music into something delineable but totally unique at the same time, and he has since become one of the forefathers of modern house music. On the other side, Ben Klock became just as integral to another side of the dance movement: the home of so much of the foundation of dance, Berlin. The Berghain resident has had just as much an effect on the whole movement as May, so it seems fitting they throw their respective forces down at the same time. Support comes from Clunk, Allstate, Ben Taafe, Everyteen and Milanov, tickets through Heatseeker and Oztix.

FROM UP ON HIGH It’s been 18 months since Dave Gleeson of The Screaming Jets, joined Australian Rock Stalwarts The Angels, and those months have been some of the busiest, and most successful, in the band’s long career. The newly re-energized band have poured over their old material, written a bunch of new stuff, and have since seen The Angels once again come out on top on a national level. Now, The Angels’ Greatest Hits: Take It To The Streets tour sees Australia’s most acclaimed live rock band bringing together their most famous hits with the best songs from the widely praised new album, and some blasts from The Angels’ past the band hasn’t played live in decade. They head to The Astor Theatre on Saturday 6 April. Tickets through Show Ticketing.


To highlight the important influence Pez has had on the Australian hip-hop scene, you need only to look at the two supports from his last tour in 2009: a little-known rapper named 360 and an upcoming MC named Seth Sentry. With three long years since his last tour, the Back In The Game Tour will roll through 21 dates nationwide and provides Pez with the chance to unveil tracks from his long awaited sophomore album, including current single The Game. Pez is a unique voice in Australian music – his records are grounded with a hip-hop ethic and infused with sweet melodies, but it is his more honest, soulful and direct lyrical approach that has allowed him to build a deep relationship and understanding with his loyal fan base. He celebrates that at Amplifier on Friday 10 May, before his set at Groovin’ The Moo. Tickets for the amps gig through Oztix.


Managing Editor Andrew Mast Editor Callum Twigger Assistant Editor Cam Findlay Front Row Editor Cass Fumi

ADVERTISING Sales & Marketing Director Leigh Treweek Sales Executive Matt McMullen

DESIGN & LAYOUT Matt Davis, Nick Hopkins, Eamon Stewart

ADMINISTRATION Accounts Loretta Carlone

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

6 • For more news/announcements go to



BAPTISM BY FIRE Returning with his white-hot band to deliver the good word from the bible of high-octane rock ‘n’ roll for his Australian disciples this May, The Reverend Horton Heat is getting ready to drop the fire once again. Long held as the last true masters of country punk-laden rockabilly, The Reverend Horton Heat have built a reputation as one of the most inspiring live bands of their generation, a fact not lost on Australian music lovers who’ve witnessed The Reverend tear up venues across the country making the man and his band a must see on each and every visit. The group make their way to the Rosemount Hotel on Tuesday 28 May. Tickets through Heatseeker and Oztix.


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

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

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

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


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A MACHINE CALLED WILCO Again it comes back to the practicalities of Wilco being a road-hardened touring band. As the machine gears up to work their way around the world again, Tweedy reveals the band can dive into a repertoire of “around a hundred or so songs at any given time.” And then he adds the kicker that will delight or irritate most musicians: “Wilco doesn’t really rehearse. A soundcheck is generally enough to get the muscle memory back. No, it really is like riding a bike. It’s all there; if you remember three songs, you’ve got the way into fifty. I don’t know the neurological conditioning or whatever it is, but it really does work like that. We have our language. “We can play anything, pretty much. There are certainly things we feel we might not play as well as others, and some we’re pretty good at. And there is a few we’d mostly like to leave as just being album tracks,” he chuckles conspiratorially. “Practically, when we’re playing, we try to write a setlist early in the day, so if we think of something that’s out of ‘the main rotation’ we have a chance to run through it at soundcheck – or more likely in the dressing room, twenty minutes before we go on.” There’s no boast, or false modesty, in the description. Tweedy and band know they are fortunate, and know the effort they’ve put into it. In the era of instant (and often short) X-Factor or Idol success, Wilco love what they do, do what they love. “Some people don’t enjoy it, I know. That’s tragic. Not that people should be Pollyannaish about it. It can be a struggle, but equally you don’t need a guitar-shaped swimming pool – that’s of a different time, a different era of excess. “We’ve learnt to live within our means – just operate in a responsible way. That’s another extension of the creativity of the band. To how you present yourself – and to not be beholden to that monetary aspect.”

Jeff Tweedy doesn’t need a guitar-shaped swimming pool, let alone a TV to throw in it. The Wilco frontman is a grown-up working musician, although he tells Ross Clelland he’d quite like the band to get “a little more fucked up” – at least musically. hicago is nominally Wilco’s home, although the band’s seemingly punishing touring calendar means they might not see it all that much. Having wrapped up their schedule towards the end of last year, the band’s centre, Jeff Tweedy, has been ‘having a break’. That term might be relative – he doesn’t seem to be have been sitting on the porch in a rocking chair all that much. He’s produced Low’s comeback record, is “finishing up” an album with soul legend Mavis Staples, “and just doing some more recording” among the other stuff of life.


But he’s happily dismissive if you congratulate his productivity: “Some people think you’re hard working if you go and play music every day? This is not working compared to what most people have to do.” That honest Mid-Western pragmatism is another reason to like Wilco. That, and a collective talent that has made some of the most inventive albums of this century, and makes other musicians – plus the likes of usually cynical critics and other jaded industry souls – sometimes babble like One Directioners. Tweedy is slightly taken aback. “I really don’t know how to respond to that sometimes. How

about ‘I’m sorry?’” he suggests. “Maybe there’s enough ambiguity about what we do that people pour themselves into it a little bit – or a lot.

a kinda sneaky suspicion that the next record is gonna be a little more fucked up than the last few – that’s an itch we haven’t scratched in a while.”

“I generally get much more discomfort from reading something that’s very flattering about us; a lot of people don’t write very well when they’re saying nice things. I’ve found people tend to be really really good when they’re taking the piss out of something.” I’m oddly pleased he knows and uses the term ‘taking the piss’.

But just what does ‘fucked up’ mean, Jeff? “You know, I don’t really know,” he smiles, and trails off, then thinks aloud. “Not necessarily noisy, maybe just some less conventional song shapes, and in the sonics of it.” With a couple of over 12-minute songs on the last one, you wonder how much less conventional can Wilco get?

It actually took some time for this seemingly definitive Wilco lineup to come together. Members came and went – most notably the messy departure, and later death, of the band’s co-founder Jay Bennett. Again, Tweedy is quiet, patient in his explanation: “It is just the right collection of people now. It kinda shifted and changed a little bit – or significantly – with each record, but it was never meant to be a revolving door. Now it hopefully just gets deeper and broadens as it ages. That’s what I always wanted this band to be.”

“That’s a good question, I don’t know – maybe I have taken in some of that critical shorthand that ‘Wilco have played it safe’ lately – and maybe even those twelve-minute songs are the safe way for us. It relates to that enthusiasm and passion for Wilco – maybe it fostered a certain amount of expectation, and when it just sounds like Wilco, that’s somehow a disappointment,” he shrugs.

However, there is still some mystery and magic in the dynamic, even the guy who writes the songs not quite sure where the band will go next. “I have

THUR mar 21

L O C AT E D AT T H E C O R N E R O F A N G O V E A N D F I T Z G E R A L D S T R E E T S , N O RT H P E RT H w w w. r o s e m o u n t h o t e l . c o m . a u


THE SPITFIRES + Place of Indigo + The Disappointed + The Government Yard Doors 8pm, $10 entry.

“But it’s never been weird, really,” he goes on to defend. “Wilco’s always been a pop band, in the spirit of rock‘n’roll in some way. And some of the other shit that some people put on us – good and bad – I sometimes don’t recognise myself at all in that.”



There is an honesty, a sincerity, in Jeff Tweedy: “I feel very fortunate to be a working musician making a living from it. I’m a grown-up, is what I am. Rock‘n’roll is itself too old to be a youth sport anymore. Rock’n’roll’s been around for a long time, and I don’t see any real intelligence for just rebelling against ‘whatever you’ve got.’ “Absolutely I had my punk rock phase – I see plenty of things to rebel against. At this point of my life, personally, I’m rebelling against being an arrested development adolescent – that’s worth rebelling against.” So, are Wilco still a bar band at heart? He pauses for a moment, then chooses to take the question literally: “Um, you know, maybe not. Bars can be tough. And, for starters, there’s six of us now. Wilco tends to have a pretty large footprint – a small stage can get a bit crowded. Even a thing like Glen’s drumkit has grown over time – it’s a bit like a large piece of farm machinery to lug around. It could be so much easier if he could just drive it straight onto the stage.” WHO: Wilco WHEN & WHERE: Sunday 24 March, West Coast Blues ‘N’ Roots Festival, Fremantle; Saturday 30 March and Sunday 1 April, Byron Bay Bluesfest, Tyagarah Tea Tree Farm





+ Tangled Thoughts of Leaving + Dumbsaint (NSW) Doors 8pm, tickets from

+ Current Swell (Can) + Lyall Moloney Doors 8pm, tickets from $8 Doors 7:30pm $8entry. entr8. Doors 8pm


for more details and tickets head to the rosemount hotel, corner of angove & fitzgerald streets, north perth. 8 • For more interviews go to


Perth rapper Drapht has been quiet over the last couple of years as the hype from his massive single Jimmy Recard subsided, but he tells Chris Yates that he’s pumped to be getting out there again, and the new tunes (and the coffee) are about to start flowing. n the day of our conversation, praise for the appearance by Paul Ridge – aka Drapht – on Spit Syndicate’s album Sunday Gentlemen has started to pour in to his Twitter account, and his return single Salute was released onto iTunes about 20 minutes earlier. The mix of relief and excitement in his voice is noticeable, as well as the anticipation of the fact that shit is about to get crazy again. “Dude, it’s absolutely insane,” he laughs, “I was talking to my booking agent about this just the other day. I’ve been slaving over Salute over the last week, just the mixing process. I want to push everything out before I leave for the road because there’s a month where I won’t have access to do anything, really. So I literally spent all weekend mixing this song – tedious work bouncing back and forwards with the dude who masters all my stuff in Texas trying to get it as perfect as I possibly could. My ears were ringing and I was getting delusional and I finished the song and emailed it straight to triple j, and they were like, ‘Yep, cool, we’ll play it tonight.’ Later that night I put it up on Soundcloud and then it was released the next day (on iTunes). So in the space of three days it’s gone from finished to being on high rotation on triple j – it’s amazing!” With this instant gratification comes a price. The amount of music coming out on a daily basis, even just specifically in the narrow field of Australian hip hop, means that all too quickly people are ready to move onto the next track that shows up on their social media feed. “It’s a positive, but it’s also a negative,” he agrees. “I mean, people’s attention spans – people are just so fickle at the moment. You can release an album one week, and the next week someone else releases something and their attention goes straight to that. Six years ago I could spend a year-and-ahalf on something and then give it life for a good six months to a year. Now, the light switch can be turned off after a week-anda-half, which can be soul-crushing. It’s cheapened the art a little bit I think and people constantly have to give away free music, and try and depend on their live shows, which sometimes just doesn’t work. It’s a


tough market but you just need to adapt to the instant society we have at the moment.” It’s been a little while since the last LP from Drapht, 2011’s The Life Of Riley, and he says nonchalantly that he really wanted to have some downtime after the whirlwind of activity that record ushered in. Not one to shy away from a challenge, however, Ridge’s idea of downtime is not sitting around investing hours into Call Of Duty like many of his peers. In fact, it sounds like what the rest of the real world calls hard work. “It will be two years in April, which has just flown by,” he says of the passage of time since The Life Of Riley dropped. “I didn’t really need to release anything (for a while) because it just kept going and going which is something I appreciate immensely. I felt like I needed to have a little bit of downtime, but in that downtime I started creating a cafe which I’m just about to open here in Perth.” When it’s suggested that the idea of starting a small business doesn’t really sound like downtime, he laughs hysterically. “I know, right?! I should have been sitting on a couch or something – I don’t know what I was doing! Anyway, it’s all come to fruition and I’m all set to have the opening when I get back from tour.” He laughs again at hearing himself say this out loud and


realising that he’s clearly got a busy year ahead of himself. “The cafe is called Solomon,” he goes on to explain proudly. “It’s sort of a niche idea I had. I’ve suffered from food intolerance for the past 15 years so it gives people the option to go out and eat, catering to people’s food intolerance whether it’s gluten free, sugar free, dairy free. It’s something that’s really close to my heart and something I’m super passionate about, especially with touring and travelling around the world I’ve always found it really hard to find somewhere to eat where I’m comfortable and I can nourish my body.” His sister, who’s been in the hospitality industry for years, will be helping him run the cafe and he says one of the major perks is

that he won’t have to cook every meal for himself anymore. He’s been heavily involved in every aspect of the business so far and he sees it drawing some parallels with his other ‘job’. “I went to Bali searching for lights and fixtures and things, my sister has been going through op shops looking for old plates – it’s been absolutely relentless but it’s a different avenue for me and it still has that creative element to it, which I just love. Like forming the menu with seasonal ingredients, recipes and stuff – it’s shit I’m really passionate about and I’ve been unknowingly doing research on it my whole life. It’s coming into fruition now and I’m just so excited about the fact that I will own my own cafe, you know? It’s incredible.” Aware of the fleeting nature of the music industry, he sees the cafe as a long-term goal and something that has the potential to live beyond his rapping career. In some ways, it’s actually made him re-evaluate his approach to making music. “It’s already taken so much pressure off my music and I think you can really hear that on the three songs I’ve just released. I’m not writing for a specific radio formula anymore, I’m really trying to delve into that mind frame where it’s feeding me creatively as much as possible, and not depending on my music for my sole livelihood, which I think can have a detrimental effect. I’ve managed to live pretty comfortably thanks to my music but I don’t see myself as being a 60-year-old rapper.” Drapht is not letting the chance go to play to as many people as possible on this tour, cramming in about 30 shows in a month. It’s been a couple of years since he has taken on a tour of this magnitude, and he says he cannot wait. “I’m super excited,” he enthuses, with heavy drawling emphasis on the ‘super’. “I’m really looking forward to playing a bunch of old catalogue tracks I’m rehashing and revamping, I’m super proud of the whole set through and through.”

WHO: Drapht WHEN & WHERE: Thursday 28 and Saturday 30 March, The Rosemount Hotel











POMO FULCRUM PVT are the ultimate postmodern band, working from opposite sides of the globe. Guitarist Richard Pike tells Cyclone how they regrouped to record Homosapien, their most accessible album yet, in an old Yass homestead. espite their Australian origins, Richard Pike, who’s emerged as frontman for the once instrumental outfit PVT, has lived in London for four years. “I like it – and my girlfriend’s here,” he says. Besides, Pike now holds London to be cheaper than Sydney, and is home to his bandmates: brother Laurence Pike (drums) and Dave Miller (laptop). “We get together whenever it’s convenient – when we tour, really – and we rehearse then. But we recorded most of the live stuff [for Homosapien] just outside of Yass in NSW – or is it technically part of the ACT? We actually mixed the album over here in London.” Indeed, they hired mixer Brit Ben Hillier, whose credits include Depeche Mode. The


world may be smaller, but some logistical challenges will never go away. “Obviously, the big one is just flying. Occasionally, we have to say ‘no’ to gigs when we’re not all together and it’s just inconvenient. We can’t just say ‘yes’ to a gig here and there in Australia. We have to organise tours. We end up doing two tours a year in Australia – and that’s it, which is fine. It seems to have worked so far – unless we seriously run out of money or fanbase, then it probably will change,” he laughs, “but it’s been going okay so far.” PVT originated as the five-piece Pivot in Sydney in 1999, their ambient post-rock experimental and improvised. Pivot’s debut, Make Me Love You, arrived in 2005. Along the way, members drifted off, leaving the Pike brothers as Pivot’s core. They’d recruit Perth native Miller, and in 2008 the math rockers became the first Australian act to sign to Warp Records, releasing O Soundtrack My Heart. In 2010, however, legal issues compelled them to modify their name (there was another Pivot in North Carolina). Following Church With No Magic, PVT farewelled Warp. “Our deal ran out with Warp and we sort of mutually said ‘good-bye’. They didn’t offer us another deal, so we were kinda open, which was a little bit daunting at first, but actually nice – because it means we can exist out of the shadow of the ubiquitous Warp Records. We felt that for a few years it was hard to exist in our own right without mention of Aphex Twin or Battles or bands like that, especially because we’re a band not from England or America. We were the first Australian band on that label.” Pike reckons that Warp’s removal from Sheffield to London in the 2000s alienated fans of the “cultish” label. “That idea is part of the problem – that we were considered part of that new guard. The hardcore fans would say, ‘That’s not the real Warp’. Being put in that light was not fun... It’s like, Well, they’ve got guitars in the band, it’s not Aphex Twin... I’m very proud of the records we did on Warp, and I still love the label – it’s a fantastic, classic label that we’re part of still, no matter what we do in the future.” PVT’s management encouraged them to cut fresh material and send it to prospective new imprints. They eventually signed to New York’s Felte Sounds, helmed by sometime Ghostly International label manager Jeff Owens (their Australian base is Create/Control). “Jeff got really excited ‘cause he was starting a new label.” Homosapien, its title presumably nothing to do with Pete Shelley’s Martin Rushent-produced ‘80s hit, is a sonic departure for PVT. Pike is properly singing. The song Evolution, which has received more attention than the singles Nightfall and Vertigo, is closer to the nu-Krautrock (or synth-pop) of Midnight Juggernauts than the PVT of yore. “It was very much a gradual thing,” says Pike of his role as vocalist, “but I’ve always been singing, so it wasn’t that new or different for me. The last record I sang [on] just as much, but it’s probably more the focus of this record, which brings out the vocals a lot more. I feel like the songs are lyrically stronger, and [there’s] a lot more storytelling, so that’s probably why it feels like the vocals are popping out more. Also, it’s written in our press release that the vocals are more prominent, so that’s what people focus on.” One local critic suggested that PVT are trying to sound like a ‘festival band’ with Evolution – though they’ve played Glastonbury in the past. But, for Pike, it’s all in that song title. “I think we evolve every record. We always wanna try something different and move in a different direction and surprise ourselves – so that’s the main thing. We just don’t wanna get bored with life.” Surprisingly, Pike hasn’t been particularly influenced by the UK electronic scene, which has become ever more experimental, James Blake and others creating avant-garde pop. “I don’t know if there’s a distinctly English sound or anything like that, but there’s definitely this distinct sense of history here, which is really nice to be around. You turn on BBC Radio and you hear an interview with one of the Sex Pistols – and it’s a longform interview, it’s not just a wacky ‘So what are you eating for dinner?’ sort of thing. It’s actually a conversation. You get that real respect for musical history here. I think, unfortunately, Australia has a short memory in that regard – maybe because obviously it’s still a young country and it’s still finding its history. But, yeah, there’s a rich history of stuff and now a rich history of electronic music here, too.” Nevertheless, because Australia has “a clean slate”, today’s musicians can be active in generating that narrative, Pike adds. “I’ve always felt that we’re part of that – especially ‘cause our main thing is trying to do something different and trying to do something new.” Mind, in the social media domain, everything is about the present. Pike wonders if younger generations are even familiar with “classic” Australian rock. “I mean, do the kids know who INXS are? Or Midnight Oil? Or The Triffids? Or Nick Cave, for that matter?” PVT are touring behind Homosapien with their first headline shows here in over two years. They’ve already performed tracks while supporting Menomena in North America, Bloc Party in Europe, and pal Gotye (PVT remixed Eyes Wide Open). “We’ve just been playing the new album for, like, two months, so we’re ready to go.” WHO: PVT WHAT: Homosapien (Create/Control) WHEN & WHERE: Saturday 30 March, The Bakery

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ALWAYS TRENDING Every creative is hopefully ahead of the curve at some point during their career, but there are few dance music producers that can keep things boiling for 20 years, like UK producer Mark Pritchard has. Ahead of headlining Life Is Noise’s tworoom Easter Thursday party, Pritchard updates Danielle Marsland on his Somerset start, his Middleton middle, and the future sound that won’t end until he does.


Despite deciding to begin putting more work under his own name, Pritchard’s maintained an uncanny ability to sidestep homogenisation of his sound – recently we’ve seen a dubstep-tinged release for Deep Medi, the slow, sleazy crunk of Wind It Up on Hyperdub, a grime trip with Wiley; conceptual juke and exploratory jazz with Africa Hitech. We ask the producer if the fact that style-hopping is received more readily in today’s scene influenced his recent decision to finally release under his own name, given his moniker-jumping strategy (he’s had over 20 different aliases!) to date? “In the last five to ten years its changed, and people are open to more styles from the one person, people kind of expect a night to have different tempos running through it,” reflects Pritchard. “When I started out it was more open like it is today, you could play different styles, but then it definitely closed off for a period – it was then that I started producing and DJing under different aliases, as a means of letting the music speak for itself.

guys are doing… Whenever I’m DJing and I need some new stuff to play out, I go to Hudson Mohawke, or Rustie, they’re such interesting producers. [I] also have been really getting into OM Unit, I really like Actress’s stuff too; his RIP album and the last couple of singles, really enjoyed them. Dubstep’s had a bit of bad name over the last few years because of the kind of ‘brostep’ takeover of it, but I get into a lot of stuff that Mala [Digital Mystikz] puts out.” WHO: Mark Pritchard WHEN & WHERE: Thursday 28 March, The Bakery


ark Pritchard still gets massive respect from dancemusic heads for the then-pioneering projects he was part of years ago – Global Communication, Jedi Knights, and the Evolution label imprint. Yet his work more recently – as Africa Hitech (with Steve Spacek), as Harmonic 313, as Mark Pritchard – totally avoids the nostalgia it would be easy for an electronic stalwart to run with; instead his modern work gets picked up by progressive, tastemaker labels like Hyperdub and Deep Medi, and resonates fully with today’s underground listeners; they who crave to be challenged by next-gen sounds.

“Doing it the way I have means I can do whatever I want – sometimes there’s pressure with a project, if it gets built up then people want to sometimes hear something exactly like that again – the classic second album struggle, you know, I’ve never really had that, I just use a new name for every album! But I have struggled over the past ten years having many aliases. I think now I’m trying to find a way of making it less confusing. It’s confusing to people who know my music, let alone people trying to get to know it. One alias means you can reach more people – some people know a few of my projects and [have] no idea about any of the other stuff. I guess I’m trying to remedy that [to] try to sell a few more records.” He tours internationally regularly, yet Pritchard is currently based in Sydney, although he “doesn’t really call Australia home”. Born and raised in Yeovil, Somerset, Pritchard speaks of his youth in terms of the cult film This Is England: “It was that era, in the film, when I was in school in the ‘80s. The whole 2-tone skinhead thing was big. That film had a lot of racial tension that I didn’t experience in the West Country but there were still other tensions and prejudices where I lived. 2-tone was probably the first music I gravitated towards in school, but then later I got into indie music; My Bloody Valentine, Sonic Youth. “When I was old enough to go to clubs, we used to drive to either Bournemouth or Bristol, and we were just lucky that the DJs that were playing in those cities at the time were playing the best of American dance music, so I got exposed to Chicago house and Detroit techno straight away, which was amazing, because I potentially could have been exposed to more cheesy mainstream stuff. I was like, ‘wow, this stuff’s ridiculous’ and set about trying to find a lot more of that music.” The club-hopping led to Pritchard experimenting with radio presenting on a pirate radio station in Yeovil, which would eventually lead to Pritchard’s fortuitous introduction to Tom Middleton, his future production partner in Global Communication. “The head of the pirate radio station had a good soundsystem and used to do parties, dub and reggae and hip hop and then more straight-out dance,” he continues. “He had one in Taunton, about an hour from Yeovil, and I was DJing there a bit… He came to one of those nights where I was playing, and he was really happy because he was worried when he moved to Taunton he wouldn’t be able to find any decent nights. “So he came up to me, and we found ourselves pretty likeminded, we had a shared love of Detroit techno, so I went back to his to hang. Tom was doing a bit of A&R for Aphex Twin and Richard [D James, Aphex Twin] was a bit of a mentor for Tom. At the time nobody had heard of them, and Tom played me all these tapes of stuff Richard had recorded in the late ‘80s, like Analogue Bubblebath and so on – a lot of stuff Aphex Twin’s not put out even to this day – and I was like ‘fuck, this is amazing’. And we started talking about doing something together, the label Evolution just happened naturally. Tom did the artwork by hand.” The duo would go on to commence a 20-year creative partnership that would birth 1994 album 76:14, widely regarded as one of the most enduring ambient techno albums of its kind. Only two years ago, after an extended Global Communication hiatus, Pritchard and Middleton re-united for a six-hour live DJ set, where they played reconstructed and redefined tracks from their various associative projects: Reload, Jedi Knights, Link, E621, Secret Ingredients and Chameleon. Despite the fact that 76:14 was listed by The Guardian as one of ‘1000 albums to hear before you die’, Pritchard feels his 1993 Reload album, A Collection Of Short Stories, is the one that defines his past musical achievements. As mentioned, one of Pritchard’s biggest musical attributes is being able to keep his music modern and draw on his wealth of experience without presenting as over-knowing. This is no better reflected than in how completely ‘down’ Pritchard is with the contemporary music scene; as he casually references some current players he’s drawn to in his DJ sets. “I really like what the Chicago footwork

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GROWING PAEANS Melbourne’s Dick Diver have ably avoided the ‘difficult second album syndrome’ with their accomplished second effort, Calendar Days. Co-frontman Rupert Edwards talks to Steve Bell about accentuating the sadness and not being scared to sound like being where they come from. elbourne indie quartet Dick Diver have possibly flown under the radar to a degree outside of their home ground in the Victorian capital. They don’t tour all that often and they’re a relatively unassuming bunch. What they do deliver in spades, however, is cruisy and distinctive music – an intoxicating amalgam of ‘90s indie sounds and punk ideals, all with a distinctly Australian edge to proceedings. It’s laidback but clearly intelligent, somehow seeming edgy despite there being nothing manifestly challenging in either content or delivery. It’s a unique and at times peculiar aesthetic but one which works incredibly well for the burgeoning band, and which has quickly found them a growing following abroad as well as in their own backyard.


And that global acclaim is only going to get louder and more unrelenting with the impending release of their second longplayer, Calendar Days. A consummate and beguiling album, it builds on the promise of 2011 debut New Start Again and shows a real growth in both songwriting and musicianship, as well as an expansion on the group dynamics so integral to the Dick Diver charm. To record the album they decamped to the nearby retreat of Phillip Island, and under the watchful eye of long-time cohort Mikey Young went to work on their newest opus. “We’re really happy with it,” offers guitarist/vocalist Rupert Edwards of Calendar Days. “It was heaps of fun to make, and listening to it now – we got the test pressing back yesterday – reminds me of recording it, because that was heaps of fun. “We kind of enjoy leaving Melbourne to be able to relax for a few days while we record, so that was nice. One of [bassist] Al Montfort’s bandmates from Straitjacket Nation, her parents have a house down there, and Mikey Young who recorded it just took down his laptop and microphones that he uses and set up there. It wasn’t a house that you’d look at and think that it was going to be good for recording, but somehow we made it work, I don’t know how. I think that’s down to Mikey – he’s pretty amazing these days… I couldn’t tell the difference between this and if it was done in a studio.” Surprisingly, given the critical acclaim afforded New Start Again, Edwards claims that he didn’t feel any additional weight of expectation when time came to construct album number two. “Funnily enough not, and I would have thought that I’d definitely be feeling some pressure,” he muses. “But at the same time it’s not like the first record sold millions of copies or anything – it did well in its own way, which is really nice, but I didn’t really think about it at all and I’m a pretty self-conscious person. I don’t know how I pulled that off. Maybe we were just drunk the whole time.” Dick Diver began as just a joint project between Edwards and McKay. Since being joined by Montfort and Hughes, the undeniable chemistry amongst the foursome has been one of the band’s biggest assets, and this is even more to the fore throughout Calendar Days, which finds all four members writing tracks and even laying vocals on songs they didn’t write. “Yeah, definitely,” Edwards agrees. “I guess we’ve got to know each other more over the years, and recording the album itself was heaps of fun – we have a lot of fun together. It’s sort of just developed very naturally, and I think that probably comes through in the recording. I can’t be objective about it obviously, but I imagine it comes out in some way. I think it’s just a happy accident – it’s really nice – and we’re kind of all on the same page. We don’t really argue much about what we’re doing, we just all do it and usually talk about something else altogether.” Calendar Days comes across entirely like the result of a shared vision – did the band articulate what they wanted it to sound like before the recording session? “A little bit,” Edwards ponders. “I had this idea about six months before we recorded it of making a pretty sad record – I think everyone in the band likes sad records. So we talked a bit about that, and I think to me we achieved that. I understand that other people think that it sounds like party rock or something, but it sounds kind of sad to me, and I’m happy with that. I like that we made a sad record. I don’t mean wrist-slashing or anything, but a bit more... I don’t want to say ‘adult contemporary’, but just a bit more reflective and a bit more grown up maybe than New Start Again. Songs which are a bit melancholy and sad are usually my favourite type of songs.” Edwards believes that this feel is best attained through a combination of music and lyrics (rather than one specifically), although it seems that the words have more import at the end of the day. “For me, all of my songs I concentrate on the music first and I try really hard to get that to something that I’m really happy with, and then I spend ages and ages trying to figure out some lyrics that will go with that and won’t be shithouse,” he smiles. “I guess I think about the lyrics a lot, because it’s one of the few things that I’m really happy to do something different with – our music itself isn’t super groundbreaking or anything, but I think if I put some time into the lyrics I can make the music different somehow. Lots of bands just write shitty lyrics, and I try not to be one of those bands.” Dick Diver have been getting a lot of traction overseas – blogs have picked them up voraciously, and they’re soon releasing a track as part of the new Singles Club by esteemed US indie Matador Records – but overseas kudos aren’t a big focus for the band themselves. “It’s nice, but it’s not something that I aim for at all,” Edwards admits. “I’m kind of surprised. I thought maybe sometimes we’d sound perhaps a bit too exotic or something to American ears… We just try to please ourselves.” Dick Diver share a label with Twerps and stages with bands like Royal Headache, Bitch Prefect and Boomgates (of whom Hughes is also a member) – do they feel part of a new Aussie scene in that regard? “Yes and no,” Edwards muses. “These things only exist in so far as they’re written about enough to make people conscious of it. There are a few records that have come out with similar sensibilities, so I guess I feel a little bit like we’re a part of it, but at the same time I almost feel like an imposter or that we have nothing to do with it – it’s weird. It’s not something that I think about a lot, although in the last few years it’s pretty ridiculous how many good records have come out of Australia. “But we definitely don’t feel isolated at all [from any scene] which is nice. Maybe we’re a bit spoilt because it’s been this way since I’ve been playing music really so I don’t know much different at all. Maybe when it’s all gone we’ll feel really nostalgic and be sitting at the pub being assholes about how good it was in the old days.” WHO: Dick Diver WHAT: Calendar Days (Chapter Music)

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FOOD FOR THOUGHT Putting the final touches on their new album, Blue King Brown vocalist Natalie Pa’apa’a tells Daniel Cribb they’re on a mission to change the world. itting in the control room of the iconic Melbournebased Sing Sing Recording Studios, Blue King Brown’s Natalie Pa’apa’a and producer/engineer James ‘Bonzai’ Caruso (Alicia Keys, Madonna) are somewhat hypnotised, mixing the band’s third album. For what seems like weeks, the band has been tucked away in the studio focusing on nothing but refining what they hope to be their defining record.


“It’s sort of a mix of styles as Blue King Brown is known for,” Pa’apa’a describes the record. “I think it’ll be recognisably ours, and our songwriting is ever-evolving, so it’s just been really great to have new songs and new sounds and keep working.”

Fast-paced, socially aware, infectious urban roots is what scored the band an AIR Award in 2005 with their debut, self-titled EP and earned them a play in triple j’s Hottest 100 in 2006 with their song Come And Check Your Head, off their debut album, Stand Up. It’s been a while since then, but with the release of album number three, Pa’apa’a confirms her yearning for change is as strong as ever. When Santana said that Blue King Brown was “the voice of the street and the band of the future”, he could see the passion resonating within Pa’apa’a’s creative mind. “The world is such an incredible place, and to see so blatantly the injustices faced by so many of our people is just completely unacceptable to me. I’ve always had a really strong inkling for recognising injustice. Since I was young, I was like, ‘What? Why should those people be hungry and we are not hungry? Obviously there’s enough food to go ‘round’. So that’s something that has been who I am from a very young age, and that was always going to come through into my art.” “Music has been, and always will be, an incredible medium for inspiring people, for comforting people, for raising awareness about issues, for actually gathering people together in one place in a non-

SAINT WALKER Sophomore album, Sinners & Saints, marks the end of a six-year chapter for Benny Walker. Scott Aitken finds out what lies ahead for the Victorian singer-songwriter.

violent way to celebrate life,” she explains. “We all have it in our lives daily; it’s a big part of, I believe, human spirituality, it’s something that’s kind of... it’s food for our souls in a sense.” It will still be a few more months until the as-yetunnamed new Blue King Brown album surfaces, but Perth will get a taste of the release when the band ventures west for Global Beats & Eats. With a strong belief that music can be an effective vehicle for raising awareness and provoking change, Pa’apa’a also feels food plays a vital role in celebrating multiculturalism. “Everyone loves music and, yes, everyone loves food,” she laughs. “We have that really rich diversity in different cultures that live here, that have moved here, and that share their food. I love food from all over the world as well, I think everyone does, and so it’s a great concept to have Global Beats & Eats, obviously Blue King Brown fit into that sort of theme.” Presented by Act-Belong-Commit, Global Beat & Eats is all about promoting good mental health and ensuring mental illnesses aren’t swept under the rug. “I love that it’s a free event in the park, it’s family friendly, it’s alcohol free and it’s a good vibe, and I think also that the crew presenting it, the Act-Belong-Commit crew for mental health, I love how their whole thing is about encompassing mental health into the picture and the perception of what health is, because in Western society we have far too long ignored the bigger picture of health as being more than just our physical bones and physical things – it encompasses the mental health, our spiritual health, our emotional health, and to me that’s something that I think humanity, and especially Western culture, needs to start really accepting and learning about.” WHO: Blue King Brown WHEN & WHERE: Saturday 6 April, Global Beats & Eats, Liddell Reserve

fter gigging solidly around the country for the past few months promoting his latest album, Benny Walker says he’s only got one thing on his mind when he reaches WA next week. “Depending on the weather, getting down to the beach is the first priority,” Walker says. He mentions that Perth’s chilled-out lifestyle is something he can identify with. “I’ve been over to WA a few times now, even just to visit, and I absolutely love it. Being from a country town, it’s nice to go to a city with a laid-back feel.”


Despite his relatively calm demeanour, he says he gets fired up by some issues in the news – particularly those affecting the environment. “For me, it’s just the general abuse and exploitation of our land and of the earth in general,” he explains. “I think one of the biggest things at the moment is gas mining. I was just so appalled and so frustrated at what was going on at James Price Point and the more I find out about it, the more frustrated I get.” He says this was the inspiration behind Enough Is Enough, a song criticising the proposed Browse Liquefied Natural Gas Hub 50km north of Broome. “Every time I play that I like to tell the story so people who don’t know what’s happening hopefully can look into it and see if there’s anything they can do,” he says. “Whether it’s as simple as signing a petition or telling somebody else about it, I think we need to stand up and say no, now.” When speaking about his latest record, Sinners & Saints, Walker says the album as a whole serves as a conclusion for the past six years of his life. “I think it’s just a good snapshot of my life and influences in that period in time,” he says. “On this album I decided to put them all together as a sort of story book which clears the drawing board to start a clean slate for the next thing. If I want to go off in a slightly different direction it kind of leaves me open without having old material on a new record. I’ve already started writing a couple of songs and I’d like to put maybe some more electric on the next album. It won’t be a massive step away but I’m really keen to try playing electric guitar a bit

more on stage as well. Hopefully that will also flow into the songwriting and be on the next record too.” Working with Shane O’Mara (Tim Rogers, Lisa Miller, The Audreys) helped him push himself in terms of songwriting. “I think it was the first time I was able to take what’s in my head and get it onto a record. I think the only way I was able to do that was with working with Shane. We spoke about what sounds we wanted and how he wanted space in the album, serving the song,” he says. Walker also adds working with O’Mara and his fastpaced producing style left little room for sophomore album jitters. “It all happened surprisingly fluently and quite quickly. We gave ourselves four weeks and did it in 14 days so it was a really, really fun, quick process, in all honesty. One of Shane and my ideas was not to edit anything. We’d do two or three takes for each person and then pick out the best one, which I think really puts the soul in the album and gives it a real human element.” He says he’s got a lot in the pipeline but adds he doesn’t like having everything set in stone as far as his career is concerned. “I guess at the moment a lot of energy’s going into doing this tour and we’re heading back to Canada and we’re doing a bit of a US tour possibly at this stage. We kind of plan a year or a year and a half in advance really. It’s a funny industry where you can’t really plan too far ahead.” WHO: Benny Walker WHAT: Sinners & Saints (Independent) WHEN & WHERE: Wednesday 27 March, Indi Bar; Thursday 28, Clancy’s Fremantle

FIRED UP Sean Regan of Perth’s The Spitfires had his breakfast interrupted to chat with Kane Sutton about his touring adventures and the inspiration behind the band’s latest work.


in Brisbane because of the hurricane and we wouldn’t have been able to make it to that gig anyway, so it was actually a ‘convenient’ fire for us,” he chuckles.

Sean is the vocalist and guitarist for The Spitfires, a band formed in Perth who are often likened to Britrockers due to the frontman’s sardonic Scouser tongue. His manner makes it feel like this is a cheery catch-up between good mates, and he’s more than happy to chatter on about the adventures he and his band have been on since leaving Perth. “It’s been an interesting tour so far. One of the venues we were meant to be playing at burned down, so that was kind of an unrelated thing for us, but fortunately we got stranded

The group have been travelling the east side of the country for the good part of six months, and for them it’s been all about the networking. “We’ve had three tours since being over east, we’ll be coming back to Perth for the first time since we went away,” Sean explains. “We’ve been working our butts off just trying to raise our profile over here. All the community stations over here have been spinning us, so, it’s going somewhere, but like, I’m always worried – the money situation’s absolutely fucked. I’m going around the pubs just giving the CDs to people by hand, like, I was out last night at the gig and I gave about $40 worth of CDs out to drunk people just hanging out on the balcony. It’s just like, fuck it, you know?”

was at a gig last night so I’m feeling a little worse for wear today,” Regan confesses. “I’m actually out at breakfast with a couple of really nice girls. Hang on a sec...” There’s a muffled order of the Eggs Benedict special before he’s back again. “I feel super important. I said to the girls, I’ve got an interview, and they’re like, ‘What, for a job?’ and I’m like, ‘No, for the press!’”

Having released their debut LP, Songs From The Debt Generation towards the end of 2012 to high acclaim, the group are already looking forward to producing a new EP, titled Online Dating Fiasco. Always happy to yarn, Sean is excited to explain how it all came about. “We started doing online dating as, like, a free online activity to try and meet new people, and I met this girl on there and ballsed up the date in the biggest way possible. I was really pissed off about it so I wrote her a love song. In the end, she blocked me, right, and just to wind her up, I’m gonna try to get it on the radio because if I can do that it’ll be like a nice little two-finger gesture, like ‘Look who you turned down!’ kinda thing. It’s called Dirty Over Thirty; people have been asking me after the shows what the song’s called, so I may have accidentally written a banger here! We should be getting that one on the radio!” he laughs. The Spitfires play Perth this coming Friday. As it’s been a while since setting foot on our western shores, Sean and the rest of the band are extremely keen to get back. “I’m really looking forward to coming back and playing at the Rosemount. It’s funny though, we kinda have

a 50/50 ratio between shows that we played really fucking well, and everything was played in time and then the other 50 per cent it’s like, everything turns chaotic and we start playing really loose and end up going too fast, but no one gives a shit anyway and then people just start jumping onto the stage. You’ll have to come to the gig next Friday, it’ll be a good laugh!” WHO: The Spitfires WHEN & WHERE: Friday 22 March, Rosemount Hotel




16 • For more interviews go to

W E S T C O A S T B L U E S ‘ N ’ R O O T S F E AT U R E

PEACE & LOVE For Jason Mraz the selection of album songs is simple – they must move something inside him. Michael Smith discovers what moves the activist and the musician within. fter touring the world for a couple of years on the strength of the success of his 2008 album, We Sing. We Dance. We Steal Things, which debuted at number three on the US Billboard 200, Jason Mraz took some time out, not just to write some new songs, but also to live a little outside of just “being Jason Mraz”. The result, four years on, was his fourth album, Love Is A Four Letter Word, released in April last year. “Albums aren’t made by individuals; I think they’re supported by entire families and communities,” Mraz, who was, incidentally, one of the judges APRA called on to judge this year’s Top 200 Professional Development Awards applications, suggests. “Like it takes a village to raise a child, I feel the albums that I’ve made, even the career I’ve had, is the result of close friends in a family that had become my band and my management, and then also our fans, who’ve sort of shared these commonalities in thought, you know, those of us who ask questions and just wanna find a little peace. Not so much purpose in life but just find peace in life.


“I spent a lot of time working on the album, and as with any album, I’m writing and writing, but the ones that reveal themselves to you are really the ones that end up on the album because I feel like they’re in the real spirit that moves through you when you write it and then the spirit exists forever. And that’s the one that, when people hear it themselves, something in their spirit recognises it and it becomes theirs. It becomes the listeners’, and so, in the writing process, when songs reveal themselves, that’s the sure sign that it should probably go on the record. If I was just talking about the 12 songs on the record I’d say that it was super easy, but I had to write 60 other songs in between albums, and all during that process – that was more of a labour of love.” Before he sat down to the task of writing songs for the album, however, Mraz threw himself into a number of causes. These included heading down to the Gulf Of Mexico in the northern summer of 2010 to help in the clean-up efforts after the Deepwater Horizon oil spill, and going to Ghana to lend his voice to the efforts of Free The Slave, an organisation battling child slavery,

followed by a trip to Antarctica accompanying Al Gore. “Activism has invited me to step outside of my comfort zone and has helped me make sense of what it is I’m doing in my life, you know – hootin’ ‘n’ hollerin’ ‘n’ drawin’ attention to oneself,” he says. “Obviously entertainment is important, and I enjoy doin’ that, and I enjoy writing songs that I hope can entertain and bring peace and maybe even some healing to someone. But you know, after years of travellin’ ‘round the world you can’t help but find out about certain travesties, whether human trafficking or environmental devastation or the lack of support in the arts in education. So I decided that I would see what it felt like to do somethin’ about it, lend my voice and sometimes lend my muscle to those certain causes, and it does feed the songs sometimes. Sometimes I come away with a song that I feel could contribute to the help of a situation, but more than anything it’s just an opportunity for me to get out of my comfort zone. Touring otherwise is pretty laid-back and luxurious, and sometimes I feel guilty that I get to do it. Activism counterbalances that for me.” Which is why it was important for Mraz to participate in a concert, midway through his last world tour, that took place in Yangon, Myanmar last December to raise awareness to end human trafficking and exploitation. “There’ve been a number of invitations we’ve gotten including that one that are, you feel, enormous opportunities to be a part of the transformation of humanity, or the evolution of humanity towards equality, towards peace, towards sustainability, towards happiness,” he says. For all the success of his 2008 single, I’m Yours, from the album, We Sing. We Dance. We Steal Things, which gave him his first international top ten hit, it’s Love Is A Four Letter Word that seems to have really opened up the world for Mraz, lifting things to another level, particularly the latest single, I Won’t Give Up, which peaked at number one on iTunes. “It’s a different kind of song that touches people in ways that I don’t know, but I have to trust that there’s something that every single human being has in their lives that’s worth fighting for, that’s worth showing up for,” he continues. “The

foundation that I’m Yours gave us gave me something to build on to start this next tour. This is the biggest production that [I] ever tried to pull off. We really wanted to make it interesting for everyone in the house, both sonically and visually, and I felt that we accomplished that, so I’m excited that we get to bring our full show to Australia, because usually, when we go to Australia, I bring a cut-down band – only a few of who I usually play with – or I’ve rented all the gear to be there, ‘cause it’s such a long haul. But this time, we shipped our gear weeks ago and we’re bringin’ everybody with us, ‘cause after ten years of comin’ to Australia, we feel it’s time to finally bring our full show and show people what we do.” The song that opens Love Is A Four Letter Word, The Freedom Song, by Seattle musician Luc Reynaud, written about Hurricane Katrina, is the first cover Mraz has included on one of his albums. And for all the songwriting, Mraz still loves to throw in the odd cover live; personal favourites that might surprise, the odd

jazz standard – the setlist at his ‘O2 Arena concerts in London in December included Fly Me To The Moon and George Michael’s Careless Whisper. “I do, I do,” he admits with a chuckle. “In fact, I would throw in more covers, especially jazz covers, if I could. But I feel there’s a time and place for that later in my life – I don’t want to bore people with jazz covers right away. I’m in the middle of writing a new record and it’s goin’ great and there are quite a few new songs that I’m sure some will debut on a number of the festivals or our shows there in Australia. So yeah, lots of good stuff in the works. Hopefully, if everything goes as planned I’ll have a new record out before Christmas time.” WHO: Jason Mraz WHEN & WHERE: Saturday 23 March, West Coast Blues’n’Roots Festival, Fremantle Park

For more interviews go to • 17



YARHKOB Responses Independent Ominous mech-warrior cover art is the giveaway: this is old-school Drum n Bass, meaning DnB channeling last millennium/web 2.0/LAN gaming/ windows98/you get it. Yarhkob is entirely the produce of Jake of the Family Steele (the other branches being Katy Steele and Luke Steele), music seems written into their skin. With ‘90s EDM back in vogue courtesy largely of Hyperdub, Yarhkob’s Responses is a four-track kernel of geometry and claustrophobia. The EP’s structure is simple: Cover Strike an intro, Revolt the complication, Disturb the climax and Bedlam paradoxically the resolution. Excellent stuff.





RBD Productions

Fat Possum/Shock

If you’re a Springsteen fan, you’ll be pleased to see that all of his favourites are on this album; songs that don’t even need mentioning. This ‘Collection’ is every Springsteen song you could want in one place for, say, entertaining guests, or anthems to singalong to on a road trip. I’m sure plenty of people will be jumping at the chance to hear the latest from The Boss, but before you run off to buy the CD, might I just point out a few things?

From the moment Archie Roach’s gospel church organs swell in, this record is pretty happening. Australian blues, roots, acoustic and folk music fans will no doubt be delighted with the choices that the Thin Green Line Foundation have made in who features on the album. This collection of domestic musicians is certainly an impressive one, and they’re all behind a good cause.

Eighteen months after the release of the debut album The Year Of Hibernation (2011), Youth Lagoon is back with Wondrous Bughouse. It’s another highly experimental album from the Idaho-based Trevor Powers, who has a well-documented fascination with the human psyche, mortality and using music to express these concepts.


Our mate Bruce has put out a ‘Best Of’ collection before, hasn’t he? In fact, he has put two compilation albums out under the title Greatest Hits. Pair that with an Essential Bruce Springsteen, and it’s no wonder why they’ve simply named this one Collection. They’ve used up all the other options! This seminal collection has been released to coincide with the Australian leg of Springsteen’s world tour, so I’ve no doubt that this record will sell tremendously well. But another ‘Hits’ album to boost record sales is not going to fool this reviewer – don’t let it fool you either. If you’re itching for some Springsteen, Born In The USA is still a best seller at almost any music store around the country. Head to your nearest and start from there. Alternatively, wait until the next album of new material comes out. He’s still writing good stuff.

Battle Plans Independent/MGM Battle Plans is the debut from Perth four-piece Warning Birds and it is one very nice record earnest but not clumsy, brooding but not indulgent, and sigh-of-relief mportantly, folksy without being pandering or contrived. Sam Carmody’s vocals can veer on shrill and still need work, but otherwise Battle Plans is put together like origami. I’ll Tell The Water of You is gentle; a downtempo standout, Sally is probably going to be all over triple j. Stakes are on that the band hold it together for that calcifying full-length debut LP.

Collection 1973 – 2012

She Don’t Need To know

Bruce Springsteen competes this week with David Bowie, Hendrix and a bunch of deserving Australian bands who are putting out up-todate material. Let’s focus on that, shall we?


Lukas Murphy


Green Line Grooves

Compiled to raise money for the Thin Green Line Foundation, an organisation devoted to protecting park rangers all over the world, this record covers a range of styles and sounds that complement each other perfectly. The album is dedicated to the thousands of park rangers who have lost their lives due to lack of supplies, training, appropriate clothing or funding. Artists such Gotye, John Butler, Dallas Frasca and Ash Grunwald have all leant a track to the CD to raise awareness to that fact, and it makes for a great listen. One challenge many compilation albums face is that the songs being taken out of their original context may take away from the flow of the album. This is not the case with Green Line Grooves, as the Foundation has cleverly chosen tracks which are stand-alone. Moreover, if you enjoy one track on this record, you will likely enjoy the rest. For a lobster you’ve got 21 well-chosen tracks by fabulous artists, and it’ll make you feel great for having given something back. Lukas Murphy

Wondrous Bughouse

The Year Of Hibernation was written, produced and performed entirely by Powers alone, whereas Wondrous Bughouse sees him joining forces with indie producer Ben Allen and some guest musicians for creation purposes. The result is a more professionally finished sound that still maintains Powers’ songwriting originality. The tracks are high-volume and powerful, taking on a supernatural quality. On many, the barely comprehensible vocals take a backseat and are used as yet another sound effect. Powers uses sonic mediums to explore his thoughts on the mental fragility of humans and their conscious awareness of their own mortality. The method by which Powers uses these eerie collections of sounds, guitar loops and drumming sequences to translate the underlying dark and complex themes is nothing short of impressive. Most of Powers’ inspiration comes from personal experience, having suffered from anxiety himself. Quite open about his influences, he’s revealed that the title to this album refers to the questionable “sanity” of humans, where the very word “bughouse” is synonymous with a mental asylum. He explores how these concepts relate to lack of perception surrounding death (for example, the track Dropla). Although a more morbid album than his debut, Wondrous Bughouse is an interesting listen, becoming more so once the inspiration behind it is understood. It is an unnerving insight into the darker side of the human mind.

A well-produced debut EP from Karin opage and Elliot Smith’s new project China Doll; She Don’t Need to Know is like the recorded ruminations of a first year uni student: a lot of drive and a lot of potential, but confused and indecisive. Almost every iteration of left-of-centre country/ folk/rock bubbles to the surface at one point or another, She Don’t Need To Know seems more baroque Amanda Palmer, Tell Me How goes full Dolly Parton. It’s a good EP, but a little more internal stylistic cohesion would help.

Claire Moore

DAUGHTER Still 4AD/Remote Control Daughter chase that wonderful, quaint, delicate, indie, Bonny-Bear sound that woks really well on expensive ad campaigns for major banks and new cars. Bah humbug - Still is a fantastic single; cold but comforting, an overcast day with no rain. Together, the balance between Elena, Igor and Remi is tighter than a knot. They’re that annual, quintessential 4AD buzz-band: predictable but nonetheless brilliant, it is tempting but futile to try and pry them open out of spite for the hype because hell, they deserve it.

THE LAMMAS TIDE Partridge Farm Independent A single called Partridge Farm from The Lammas Tide, apparently Perth’s1 “foremost psychedelic folk band”, which I grabbed because I mistook the band’s name for “The Lumineers”. Well, alright. Partridge Farm sounds like it was literally produced on Garageband; “We’ll travel in our minds on Partridge Farm”, cue prog-rock keyboard arpeggio progression. I’m at a loss as to explain much else, this single is literally an attempt to make a song about partridges on a farm into a psych-rock epic. Yeah Tame Impala did something like that with that stupid goddam song about an elephant, but they’re a buzz-band so they can get away with it I guess? Anyways, B-Side The Murky Deep is much stronger and less baffling as a concept for a track.





Sony Music


Vs Head Vs Heart

Emma Louise’s debut album, Vs Head Vs Heart, is quietly confident, managing to be incredibly brave and humble all at once. The singer displays her raw talent for vocal tone and composition, but also establishes a willingness to push the boundaries of her genre while exploring very personal content in her insightful songs. The album opens with 17 Hours, which introduces her slow, ethereal tone and truly captivates the listener from the opening bars. The pace then changes suddenly with Atlas, which is considerably faster and features the singer’s steady vocals over a catchy, syncopated beat. Emma Louise shows off her impressive vocal range in Stainache, which is simultaneously understated and powerful. Mirrors is one of the album’s standouts, with its interesting musical composition and quirky lyrics. This song shows that Emma Louise is both mature enough and brave enough as a solo artist to inject honesty and personality into her music. The singer’s confidence seems to wane slightly in Freedom, which is less entrancing than the other songs on the album. Braces, however, is slow and steady, choosing to lure you into its depths with its intrigue rather than present you with simple, catchy lines or melodies. Pontoon, again, proves that Emma Louise has a distinct vocal and lyrical style that is truly her own, and which she delivers unashamedly throughout this record. The closing track, however, is the standout here. To Keep Me Warm is nine minutes long and delivers all you could ask – it’s honest, straightforward and wildly competent without a hint of arrogance. This song, and in fact the whole record, is a sure sign of great things ahead. Lucia Osborne-Crowley

18 • For more reviews go to

Comedown Machine The Strokes are one of two remaining heirs to the definite article rock revival (RIP The Vines and The White Stripes). The Hives share this crown and (interestingly) boast five band members and a fifth longplayer, just like The Strokes – numerology alert. The future looked uncertain for The Strokes after it was widely reported that Julian Casablancas recorded his vocal parts for fourth album Angles separately from the band (the Under Cover Of Darkness video even looked as if it was filmed with the frontman turning up on a different location than his bandmates). Have you heard the first taste from Comedown Machine: One Way Trigger? Just: “WOAH!” The jaunty keys melodies sound like Pac-Man maccing out with Ms Pac-Man’s hot little sister and Casablancas sings as if in the middle of an astral-travelling orgasm. His voice is an instrument coddled in the most exquisite honey – oh-so pure and without an inkling of strain. You can’t always understand what he’s on about through the ducking/ weaving guitars, but you’ll still be aroused. Do the remaining ten tracks on Comedown Machine reach equally exultant highs? 50/50 storms into your headphones with distorted vocals and a cracking pace; Partners In Crime comes close second to …Trigger with its jarring/discordant riffs, sleighbells and ‘wannabe in Entourage’ lyrics – The Strokes kicking back and having a laugh (literally when Slow Animals fades out). Closer Call It Fate, Call It Karma is a dreamy little number that could soundtrack a Grace Kelly-type beauty sleepwalking on The Love Boat. This quintet’s insouciance and New York City suavity prevails. Conjure a visual, which includes their stylin’ wardrobes, while tuning into this sonic superiority and you’ll realise it doesn’t take Diff’rent Strokes to move the world. Just THE Strokes. Bryget Chrisfield

Between Places

Norwegian collective Young Dreams promise so much hippie-dreaming deliciousness with their debut long player but one must ask: when was the last time a Nordic group flumped so badly? There’s no harm in wearing influences on sleeves, but wearing them out from overuse is a massive faux pas. To whit, Footprints at the start of Between Places immediately makes you think Fleet Foxes and Animal Collective records are playing at the same time in some kind of art experiment. It seems blindingly obvious to also say the vocal section, lead by core member Rune Vanderskog echoes (all too literally) The Beach Boys. But the swathes of strings and church-hall resonance have all been heard many times before in other, far more accomplished releases. Here, they seem directionless and painfully bland. At 11 minutes long, the fabulously titled centerpiece The Girl That Taught Me To Drink and Fight should be inspiring and picturesque; orchestral arrangements abound trying to create a flying Nordic dream sequence. However, the pop sensibilities are lost among the classical music indulgences, as if the whole band have just chucked on Sigur Ròs T-shirts and planned a gig in the shadow of a dormant volcano. The optimistic Young Dreams probably gets the balance the most right at the end of the record but by then it’s too little, too late. Between Places is ambitious and epic in scale and could have been a definitive Norwegian album had it not got lost in its own cloudy fjords. Mac McNaughton





with Grace Barbe and others

Enjoy an evening of free music and entertainment whilst sampling food from around the globe. For a full listing of support acts and food vendors visit

Smoke and alcohol free event






FRIDAY 22 Hamlet – coproduced with Barking Gecko, this play is directed by John Sheedy and stars a cast third-year WAAPA acting students. Considered to be one of the most powerful and influential tragedies in the English literature, Hamlet is Shakespeare’s most performed play. It is estimated that every minute of every day, it is being staged somewhere around the world. Closing night, Subiaco Arts Centre, 7pm.

SATURDAY 23 Hitchcock – a bio-pic about infamous director Alfred Hitchcock as he creates his most well known film, Psycho. Staring veteran actors Anthony Hopkins as Hitch and Helen Mirren as his wife Alma. A revealing film about a groundbreaking director. Rooftop Movies, 8pm. San Francisco International Ocean Film Festival – bringing North American ocean related films to the people of Perth. There is a selection of documentaries, animations and short films to see and they are all about the deep blue sea. State Theatre Centre of WA, 7pm.

SUNDAY 24 Unwrapped Markets South Perth Annual – free designer market, this time the theme is vintage, think old meets new. More than just originally designed crafts, there is also live music, street entertainment and activities for the kiddies. Anglo Street, South Perth, 10am to 5pm.

MONDAY 25 10 Years 30 Residences – a group exhibition celebrating ten years of the Art Angels residency program,

with Annette Bezor, Marion Borgelt, Tobias Richardson and Simon Strong, to name a few. Turner Galleries, to Saturday 13 April.

TUESDAY 26 The Importance Of Being Earnest – Oscar Wilde’s classic play, presented by the Black Swan State Theatre Company and directed by Kate Cherry. State Theatre Centre, 6.30pm, to 28 March.

ARTS NEWS Premiere of Drift – The Australian premiere of WA surf film Drift. Inspired by surfing communities and the rise of surf brands during the ‘60s and ‘70s, the film follows the story of brothers Andy and Jimmy. The film was shot over six weeks during 2011 on remote WA coastline such as Cape Naturaliste and Cape Leeuwin with over 70 locals working on the shoot. It will be a red carpet event with a large outdoor screening for an audience of 1,000. Staring an array of WA actors including Sam Worthington and Myles Pollard. Yallingup Caves House Hotel, 6pm.


LONELINESS AND LANDSCAPES Julia Loktev speaks to Anthony Carew about her new film The Loneliest Planet, her love of travelling and learning to appreciate the power of nature. “Travel time is such a special time,” says Julia Loktev, the filmmaker behind the magical, minimalist The Loneliest Planet, a phenomenological travelogue set against the biological splendour of Georgia’s Caucasus Mountains. “You don’t have a list of a hundred things you’re supposed to be doing that day, you’re just there; just being, and drifting. It’s almost like a dream time.” Born in St Petersburg, Russia, and raised in the Rocky Mountains in Colorado, Loktev’s childhood blessed her with a love of both

mountains and wandering. “I love travelling,” coos the 43-year-old. “When I finished college, I spent five months travelling on my own through Central Asia, and that’s not something many Americans do.” When Loktev was at the Tbilisi Film Festival with her provocative narrative debut, 2006’s Day Night Day Night, she remembered reading a short story by Tom Bissell called Expensive Trips Nowhere, in which a couple breaks up on holiday in Kazakhstan. Loktev, in turn, met up with her boyfriend, who’d been bicycling across Georgia

and Armenia, and then they broke up in the Caucasus. So, she set about loosely adapting Bissell’s story to screen; wanting to explore “how it feels to be in that space of backpacking: away from home, out of your element, but with that person you love, and how much you lean on them, and how it feels for that relationship to be tested. How it feels when, suddenly, this thing happens between you that rocks your world”. The ‘thing’ that happens in The Loneliest Planet – the central dramatic instant – shouldn’t be

Fremantle Street Arts Festival – Australia’s largest street performing festival is hitting the streets of Freo again this Easter. The festival features international acts from France, Italy, Portugal, Spain, UK, Ireland, Belgium, Japan, Canada and the USA. Expect outdoor performances, comedy, cabaret, circus and music. Don’t miss French group Bilbobasso who mix flames with the Argentinean tango. Saturday 30 March to Monday 1 April.


The emotional reverberations that resound from it – in the central relationship between Mexican heart-throb Gael García Bernal and Israeli actress Hani Furstenberg, and in their relationship to their local guide, Bidzina Gujabidze (an actual local Georgian guide) – play out largely in silence; these tiny figures isolated in vast landscapes. “I was more interested in what happens when you don’t talk about things,” says Loktev. “We’re so used to, in movies, where people sit down and say everything they’re feeling and everything they want. When, in real life, that never happens. Very often, you don’t know what to say.” The production of The Loneliest Planet involved the crew ‘living the film’: staying in local guesthouses with families, lead up various mountains by local guides, endlessly traipsing with gear strapped to their backs. The result is a film as alive to its landscape as any in the history of cinema. “I’ve never had such an appreciation for the power of the sun, the power of nature, for every nuance of light,” says Loktev. “Much of the day we could not film because the sun was too strong, the light was too harsh. So, we had to adapt ourselves to light and find moments where the sun was beautiful, and take advantage of what nature was giving us.” In cinemas Thursday 21 March

theatre, deconstruct the formality of the theatre space and the theatre experience for the audience so that for them it is a little bit like an anarchic experience as well.” That sense of anarchy is one that Bell has returned to time and again in his discussion of Henry 4, a modern day telling of the classic that, for Curtis, became aesthetically inseparable from the 2011 London Riots. “Henry’s talking about the world of riot and collapse, and insecurity in the kingdom, and I suggested to John that we actually start the play with a scene where we see a number of the characters actually creating that riot and wrecking the stage and that the rest of the production happens in that chaos that we create in the first moment of the play. My work was then to sort of create a pre-show for the play that took the audience into this state of complete chaos and riot.

BREAK DOWN AND REBUILD Designer Stephen Curtis tells Dave Drayton why he wanted his stage set-up destroyed before the play began. Stephen Curtis has an extensive history designing for Bell Shakespeare. A quick glance over his credits reveals Much Ado About Nothing, Romeo And Juliet, and even Moby Dick for the lauded theatre company. “Shakespeare’s plays are just, well, you know, they’re the best,” explains Curtis with a playful matter-of-fact delivery. “John [Bell] and I have had a very long relationship; John offered me my first professional show actually, The Venetian Twin, right at the start of my career. Apart from the delights of the plays themselves it’s been

20 • To check out the mags online go to

disclosed; especially given Loktev is proud to have made a film that “doesn’t tell you what to think”. Yet it’s so fleeting, so seemingly minor (when I saw the film, people in the audience laughed), that it’s hard to believe a film has been based around it. “The essential moment takes two seconds, but the emotional reverberations could last a lifetime,” Loktev says. “It’s about how a single incident can shake a relationship to its core.”

one of those relationships we’ve enjoyed continuing.” Beyond Curtis’ obvious love of the texts that Bell’s company tackle, there have been parallels that exist between the theatre making philosophy of both Curtis and Bell that ensured the longevity of the working partnership, and which came to define their most recent collaboration, Bell Shakespeare’s mash-up of Henry IV parts I and II, dubbed Henry 4, directed by Bell with assistance from Sport For Jove AD Damien Ryan and starring Bell

as Falstaff, David Whitney as King Henry and Matthew Moore as the rebellious Prince Hal. “I think for John and for me too in a parallel way, for both of us that sense of anarchy is inherent in our sense of what theatre is; that it is something [which] is a little bit unpredictable, a little bit dangerous, the audience shouldn’t really be sure of what they’re going to be getting,” declares Curtis. “So with John, we’ve worked on this with a lot of our productions, we try to deconstruct the formality of

“I’d also just passed an installation where someone had collected a whole lot of stolen milk crates and arranged them using different colours to spell the word ‘stolen’ in this wall of milk crates, the word in blue, and all the other milk crates were red,” Curtis says of the central inspiration for his design. “So I created a wall of milk crates that’s in the shape of the Union Jack and in the pre-show of the play that is destroyed by the cast in this mad party riot, and the rest of the play happens in the state of collapse and mess. For me as a designer, that invitation to the audience into the world of the play, and really letting them know that they’re going to have a good time, is a very important part of my job.” WHAT: Henry 4 WHEN & WHERE: Friday 5 to Saturday 13 April, Heath Ledger Theatre





Comedy Lounge – tonight’s live comedy line-up features local and international acts Chris Wainhouse, Joel Creasey and Scottish comedian Vladimir McTavish. The Charles Hotel, doors at 7pm.

Chuckles Comedy Gong Night – a parade of 20 contestants go up against the gong. Hosted by Mike G. Elephant & Wheelbarrow, 8:30pm.

FRIDAY 22 Friday Night Stand-Up – join MC Tim Beckett as he prepares you for a night of laughs with Xavier Susai, with support from Dan Brader, Sami Sah and Josh Makinda. Lazy Susan’s Comedy Den, doors at 8pm.

SATURDAY 23 The Big HOO-HAA! – a comedy show that creates improvised comedy sketches based on audience suggestion. Watch two teams battle it out in a competition of wit, humour and mime skills. Lazy Susan’s Comedy Den, 8pm.





TUESDAY 26 Rooftop Comedy – headline act Xavier Susai and support Sami Shah will make you laugh at the Conservatory Rooftop. Hosted by MC Andrew Horabin, doors at 7:30pm. Shapiro Tuesday – tonight, a run of first time comedians will be honing their skills while the qualified professionals experiment with their new material. Lazy Susans’s Comedy Den, 8pm

WEDNESDAY 27 The Laugh Resort – a selection of new and seasoned comedians will take the stand at Rosie O’Grady’s tonight, doors 8pm.




TOGETHER E10, S2 This Week On GIRLS? Lena Dunham and Judd Apatow wrote the Season Two finale together and it’s aptly named Together. Hannah’s hit rock bottom, she’s turned her apartment into a cave and is stuck making hypochondriacal Google searches. Marnie reveals to Charlie that she loves him (cheeks are damp); seeing the pair together for the first time since earlier in S1 seems really right and we’re rooting for them. Shoshanna confess to Ray that sometimes she loves him like she loves a monkey in a cage and breaks it off. Ray balks and storms out, his cardboard cutout of Andy Kaufman tucked under his arm. Hannah decides to cut her own hair into an uber cool pixie crop (come on – what girl in their 20s hasn’t done that?). When Hannah randomly calls Adam, he immediately sees

her distress and runs to her. While he’s admitting he was always there, Fun.’s song Sight Of The Sun takes us out. It’s a strange choice. However, Dunham is dating Fun.’s lead guitarist, Jack Antonoff – so perhaps she is just showing us who she’s ‘together’ with. Girl Talk Of The Week? Shoshanna to Ray: “Can you please get out of me?” [they are having lacklustre sex] Girl On Top? This week it’s too hard too make anyone on top. Girl on the bottom is definitely Jessa though, as she misses the whole ep. Shirtless Adam Watch? Adam runs through the streets of New York while talking to Hannah on FaceTime in one of those oh so romantic TV moments and, yep, he’s shirtless. What Did We Learn? Ray never finished his Ph.D in Latin Studies. Cassandra Fumi Season Fin (tear)

First there was Masterchef, then came My Kitchen Rules, and it was only just the other day that there a new show emerged, The Great Australian Bake Off, which is dedicated to finding Australia’s best baker. When you have enough of watching the home-grown cooks who inspire us all with their tales of traditional family recipes, you can head over to watch the professionals with shows like Food Safari and Heston’s Feasts. And heck, you can’t beat a cook off challenge with everyone’s favourite daytime cooking show, Ready, Steady, Cook. When you think about it, we really do have a lot of cooking shows on our television screens, and with all these shows turning everyone into a foodie and an expert of the palate, the current Eat Drink Perth festival is sure to have people salivating over real food instead of what they see on their screens. The festival showcases the city’s food and wine scene throughout this month and highlights the changes the city has been undergoing. There are high teas, progressive dinners, cooking classes, food and wine tastings and pop-up bars. There is Yum Cha In The Park and all coffee lovers will be keen to find out the winner of Perth’s Best Coffee Competition, as it goes in search of that perfect cup of caffeine. But as you drag yourself away from the food delights there is

also the Guilty Pleasures Film Season, with films screened every Thursday night and – as the name suggests – we are being treated to films that we love but have a hard time admitting that we love. This week we have The Blues Brothers and next week it’s everyone’s all-time favourite love story, Titanic: ”I love you, Jack.”…”Don’t you do that, don’t say your goodbyes.”…”I’m so cold.”...”I’ll never let go, Jack, I’ll never let go.” How could you not love Leo and Kate together? Rounding off the working week and being held right up until the end of April, you can also head to the Twilight Hawkers Market in Forrest Place. Go on your own food safari and experience all the cuisines of the world with everything from churros to ribs. Then there is the art exhibition with a difference, Midnight Snack. We have all experienced it, that oddly timed food craving that seemingly comes out of nowhere. Whether it is something sweet or something savoury or something downright weird, Bonnie Boogaard presents us with a different side to our cravings with her exhibition, which is being held at Tú’s Stairwell Gallery. Midnight Snack questions what food gets up to while we are all slumbering. Boogaard has captured the personalities of food and in doing so, may have finally answered the question we all want to know. Do bacon and eggs really hold hands on park benches?

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If The Presidents Of The United States Of America are anything to go by, nerdy bands age well. The trio haven’t lost an ounce of energy over the last couple of decades, playing a set at Metros Fremantle last Saturday that was rocky, fast and incredibly indulgent. A single support and an early start time means Metros Fremantle can get gig goers in an out in time for the Saturday night clubbing crowd. Hey Geronimo were on and off by dinner, before it was even properly dark outside.The bright Brisbanites complemented the headliners well, though, with a kickstart that set the mood at easy, quick and poppy. By the time the Presidents themselves took to the stage, Metros was rammed top to bottom. They began their show with their later stuff, busting immediately into a singles like Last Girl on Earth and Sharpen Up Those Fangs from albums made during their ‘00s reformation. After about half an hour of this, just when the absence of the ‘90s singles everyone was here to see was becoming noticeable, lead singer Chris Ballew pointed out what everyone was thinking. “Wait-wait-wait-wait,” he said. “I just realised we haven’t played a single song from our debut album yet.” Then, the band kicked into those deeply


The University of Newcastle used cloning to resurrect a formerly extinct species of Queensland frog that gives birth to its young through its mouth. We don’t really know why the University ADALITA chose to do this, but we assume it’s a small step en route to bringing back dinosaurs.

THIS IS BAT COUNTRY While they have acknowledged they’re aware that Aussies aren’t all that into Halloween, the All Tomorrows Parties crew are coming back to Australia to throw one of their Halloween style parties anyway, with Release The Bats announced in Melbourne

HOT 30 Australian trio Bareback Titty Squad put together a medley of every single in the top 100 that weighs in at about 30 minutes in length. Well played.

familiar opening chords of Kitty, and proceeded to play their entire self-titled first album from start to finish. It made for an uninteresting set, but it was definitely what the crowd wanted. The Presidents had come all the way from Seattle to bring their ‘90s innocence to Fremantle and the crowd rocked out hard in appreciation; there were a lot of people in their mid to late 20s who would have done their teenage selves proud. We all got to sing Peaches at the top of our lungs while waving along with Ballew; we got to bang our heads to Lump and jump up and down to Dune Buggy. The Presidents have a pop sensibility that panders directly to the desires of their crowds, and an honestly that prevents them from pretending they are doing anything else. It’s a formula that makes for a predictable gig, but it does mean that everyone has a fist-pumping good time.

It’s back again, and this year it’s bigger than ever; if it wasn’t for one very specific metal festival, it might just be the biggest one in WA this year. The 2013 edition of West Coast Blues ‘n’ Roots will take the usual mix of huge international and exciting local and up-and-coming artists in folk, world music, blues and more, stretch it over two days, and pretty much cement it in the annals of time. the two-day format does mean a strenuous decision as to which day to go to, if not both: Saturday 23 March sees Iggy & The Stooges, Robert Plant Presents The Sensational Space Shifters, Jason Mraz and more on the Park Stage, and Manu Chao, Kitty, Daisy & Lewis and Status Quo among the luminaries on the Big Top stage. The Sunday 24, Paul Simon, Wilco, Ben Harper & Charlie Musselwhite, Jimmy Cliff, Bonnie Raitt, Santana, Steve Miller Band and much more share the stages for what’s sure to be an unmissable event. Tickets are still available for both days, so get yourself on to westcoastbluesandroots. to score yourself that ticket. Otherwise you may be singin’ the blues. Hur hur.




THE KOOKS: MAY 12 Fremantle Arts Centre

SONS OF RICO: APR 5 Amplifier


GRINSPOON: APR 5 Prince Of Wales; APR 6 Capitol

THE BEARDS: JUN 7 Amplifier

RODGER HODGSON: APR 7 Riverside Theatre

FOALS: SEP 22 Metro City

KATY STEELE: APR 11 Artbar JAGWAR MA: APR 27 Amplifier


BOB EVANS: MAY 2 Settlers Tavern; Mar 3 The Bakery; MAY 4 Prince Of Wales

GIGNITION: Upcoming band showcases 4-8pm monthly on Sundays at The Railway Hotel

THE RUBENS, OH MERCY: MAY 2 Prince Of Wales; MAY 3 Capitol; MAY 4 Settlers Tavern

CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel

As an encore, having played everything of theirs the crowd wanted to hear, they closed with a medley of covers, including anthems like Don’t You Want Me and I Wanna be Sedated, and finishing up with Video Killed the Radio Star. It was an endearing way to close an incredibly fun gig. Zoe Barron


The music industry was saddened to learn of the passing of Aaron Chugg, the famed tou manager. He was 53. Amongst several other deaths, including talented young American singer-songwriter Jason Molina, it has been a tragic few weeks for music.

100 SHARKS There were one hundred sharks at Trigg beach yesterday. In other news, it’s been a pretty slow week in news.

THE PORN IS TOO DAMN HIGH So a well-regarded professor in sexual studies has suggested young women’s idea of self image has been tarnished by online media. His solution? Censor porn on the internet. So yeah, a very achievable solution. Thanks for that.


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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 Quindanning Inne, Thursday 21 March; Snook’s Music Club, Denmark, Friday 22; Settler’s Tavern, Margaret River, Saturday 23; and Redcliffe On The Murray, Pinjarra, Sunday 24 March.

From Port Lyttelton New Zealand to Port Fremantle, nonstop touring string band The Eastern drop by for a one-off show at the mighty Mojo’s. Described as New Zealand’s hardest working band, they’ve toured and opened for Fleetwood Mac, Steve Earle, Old Crow Medicine Show and many more. Their latest album Hope & Wire has garnered them four and five star reviews across NZ, Australia and beyond, and they’re just plain thrilled to be stopping off in their adopted WA home away from home on Thursday 21 March.


VIGINTI TES STAGE FRIGHT! OPEN MIC 1ST BIRTHDAY CELEBRATIONS Justine Crowther, Stage Fright booker What’s happened with the night since your last birthday? Stage Fright was born one year ago when the The Fly By Night Musicians Club decided it was time to give birth to an event which offered not only support and encouragement to local Perth musicians, but also offered the chance to step out of the garage and onto a stage in a venue that has been graced by some of the world’s best performers. What do you put the success of your night down to? The continued support from the Fly’s management team, Sarah and John. The tireless hours put into each event from Kelly, the Fly Trap sound technician, and Byron, the venue coordinator. And most importantly, the acts that swallow their Stage Fright and register to play. For some, this has been their first time on a stage in front of an audience. But no matter how scary, they turn up at each event and give 100% to their performances and never seem to hesitate with encouraging fellow musicians to participate. How do you see your event growing in the future? Stage Fright’s second year will see some exciting developments. Firstly, we will be offering the opportunity to have your performance recorded on the night. Secondly, we are also looking at creating the event as a opportunity to compete and win some amazing prices, hoping to bring on board sponsorship from local music store and recording studios. What’s the thing you’re most proud of that your night’s contributed to the music scene in the last year? I’m very proud to be able to offer acts the exciting opportunity to showcase their talents on a live stage. A lot of local musicians feel that The Fly By night is only for accomplished local acts and international performers. But this isn’t so, we are a musicians club and are here to support and encourage local musicians. The birth of Stage Fright offers the perfect opportunity for musicians of all levels and of all ages, with quite a few of our performers been under the age 18 as well.

WAMi award-winning songstress Jodie Tes makes her return to the Perth jazz scene with an exciting repertoire inspired by Nina Simone, Billie Holliday and Ella Fitzgerald. Since graduating from WAAPA in 2001, Tes has gone on to record three albums and to tour nationally and internationally. A soulful performer whose music paints a vivid picture, Jodie Tes reignites the tradition of the torch song and injects new energy into the old standards. Catch her at The Ellington Jazz Club on Friday 22 March.

On Tuesday 26 March, the Perth Blues Club will be given over to a very special and exclusive evening. National treasure Matt Taylor will take to the stage in a one-off epic solo journey that tells the very personal story of his career and the evolution of blues in this country. In 1963, when Taylor began his blues journey, the enduring genre wasn’t well represented in Australia. Now 50 years on, he has been wowing audiences ever since with his own brand of Australian rhythm and blues.

FIVE’S A CROWD The Five Sax Orchestra was established as a dedicated band in 2012, after almost a decade working as a section with WASO, The Malaysian Philharmonic, Singapore Symphony, and a multitude of shows. Providing an opportunity to meet together regularly and share great red wine was the real reason it solidified, but it soon became clear that this unique collection of fine saxophonists was becoming a musical force. Find out for yourself at The Ellington Jazz Club on Sunday 24 March.

DOWN THE RABBIT HOLE Come along and see four of Perth’s best live original bands blast The Rosemount Hotel this Thursday 21 March. Wicked Wench, Battle Of The Planets, Nevsky Propekt and Stone Bleeder will all be showcasing some new music. It’ll be an Alice In Wonderland-themed party as well, son make sure not to miss out on the Mad Hatter action. Tickets on the door, or head to to book.

Next gigs: Wednesday 27 March at The Bird with Thee Gold Blooms and Trash House, then onto Amplifier Bar on Friday 5 April to support Sons of Rico releasing their new album. In a nutshell, describe your sound. The love child of Rid Of Me by PJ Harvey and Jon Spencer’s less musical brother that was occasionally babysat by Crazy Horse and The Cramps and now drinks whiskey, googles pictures of penguins and talks about sex too much.

LESS IS WHITMORE Hailing from a farm along the banks of the mighty Mississippi River, William Elliott Whitmore has developed an intense love and spiritual understanding of the land, which he flawlessly conveys through all of his records. With live performances of a caliber to leave one completely stunned in silence, is one of the most interesting contributions to today’s diverse collection of musical ingenuity. Supported by Tasmania’s Lincoln Le Favre and Grim Fandango’s Tom Ware, Whitmore hits Mojo’s this Saturday 23 March.

FARENHEIT 451 Last year Burning Fiction recorded six songs at YoYo Studio in Osbourne Park with the help of young genius Adam Round. It was sent to Alan Douches, who has also worked on a varied mix of bands (including Fleetwood Mac and The Misfits to name a few at West West Side Studios in New York for mastering. Finally the songs were pressed on vinyl in San Francisco, and now the music has bounced its way around the world back home. The band launch it on Friday 22 March the band launch it at Ya Yas, along with some old tunes and their friends Grim Fandango, Castle Bravo and Ten Points For Glenroy.


WHAT: Stage Fright! Open Mic Night WHEN & WHERE: Sunday 24 March, The Fly Trap, Fly By Night Musicians Club

Local freakout fun-rockers Doctopus have easily become local favourites. Just look at the talent involved in creating their new album, appropriately titled Buddies: Joe Ryan recorded the album with them, Steve Hughes mastered it, and local artists Morgan Stewart and Ju Do Valle helped them heaps the album art. What’s more, the show will see them joined by buddies Lost/ Tuneless, Hootenanny and Hamjam. They launch Buddies on Saturday 23 March at The Bird.

Ellen Oosterbaan - vocals/guitar


What sort of celebration is in order? Sunday 24 March is the official Stage Fright Birthday celebration, so come on down to support local emerging music and have a piece of birthday cake!



GAME OF THRONES Metal masters Claim The Throne return to the Perth stage with a massive show on this Friday 22 March at Amplifier. Joined by some of the best names in Perth metal, the night is sure to be a monolithic one. Soon to begin recording their fourth release, Claim The Throne will be popping the cherries of some new songs in front of you all, as well as launching a new website and a bunch of new merch. Supporting will be Advent Sorrow, Nails Of Imposition, Death Dependant and Abhorrent.

24 • For more news/announcements go to

You’ve been performing solo since: About a year with this project. Solo Catbrush was like vegemite on toast. Anetta brought the avocado and Ben the tomatoes to make an even tastier aural experience. What instruments do you play? I’m upfront on vocals and guitar, Anetta Nevin (Fucking Teeth, Like Junk) yells over my shoulder from the drum kit and Ben Rose (The Choke) whips out the bass solos. As a three-piece there’s no blaming the harpsichord player when we zone out. Acts that have inspired your sound? PJ Harvey’s 4 Track Demos and the wise words of Luke Dux. Anetta admires the guy that plays bagpipes and blows fire at the Fremantle Upmarkets. And panflute buskers. Your greatest strength? We never play over time or waste our rider on post-mix. Your worst gig ever and why? Any show without stage lights. You don’t want to make eye contact with audience members whilst singing ‘I’ve been touching myself/I hear its good for my health’. Your best gig ever and why? Real To Reel 2012. We worked with Laurie Sinagra over two hours to produce the live recordings we’re sharing at the moment. We also got free sandwiches and juice.

Formed in the winter of 2012 by two brothers who whilst on an extended break from their usual shenanigans went about writing new music and seeking out musicians to join the new project, King Of The Travellers have quickly built a cult following in their local Fremantle. Blending styles such as folk, punk and country and using a range of instruments including mandolin, French horn, and melodica, King of the Travellers have created a unique drinkin’ music sound which has fallen somewhere in between The Pogues, Johnny Cash & Sublime. Catch them at Clancy’s Fremantle this Friday 22 March.

Best achievement? Building an entire drum kit piece by piece from the parts we found at the tip. More notably, warming the stage for the Rico boys.


Besides yours, favourite Perth acts playing at the moment? The Choke, The Floors, War Threat, Dirtwater Bloom, Felicity Groom. Perth acts are rocking the casbah.

Texan four-piece This Will Destroy You have long been at the front of the post-rock pack, fusing the expected dynamics of the form with intense technical complexity. Headlining the Rosemount Hotel this Saturday 23 March, they’ll be supported by two great Aussie groups in their own right, one traveling over from over east and one from home: Sydney four-piece instrumental outfit Dumbsaint, bringing an epic orchestral sound with them, and our own heroes of ambient and unearthly sounds, Tangled Thoughts Of Leaving. Tickets via and Heatseeker.

If you could travel back to any show in history which would it be and why? Any festival of the early ‘90s. They somehow managed to cram the Pixies, PJ, The Cramps, Radiohead, Nirvana and Nick Cave onto the same line-up without the world imploding. Favourite hangover cure? 48-hour sex binge. And icey poles. Enjoyed separately.

Besides yours, best three acts EVER to come out of Perth? Gareth Liddiard, Kevin Parker, James Baker (not technically an ‘act’, we know). WHO: Catbrush WHEN & WHERE: Wednesday 27 March, The Bird

WAM UPDATE Contemporary music industry news with West Australian Music.

STILL NUTTY One of London’s most loved musical exports, Madness have just released their tenth album and experienced one of the most incredible years of their career, as Chas Smash admits to Michael Smith.

BEYOND THE GENRE Exploring the latest and greatest in post-rock-ish, experimental and otherwise difficult to classify sonic realms, with Anthony Williams.



ROYALTIES & RICHES Ever wondered why you’re not getting paid your dues? WAM and APRA|AMCOS are proud announce the second installment of the 2013 Music Industry Sundowner Series, taking place Monday 25 March at The Rosemount Hotel from 6pm til 7.30pm. Moderated by APRA|AMCOS’ Tenille Elkins and presented by Lynne Small of PPCA and Susan Cotchin of International Royalties Rescue, the session will focus on royalty collection, with particular emphasis on sound recording royalties and an insight into worldwide collection. You may already be a member of APRA and AMCOS, but how about PPCA, and who’s taking care of those royalties outside of Australia for you? The following day, Lynne Small will also be available to provide four free one-onone sessions at PICA Bar to current WAM Members. The sessions will start at though bookings will take place at the Sundowner. Registrations for the Sundowner are free for WAM members who register before midnight Sunday 24 March, or $10 general admission door sales on the night for anyone else.

ALIVE AND SWELL Schools Alive is a contemporary music program that delivers live concerts and workshops to WA schools. The program is well underway with concerts booked at Mt Lawley SHS, Sacred Heart Primary, North Lake Senior Campus, Shenton College and Rangeway Primary in Geraldton. Some top acts so far include Shangara Jive, Rachel & Henry Climb A Hill and 2012 WAM SOTY Grand Prize winners Rainy Day Women, who recently performed at Southbound 2013 and St Jerome’s Laneway (Perth). If you’d like to find out more or make a booking feel free to contact WAM’s Education and Project Officer Kris Dimitrov by emailing kris@asnor calling 9227 7962. More info in the Projects/Schools Alive section on

LABEL LOVE-IN Sounds Australia, AIR and the PPCA are now seeking expressions of interest from Australian labels to take part in the American Association of Independent Music’s (A2IM’s) Indie Week 2013 in New York City this June. Indie Week 2013 is a members-only conference for record labels and service providers, with a strong focus on the exploitation of master recordings, licensing, networking and digital revenue streams. AIR has attended previous Indie Week events and strongly believes that Australian labels will benefit from having a presence at this emerging conference focused on the specific needs of independent music labels. Check out join-us-at-indie-week-2013/ for more info. The Western Australian Music Industry Association (WAM) strives to support, advocate and nurture WA talent of all types. More info:

BLOODY MURDER Covering two stages, fifteen bands will roll out a shitload of metal and hard rock this Sunday 24 March at The Railway Hotel for Murderfest. They are, *ahem*: Advent Sorrow, Psychonaut, Mhorgl, Blunt Force Trauma, Hellious, Facegrinder, Tempest Rising, Obscenium, Dawn Of Leviathan, This Other Eden, Severtone, Pending The Silence, Tusk, From Isolation and Chainsaw Abortion. Fifteen bands for only $8? Geouttahere.

When they broke up in 1986 under less than amicable circumstances, no one could have predicted that not only would Madness reconvene but that they’d also record two of the best albums of the career – The Liberty Of Norton Folgate and Oui Oui, Si Si, Ja Ja, Da, Da – 22 and 26 years respectively after that break up, the latter debuting at #10 in the UK Album Chart. As it happens, the various band members themselves had no idea either. It was their fans that turned things around, putting their 1981 hit cover of Labi Siffre’s It Must Be Love at #6 in the charts a decade later, along with the singles compilation, Divine Madness, at #1. That prompted a reunion concert, Madstock!, in North London’s Finsbury Park over two nights in August 1992, which attracted more than 75,000 fans, then a second Madstock! the following year and then three times after that. “When we reformed the band,” Chas Smash, born Cathal Smyth, admits, “the ideology was ‘act local, think global’. Smash was the last official member to join Madness, initially as backing singer and dancer, though he now plays trumpet, acoustic guitar and percussion. “It was quite magical to perform in Finsbury Park because it was our sort of manor, you know?” he continues. “Sort of North London stuff, so it felt good. Strange looking back at it now, thinking about it – it seems so long ago.” A live album, Universal Madness, recorded at the Universal Amphitheatre in Los Angeles, followed in 1998, along with studio album, Wonderful. The collective love for Madness even extended into the world of theatre, with a musical based on their songs, Our House, running successfully for nearly a year at London’s Cambridge Theatre in 2002 and 2003. This year has seen Madness not only release the aforementioned album but also perform on the roof of Buckingham Palace as part of the Queen’s Diamond Jubilee concert in June and play at the closing ceremony of the London Olympic Games. As well as these once-ina-lifetime events, they’ve also played Coachella in the States, and V Festival, the iTunes Festival and Meltdown in their homeland. This month, they’re playing two nights at London’s O2 Arena. There was even a revival of Our House – The Musical.

to see it. Oh how he’d ‘ave laughed, you know? I dunno – you start off as a rebel and you end as something of a British institution, establishment. In a small [way] it’s disconcerting but in another way it’s very comforting. “Punk really was a large part of why we started – we started in a recession, we reformed in a recession and we’re back in a recession. I don’t know what that means, if we’re bringing it or we’re there to cheer people up during it, you know? It seems we have a purpose.” As for the Olympics, “I keep saying it was like gladiators going out into the Coliseum – I mean it was incredible. The angle of the searing and the lights… I mean this year I presume we’ve been seen on television by nearly three billion people and it’s quite a concept to get your head round. I mean amazing, absolutely amazing – much more thrilling than I anticipated – and what was really nice was everyone backstage were just all really cool.” Madness ended up using not one but six different producers in the making of Oi Oi Si Si Ja Ja Da Da, not necessarily their best idea Smash admits in hindsight. “Basically I just thought it was time for a bit of a change. It just seemed like it would be a good thing to shake things up a bit and see what it would be like. We’ve nearly worked with a lot of different people in the past but always just ended up with [producers] Clive [Langer] and Alan [Winstanley], and no disrespect to them at all intended but it was just a change really, just to see what happened, you know? I think the lesson we’ve learnt from all of this is have one producer from the beginning,” he laughs. “’Cause it really got too complicated and so expensive, but again, after 33 years of working with one team, it’s good to have a change.

“Yeah, Suggs [frontman Graham McPherson] did a one-off performance for Help For Heroes, a soldiers’ charity, for victims of war. I dunno if it’s going to be brought back or if it was a one-off. I mean we’ve made two films [1981’s Take It Or Leave It and a feature in Dance Craze, released the same year], one musical, I don’t know what we’re gonna do next – probably start our own beer, mate – ‘Mad Beer: gets you bloody pissed!’ Something like that.”

“I don’t know? I wouldn’t compare this album to the previous one. For me, The Liberty Of Norton Folgate was almost an awkward first album, and now this one seems to be like the difficult second one that’s been done in quick time. It’s interesting. Liberty… felt like a rebirth almost in people’s perception and this album’s followed quite quickly on its heels, certainly by our standards. We’re even talkin’ about the next album at the moment, which is very strange, but we seem to be in a good place. Whether there’s a bit of a backlog I’m not sure really, but whatever’s happened – either that or a sense of mortality – we want to get the ideas out of our heads – who knows?”

Funny to think that Madness, seven young North London wide-boys enjoying themselves immersed in the ska meets punk sounds of the day, had their beginnings in another rather more notorious Jubilee year, 1976, during London’s ‘Summer of Punk’, though back then they were playing as The North London Invaders.

With seven writers in the band, even getting the album down to the 11 songs (plus three bonus tracks) was a nightmare. As Smash quotes their old record company boss, Stiff Records’ Dave Robinson, “Seven band members, twenty-one decisions! In the end, time became the issue – get it done. Hey ho.”

“It’s been strange – in a very pleasant and wonderful year. I must admit, looking out of Buckingham Palace havin’ a sneaky cigarette while I was waiting to go up to the roof, I really did wish that my father was still alive

WHO: Madness WHAT: Oui Oui, Si Si, Ja Ja, Da Da (Cooking Vinyl/Shock)

Despite several years of diminishing recorded returns, a new album from Mogwai still creates a sense of anticipation in the Beyond The Genre camp. The Glaswegian post-rock godheads have just delivered the soundtrack for a French TV series called Les Revenants, and, thankfully, it’s a job that hasn’t required the not-so-Young-Team to proclaim its virility and relevance by ‘rockin’ out’. To these ears, Mogwai’s excursions into propulsive, riff-based ‘indie-rock’ (sans or with heavily obscured vocals) have often seemed like ill-advised attempts to shake off the classic ‘post-rock’ straightjacket by wearing another. Les Revenants takes a different path, while still playing to a number of the band’s great strengths. Implied threat and gorgeous melancholy have been essential elements of the Mogwai sound from the start, and they’re front-and-centre in a work that simmers, shimmers and suggests that there is more to this world than what we see and know. By all accounts, it’s the ideal sonic accompaniment to the dark TV drama – in which dead members of a small community return from the grave (ie: ‘zombies’, done French style) – that gives this critically praised, beautifully low-key release its name. Recent reviews for the latest long-player from Mountains, entitled Centralia, have been no less reverent. The seventh album from the electroacoustic duo of Koen Holtkamp and Brendon Anderegg has been described as a ‘sumptuous, complex piece of work’, ‘rich with connection, bustling with possibility [and with] life pulsing through it’. Germany’s kraut-kosmische pioneers and their 21st Century descendents (Emeralds, Oneohtrix Point Never et al) are reference points, but it’s the masterful layering of acoustic and electronic elements, and the pair’s compositional detail, that makes Centralia such an absorbing treat. The Barge Recordings label has also just issued Koen Holtkamp’s second solo full-length on vinyl, following its digital release late last year. Liquid Light Forms sees the Mountains man’s attention focussed purely on electronics (voltage-controlled modular synthesizers and sequencers to be more precise), with comparisons made to the recent works of Keith Fullerton Whitman and Steve Hauschildt (Emeralds). Away from those synthesized realms, a hugely credentialled collaboration between Aidan Baker (Nadja), Andrea Belfi (Italian drummerpercussionist) and Erik Skodvin (Svarte Greiner, Deaf Center) has come to BTG’s attention recently. Collectively known as B/B/S/, the trio have just released their first recordings – the Brick Mask album and accompanying Half Moon EP – and claims that its largely improvised sound touches down in a diverse range of genres; including drone, free jazz, doom, psychedelia, shoegaze, avant-garde and tribal music. With that sort of talent involved, anything seems possible. While we’re on the subject of genre-hopping and sizeable talent, Perth’s instrumental, post-rockmetal-jazz juggernaut Tangled Thoughts of Leaving recently released a new EP, Failed By Man And Machine (which promptly sold out on CD). Head to TToL’s Bandcamp page to secure a download copy, and be sure to join the band at the Rosemount Hotel on Saturday 23 March – when/where they will be supporting bombastic Texan post-rockers This Will Destroy You. Expect diamond-sharp, quietloud dynamics from these US visitors and, in the process, put a few extra dollars in Tangled Thoughts’ European tour fund. Go get ‘em Gentlemen!

For more news/announcements go to • 25

FEEDBACK ANTELOPE, WOLVES AT THE DOOR, THE FLOWER DRUMS THE BIRD: 15/03/2013 An exciting night was in store for Perth’s very own instrumental post-rockers Antelope, who were showcasing their new single Perennial in a very cosy-feeling Bird. Jack Doepel began proceedings with a groovy DJ set to craft the mood and settle everyone in, before The Flower Drums took to the stage to perform. The group were super-tight instrumentally and certainly the most fun of the bands on the bill, drawing a group of women to the front of the stage to dance the best they could to the band’s eerie, psych-rock sound. Vocalist Leigh Craft was in fine form, too; the light and shade in his tones had each song feeling new and fresh. A short break, and Wolves At The Door took up the reigns with their brooding blend of alternative rock. Like their predecessors, the band’s performance was solid, characterised by a jarring guitar sound and a somewhat haunting vocal delivery from Ash Hendricks. While many in the crowd enjoyed the show, it felt like there were also a number of people with a take-it-or-leave-it vibe, an issue which could be avoided with a little more variety in the band’s collaborative sound, as by the end of the set it did seem to be getting slightly repetitive. It took a little longer than usual to get Antelope set up, but it was well worth the wait. A backdrop accompanied the group, which would feature a montage of landscapes and various other images by way of projector. This proved to be very efficient in harmonising the band’s performance musically, each song finding a way to complement what was being displayed on screen. Perennial, the song of which the night itself was for, was performed flawlessly, a beautiful concoction of strong guitar tones and steady drum beats, with a lingering echoed vocal playing in the background. What was most enjoyable about this tune was that it seemed to possess a subtlety about it, a refreshing change to their generally intense and loud nature. All in all, it was a fantastic evening for local music, but don’t be too upset if you missed out – given how busy all the bands involved were, we’ll no doubt be hearing from them all again soon. Kane Sutton

GIGNITION RAILWAY HOTEL: 17/03/2013 Tinder Thieves were a refreshing version of that acoustic singer-songwriter style that can so easily by shoved into the ‘I want to shoot myself because this is so effing boring’ category. Really, it’s a hard musical genre to nail due to its stripped back nature. Tinder Thieves did a pretty damn good job of it. These two gentlemen were beyond comfortable with their crowd and enlightened us with something that resembled the sweetness of Bon Iver with the hostility of Billy Corgan. Some good old fashioned Oklahoma rock’n’roll was hurled upon us by The Cold Acre. They turned up the distortion, abused their cymbals and gave us a whisky-soothed croon you’d want to sink a few brews to. Think Pearl Jam, Silverchair and a whole bunch of skanky grunge. Whether the parents of the band members were simply watching them or acting as their guardians on a licensed premise was questionable. Oakland are the understatement of fresh meat. Their set was a concoction of bittersweet poppy ballads, ragtime-roots, down-tempo hypnotism and underwhelming covers. While this band apparently ticks all of the boxes that deems them destined for teenage stardom, they seemed almost bored on stage; a bit of passion and sass would go a long way.


The vocalist of The Skinny Kids has a pretty phenomenal vocal capacity with strength and vigour that can be likened to Beth Ditto. Their set morphed from something of a live dance performance into a curious and enthralling display of psychedelic-goth-rock, which was far better suited to their style and musical ability. Potential oozed from their pores yet one can’t help but feel slightly befuddled by their general stage presence and lack of a defining genre. Agnes Gajic


Brown Horn Orchestra


THE ASTOR THEATRE: 12/03/2013 On a fresh Tuesday night, The Astor Theatre’s lush interiors set the scene for one of the most impressive line-ups to grace Perth stages in years. For three bands more used to the sweat stained confines of bars and hotels, The Astor’s partly seated and balcony topped aesthetics provided a nice alternative for the night’s eardrum destroying output. Opening the evening with minimum fuss, drone rock San Franciscans Moon Duo quickly brought the crowd under their spell, wordlessly enticing the audience from their support band lethargy. Singer/guitarist Erik ‘Ripley’ Johnson and keyboardist Sanae Yamada have little in the way of showmanship, but make up for it through a hypnotic blend of Suicide-esque beats and effects laden noise. The Jon Spencer Blues Explosion are an entirely different proposition altogether. A force of nature akin to being slapped in the face by Elvis Presley, the threepiece put on a show like no other. As Spencer rides his guitar around the stage, flinging instructions to the crowd and bellowing his band name at every opportunity, his cohorts support him with a blistering racket. Guitarist Judah Bauer is the epitome of cool, with a bagful of riffs and an awesomely casual stage presence, while Russell Simins is a masterclass in rock’n’roll drumming, all thundering forearms and splashes of sweat. The three veterans feed off each other in the live setting, creating a non-stop barrage of garage rock jams. Latest album Meat & Bone seems to have revitalised the band in every way, with their new material sitting comfortably alongside fan favourites such as Sweat from 1994’s breakout album Orange. Another reputation enhancing showing from The Blues Explosion. For a band who released their debut in 1985, Dinosaur Jr. do well to avoid the nostalgia based success of many of their contemporaries. The three albums released since the original line-up’s reunion in 2007 build on the group’s legacy and sound as good live as any of their earlier material. After a slow start dodging various sound problems the set picked up speed with bassist Lou Barlow’s track Rude from last year’s I Bet On Sky album. The lo-fi legend bounced around the stage all night, providing a neat counterpoint to the strained pacing of drummer Murph and enigmatic frontman J. Mascis’ reactionless centrepiece. With his vocals constantly drowned out by the group’s deafening wall of sound, Mascis more often than not put his phenomenal guitar skills to the fore, tearing through a couple of favourites in Out There and Start Choppin from 1993’s Where You Been. The trio have never had a genuine hit single, but their catalogue is littered with classics. Feel The Pain was a mid-set highlight, while the legendary Freak Scene had the audience in a frenzy. For non-fans, the band’s brutal noise and total lack of pretense could be confounding, but tonight’s crowd lapped it up, becoming more excitable with ever track. An epic one song encore wrapped it all up, finishing the show in suitably emphatic fashion.

Rhian Wilkinson, Event Manager/ The Colosoul Group inc.

RADIO CONTROLLED PLANES Perth’s favourite indie terrorists The Spitfires return to the Rosemount Hotel to launch their new single Radio Control from their debut album Songs From The Debt Generation this Friday 21 March. The group are off on another national tour with their quirky brand of awareness-charged garage thrash. The band have recently released a brand new, self-produced music video featuring the group terrorising the Sydney general public with ghetto blasters on their heads to promote the new single. Support comes from Place Of Indigo, The Disappointed and The Government Yard.

Who’s playing your event and who should punters be most excited about seeing? Brow Horn Orchestra and Bastian’s Happy Flight are our headline acts, supported by ‘Earth Hour’ sets played in the dark from FOAM and Mt. Mountain. The night also features sets from Tired Lion, Bedouin Sea, and Sunny. We also have live spray paint artists Jackson Harvey and Jerome Davenport. What gave you the idea/theme for this show? Perth lacks events that offer opportunities for acts to showcase their talent in the name of a good cause. Supporting a global event like Earth Hour is important because people often consider having to reduce power output as meaning they will have to give up entertainment. We had a desire to produce an experience that encompasses Perth’s broad spectrum of talent; LOAF - as we affectionately call Lights Out Arts Festival - features live music, live artists, and local fashion... and waffles! What does your gig offer that others don’t? Earth Hour! LOAF offers the unique experience of environmentally conscious music and art presented to you in the dark. What made you pick The Bakery? The Bakery is a great Perth venue and offers us the space we would have struggled to get anywhere else in Perth, plus – all the parks were booked out. Ideally we would have hosted the event in a park and lit it with hurricane lamps and fairy lights. What’s next for Lights Out? Lights Out Arts Festival will become an annual music and arts festival for Earth Hour in Perth, supporting locally produced talent. WHAT: Lights Out Arts Festival


WHEN & WHERE: Saturday 23 March, The Bakery

Reinventing the modern day troubadour, Sydney singer-songwriter Brett Winterford has spent the last couple of years writing songs, travelling the globe and creating a groundbreaking path for folk music, performing unique concerts atop doubledecker buses, on river barges, in ancient forts, bedrooms, corner pubs and cafes from Berlin to Brooklyn. Launching his long-awaited debut The Greenthumb EP, Winterford gives The Ellington Jazz Club a taste this Thursday 21 March.

Kitt Di Camillo 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. After a your shortultimate summertour tour,date? indie Being dub outfit Sticky Describe Fingers hittingwith theone roadofagain one final involved andare touring the bigforfestivals tour be to apromote album before heading would lot of funtheir and new a great experience. to Europe in June for the next two and a half WHO: Eli Since Wolfe their last tour in September, the months. guys have been hard atEPwork on new material, WHAT: Perfect Moment (Magic and willRecordings/MGM) hopefully pull out some new tasty treats Journey when they stop by The Rosemount Hotel on WHEN & WHERE: Thursday 7 March, Clancys Wednesday 27 March, The Prince Of Wales, Bunbury Fish Pub (Fremantle EP launch); Saturday Thursday and Settlers Tavern, Margaret 9onMarch, Town28Square, Port Hedland River on Saturday 30. Tickets through Oztix.



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Life is Noise presents

Saturday May 11 Rosemount Hotel Perth Tickets from, and the venue







somewhere a few years back and getting handed some mushrooms while cranking my drum and bass tracks. Was quite an awesome night/morning.


First live set: what was most memorable for you? I believe my first live set was supporting my brother’s band Sleepy Jackson at the Monkey Bar (now Capitol). I still remember It because the whole place was pretty much packed and I didn’t really know what the hell I was doing. All time favourite electronic track? Damn that is tough, but i’m going to put Aphex Twin – Vordhosbn off the Drukqs album. Fave DJs/live electronic acts and why? SHAPESHIFTER. These guys kill it every time I see them.

YARHKOB Daytime (real) name: Jake Steele From: Perth City How did you get your production name? Well my mum’s mum was born in Belarus and over there the J is pronounced with a Y so I just sort of took on Yacob but changed the spelling so its a bit more dirty and evil sounding. What do you produce and play? Mainly dark, weird, experimental hip hop and drum and bass, but I dabble in a bit of dubstep, breaks and ambient tripped-out beats aswell. What equipment do you use? My trusty Mac Book Pro, Ableton Live, Yamaha HS-80s, MPK mini/49, MOOG Slim Phatty, MicroKORG, Kaoss Pad KP2, various guitar pedals and percussion, scrap metal, field recordings, kid’s toys that make sounds - anything I can get my hands on really. Who else do you perform with live? Yarhkob is pretty much a solo thing but with my more hip hop tempo’d sets I sometimes get up some MCs to bust out some rhymes over the top. I’m looking to possibly expand the

live show with more elements but for the moment its all me. What crews do you belong to, or affiliations residencies do you have? Me and some other producer mates started up a local collective called Pineapple Lounge Records to put on monthly shows and give other local electronic producers of all styles somewhere to play. It ran for a couple of years but we have kind of slowed down and put the shows on hold for a bit. BUT I recently joined The Community and am now rocking their website and all. Get ready for some crazy Yarhkob and Community MC and producer collaborations! What got you in to producing and performing live? I grew up in a very musical household so I was always interested in making music since my whole family was doing it. When I heard acts like Nine Inch Nails, Prodigy and Aphex Twin I was hooked on making my own crazy beats. It took me a while to get it out of the bedroom and onto the live setting mainly because I didn’t know where to play. The Deuce crew really helped me get rolling in playing live by providing that outlet. Career highlight: Rocking a stage at Earthdance out in the bush

Fave producers and why? I would have to say Flying Lotus and Noisia. Both from other ends of the tempo spectrum but it’s the kind of weird/extreme/mind boggling/brutal/innovative type tracks that inspire me the most. Funniest thing you’ve seen from behind the decks? One of the Pineapple Lounge nights we had a dude come in on his bucks night dressed in a full wedding gown busting out some crazy moves on the dancefloor. Weirdest thing you’ve seen in a nightclub? A guy milking a cow. Best all time gig? Another tough question! Beastie Boys, Autechre, Shapeshifter … Can’t settle on one! Production releases (Include name, label): Transmissions EP (Pineapple Lounge 2011) Where can people get more info? yarhkob; www.facebook. com/yarhkobmusic WHO: Yarhkob WHAT: Responses EP (Independent) WHEN & WHERE: Sunday 24 March , The Bird

STANTON WARRIORS 1. Nucleus - Jam On It: Way before its time electro funk. Still sounds great today. Tracks like this paved the way for early hip hop. 2. Massive Attack - Unfinished Sympathy: growing up in the city of Bristol, these guys were a huge influence. They didn’t really care about genres, only about accessible yet still underground and forward-thinking music.

3. Masters At Work feat. India - I Can’t Get No Sleep: US house during the mid ‘90s was truly amazing, and this track represents one of the best. Featuring the prolific production skills of Kenny Dope and Louie Vega coupled with India’s stunning voice made for a New York City anthem. 4. Maze - Twilight: A beautiful live piece of electronic acoustic soul. The perfect track for chilling on a hot sunday afternoon,

THE BAKERY: 16/03/2013 Last Saturday night saw The Bakery transported to a unilateral realm, in which measurements of time and space became entirely obsolete. For six hours, six different acts proceeded to defy audio-physics and infinitesimal classifications to create an evening of parallel, dystopian universes. The evening began with a collective of local, electronic, acoustic and visual composers including Emerald Cabal and Reece Walker with their ambient threads and crunchy snares proceeded by Leaving, Kynan Tan and Basic Mind. It wasn’t until the latter half of Kynan Tan’s haunting, glitch-ridden set that a reasonable crowd began to form, while Basic Mind delivered punchy, bass-heavy sounds. When Daniel Lopatin (that’s Oneohtrix Point Never) was interviewed on RTR a few days

prior to the show, he discussed the visual adaptations he had become synonymous for incorporating into his live sets. Now try to imagine what drone-ambient, plunderphonic visual images might look like. Essentially, it’s what I imagine the ensuing effects of a Jeffrey to be (there were definitely a few people trying to stroke metaphorical furry walls). Lopatin’s associations with the battle against timbral fascism became unmistakably clear during his hour long set, which varied from sonic screams to deep organs, consistently placing synthetic sounds in entirely unfamiliar contexts; totally discomforting, yet completely captivating. How many actors does it take to screw in a light bulb? I’ve never known, but what I do now know is that it only takes one Actress to make a room full of people burst into simultaneous epileptic fits. I suppose it’s because I’m not much of a dancer myself, but when you’re surrounded by a hundred people completely losing their shit, making out with

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5. MK - Burning: A classic Detroitproduced soulful house track that sounded raw and deep when it first came out and still does to this day. The producer MK inadvertently paved the way for UK garage. WHO: Stanton Warriors WHEN & WHERE: Sunday 31 March

LAUNCH NIGHT of different games to play for each ARCADE event. From the usual FPS titles such as Halo and Call of Duty, to the more casual, easy to play games like Mario Kart and Super Smash Bros.


or better still, at 6am after a mental night of no sleep.

furniture and licking each other’s faces, you start to wonder… how and why did I get here? The former premier league prodigy, turned new-age, electronic composer and self-confessed weed enthusiast completely lived up to his enigmatic hype. Not many performers can sit on the ground with their back to the crowd during a set and keep them entirely infatuated and euphoric. He has referred to his sound as an environment, with which audiences could touch, rather than just a form of music, and after experiencing it in the flesh, makes complete sense. Seeing two of the most eminent new-age electronic composers in one night was always going to be a confronting experience. If nothing else, the night was proof that new-age as a genre is completely flourishing, even if it’s doing so in the outermost fringes of the musical universe. Sean McKenna

Who’s performing? DJ Francesco will be spinning the latest and greatest Top 40, party anthems and mash ups all night long. Can we expect novelty video game cocktails? Oh you bet!! What are your top five games of all time? Halo: Combat Evolved, Pokemon Gold/Silver, Alex Kidd In Miracle World, Mario Kart 64, Super Smash Bros. Mario or Sonic? Has to be Mario, this guy has pretty much done every sport in the book, and had to time to kick Bowser’s butt a few times.

ARCADE Frank Macri, Epic Byte Promotions Manager What’s the idea behind the night? We want to bring video games into the world of night clubbing. Our previous events target the usual gamer crowd, where as ARCADE will be aimed towards the

usual Friday/Saturday night party people, bored of the same generic club night. We want the vibe to keep that same big, loud partying atmosphere. But imagine playing one of your favourite games, and then your favourite track is dropped by the DJ. Can it get any better? What games have you guys on offer? We will be offering a variety

Ken or Ryu? Never really got into the Street Fighter series, so I would have to say neither… but there will be Street Fighter at a lot of our events. WHAT: ARCADE- Video Game Club Night WHEN & WHERE Friday 22 March, Metro Fremantle (upstairs)


DJ BOOTH MANIMAL With Saturday slick from another delicious helping of SYRUP, Drum’s Sean McKenna talks about cats with Manimal AKA James Beecroft. What’s your favourite venue in Perth? I gotta say the Cat Haven in Shenton Park. It’s a really young, energetic, playful crowd down there, they love to go hard but they know when it’s time to cut the crap and take a nap. And the Black Bikes Warehouse where we had The Animal Ballet party a few months ago – it’s great to be as loud as you want, as late as you want. When you’re not playing, where could we find you after dark? Sleeping in my ’04 Focus in the Cat Haven car park. The gigs you play can get pretty wild. From a performance POV, you must have to deal with a lot of distractions. What’s the craziest thing you’ve seen go down while doing a set? The look on my sister’s face when I played Like A Boss at her wedding. I was having a really great time and I forgot how much dick is in that song. How does SYRUP compare to any other gig in the Perth underground EDM scene? Statistically, I’m 100% more likely to remove my shirt at SYRUP than any other party in Perth. That’s definitely the vibe. Nobody else had their shirt off that night but they probably don’t even lift as much as me. On a serious note though, I love the mix



of genres at SYRUP – trap, house, tech, stuff that can’t be classified. What’s the worst track request you ever had? “Can you play something good?” Do you use your DJ powers to land the ladies? Absolutely! I make sure I end up back at their place, never mine. While they’re off freshening up I borrow all the tuna and milk in the house and catch a cab home. You’re birthday’s coming up (22 March), are you gonna get up to anything crazy? I’ll be having a lovely dinner with my family that night (I share a birthday with my

older sis) and then I’ll probably go get my nips out at SYRUP. Keeping to theme of me stalking your FB, you appear to have a fairly intense infatuation with cats… is this something we should be concerned about!?! I’m concerned at how many people aren’t infatuated with cats. Especially when they’re women. I have trouble trusting women who don’t like cats. Seriously, what the hell is wrong with you people? On a more serious note, you recently released your Funburnt mix on Soundcloud (13 February). Before that you’d kept a pretty low profile in regard to uploading


music (nothing in the past 8 months). Does this mean you plan to start recording and uploading a lot more tunes? I love making mixtapes, but got a little lazy with it up until recently. Also, the noise makes the cats leave the room, which really gets me down. I got some cat sedatives online from China on the cheap recently, so expect more mixes to be uploaded. WHO: Manimal WHEN & WHERE: Friday 22 March, Syrup; Saturday 23 March, The Animal Ballet.

What are the six essential things everyone should know about you? 1. We’re four romantic Italian guys. 2. We throw legendary warehouse parties in Milano for thousands of people since 2007. But we often throw private parties in our studios that are even better. 3. We toured Asia, Usa, Europe, Uk, and Australia (this is gonna be our second time in Oz!) bringing our Turbofunk sound around the world. 4. We’re really good cooks and we’d love to live in Oz for a while. Any rich cougar interested? 5. We’re quite good producers too. In fact, we released music on a lot of cool labels and remixed Fatboy Slim, Cassius, Robyn, Mad Decent, Bingo Players, Audio Bullys and heaps more. 6. We love Australian girls. What were the last six gigs you played, and what rating would you give each of them

(scale of one to six)? We were always sweaty enuff to say it was good. The crowd was even more sweaty. So let’s say 6. What makes it into your top six at the moment? The six episodes of Black Mirror. What’s the strangest place your music has taken you? Playing in an ancient castle? In a mining pit? Other people’s music brought us in even weirdest places. But that was partly mushroom’s fault. Which six people (living or dead) would you have at a dinner party? Probably four stunning girls, George Clinton to provide the music and Bukowski telling stories and preparing drinks. What’s six words that describe you? Lazy. Lazy. Lazy. Lazy. Lazy. Lazy WHO: RESET! WHEN & WHERE: Thursday 28 March, Ambar


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21 MAR - 27 MAR




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 tonight at The Prince Of Wales Hotel, Bunbury. Tickets through the venue.

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.

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. Get along and make some new friends!

CHASE THE SUN THURSDAYS @ THE DEEN Relaunching Thursday nights at The Deen with a line-up to entice your inner Tropicana. Imagine the sunshine hitting your skin with the island party vibes. The good times kick off at 7pm – get in early!

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.

R’N’R KAROKE @ DEVILLES A hell of a night out for your vocal chords every thursday from 6pm. Squeeze into your leather chaps, tease that hair and channel your inner Axl with all the latest and greatest rock’n’roll classics available to attack.

THE AVENUE Jon Ee gets you ready for the weekend with your favourite jams all night long.


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

Hold onto your bass face: Netsky is returning to Perth to debut his Live show at Villa on Saturday 23 March. Finally. He’s earned a greenlight journey through the ranks of drum‘n’bass, letting his tunes do all the talking. Netsky’s uplifting melodies and heavy dancefloor bass and beats deliver more slams than LeBron. His powerful forehand smashed Smile onto Hospitality’s This Is Drum’n’Bass and an equally whopping backhand in Memory Lane on to Logistics’ Hospital Mix Eight. Support comes from Ekko & Sidetrack, Blend and Bezwun on the night. Tickets available now through the Boomtick shop and Moshtix. the duo producing huge, crushing apocalyptic anthems, Denzal Park, and the guy with a reputation for partying all night long, Uberjak’d. Supported by Chiari, Jackness, Ace Basik and Slappin’ Plasti. Tickets are $25+BF through Moshtix, with special VIP tickets $40+BF.

DANIEL BORTZ @ VELVET LOUNGE Be it ‘80s new wave, ‘90s West Coast hip hop, disco or dance mania, Daniel Bortz brings things together that aren’t bound up with realness and schools: He fuses his own world of sound for today’s dance floor, and part of that is bootlegs – dangerously thin ice for a music producer’s reputation. Bortz has an infallible knack for reducing things down to the nitty-gritty; to constantly limit elements to their bare minimum, even if nowadays ‘minimal’ is considered an absolute no-no. Hey plays Lucid Dreaming at Velvet Lounge, supported by James A, Aaron Richards and more. Tickets via Moshtix.

SYRUP @ GILKINSONS Bringing to you PURE GLD TEEF BIZNAS from MDNGHTTLDYLGHT are the rhythm-riding and frequency-flowing, aces of acetate anthems. $10 for members, $15 for suckers. Entry around 12.15PM. Ambar’s about to see double – UK production wunderkid, GEMINI, will take control of the decks this Friday. Support from Genga, Micah, and JS; tickets $20+BF from Moshtix.

triple j’s formidable wax slinger, Nina Las Vegas, is backing up for a second Western Australian set at Newport Hotel. Mixing everything from party faves to techwrecking sonic craziness, every NLV show is a hedonistic ripper. Tickets for this Friday night show can be picked up through Oztix. DENZAL PARK

THE AVENUE Claremont’s worst kept secret keeps the Friday night party rocking till the sun comes up 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 Liquid 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 23/3 NINA LAS VEGAS @ AMPLIFIER For her final date in WA, Nina Las Vegas will be taking Amplifier apart, right in the heart of the city. Tickets through Oztix.

HED KANDI @ GEISHA Once again Geisha Bar will be transformed by the decor you have known to love and expect from Hed Kandi. Frankie Romero will be headlining Hed Kandi’s The Miami Sessions Tour; also bringing their signatory brand of uplifting house music sounds will be DJs Luke P, James Ess and Ace Basik. JASON LEMA

ARCADE LAUNCH PARTY @ METRO FREO Party on upstairs at Metros as Perth’s premier video gaming night providers launch their debut. $10 entry, doors open at 9pm. Expect novelty video game cocktails.


Shape’s fortnightly reckoning with the forefront of EDM ready to rock your soul. Entry $15 on the door, opens 10pm.

DORCIA @ LIBRARY The usual disc jockey deviants including binging the party noise all night long.10pm and $10 thereafter.


30 • To check out the mags online go to

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. Jason Lema, from Las Vegas’ dance center, Marquee, is ready to make Australia shake, move and bounce, with an eclectic mix of chart toppers and club bangers. He plays Wembley Hotel tonight. for tickets.

JAPAN 4 FEAT. LKID @ AMBAR Enter LKiD. Lewis to his Mum and he’s still pretty young – make sense? This kid is a musical mastermind; incorporating the most

Shenanigans and house party vibes with the Cheek DJs and friends. Tonight you can wear shorts too!

ISLAND NIGHT @ HULA BULA Lady Carla plays ska, reggae, rocksteady, calypso, mento and dub. Free entry from 6pm.


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.


Child’s Play and Resident EightoEight DJs from 8pm.

THE GENEROUS SQUIRE 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 full on storm, party style.

SAIL & ANCHOR Catch the Child’s Play DJs mashing up all styles for Saturday.


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.


Student/backpacker night with Plastic Max & The Token Gestures and DJ Birdie on the decks. Free entry.



Overlords Dave Jackson and Armee select their finest tunes from 8pm.


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


The Ministry of Sound Clubbers Guide To 2013 crew is loading up for its annual tour to guide you dance music journey in 2013. The Perth stop stomps into Villa and features the gents behind the double-pack;

Barry Simpson and the local guest DJs bring you the sound of Motown, norhtern soul, R’n’B and modern soul for $10 from 8pm.


YaYa’s own resident DJ Dan “Double Dee” Deelstra drops the beats every Friday night from 11pm-2am.



entry from 9pm.






diverse genres into his music and one of *those*UK young ones who are revolutionising House music as a whole. Supported by Qwerk, Oli, Dead Easy and Tee EL. Door Sales $20.

Perth’s most famous backpacker night with DJ Roger Smart and DJ E-Funk. Free entry ‘til 10pm.


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 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


After two massive nights in 2011 and 2012, Life Is Noise returns with another huge Easter Thursday at the Bakery in 2013. Having teamed up with the move crew two years ago for Clark and last year with ICSSC for Jacques Greene and Machine Drum, this Easter Thursday alongside The Community crew they have assembled another huge two room party for your dancing pleasure. Heading the night will be British Warp Records mainstay Mark Pritchard and frequent Perth visitor and electronic music pioneer Dan The Man. Mark Pritchard is quite simply one of the best producer/ DJs on the planet today. Having put out numerous incredible releases on Warp Records, Hyperdub, Dedicated and Sonar Kollektiv as well as Warp. It all goes down on Thursday 28 March at The Bakery, with support from Savoir, Rok Riley, and Jo Lettenmaier in the front room, while Diger Rokwell, Mathas, Ylem, Vishnu and FG play in The Community room. Tickets through Life Is Noise and Now Baking.

SPEAKEASY: WOODSTOCK FEAT. DUNE RATS @ VILLA Last year’s Woodstock Party was an epic evening of dress ups and late night boogying. A night filled full of love and dancing with some of your favourite boys from Dune Rats. Dressing up is a must, wear whatever you can find at the bottom of your parents wardrobe; expect flowers, headbands, colourful glasses and a lot of haze. It all goes down on Thursday 28 March. Tickets available though Moshtix.

DRAPHT, N’FA JONES, SEVEN & MR HILL @ THE ROSEMOUNT After the massive success of his 2011 chart topping gold certified album, The Life of Riley, which included the two-time platinum single Rapunzel, and which resulted in both an ARIA Award and an AIR award for Best Urban Release, and the inclusion of three of the singles polling throughout triple j’s Hottest 100, Drapht is back and taking to the road once again to thank his fans for all their support. Joined by close friend, N’fa Jones, who featured on Bali Party and again on current single 1990s, along with exciting Queensland up-and-comers, Seven and Mr. Hill, the twentydate national tour will be Drapht’s first headline tour since 2011 and his first tour since joining the roster at New World Artists. He slams into The Rosemount Hotel on Thursday 28 March, with an in-demand second show now announced for Saturday 30 at the same venue. Tickets on sale today through Oztix.



2 2

uk bass | future beats | midnight til daylight once monthly club

18+ ID required

Gilkisons DS

Dance, midnight til daylight

Come and support WA’s most talented                          ! "#$%& '( ) *        +#,             -    & !

11am to 5pm Sunday 24 March 2013 Angelo Street, South Perth

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21 MARCH 2013 Howie Morgan: Belgian Beer Cafe, Perth Rachel & Henry Climb a Hill: Clancys Canning Bridge, Applecross

Dave Brewer Trio: Clancys City Beach, City Beach

Henry Faulkner: Yallingup Caves House Hotel, Yallingup

Deborah Conway, Willy Zygier: Clancys Dunsborough, Dunsborough


King of the Travellers: Clancys Fremantle, Fremantle Trevor Jalla: Como Hotel, Como

23 MARCH 2013

Good Karma: Crown Perth (Meridian Room), Burswood The Riddum Shakers, DJ Razor Jack, Coaster T, Les Sataniques GoGo: Devilles Pad, Perth

Gerry and The Pacemakers: Astor Theatre, Mount Lawley

Courtney Murphy: Como Hotel, Como

Aidan Hargreaves: East 150 Bar, Ascot

Brett Winterford, + Special Guests: Ellington Jazz Club, Perth

Corner Stone: Edz Sportz Bar, North Coogee

Daren Reid & the Soul City Groove, Tip Top Sound DJ: Bailey Bar & Bistro, Joondalup

Greg Carter: Gate Bar & Bistro, Success Flyte: High Wycombe Hotel, High Wycombe

The Hopkins Bros feat. Marksman & the Horny Horns, Jodie Tes: Ellington Jazz Club, Perth

Bex’s Open Mic Night: Indi Bar, Scarborough

Paul Brady: Fly By Night, Fremantle

One Trick Phonies: Brook Bar & Bistro, Ellenbrook

James Wilson: Lucky Shag, Perth

Dirty Scoundrels: Gate Bar & Bistro, Success

Cheap Sober, Complete, L.S.D., Omac, Defekt: Civic Backroom, Inglewood

Vida Cain, Scotch of St James, The Midnight Mules: Mustang Bar, Northbridge Grave, Maligant Monster, Inanimacy, DJ Cain: Rocket Room, Northbridge Wicked Wench, Battle of the Planets, Nevsky Prospekt, Stone Bleeder: Rosemount Hotel, North Perth

The Mojos: Herdsman Lake Tavern, Wembley

Jen de Ness: The Boat, Mindarie Mike Nayar: The Shed, Northbridge Off the Record: Universal Bar, Northbridge Outback Jacks vs The Dewcy Beetroot: X-Wray Cafe, Fremantle Spaceman Antics, Black Swan, Ibis Elm: Ya Ya’s, Northbridge


22 MARCH 2013 Free Radicals: 7th Avenue Bar, Midland Claim the Throne: Amplifier Bar, Perth Dennis Gedling: Art Gallery Of WA, Perth Mod Squad, Tip Top Sound DJ: Bailey Bar & Bistro, Joondalup Mike Nayar: Balmoral, East Victoria Park The Reggae Club feat+The Empressions, Mumma Trees, Sista Che, + more: Bar Orient, Fremantle

Retriofit: Balmoral, East Victoria Park Flyte: Bar 120, Hillarys Mike Nayar: Belgian Beer Cafe, Perth

Bishi Bashi, Split Cities, Children, Santa Muerte: Ya Ya’s, Northbridge


24 MARCH 2013 Good Karma: 7th Avenue Bar, Midland

The Crux: Clancys City Beach, City Beach

Trplicity DJs, Spikey T: Indi Bar, Scarborough

Jade Diary: Clancys Fremantle, Fremantle

Adam James: Belmont Tavern, Cloverdale

Ben Merito: Indian Ocean Brewing Company, Mindarie

Acoustic Aly: Como Hotel, Como

Chris Murphy: Broken Hill Hotel, Victoria Park

Better Days: Kalamunda Hotel, Kalamunda

Gerry and The Pacemakers: Mandurah Performing Arts Centre, Mandurah

Beat Lounge 8 feat.+Various Artists: The Bird, Northbridge

Renegade: Woodvale Tavern, Woodvale

Dr Bogus: High Wycombe Hotel, High Wycombe

Bill Chidgzey: Rosie O’Gradys, Northbridge

Fenton Wilde: Sovereign Arms, Joondalup

Netsky: Villa Nightclub, Perth

Envy: High Road Hotel, Riverton

Muchos Mariachi with+Friends of Mexico: Kulcha, Fremantle

Dilip ‘n’ The Davs: Settlers Tavern, Margaret River

Soul Corporation: Universal Bar, Northbridge

Squid Live: Clancys Canning Bridge, Applecross

Clayton Bolger: Rosie O’Gradys, Fremantle

Simon Kelly Acoustic Trio: Settlers Tavern, Margaret River

Alex Elberry, Silver Hills, Needles Douglas: The Eastern, Midland

DJ Camborghini: X-Wray Cafe, Fremantle

Jonny Taylor: Earl of Spencer Historic Inn, Albany

The Eastern, Lucy Peach, Mama Boots: Mojos Bar, North Fremantle

The Organ Grinders: The Boat, Mindarie

The Floors, Loose Lips, Custom Royal, The Dirty South: Mojos Bar, North Fremantle

Local Heroes: Crown Perth (Meridian Room), Burswood The Kahuna Daddies, Feminem & Her Frisky Felines, DJ Jumpin’ Josh: Devilles Pad, Perth Deborah Conway, Willy Zygier: Ellington Jazz Club, Perth DD Soul feat Chelsea Cullen: Ellington Jazz Club (Late), Perth Dirty Scoundrels: Gate Bar & Bistro, Success

Andrew Winton: Balmoral, East Victoria Park

Nathan Gaunt: Broken Hill Hotel, Victoria Park Mike Nayar: Brooklands Tavern, Southern River Bluebottles: Carine Glades Tavern, Duncraig Chasing Calee: Chase Bar & Bistro, Baldivis

25 MARCH 2013

Tripple Shots: Mustang Bar, Northbridge Plastic Max and the Token Gesture: The Deen, Northbridge Johnnie Walker & the Rock Bottoms: X-Wray Cafe, Fremantle Big Thommo’s Open Mic Variety Night: Ya Ya’s, Northbridge


26 MARCH 2013 Matt Taylor: Charles Hotel, Perth Billy & the Broken Lines: Crown Perth (Groove Bar), Burswood Graham Wood Trio, + Guests: Ellington Jazz Club, Perth Billy & the Broken Lines: Groove Bar (Groove Bar), Burswood Ben Merito: Lucky Shag, Perth Burst & Bloom, Rich King Matthews, Val Verde, Blake Skinner: Mojos Bar, North Fremantle

Dr Bogus: High Road Hotel, Riverton

The Zydecats: Clancys Fremantle, Fremantle

Red Engine Caves, Spaceman Antics, Ray Finkle: Norfolk Basement, Fremantle

Pop Candy: Hotel Rottnest, Rottnest Island

Adrian Wilson: Como Hotel, Como

Barefaced Stories with+Various Artists: The Bird, Northbridge

Jonny Taylor: Earl of Spencer Historic Inn, Albany

The Tom Tale Jazz Quartet: X-Wray Cafe, Fremantle

FSO - Five Sax Orchestra: Ellington Jazz Club, Perth

Dharshini Muru, Kate Gilbertson, Sam & Nat, Little Skye, Jay Grafton: Ya Ya’s, Northbridge

The Spitfires, Place Of Indigo, The Disappointed, The Government Yard: Rosemount Hotel, North Perth

Black Birds: Indian Ocean Brewing Company, Mindarie Rivertribe: Kulcha, Fremantle

Open Mic: Fly By Night, Fremantle

Steve Hepple: Leopold Hotel, Perth

Greg Carter: Gate Bar & Bistro, Success

Flash Nat & The Action Men: Rosie O’Gradys, Fremantle

Rhythm 22: M On The Point, Mandurah

The Organ Grinders: High Wycombe Hotel, High Wycombe

Howie Morgan: Sail & Anchor, Fremantle

William Elliot Whitmore, Lincoln Le Fevre, Tom Ware: Mojos Bar, North Fremantle

Shovel & The Gun: Indi Bar, Scarborough

Nightshift: Sail & Anchor (Upstairs), Fremantle Shaun Kirk: Settlers Tavern, Margaret River Troy Anderson: Springs Tavern, Beechboro Velvet: Steve’s Bar, One Thousand Years, The Cult of Addiction, Daniel Firkin Trio: Swan Basement, North Fremantle Malb Duo, Jack Stanley, Robert Hinton, Toni E, SJ Earle: Swan Lounge, North Fremantle Tandem, Greg Carter: Swinging Pig, Rockingham 6s & 7s, Ramona Bird, Methyl Ethel, Shy Panther DJs: The Bird, Northbridge J Man & Rosie: The Boat, Mindarie Clayton Bolger: The Eastern, Midland

Electrophobia: Belmont Tavern, Cloverdale

Easy Tigers, Stu Harcourt: The Paddo, Mt Hawthorn

Jamie Powers: Bentley Hotel, Bentley

Kizzy: The Rose & Crown, Guildford Krank: The Shed, Northbridge

Flash Nat & The Action Men: Moon & Sixpence, Perth The Rusty Pinto Combo, Milhouse, DJ James MacArthur, + Rockabilly DJ: Mustang Bar, Northbridge

Deborah Conway, Willy Zygier, Steve Tallis, The Holy Ghosts, Lucy Peach: Mojos Bar, North Fremantle

British India: Settlers Tavern, Margaret River

WED 27 MARCH 2013

The Roadmasters, DJ Rockin Rhys: Mustang Bar, Northbridge

The Russell Holmes Trio: Ellington Jazz Club, Perth

Kizzy: Newport Hotel (Afternoon), Fremantle

Tim Nelson: Newport Hotel (Afternoon), Fremantle

Bernadine: Greenwood Hotel, Greenwood

Gravity, DJ Tom Drummond, Tahli Jade, + more: Newport Hotel, Fremantle

DJ Laith Tyranny, DJ Tom Drummond, + more: Newport Hotel, Fremantle

Fenton Wilde: Hale Road Tavern, Forrestfield

Henry Faulkner: Noovoh Backbeach, Bunbury The Aunts, The London Bureau, Dear Hella, DJ Cookie: Norfolk Basement, Fremantle

Velvet: Queens Tavern, Highgate, Highgate

Sean Scott: Port Kennedy Tavern, Port Kennedy

Murderfest feat.+Advent Sorrow, Psychonaut, Mhorgl, Blunt Force Trauma, + more: Railway Hotel, North Fremantle

B.o.B: Quarie Bar & Bistro, Hammond Park

David Fyffe, Neil Colliss: Rosie O’Gradys, Northbridge

Kickstart: Rocket Room (Late), Northbridge

Craig Ballantyne: Sovereign Arms, Joondalup

This Will Destroy You, Tangled Thoughts Of Leaving, Dumbsaint: Rosemount Hotel, North Perth

Freqshow, Yarkhob, Weapon Is Sound, Arms In Motion: The Bird, Northbridge

Blue Gene: Rosie O’Gradys, Northbridge Astrobat: Sail & Anchor, Fremantle

Slim Jim & Phatts Inc., Chris Murphy: The Boat, Mindarie

Matt Milford: Broken Hill Hotel, Victoria Park

Jen de Ness: The Vic Hotel, Subiaco

Acoustic Aly: Brook Bar & Bistro, Ellenbrook

Nightmoves: Universal Bar, Northbridge

Chris Gibbs: Captain Stirling, Nedlands

Glen Davies: Victoria Park Hotel, Perth

Pop Candy: Carine Glades Tavern, Duncraig

Flame: Woodvale Tavern, Woodvale

The Brothers Thin: Settlers Tavern (Verandah Afternoon), Margaret River

James Wilson: Chase Bar & Bistro, Baldivis

Bryan Rice Dalton, The Galloping Foxleys: X-Wray Cafe, Fremantle

Living Dying, Arc of Iris, Darren Guthrie, Vincent Romeo: Swan Lounge, North Fremantle

The Charisma Brothers: X-Wray Cafe, Fremantle

Burning Fiction, Grim Fandango, Castle Bravo, 10 Points For Glenroy: Ya Ya’s, Northbridge

Doctopus, Hootennany, Lost/Tuneless, Ham Solo: The Bird, Northbridge

Lady Velvet Cabaret’s Tea Party Graduaation+: Ya Ya’s (Afternoon), Northbridge

Childs Play: Sail & Anchor (Upstairs), Fremantle

32 • To check out the mags online go to

Retrofit: Universal Bar, Northbridge Christian Thompson: Wanneroo Tavern, Wanneroo Electrophobia: Whistling Kite, Secret Harbour

Benny Walker: Indi Bar, Scarborough Howie Morgan: Lucky Shag, Perth Fremantle Blues & Roots Club feat+Mitch Becker, Minky Gardiner Duo, Carolyn Thomas: Mojos Bar, North Fremantle Going Solo feat+Mel Saraswati, Smokey Flower Eyes, Mota: Moon Cafe, Northbridge Sticky Fingers, Current Swell, Lyall Maloney: Rosemount Hotel, North Perth DJ Anton Maz: Rosemount Hotel (Beer Garden), North Perth David Fyffe: Rosie O’Gradys, Northbridge Open Mic with+Claire Warnock: Settlers Tavern, Margaret River Catbrush, Thee Gold Blooms, Trash House: The Bird, Northbridge Toni Etherson, Nevsky Prospekt, The Long March: The Paddo, Mt Hawthorn Strutt feat. Ses Sayer: Universal Bar, Northbridge Jay Grafton, Quick Brown Fox: X-Wray Cafe, 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

Open Mic: Mojos Bar, North Fremantle

Timothy Nelson & The Infidels: Clancys Dunsborough, Dunsborough

Ben Merito: Indi Bar, Scarborough

TEGAN & SARA: MAY 9 Metro City

Chamber Jam+Various Artists: Ellington Jazz Club, Perth

The Reals: Greenwood Hotel, Greenwood

Colour Control, Shouting At Camels, Cothe, Rag n Bone: Railway Hotel, North Fremantle


Chris Murphy, Courtney Murphy: Crown Perth (Groove Bar), Burswood

Adam Hall & the Velvet Playboys, Cheeky Monkeys, DJ James MacArthur, Swing DJ: Mustang Bar, Northbridge

Courtney Murphy: Beau Rivage Restaurant, East Perth

The Blazin’ Entrails, Dirtwater Bloom, Lila Chainsar, I’m A Spaceship, Black Swan: Civic Backroom, Inglewood



HUNGARY: APR 11 Newport Hotel; APR 12 Capitol








+ NORMA JEAN: MAY 8 Amplifier



+ ANGELS: APR 6 Astor Theatre

TEGAN & SARA: MAY 9 Metro City

GRINSPOON: APR 5 Prince Of Wales; APR 6 Capitol

OM: MAY 11 The Bakery


THE KOOKS: MAY 12 Fremantle Arts Centre CRADLE OF FILTH: MAY 12 Metropolis Fremantle JELLO BIAFRA & THE GUANTANAMO SCHOOL OF MEDICINE: MAY 14 Rosemount Hotel

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: 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 + OWL EYES: MAY 24 Amplifier AIRNORTH KIMBERLEY MOON EXPERIENCE: GUY SEBASTIAN, MARK SEYMOUR, JAMES REYNE, GURRUMUL YUNUPINGU: MAY 25 Jim Hughes Amphitheatre, Kununurra + THE REVEREND HORTON HEAT: MAY 28 Rosemount Hotel THE SEEKERS: MAY 30 Riverside Theatre + SAN CISCO, MILLIONS, CHAOS CHAOS: JUN 1 Astor Theatre KAKI KING: JUN 1 The Bakery ICEHOUSE: JUN 2 Cable Beach Ampitheatre KATE MILLER-HEIDKE: JUN 5 St Joseph’s Church: JUN 6 Mandurah Performing Arts Centre; JUN 7 Albany Ent. Centre SOMETHING FOR KATE: JUN 7 Astor Theatre EMMA LOUISE, THELMA PLUM, PATRICK JAMES: JUN 13 Prince Of Wales, Bunbury; JUN 14 Fly By Night; JUN 15 Amplifier THE SUPERJESUS: JUN 21 & 22 Amplifier P!NK: JUN 25, 26, 28 & 29 Perth Arena LA DISPUTE: JUL 6 Amplifier; JUL 7 YMCA HQ + BALL PARK MUSIC, EAGLE & THE WORM, JEREMY NEALE: JUL 12 Metropolis BUDDY ‘N’ ROY: TOGETHER ‘N’ ALONE: JUL 25 Albany Ent. Centre; JUL 26 Mandurah P.A Centre; JUL 27 Astor Theatre + ANDREW STRONG & THE COMMITMENTS: AUG 22 Metropolis Fremantle FOALS: SEP 22 Metro City ONE DIRECTION: SEP 28 & 29 Perth Arena SOILWORK: OCT 6 Rosemount Hotel ANDRE RIEU: OCT 29 Perth Arena


Food •

Coffee days


• till

Thursday 21/3 • Outback The Dewcy Beetroot (free Friday 22/3 • Bryan Galloping Foxleys ($5 Saturday Camborghini Sunday Brothers Brown

23/3 (free

Sound late

Jacks vs from 7pm)

Rice Dalton / The entry from 8:30pm) •

DJ 8:30pm)

24/3 • The / (4pm-6pm) Fox (7pm-10pm)

Charisma Click – free


Monday 25/3 • Johnnie Walker and The Rock Bottoms playing a live, open-air benefit performance on the Neil Patrick Safari II to raise awareness for the SO BAWS foundation (the Society of Busted Arse and Willy Survivors) Tuesday Jazz

26/3 Quartet

The (free

Tom from

Wednesday / Quick

27/3 • Jay Brown Fox (free from

Lot 4 • • 9430

3 • 9399

13 •

Tale 7pm) Grafton 8:30pm)

Essex St Fremantle


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JAY-Z’S ROC BOYS IN THE HOUSE Being able to say you are mates of Jay-Z and play in his band comes with its perks – just ask Jay-Z band drummer Tony Royster Jr and DJ/producer Young Guru. Playing with Jay-Z at President Obama’s inauguration was one gig among many they’ll never forget.


Do you enjoy the technology side of drumming? Yeah I do. It really does depend on how you use it though. As long as you don’t take it out of context of what the music requires. It’s always great to have the acoustics of a drum set but then have the clap or an 808 coming from your trigger or electronic pad... it adds a different element to the drums. It can go hand in hand. The technology today is amazing, there are so many options.

The American Candyrat Records roster includes some of the best acoustic guitar players the world has to offer. With over 200 million YouTube views and a loyal worldwide following, Candyrat is re-defining the genre of acoustic guitar music. This week, they will be sending two of their top artists on a tour of Australia and New Zealand with performances in select venues in Melbourne, Sydney, Byron, Brisbane and both Islands.

Australian-born, Van Larkins, burst onto the international guitar scene 2 years ago with the release of the critically acclaimed duo album, Myriad, produced by finger-style guitar great Andrew White (released on Candyrat Records). His highly anticipated new solo album, Wandering Hands, earned worldwide recognition in the finger-style guitar genre since its release in May.

Muso: Where did the idea come from of you hooking up with Young Guru for these clinics? Tony: I have always enjoyed being in clubs and seeing the live instrumentation. I am not a club guy but when I do go, it’s always amazing to see some live instrumentation. A while ago I used to play with DJs in little bars and it was a great thing. Being on tour with Guru, with Jay-Z. it’s like man... We have been to Australia several times and love it and we thought why don’t we try to do something together over there? It will be something fun and we get to do something different together to what we do on a regular basis with Jay-Z.

Obviously your father was a major influence on you growing up but was there anyone else that influenced you? First of all, my mother played drums as well. My mum played drums coming up in the church. My father was just an amazing musician; played drums as well as guitar, bass, fiddled around with a bit of everything. As far as drummers are concerned, Buddy Rich was one of my favourite drummers who I used to listen to. My father would buy these DVDs… well at the time it was VHS tapes. Dennis Chambers is one of my main influences as well. I had the opportunity of meeting him at a very early age and it was a great experience for me.


The Candyrat Guitar Night features artists Owen Van Larkins (Australia) and Maneli Jamal (Canada) in an evening of jaw-dropping guitar playing and exquisite technique. Together and alone, each artist explores the rich tapestry of their individual approach to acoustic finger-style guitar music and leave audiences spellbound.

ot that these guys need Jay-Z’s endorsement, they are both uniquely talented individuals in their own right. Royster and Guru also happen to be great mates who had some spare time on their hands and have decided to put together a short club and clinic tour of Australia. Tony Royster Jr was in Singapore touring with Joss Stone just prior to the Australian jaunt and spoke with Muso’s Greg Phillips about the tour.

What will your key message be to people who come to the clinics? First of all, Guru is going to be doing the club thing and I am going to be doing the clinics with other musicians. But basically that music is a key ingredient to bringing people together regardless of what you do. It speaks in so many different languages. Music has got me where I am today and is something that is extremely important to me and I have a passion for it. So for anyone that comes, I like to express what I have done, what I have learnt, where it has taken me in my career and just the different ways it can affect you. If you’re feeling down, it’s a great way to bring you up. If you feel stressed, it’s a great way to just let out. Music has the ability to make someone feel amazing.


You play in some pretty crazy time signatures. Do you think anyone can do that with practice or is it a little bit genetic? It’s both. It’s common sense that some people grasp things quicker than others. With practice, anything is possible. It might take you two months, it might take you two years… Sometimes, it is hard for people to grasp things because they try to do it like someone else. That’s why I try to embed in people’s brains that I have my own techniques and my own way of thinking when it comes to drums. It’s completely different from other drummers. Everyone should find what works for you and if it is not hurting you then do that. You have been playing DW drums for a while. What is it about that brand of kit that you like? I have been playing DW since 1998. Even before the sound, it was the finishes that really caught my eye. Presentation is very important to me as well. You want to feel confident when you are playing. If you are playing something nice, it carries over to your playing as well. As far as the drums are concerned, they have so much passion. They put so much passion their drums in regard to picking the wood and even putting the notes inside the drums so you know what you can tune your drums to if you really want to go that deep into it. They can pretty much do whatever you want as far as size goes. The drums sound so good regardless of the situation; studio or arena, stadium. They are just amazing drums. Beats are such an important part of Jay-Z’s music. How much creative freedom does he give you? What’s funny is, Jay-Z or more so the genre of hip hop, is primarily based on solid grooves and beats, period. That’s what the rappers, the artists like to hear. It’s

usually all about reproducing the beats which were programmed in the studio that are on the records. As far as him giving me freedom to play, of course, there are certain things in his lyrics that he does that I can duplicate with the hi hats or different parts of my kit that he really enjoys but it is not going out of the context of the music. I’m laying down a solid groove but also adding to it with things he hasn’t heard, things that weren’t on the record but that go with his rapping. He really just leaves it in my hands. There might be times where I will do something by accident, then the next time I won’t do it and he’ll be like, what happened to that thing you did, you didn’t do that this time? Make sure you do that. Then I’ll remember that for next time. I’ll do things here and there just to see how he feels about it. You played for the President. What was that gig like? Man, the inauguration, that was crazy. That was when he was first elected and it was an unreal experience. The first black President and us having the opportunity to actually meet him and talk to him. To even get that close to the President is crazy. That was a great experience for me and being there, there were other amazing artists there performing as well. You have Sting sitting right next to you as the President is talking, you have Bono right next to you. It was an unforgettable experience. Young Guru and Tony Royster Jr are performing across Australia at secret locations, follow facebook. com/AddedFlavaAudioLabs for venue details. WHO: Young Guru and Tony Royster Jr clinics

Maneli Jamal plays with conviction that transcends words and obvious melodies. Born in Iran and raised in Germany, Jamal moved to the States in his adolescence, immigrating to Minnesota before relocating to Austin, Texas until his late teens and is now based in Canada. Jamal miraculously took the Canadian finger-style world by storm with his profound storytelling guitar technique described as percussive, melodic and rhythmic. A documentary about Maneli’s life and music is available online.

CLASSIC ACTIVE SERIES RAY 34 GOES METALLIC Following in line with Music Man’s introduction of the sterling silver finish for their guitars and basses, the range of colours available for the Sterling by Music Classic Active series of StingRay style basses has been expanded to include a striking metallic silver. The Ray 34CA SVM’s metallic silver finish is topped off by the addition of a matching headstock and solid black pickguard. All other popular finishes for the Classic Active series basses including black, vintage cream, mint green and three-tone sunburst continue to be available for 2013. The Classic Active Series basses deliver old-school vibe and looks for the vintage enthusiast. The lightweight slab bodies (no belly or forearm contours) allow for player comfort too. The glossy amber-tinted neck features a narrow 38mm nut width, 34” scale and 21 thin vintage style frets. The finish is a hard glossy coat that exudes the vibe and look of an older instrument. The Music Man designed two band active preamp features volume, treble and bass controls. The preamp and pickup were re-voiced for this model, for a more organic feel, and are noise free.


For more interviews go to • 35

A MELLOW CROON stalwarts Emmy Lou Harris and Rodney Crowell eventually got around to recording the duet album, Old Yellow Moon, which they had eternally talked about. Emmy Lou reveals to Muso’s Greg Phillips how it finally happened. ou’d think that the care factor for a couple of gentle, old cow-folk releasing a bunch of obscure country rock duets would be relatively low. However, given that the album is as comfortable as your favourite pair of shoes and performed by the queen of, Emmy Lou Harris, and her longtime friend and highly regarded singer, songwriter Rodney Crowell, it warrants much respect. Old Yellow Moon has its origins way back in the ‘70s when Crowell and Harris played together in a group called The Hot Band, at a time when such a name was defensible. It features several Crowell songs as well as tunes that are close to both artist’s hearts. It’s an album they spoke of but never had the opportunity to create, until now.


“You have a finite time in your life. You don’t want to say, ‘man I wished we’d done that’,” says Emmy Lou, of one of the reasons for the album. “With this project, I had a few song ideas but I knew Rodney would come up with something besides his own songs so I didn’t really worry about it. He is a great lover and appreciator of other people’s songs.” Collaboration with other artists has played a major part in Emmy Lou’s career, going back to her work on the famous Grievous Angels album with Gram Parsons and the trio sessions with Linda Ronstadt and Dolly Parton, to more recent work with Mark Knopfler. It’s a music creation method she couldn’t live without. “Even if you are just doing a solo record, you are collaborating with a producer and other musicians,” says Harris. “Obviously, it is much more of a collaboration when there are artists involved. I love that. The ideas that you pass back and forward, the company is great, especially on this record. Rodney and I have been friends for so long. There might be a few years where you don’t see each other and even though we live in the same town, with our schedules... I guess that is one of the reasons why this album took so long.”

The recording of Old Yellow Moon was hardly a chore for Harris and Crowell, particularly the title track. “The first time we sang the song Old Yellow Moon, we were around the kitchen table,” explains Harris. “Rodney was recording different versions of songs we were considering. So it was the first time he had sung the song and it was just two acoustic guitars and two voices. Later on when we listened to it, we thought it was so perfect and in the moment.” After recording more than 20 albums, Harris views the studio experience as yet another part of the creative process, as opposed to a necessary evil. “Recording is definitely an art,” she says. “It is totally different to [playing] live but you get your blueprint in the studio and you take it out live to the people but the studio is where the music is made. I’ve done live albums. You work them up with the band. I have done two live albums of previously unrecorded material by me. Recording... it’s still a mystery to me but I think that is good. You really don’t know where a song is going to go.” While Emmy Lou doesn’t rate herself as a guitarist, Gibson guitars saw the value in creating an acoustic guitar for the much celebrated artist. It was a smaller version of the J200 acoustic she plays. “I used it on the last album, Hard Bargain, almost exclusively. On stage I use the full size J200 as well as a Martin for open tuning. I use about four different guitars for different tunings. I am not much of a guitar player in that I don’t use a lot of chords and things. I like the voicings of open tunings. I write a lot in open A which is a tuning that Daniel Lanois showed me. I really get inspired by the sound of an open tuned guitar – makes you feel like you can play more than you really can.” Harris is the first to admit that the technical aspect of music is not her area of expertise and ensures

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she is surrounded by people who do know the complexities of sound. “We always travel with a good monitor mixer. It’s a leap of faith. You work with good people and you know they are going to get the maximum sound for you no matter what venue you are in. I never miss sound check. I like to get the feel of the venue. Sometimes we might work up a song we haven’t done for a while. You do a few songs so you know where your voice is and where the guitar’s sound is. Sometimes you’ll do a festival and you have to just go out there and wing it. If you have worked with the musicians for a long time and you know your sound guy is good, then you just go out and try to have fun. The audience wants to know that you are enjoying yourself.” The music industry has changed dramatically since Harris released her first album, Gliding Bird, in 1970. Despite the advent of digital music and the many ways people access and listen to their music today, Emmy

Lou is still a traditionalist in regard to the track order of an album. “I know that people use shuffle and I use it myself,” she confesses. “I like to use shuffle on my iPod because I like to be surprised but for me, an album is like a string of pearls. One song needs to follow another and tell a story. I really agonise over the sequence.” More important than the track order however, Emmy Lou hopes that people who get to listen to the album take away the true essence of the project. “I’d like people to get that it is a celebration of friendship, of having someone in your life who is very special. You couldn’t undo the thread. It would be completely different without that person. There is a lot of joy on this record of that companionship.” WHO: Emmy Lou Harris & Rodney Crowell WHAT: Old Yellow Moon (Nonesuch/Warner)

IN THE STUDIO: OWL EYES As Owl Eyes prepares to deliver her debut album, Muso’s Greg Phillips speaks to Brooke Addamo about the whole damn journey that resulted in Nightswim. ightswim, the debut album for Owl Eyes, aka 22-year-old songstress Brooke Addamo, is the sound of a quietly confident artist with a vision. It’s a vast electronic landscape featuring Addamo’s inner most sonic notions and emotions. It’s the consequence of having laboured over and learnt from three critically acclaimed EPs prior. It’s also the result of a fertile music collaboration between her regular songwriting partner Jan Skubiszewski, Perth-based producer Shazam and production mainman Styalz Fuego, known for his work with hip hop artists such as 360.


When Muso catches up with Owl Eyes at the Base Studio in South Melbourne, where she’d been recording for the last few months, she is on the verge of letting her baby go, giving the OK to send it to mastering. Much has changed since we first heard demo versions a couple weeks beforehand. Styalz and co have weaved their magic over a couple of tracks and transformed them into the songs they need to be to fit the aural identity of Nightswim. Brooke is thankful that her label brought Styalz to her attention. “I’d done a few sessions with other producers just to get a feel for things but Styalz and I clicked automatically,” she recalls. “We liked the same kind of music although he comes from a hip hop background. He also comes from a dance background, but it kinda works. We just thought in a similar way and it is very rare to have that connection in the studio. We’d basically finished the album and then brought in Shazam (Cameron Parkin) from Perth to embellish a few things. I think Styalz really gets it and I like to work with people that understand me and are delicate in the way that they work with my music and they have to have an understanding of my influences. Styalz also opened my mind up a lot more to dance and electronic music. I was already down that path but he brought it on even more.” Despite the use of multi-layered tracks on each song, somehow Styalz has been able to produce a real clarity to the album, whereby every part serves a purpose with no hint of superfluous sounds. Owl Eyes agrees. “You want it to sound like one continuous beautiful thing but still have that contrast,” she says. “Last week, when I was thinking about the sequence, I did take one track out. It didn’t really fit. I mean, you can use it for something else but I feel like an album is different from an EP. With the EP, I was just putting some songs out, testing the waters, experimenting. I wanted the album to be a bit more solid than that and feel like a puzzle. There was a lot of chopping and changing.” While writing for the album, Addamo was immersing herself in as much musical diversity as she could to get the creative juices flowing. “I always listen to Fleetwood Mac and Kate Bush for melodies and inspiration,” she says. “I listen to a lot of Kavinsky, an electronic producer, and Com Truise; I was listening a lot to Justin Martin and I went to see him when he came to

Melbourne – just a lot of intelligent electronic music while keeping the same pop groundings. I listened to a lot of synthy bass-inspired music.” As far as any studio benchmark she may have been measuring herself against, Something, the 2012 album by American synth pop duo Chairlift, wasn’t far from her mind. “I love that Chairlift album,” Addamo offers. “I think Caroline [Polachek] is a genius. I have an amazing crush on her... in a girl-like, adoring way. It’s such a great pop record. I also really love the last Frank Ocean album, Channel Orange, too. That really blew my mind. I loved the little interludes he had in songs and it really took you somewhere.” While long-time Owl Eyes fans will be familiar with the breezy indie electro-pop side of her music, on Nightswim there’s not only a darker undercurrent but also a significant danceable beat at the base of many of these tunes. “I really wanted the driving kick and bass and 808s,” she says. “Even the darker songs, I wanted a groove in there. I think a lot of the music I have been listening to lately, it’s the groove that makes you feel something.” Another pre-album promise to herself was that it needed to be electronic rather than organic. “I was really mindful of that. I wanted to make a synth record. I wanted to have a lot of Moog bass and just a million synth lines.” Shazam was a handy man to have on board too, particularly when it came to the first single, Closure, a song Addamo had become quite bored with. “That song has been re-written in my mind a hundred times,” she says. “We nearly threw that song out because I just hated it and didn’t want to work on it anymore. Shazam said ‘Give it to me and I’ll try a few things’. We didn’t listen to it for a long time, I just didn’t want to. Then when I did listen again with all the changes, it was refreshed and had a new life to it. I just love the ‘80s throw-back thing. Time can change your mind. Shazam came on board for a few of the songs. We were starting songs all the time and having trouble finishing them sometimes, so it’s good to have another perspective. I have never actually met Shazam, just spoke on the phone. He’s kind of a younger Styalz. At the start it was just asking him what he thought of this or that and then we asked him to collaborate. He also collaborated with me on an intro piece which I really wanted to open the album and the shows and I wanted it all to connect from the studio to the live show.” Although Addamo is proud of Nightswim, she’s already keen to get out, tour the album and work on a follow up to put into practice things she’s learned. “I think you need to mentally prepare before you come in to the studio,” she says. “It’s kind of a daunting experience. I was really daunted at the start about writing an album. It was such a big hurdle for me. I had fears and anxieties about it but I think next time, I’ll be more prepared and more positive. It’s just another piece of music, another project to work on. I won’t be so anxious to

start. I want to start now, I already have ideas. But I feel this is a really solid album. I’ve had doubts all along but I am really proud of my songwriting and my songwriting has grown. I’m just excited to get it out now. I want to see if people still remember me; go to different states, taking the studio versions and putting them into a live situation.” Addamo hasn’t needed to employ additional musicians to reproduce the new songs live, but she has invested in a lot of new equipment. “We’ve added the sample pad and my bass player is going to get a little MIDI pad, plus I have a synth and obviously my synth player has plenty of synths,” she explains. “I bought a Roland synth which I’ll be

playing on stage. Last tour I played some drums but this tour I think I will stick to a few things and do them well. We’re currently in the process of changing synth players. It was a big thing for me because she is a friend and I love her but she has too many commitments; she’s a teacher and stuff. It’s going to be a lot of fun. We have had one practice with the song Saltwater. There are a lot of parts and we’re going to sync it all up and have banks so we can have all our sounds.” WHO: Owl Eyes WHAT: Nightswim

For more interviews go to • 37


This issue, we look at their drum cases, but not just any old soft case, we’re talking heavy-duty, rotationally moulded plastic cases. The rotational moulding process is done in a hollow mould that’s filled with plastic and slowly rotated around two perpendicular axes where the softened plastic disperses and sticks to the walls of the mould (thank you Wikipedia). To maintain an even thickness of the plastic the machine rotates at all times during the heating process, also to avoid any deformation or sagging. This process results in extremely even layers and a professional looking mould that’s almost indestructible.

further, a music player specifically designed to work together with the product. Once added to your device simply launch it with the press of a button on the left earpiece and you can create playlists, sift through songs, share your favourite tunes with friends and even customise the graphic equaliser to make certain the sound you get from Jabra Revo Wireless is always what you’re looking for. The headphones provide you with three plug-in and connectivity options: wireless, wired and USB. Taking full advantage of the Bluetooth technology that Jabra has built itself on, a simple flick of the switch found to the bottom of the right earpiece allows you to go completely wireless, offering full freedom for the listener. Once connected, pairing mode will be announced, followed by audio instructions directly through the headphones on how to get going.

JABRA REVO WIRELESS One of Denmark’s leading electronics manufacturers have turned their attention to entertainment and leisure audio, launching three new types of headphones for the fashionable. Of these three though, it’s the Jabra Revo Wireless product that really captures the imagination, taking the company’s former background in Bluetooth mobile phone headsets and combining it with today’s most progressive audio technology to create an overall product that gives you the ultimate aural experience. Dolby have long set the benchmark for audio quality on listening devices, and with Jabra Revo Wireless, you can enjoy those crisp sounds all around. The company have come to the party with Dolby Digital Plus, an internal set-up that delivers powerful and rich tones with great sonic depth. It doesn’t matter what style of music you’re listening to, be it brutal tech metal, thick as shit dub or blissed-out dream pop; the sounds through the headphones are expansive, with high- and low-end balance maintained and each individual sonic element given room to move. The exclusive Jabra Sound App (for iOS and Android) has been created to enhance these headphones

The Turntable Touch Control and multi-function button, again on the right earpiece, provide total direction for your audio experience. Play, skip, pause and even manage your phone calls on the go, all with the press of a button. Clear call connect will make sure you can always hear and be heard, incoming and outgoing. You can also be paired with any near field communication device by simply holding the item to the NFC zone, found on the outside of the left earpiece. If you want to keep things more traditional, the removable fabric woven 3.5mm headphone jack is fitted with a multi-function button, allowing you to control various sound options with ease. And the USB cord means you can listen to music from your laptop or PC while charging the device. This way you can continue to power up wirelessly and remain drowned in sound. But none of these sweet features would be of any importance if they were uncomfortable to wear. Thankfully, the comfort given to your ears and head, with high-quality leather cushioning on all contact points, makes sure every listening experience is a great one. And just to top things off, they look freaking cool, too. Hell, even the hard-case box that they come in is class. The design of the Jabra Revo Wireless stereo headphones is modern, clean and stylish, with lines of rich orange marrying well with the grey and black of the product. Overall, a product that’s pretty tough to fault and the perfect purchase for any audiophile.

Gator’s Elite Air series are serious cases. They get their name by utilising a soft cushion of air underneath and around the drums, so the drums themselves aren’t touching big slabs of foam like most other hard cases. In addition, the unique design of every case sees them lock the drum into the middle of each case, away from the side walls whilst still providing a snug fit.

GATOR XL PROTECHTOR ELITE AIR FUSION CUSTOM CASES Many years ago, this humble writer was hard at work building custom flight cases. I was sweatin’ it out in a factory doing some serious physical work back when I was a young man, full of energy, without a care in the world. My experiences gave me an insight into how important a good case is, especially when travelling regularly and even more so if you intend travel by air – just ask my old bandmate about the headstock that broke on his prized Les Paul on a trip to Adelaide. When it comes to cases, Gator is one of the biggest names – experts with years of experience – but also with rapid growth behind the company to include a wide variety of designs for musical instruments, audio visual and industrial products. All the manufacturing takes place in the USA, and they still build to order, but with such a wide range of designs readily available, you’re likely to find the product in their catalogue.

Out of the box the unit itself is very study but lightweight, in a strong plastic mould that’ll keep good if you take care of it by keeping it in the padded bag. I tested the unit by first trying it with an acoustic guitar and the included lapel, headset, and wireless hand-held mics. The acoustic plugs into a mic/line Neutrik-style connector (takes both XLR and ¼” inputs). I switched the unit on and an LED on the back indicated the amount of battery available with its brightness, and I set the master volume to about 50% and was good to go. My acoustic sounded okay, not quite as lush as plugging into a good acoustic amp or nice pair of stage monitors, but it was defined and could reach a reasonable level before feedback. Testing the wireless lapel, headset and hand-held mics was a lot of fun. Walking around the house and speaking into mic I was able to get a better feel for each mic. Ultimately the best sounding mic was the wireless handheld, which had a nice natural response, but got a little bit ugly when you got right into its face. Clicking in the “Voice Priority” switch was cool, as it muted the music from the CD player while there was signal coming in from the mic, great for presentations.

PRODUCT: RARE AUDIO RA-WRB-80 WIRELESS PA SYSTEM Rare Audio is another brand distributed by Jade Australia that have a large array of different speakers, amps, subwoofers and foldbacks in their catalogue for just about every occasion. This issue, under review is a nifty little device. An Ultra-Compact 80 watt all-in-one portable PA system fitted with an iPod dock, DVD/CD/MP3/ MP4 player with USB/SD card and video out, handheld wireless mic, body-pack with transmitter, lapel mic, headset mic as well as DVD remote control. What we have here is a mobile, multifunctional PA with many practical applications, you can use it in a retail store to advertise specials or use it for presentations if you’re a business that needs a PA. It can even become the ultimate busking tool if you’re out on the street with a mic and guitar while a backing track runs on your iPod or CD player, or you can even use it at small gigs and rehearsals.

Next I tried the lapel mic which worked quite well too. The quality of the signal was not as good as the handheld, but it worked well enough to be practical for a seminar or presentation that can also be recorded via the line out on the back of the unit. The lapel and headset mic’s have their own UHF channel, so it’s possible to have two wireless mic’s running simultaneously with independent volume controls. The headset mic sounded similar to the lapel mic, but was very multi-directional, so best suited for seminars and less behind a drum kit. Throwing in a CD was great, and showed the potential of the coaxial speaker to produce some nice sounds especially after turning the bass and treble to about 3 o’clock. Listening to music or full mix gives a better indication of the overall tone of the unit, and here things got nice and crisp with a good round bottom and decent projection. Overall, the RA-WRB-80 Wireless PA System is a good investment for corporate uses, busking, parties and mobile karaoke sessions. It’s not cheap, but you won’t have to buy additional mics/DVD players etc, and can even send the video out to a TV/ projector.

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TWO NOTES TORPEDO CAB Two Notes is the vision of Guillaume Pille, an electronics researcher and music lover whose vision is to bring professional quality recording solutions reserved for engineers to everyday musicians. Today I’ll be looking at Torpedo CAB, a stomp-sized professional speaker simulator designed to go straight onto your pedal board for live use. The signal chain on the CAB consists of a Power Amp stage, over 32 cabinets, 8 microphones, a 5-band EQ with USB and MIDI connectivity at 96 kHz/32 Bits. Ideally if you’re a guitarist that’s big on pedals and uses an overdrive or distortion pedal for the majority of their driven tone then this CAB is for you. It’s designed mainly for live use, to sit on your pedal board at the end of the chain and to go out to a DI box before it hits the desk. This gives the sound engineer a completely isolated guitar signal that can feed monitors and go to front on house without any spill or artifacts that ruin a tone. I tested the CAB with an Ibanez TS-808 Tubescreamer, ProCo Rat Distortion and Boss Metal Zone, all classic pedals that suit different styles and sit on a large number of boards. First up, the Ibanez Tubescreamer. Here I was looking for the pedal to create a nice warm,

The Elite Air set is comprised of five cases that in fit inside one another and can be moved around with a well positioned handle and a couple of casters on the base (so it’s nice and easy to wheel them to the side of the stage after a show). The first case is a bass drum case at 22 x 18 inches, and features three steel handles; one to lift the case on its own or to pull it along, and the other two to lift the case with one or two people at a time. There’s a strong nylon strap on the top and a quick-snap clip that secures the lid, so no more annoying hoops like you may have experienced in the past. Next, the tom cases at 14” x 14”, 12” x 9” and 10” x 8”. These cases all fit inside one another and feature a single steel handle and tough nylon strap with clips too, on top of that sits a snare case at 14” x 5” that has a special design for the snare strainer to fit snugly. Each drum case is built like an absolute tank. The concept of using air to cushion your investment is a very smart one, so it won’t wear out your cases or drums as much. All the components are extremely rugged and the material comes with a lifetime warranty against cracking. If black is not your thing, you can also get the cases in custom colours like orange, red, yellow and blue.

‘chocolatey’ drive with a Fender Strat and some spankin’ single coils. I selected the SE EL 84 (single ended Class A circuit, same as a Vox AC 30), and turned the power amp volume to 30dB (dimed all the way up) for an impossible to achieve live tone (heads would explode). I set the depth to 50%, selected the pentode mode (all valves/full capacity), picked the “Voice 30” cabinet, an original Vox cab with Celestion Silver Bell speakers, put a beautiful Royer 121 Ribbon mic in front of the cab (which would feedback like a mother live), set a little bit of distance and put it slightly off centre. The signal chain here is one to die for, a blues dream rig, and impossible to achieve live. The Two Tone created a wonderful warm, vintage sound, which was very convincing in its authenticity. I used the Rat distortion for more on a ‘70s Marshall JMP-style drive. This time I selected PP EL 34s (push pull/class A/B), dimed power amp with presence and depth all the way up, pentode topology, Brit VintC cab (Marshall Slash Signature 4x12 Celestion V30 cab) and a Shure SM57 in front of the speaker. I was able to sweep through a wide range of tones by changing the distance and position of the mic. Moving the mic further back created a more authentic ‘70s rock tone comb filtering effect, whereas moving the mic more off centre smoothed out the top end and increased warmth. Finally the Metal Zone, one of the most popular heavy metal solutions on the market. I used the PP 6L6 mode (same tube config as my Peavey 5150), turned the volume back to 10dB for more headroom, set the presence to 50% and the depth to 100% for nice big bottom end slam. I selected Pentode mode, went all out with the Calif StdC cab (Mesa Boogie V30 closed back) and picked a Neumann U87 up close, near the edge of the speaker. This time I achieved a nice, fat saturated distortion with pounding bass, sculpted mids and thrashing attack, a truly classy metal tone. The Two Notes Torpedo CAB is a very cool unit indeed, and could possibly take live guitar tones to the next level. It’d be great to see a couple of these units at gigs in the near future.


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15/03/13 1:56 PM

Drum Media Perth Issue #330  

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...