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T H E D R U M M E D I A I S S U E # 3 4 0 T H U R S D AY 3 0 M AY 2 0 1 3



“These two are originally from Perth, except they moved to Melbourne like seven years ago (cool fact discovered in the course of this review).”


“You can’t ’t simply i l jjustt talk to a bunch of women and make an argument.” - EMIKA tells Kosta Lucas (PAGE 14)

“‘Don’t have ideologies,’ or something like that. I think Japan is full of complications. It’s really twisted; beyond twisted. Like the music scene and the music business, the structure and atmosphere is completely different to any other country. I think it’s a distinctive country; very distinctive.” - BORIS’ Atsuo tells Christopher H James (PAGE 12)


- Callum Twigger reviews SUPER WILD HORSES (PAGE 24)

“We saw Justin Bieber’s new leopard-skin Audi. The young man is living in a Chuck Palahniuk novel.” - BACKLASH (PAGE 29)

“The title track is a catchy pop song that is sure to have teenage girls in raptures, and perhaps it wasn’t the best way to open the album.”


“I accidentally d t ll ddrankk The Aston Shuffle’s rider at a gig once. Sat there listening while they discussed how violently to deal with the person that did it. Kept my mouth shut. We’re pretty mild, really. “ - RUNNER’s Jason Pang (PAGE 30)

- Eli Gould reviews SLEEPING WITH SIRENS’ new record (PAGE 22)


Kosta Lucas, Sean McKenna, Mac McNaughton, Troy Mutton, Nic Owen, Katie O’Hara, Sarah Scaife, Andy Snelling, Kane Sutton, Jessica Tana, Matthew Tomich, Aarom Wilson, Anthony Williams EDITORIAL POLICY



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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 Jarrod Kendall PHOTOGRAPHERS Elle Borgward, Shane Butler, Graham Clark, Beau Davis, Ebony Frost, Callan Gibson, Cybele Malinowski, Elena Marcon, Drew Mettam, Aaronv2 CONTRIBUTORS Scott Aitken, Zoe Barron, Tom Birts, Mike Bowring, Luke Butcher, Tanya Bunter, Jeremy Carson, Michael Caves, Daniel Cribb, Cyclone, Marcia Czerniak, Jake Dennis, Kitt Di Camillo, Adrienne Downes, Jayde Ferguson, Tomas Ford, Amber Fresh, Chantelle Gabriel, Aggie Gajic, Eli Gould, Rueben Hale, Chris Healing, Elizabeth Howard, James Hunt, Simon Holland, Rachel Inglis, Tess Ingram, Renee Jones, Christopher James,

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. PRINTED BY Rural Press WA








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BRINGERS OF THE BEAT Two of our country’s most beloved electro dons are teaming up for a winter tour designed to warm you from the feet up. Best known as the drumming half of The Presents, Kim ‘KIM’ Moyes is no slouch behind the decks either, and will be hitting the road in solo mode for the first time in four years with Sydney electro lad Beni. Watch these two mates turn dancefloors upside down when they play Saturday 22 June, Beach Hotel, Byron Bay; Friday 28, Metropolis, Fremantle; Saturday 29, Capitol, Perth; Saturday 6 July, King Street Hotel, Newcastle; Saturday 13, Survivor!, Melbourne; and Friday 19, Goodgod, Sydney. Tickets on sale now.


Fear Factory


“I’m no longer much of a party animal and I just like to calm down with the band, go back to the hotel room and calm down so we can get up in the morning and go the next city.”

One of the defining industrial metal bands of the ‘90s, the influence of Los Angeles metallers Fear Factory can still be heard loud and true across the genres many subsidiaries. But for all today’s groups sizing up to the throne, none can compare with the sonic power of the real thing. Now, Fear Factory will be returning to Australia to deliver such a reminder, performing their landmark 1995 record, Demanufacture in its entirety. Strap yourself in when Dino, Burton and co. come at the following venues: The Tivoli, Brisbane, Thursday 4 July; UNSW Roundhouse, Sydney, Friday 5 (all ages); The Palace, Melbourne, Sunday 7; and Metro City, Perth, Thursday 11. Tickets for all shows are available Thursday 30 May through Oztix and Ticketek.


If you don’t think you can go gay to heaven, go straight to hell. @TheTweetOfGod

THIS WEEK’S RELEASES QUEENS OF THE STONE AGE …Like Clockwork Matador/Remote Control

CAMERA OBSCURA Desire Lines 4AD/Remote Control

SHAPESHIFTER Delta Ministry Of Sound/Universal

Fleetwood Mac

GO YOUR OWN WAY Provocative, soaring and full of emotive beauty, Fleetwood Mac have turned the tumultuous into tuneful brilliance for almost fifty years, and now they’re bringing their legendary canon Down Under for some stunning nights of song. Catch Stevie Nicks, Lindsey Buckingham, John McVie and the formidable Mick Fleetwood on their 2013 Australia tour: Sunday 10 November, Sydney Entertainment Centre; Saturday 16, Hope Estate Winery, Hunter Valley; Friday 22, Perth Arena; Tuesday 26, Rod Laver Arena, Melbourne; Saturday 30, The Hill Winery, Geelong; and Monday 2 December, Brisbane Entertainment Centre. General ticket sales happen Thursday 13 June, with presales from Tuesday 4 – head to Live Nation for all the details.


The Hurry And The Harm Dine Alone/Caroline

SENSING A LARGE ONE Age shall not weary the menace of New Jersey post-hardcore veterans Senses Fail, who over the course of five full-length records have continued to make noise, push statements and promote positive change. Their brand new record Renacer finds the band at their most heavy-handed, the pummelling sounds ripping into your ears like shards, with guitars driving forwards, huge rhythms and the ever sharp delivery of colourful frontman Buddy Nielsen. Now the five-piece return to Australia for the first time in almost three years. Check them out at The Zoo, Brisbane, Wednesday 7 August; The Standard, Sydney, Thursday 8; Amplifier Bar, Perth, Friday 9; and Corner Hotel, Melbourne, Sunday 11. All shows are 18+, with tickets on sale now.

It’s all happening in the world of Kingswood, with the Melbourne four-piece gearing up to venture to Nashville to cut their debut album. But before they do they’ve got a little tour lined up, so jump in for a ride when the lads rev their engine in your area, playing Thursday 6 June, Annandale Hotel, Sydney; Friday 7, Waves, Wollongong; Saturday 8, The Small Ballroom, Newcastle; Friday 21, The Karova Lounge, Ballarat; Thursday 18 July, Corner Hotel, Melbourne; Saturday 20, Eatons Hill Hotel, Brisbane. The band also play one special set on Saturday 1 June at Eureka Rebellion Trading, Melbourne, for the launch of their new spaghetti western short fim which ties in with new single Ohio. To go in the draw to be one of the hundred people attending, simply purchase a ticket to their Corner show through the venue website. For all other ticketing info head to the band’s webpage.


After a few years in artistic wilderness following an indefinite hiatus, Melbourne folk rocker Whitley is returning to the fore. Forthcoming album Even The Stars Are A Mess is set for release on Friday 5 July, and to tie in with the new record the curious troubadour will hit the road, playing a run of dates throughout the month with fellow folkie Esther Holt. Catch the pair performing Friday 12 July, Black Bear Lodge, Brisbane; Thursday 18, Oxford Art Factory, Sydney; and Friday 19, The Hi-Fi, Melbourne. Or if you’re lucky enough to be holding tickets in your hot little hand you can also see Whitley on Saturday 27 at Splendour in the Grass, North Byron Parklands.

Thanks to recent number one smash single Let Her Go, subsequent top ten album All The Little Lights and his recent run of dates with British star Ed Sheeran, Passenger’s stock has never been higher. It’s been a slow and steady rise for British born-and-based, Aussie adopted Mike Rosenberg but it finally looks like the folkie troubadour is about to land in the upper echelons. Now, the 29-year-old will play his biggest headline shows in this country during the summer, starting Wednesday 4 December, Palais Theatre, Melbourne (licensed/all ages); Friday 6 (18+) and Saturday 7 (all ages), The Tivoli, Brisbane; Wednesday 11, Enmore Theatre (licensed/all ages); and Friday 13, Riverside Theatre, Perth (licensed/all ages). Tickets for all shows go on sale Thursday 30 May via Ticketek (Ticketmaster for Melbourne).

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Fat Freddy’s Drop

FEELING THE FAT There’s no denying it: to truly experience Fat Freddy’s Drop is to see them live on stage. The multi-armed New Zealand groove beast are known right around the world for their beat-rich performances, using their wide skill set to meld funk, soul, dub, reggae, jazz and dance, transforming the parts into a sum designed to get booties shaking. Catch the Kiwi crew on their Blackbird tour when they launch their latest record on the following dates: Thursday 29 August, Enmore Theatre, Sydney; Friday 30, The Tivoli, Brisbane; Saturday 31, The Forum, Melbourne; and Thursday 5 September, Astor Theatre, Perth. Head to the band’s website to get some pre-sale action before tickets go on sale to the public Thursday 30 May.

MASTER CELEBRATIONS After the raging success of the first Hits & Pits instalment earlier this year, the punktastic festival has announced its return for the second time in 2013 with edition 2.0. First announcement has just dropped and let it be known, it’s pretty fucking exciting, with the event signalling the return of reformed units Boysetsfire and No Fun At All, as well as Jughead’s Revenge and Off With Their Heads, plus many more acts to be announced soon. The national tour will take in the following dates: Friday 15 November, Coolangatta Hotel, Gold Coast; Saturday 16, The Hi-Fi, Brisbane; Sunday 17, The Hi-Fi, Sydney; Friday 22, Palace Theatre, Melbourne; and Sunday 24, Capitol and Amplifier, Perth (pending approval). And if you head to event webpage now you might get lucky and slide some early bird tickets for $84+BF.

RAISE IT UP They’ve managed to stand as Billboard’s top World Artist an incredible seven, so it’s no wonder that due to popular demand those sultry Irish women of song, Celtic Woman, are returning to Australia for their biggest shows yet! They start their tour at Brisbane Convention & Exhibition Centre, Thursday 12 September, before continuing around the country for the following dates: Hamer Hall, Melbourne, Sunday 15; WIN Entertainment Centre, Wollongong, Thursday 19; Newcastle Entertainment Centre, Friday 20; Sydney Entertainment Centre, Saturday 21; Royal Theatre, Canberra, Sunday 22; and Perth Arena, Friday 27.


Eskimo Joe

STEPPING OUT Converse sneakers are encouraging you to stride towards some seriously fun nights in the way of their Get Loud initiative, bringing class music to capital cities around the country. Sydney is the first to get the jolt, with Canadian visitors The King Khan & BBQ Show and Palms hitting the city on Thursday 13 June. Following that it’s Melbourne, Saturday 22 with Millions and Scotdrakula; Brisbane, Friday 28 with The Laurels, The Murlocs and Tiny Migrants; and Perth featuring DZ Deathrays, Ham Jam and Doctopus. And get this... all these shows are free of charge. Venues are yet to be confirmed, but we can assure you they’re going to be in some pretty unique locations. To keep up with such developments and find out how you can RSVP to these shows, head to the Converse Facebook page now.

Born from Milwaukee, Dayton and Minneapolis, hardcore/punk/metal crossover kings Enabler are partnering up with local lads Urns in an attempt to get as many venues pitting as possible. Kicking off with an all ages show Wednesday 3 July at a venue to be announced in Byron Bay AA, the bands hit: Thursday 4 July, Crowbar, Brisbane; Friday 5, Hermann’s Bar, Sydney; Saturday 6, Black Wire Records, Sydney (all ages); Sunday 7, Yours & Owls, Wollongong (all ages); Tuesday 9, Croatian Wickham Bowls Club, Newcastle; Wednesday 10, The Pot Belly Bar, Canberra; Thursday 11, The Bendigo Hotel, Melbourne; and Friday 12, Black Goat Warehouse, Melbourne (all ages).

GET YOUR SWEATER READY The ‘Winter Warmer Tour’ sees Perth indie rock stalwarts Eskimo Joe playing some up close and intimate shows for their fans right around the country. Think acoustic, think reworkings, think new tracks and old favourites. Catch them Wednesday 26 June, Paddington Uniting Church, Sydney; Friday 28, Old Museum, Brisbane; Tuesday 9 and Wednesday 10 July, Moore and Moore, Fremantle; and Friday 12 July, Ormond Hall, Melbourne. Highlighting their full career thus far, these nights offer fans a fantastic opportunity to reconnect with the boys while hearing their tracks in a fresh light. Tickets on sale through Oztix, Thursday 30 May.


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Carrie Fisher

CARRIE ON Supanova is set to launch into hyperspace with the star power that is Princess Leia joining the pop culture expo lineup. Actor and author Carrie Fisher will be joining the near-adopted David Hasselhoff and Star Trek: Into Darkness actor Karl Urban. Playing Leia in 1977 at just 19 years of age launched Fisher’s career which has become characterised by self-deprecating wit in her numerous books and stage appearances. News that she’s started personal training has sparked speculation as to whether the that iconic bronze bikini will be dusted off. Supanova runs Friday 28 to Sunday 30 June.


George Benson


AAAH! REAL MONSTAS Ripping DJ and standout on Flying Lotus’ Brainfeeder label, TOKiMONSTA returns after a sold-out tour of Australia last year with a brand new album and a brand new show. Half Shadows reflects the multiple faces of TOKiMONSTA. The Los Angeles-based artist and producer, otherwise known as Jennifer Lee, traverses a few different spheres on her new full-length album. Sonically, she alchemically mingles ethereal electronic moods, while adding R&B flavor and the right amount of hip-hop bounce. The thirteen songs comprising Half Shadows reveal a detailed story. Set to follow up the blast that was her last visit, TOKiMONSTA makes her way to The Bakery on Friday 5 July, with support from Kit Pop and more TBC. Tickets through

Implied Forms – a new Perth community of artists and designers, Implied Forms explores new forms of fashion that are no longer dependent on the presence of the wearer. The opening night exhibition, curated by Ariana Davis, Katherine Young and Serena MacManus, showcases fashion as more than just articles of clothing and features a range of emerging designers. Opening night, Nyisztor Gallery, 7pm, to mid-June. The Great Gatsby – it’s finally here! Baz Luhrmann’s take on F. Scott Fitzgerald’s jazz-age novel, starring Leonardo DiCaprio and Carey Mulligan, is the most anticipated film of the year. Opens nationally today. SHORT CUTS 2013 – spearheaded by STRUT dance, WA’s premier independent dance community, experience the best of experimental, daring contemporary dance in two exciting programs over four evenings. Featuring new choreography from Trish Wood, Sally Richardson and Kynan Hughes plus many more this annual program presents contrasting themes, aesthetics and ideas. Opening night, King Street Arts Centre, 7pm. Continues at different times to Sunday 2 May.

FRIDAY 31 City Of Perth Winter Arts – Perth’s much-loved Winter Arts Season 2013 launches tonight with an array of live performances, a mini supper club, a snow dome, winter photo booth, the water labyrinth and unseasonal snow. Launch night, Forrest Place, 4-8pm.

SATURDAY 1 TRANSART – City of Perth’s annual public art commissioning initiative encompasses a monthlong series of events that invite you to experience the sights, smells and sounds of Perth. It all kicks off with Perthume, a free floral-driven performance featuring local visual artists and musicians. Attendees are asked to bring a bouquet of any kind that will become ingredients of the first Perthume fragrance. Cnr of Beaufort and Newcastle St, 5-6pm.


Grace Woodroofe

IN THE EYE OF THE BEHOLDER The weekend we have been waiting for is now upon us: The 2013 State Of The Art Music Festival brings together a who’s-who list of great West Australian bands for one day of awesome tune-filled goodness. Three stages outside the iconic Perth Concert Hall will feature a high profile selection of WA’s finest singers, songwriters, bands and electronic producers, including Bob Evans, Gyroscope and Eskimo Joe’s Kav Temperley, The Chemist, Day Of The Dead, Sons Of Rico, Emperors, Grace Woodroofe, The Love Junkies, Rabbit Island, Jake & The Cowboys’ Jarred Wall, Cow Parade Cow, Fitzroy Xpress, Rainy Day Women, MmHmm, Rachael Dease & Ylem (collab), Rokwell & Groom, The Weapon Is Sound, Sam Perry, Usurper Of Modern Medicine, 44th Sunset, Antonio Paul, Runner, Timothy Nelson and Greg Packer. On top of that, there’s the concert showcases from Dave Hole & Chain, Karnivool, Abbe May and Schvendes. Ticketek for tickets and for more info.

SUNDAY 2 State of the Art Music Festival 2013 – returning after a hugely successful 2012 inaugural event this festival brings together the diverse talents of WA’s leading musicians, featuring stellar line-ups from Bob Evans, Karnivool, Gyroscop, Abbe May and a plethora of local outfits. Perth Concert Hall and surrounds, 12-11pm.

TUESDAY 4 Human Rights Arts And Film Festival – after sellout nights in the festival’s birthplace, Melbourne HRAFF is touring to Perth with a selection of program highlights over three nights. Aiming to make human rights accessible to everyone through creative media this festival is on the rise. Tonight actionpacked documentary, Alias Ruby Blade screens at a special opening night event. Luna on SX, 7-9pm.

WEDNESDAY 5 TERRAWATT – tonight check out UWA’s 2013 Bachelor of Fine Arts graduating students mid-year exhibition. Guest speakers will be in attendance and beer, wine and food available. ALVA, UWA, 6-9pm.

ONE MIGHTY RACKET Clairy Browne and her harmonising girl group The Bangin’ Rackettes formed in 2009 over a mutual love of nineties dance videos, early soul records and big hair. They teamed up with a group of rogue musicians and started rehearsing and recording in a barely standing ex-coffin factory in the suburbs of Melbourne, which quickly became the musical home to this young band. Over the last few years, Clairy and co. have been bringing their imaginative concoction of soul, surf and rhythm’n’blues to fans all over the world, having recently toured to Japan and Europe and played their first U.S. shows to sold-out crowds in Los Angeles and New York City. Now they bring the magic back home for a national tour, stopping by Artbar at the Art Gallery Of Western Australia on Thursday 4 July. Tickets through Ticketek.


La Sylphide – set in Scotland, this romantic-era ballet tells the story of a forest sylph who uses her magical gifts to attract a young Scotsman on his wedding eve. Closing night, His Majesty’s Theatre, 2pm and 7.30pm. Robots Vs Art – How can you appreciate art without emotion? Can a man and a robot fall in love? Find out in the most hilariously entertaining play of The Blue Room’s first season for 2013. Closing night, The Blue Room Theatre, 8.30pm.

Making their way to WA for the first time, Melbourne rock’n’rollers The Tearaways will be hitting the Rosemount’s 459 Bar on Friday 14 June, and then The Prince Of Wales, Bunbury on Saturday 15, sharing the stage with two impeccable line-ups of Perth’s best bands. Revered in their hometown, The Tearaways have been a staple of the Melbourne scene since forming in 2009. Guitar-driven and ballsout, The Tearaways draw influence from rockabilly to rocksteady, the sound of ‘77 to country, and have arrived upon a unique brand of punk rock that has left a lasting impression on the Melbourne scene. Grim Fandango, The Kuillotines, The Choke and Worst Possible Outcome support at 459 Bar, while Silver Lizard and Nightcrawler support at Prince Of Wales. for more info.

Lady Waks

DROPPA THE BASS Local events promoters Boomtick have long been at the forefront of the electronic music circuit in this here city, as established by the runaway success of Ambar, and – more pertinently to this spiel – the yearly celebration of bass music that is Major Bass. The midyear minifest has long been a respite for those missing the summer festivals, and this year will be no different, with Russian stalwart Lady Waks, hot-off-the-press DJ CRNKN and Queensland’s Slink, plus DNGRFLD, Bezwun, The Barons Red, Tapeheads, Tom Drummond, QWERK, MR eD, Dead Easy, 4by4 and Easy P all lined up for a crazy night. Head to Moshtix for tickets.

A NEW LE1F New York’s Le1f doesn’t play the kind of music that’s all that easily identifiable. Is it rap? Is it dance? Is it electro? Aren’t they kinda the same? It doesn’t matter what Le1f plays, the fact is, he does it really well. He’s one hell of a rapper and has a keen ear for quality electro and hip hop tuneage that makes his music very nice to party to. Now, you will be able to experience what Le1f is all about very soon as he comes out to Australia on his Le1f’s Spa Days tour next month. The tour makes its way to Connections Nightclub for the WA leg on Friday 7 June, with special guests yet to be announced. If you want a taste of what Le1f is all about, check out the video for Spa Days. It’s interesting, to say the least. Head to for tickets otherwise.

10 • For more news/announcements go to

When you think of legendary Brooklyn emcees, the name Masta Ace should definitely come to mind. He first came to fame as a member of Marley Marl’s highly influential Juice Crew, along with fellow talented artists Big Daddy Kane, Kool G Rap, Biz Markie, Craig G, Roxanne Shante, MC Shan and more. In 1988 he featured on the Juice Crew’s posse cut The Symphony - a song that is, still to this day, regarded as one of the best posse cuts ever recorded. Ace was also a member of Crooklyn Dodgers, along with MC’s Special Ed and Buckshot of Black Moon. This was a crew formed specifically around the release of Spike Lee’s movie, Crooklyn. Together they created the title track for the movie, which became an instant hit. Years on, and Ace is still going strong. He makes his way to The Civic Hotel on Friday 14 June, supported by Street Life Descendants, Adam Crook & Rob Shaker, Poets Laureate and Omac. Tickets through Oztix.

I AM THE JAZZ MASTER International Grammy legend and ultra-cool groove genius George Benson is making his way to Perth on his Hits And Inspiration Tour, playing Riverside Theatre on Saturday 24 August. George is a distinctive guitarist with a silky smooth vocal style, melodic pop, jazz and r’n’b repertoire and an impeccable reputation as one of the most engaging and sophisticated entertainers. Since becoming a global phenomenon in 1976 with Breezin’ (the first jazz album to reach number one on the pop charts and achieve Platinum status) George has been honoured with ten Grammy Awards and is acknowledged as a Jazz Master (America’s National Endowment For The Arts highest accolade). Tickets for the show through Ticketek.

Apricot Rail

WARM YA BONES RTRFM’s annual wintertime feast of local sounds – The Fremantle Winter Music Festival – will take place on Saturday 29 June from 7pm, with 25 local bands, musicians and DJs playing across four venues and six stages in North Fremantle. Take shelter from the frosty weather and spend an intimate winter’s night enjoying a spectacular selection of local talents in the musical hub of our Port City, featuring in no particular order: Apricot Rail, Grace Barbe & Afro Kreol, Rokwell & Groom, Davey Craddock & The Spectacles, Mental Powers, The Empty Cup and Doctopus just to name a small number. The full lineup can be seen on rtrfm., as well as the format of each venue. Book your tickets now through the website as well.

GHOSTS OF THE NEVER Fresh from The Big Apple, Sydneysiders The Never Ever are releasing their first new material in twelve months. On Friday 31 May the five-piece will release Spiders, the first offering from the band’s forthcoming five-track EP, Ghosts & Ghouls. Recorded and produced in New York by renowned multi-platinum music producer Shep Goodman (Forever The Sickest Kids, Mandy Moore), Spiders carries a strong message of hope and support for those who struggle with a mental illness, including depression and anxiety that is experienced by one in seven Australians in their lifetime. They stop in the west with an all-ages show at YMCA HQ on Thursday 11 July. Oztix for tickets.

BRANCHING OUT After their recent sold-out stint getting weird in the name of charity with Elizabeth Rose and Flight Facilities, it is now time for Get Weird to resume getting weird purely for the sake of getting weird… get weird. Next up, unrelenting NYC traplord (currently getting huge stateside airplay and clocking up over a million listens to his Rihanna remix) Branchez will be riding a big ol’ wave of hype to Australia, smashing into 133 Aberdeen St on Saturday 8 June. Joining him will be Brisbanian trap hero DJ Butcher: cratedigger and producer, and current champion of the Red Bull Thre3Style comp. Plus there’s local support from Zeke, Manimal, Standard and more. Branchez truly has his finger on the trap pulse, so make sure not to miss out on this one. Limited presale tickets through, more on the door.

Porter Robinson

HARD TO PORTER Coming off playing the biggest stages worldwide at Ultra Music Festival, Coachella, Tomorrowland and Electric Daisy Carnival, Porter Robinson has truly risen to be one of the top names in electronic dance music. Porter is a prodigy; with his last two singles Language and Easy on high rotation on most major radio stations in the world and a debut album in the works. Do not miss what’s possibly the last chance you’ll get to see him in such an intimate setting with one of the most exciting up and comers (and OWSLA fast-risers), The M Machine as official support. That venue is Villa, and the date is Saturday 26 October. First release tickets out now through Moshtix.

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HERE COMES THE FLOOD Shattered with fatigue from their current US tour, but still not missing a beat, Atsuo of Japanese psych-rockers Boris tells tales of endurance and solitude to Christopher H James. The multitalented Samina Khan translates.

elirious.” Not “fine,” “good,” or “ok,” delirious is apparently the way Boris’ drummer Atsuo feels as he embraces the flat out goneness that can only be experienced by having just played 26 dates in the last 30 days, coast-tocoast and back again across the US. “Being completely exhausted is the best way to be,” he professes. “You perform better because you’re not distracted by extra thoughts. All you need to do is perform live everyday; that’s how you’ll be. America’s so big, the drive is long, and even if we’re back at the hotel we don’t get to sleep for extended periods of time.”


It’s not just their marathon gigging however; Boris’ superhuman work ethic can be evidenced by their almost industrial scale output. Their veritable warehouse of a back catalogue consists of 18 studio

albums, half a dozen collaborative albums with other artists, a handful of live albums and a few EPs to boot. Despite having already recorded and released one album this year – the limited edition but blissfully excursive Präparat – in all likelihood there’ll be more to come. “We start recording for a new album once we finish the Australia tour, and we’re organising that now. We’re usually either touring, recording or making new songs; like a continuous cycle,” Atsuo confirms. If it’s true that there’s no rest for the wicked, then all three members of Boris must have done some truly terrible things in their past lives. Performing both drums and occasional vocals, Atsuo arguably has the hardest job of all, as a recent medical trial in the UK found that one hour of drumming burns 400 to 600 calories, whilst 90 minutes of drumming could

propel even a 30 year veteran of the trade’s heartbeat to 190 beats a minute; a feat requiring ‘extraordinary stamina’ according to the project’s top doctor. “Oh man,” Atsuo admits. “They do tire you out, those drums. Oh, but I don’t know. Personally I don’t feel like I’m hitting drums, it’s more like dancing… or maybe swimming. Like I’m swimming through air, I guess that’s closer. I don’t really think of myself as a drummer.” It’s a level of exertion a soccer professional would expend during an English Premier League game. Fortunately for England’s top footballers, they only play once or twice week, not six nights out of seven. “You need to take an appropriate amount of care,” Atsuo advises. “Make sure you don’t just crash out at night. Take a shower, or take a bath before going to bed. If you don’t put in the little bits of care, the long tours become near impossible.” Hmm, bad news for aspiring drummers wishing to ride the Led Zeppelin-esque rollercoaster of rock’n’roll hedonism; spend less time draining the mini-bar and more time picturing yourself swimming through the air appears to be the way seems to be. Despite their vast body of work, little is known of Boris’ three individual members. Winston Churchill once described Russia as a “riddle wrapped in a mystery, inside an enigma,” but had he been alive 50 or so years or later and been a frustrated music journalist rather than a wartime Prime Minister, he might have been talking of Boris. They keep their family names a closely guarded secret and communicate only in Japanese; natural enough since it’s the only language they know. Atsuo handles nearly all interviews, so that Takeshi and guitarist Wata, whose frozen-in-time youthful elegance is often the focal point of the band’s press shots, remain enigmatic figures. Their music – characterised by a unique sound made of rock, metal, drone and shoegaze, all oozed into a psychedelic hotpot that’s always different yet distinctively their own – can be a tricky entity to fathom, especially with nothing more than unofficial internet translations of their lyrics which give little indication as to what they’re

actually about. A pivotal moment in Boris’ development arrived in 2000 on the album Flood. While the band remains notorious for their excursions in extreme volume – so much so that during their last trip to Perth, The Bakery’s management took the unprecedented step of closing the main room doors to contain their volcanic din – this release featured an abrupt shift, containing gentle, almost ethereal passages. “We performed Flood at a festival in Japan last year, and the response was amazing,” Atsuo enthuses. “Usually, our performances in America, Europe, and Australia are part of a tour, after we release an album, and so all the songs end up being from this album. Flood was released long before we started performing outside Japan, so we wanted to play some older songs that our fans wouldn’t otherwise hear in our

usual album release tours. That’s why we had a two day residency show in America, where our fans could hear some older songs, and we’ll be performing Flood [in full at the Rosemount in June.]” Perhaps not the ultimate Boris’ statement, but certainly the first of their works that could be described as ‘beautiful,’ it was a seminal landmark on a journey that broadened their fan base from metalheads with exotic tastes, to indie kids and the post-rock crowd. Yet despite these accomplishments, recognition in Japan has remained elusive. Wondering why, I ask Atsuo if he feels misunderstood in the land he calls home. “It’s not like having popularity in America or Australia would generate interest amongst Japanese people,” he points out. “We just made the songs that we like, and it so happened that

they were embraced by American, European and Australian audiences. And it just so happened that Japanese audiences didn’t quite embrace us. Of course, we have fans in Japan too.” The life the band members have chosen to pursue has sometimes left them standing on the edge of Japanese society with its traditional culture of conformity, as illustrated by Atsuo’s decision to become vegan. “There are many vegans amongst musicians, and when we collaborate together, I just thought I’d make a gesture to get rid of any walls between us,” he illustrates. “It’s something I started for the music. And now, you know, of course I like animals too.” These days he’s often made to eat alone or at home. “I can’t really go out to a restaurant in a group of just anyone in Japan. In both American and Australia, it’s very possible to have people of differing values or ideologies sitting around one table and eating together. But in Japan, the atmosphere is that unless you share the values, you can’t join the table.” “It’s like they’ve all been brainwashed,” he expands resignedly. “Don’t have ideologies,” or something like that. I think Japan is full of complications. It’s really twisted; beyond twisted. Like the music scene and the music business, the structure and atmosphere is completely different to any other country. I think it’s a distinctive country; very distinctive.” Shut out by sections of Japanese society, accepted abroad although almost no one speaks their tongue, the overriding positive for Boris has been the elation they’ve given to fans through their immense works. Atsuo politely thanks me and says he’s looking forward to visiting Perth, where no doubt he and his comrades will once again demonstrate that music is the only universal language. WHO: Boris WHAT: Präparat (Daymare Recordings/Inoxia) WHEN & WHERE: Monday 24 June, Rosemount















IF YOU WEREN’T DOING MUSIC, WHAT ELSE WOULD YOU BE DOING? I’d probably go backpacking around the world. Gold Fields touring nationally from June check The Guide for dates


Check out the time lapse/stop motion video using a couple of murals done by Robert Jenkins at Corner Gallery Corner Gallery, Subiaco,



It’s hard to believe, but James Murphy’s band has only ever made it into the Hottest 100 once. This song reflects on a heartbreakingly sad loss, takes you inside the moment of that discovery and stays with you through the grief that follows. With beats. It’s just perfect. - Zan Rowe (Mornings)

SHE BEATS, SHE SPEAKS With a heart that beats solely for the creation of her art, Emika shows Kosta Lucas how she uses her music as a tool for self-discovery and as a weapon against all kinds of oppression political, sexual, and personal.

few days prior to our chat, Ema Jolly, better known to her fans as Emika, took to social media to talk about the struggles faced by a working artist. Expressing her discomfort at the often diametric opposition between the demands of the hype machine and the struggle to maintain artistic integrity, Jolly closes her commentary with the following question: “do you know where my art comes from?” It’s clearly something that she’s dying to be asked as that same quote appears in Young Minds, a song from her upcoming second album, Dva. That song is her comment on how art is necessary in an environment of oppression, a theme that recurs with stark resonance throughout.


This notion of artistic purity and self-discovery is a constant theme in my 40-minute chat with Jolly, who is bed-ridden with illness and exhaustion. Nevertheless, she is genuinely energised when discussing the philosophical underpinnings of Dva. Skyping with me from Berlin, I lob the question straight at her and I am met with a very knowing laugh. “Well actually, that kind of statement I was making is about the fact that… through the liberation we have had as creative people, as musicians and artists in the few years since digital music changed the music business, I feel like the quality of art has suffered.” She continues, “There are artists everywhere and everyone is making music but I’m not really sure if anyone asks themselves why they are doing it or what there is to kind of say.” Considering the volume of music out there, it’s actually a really good point – what else needs to be said that hasn’t already been said somewhere else? Australian audiences who may not know the Czech Republic-born, England-raised Jolly, may well think to themselves, “Well, who is she to be making that sort of call and what does she have to say?” A classically trained pianist, Jolly traces her obsessive compulsion to write music, “I have had so much music in my head since my first interaction with the piano, it somehow just triggered this ON-switch… When I was younger, it used to feel a bit like a disease” adding, “it is the only thing that feels right for me to do.” Subsequently, after further studies in creative music technology, she also worked as a sound engineer in Berlin, where she has since honed her craft. It was there, in 2010, where the legendary Ninja Tune label noticed and signed her and before going on to release her self-titled debut album in 2011. Whilst it was well-received, Emika is still a sorely underrated album that does not receive enough credit for the distinct, sonic signature that Jolly created; a “beautiful nightmare” of dark, heavy bass music, European pop, and classical flourishes. Of her obsession with the idea of a musical signature, Jolly attributes this to her University studies about the super-producers who became stars in their own right like Darkchild, Timbaland, and the Neptunes. Sitting in that class and overwhelmed with inspiration, she decided “I

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kind want to do that for myself.” Only this time, Dva refines Jolly’s signature sound by showcasing more of her roots. Culturally, Emika’s Czech heritage forms the creative tissue of Dva all the way from its title (“dva” is the Czech word for “two”) to the fact that she recruited a 28-person string ensemble from her place of birth in Prague. Musically, there is a more pronounced reference to her beloved composers like Rachmaninov and Shostakovich. Politically, the making of Dva was heavily influenced by Jolly’s travels throughout Europe touring Emika. She was incredibly taken aback by the oppression that is still experienced in some Eastern European countries and how important the language of art is as both a shield and weapon against oppression. “It’s what the song Young Minds is about.” Most importantly though, was her personal goal, which was to stay as pure to her own vision and message as possible. Though Executive Producer, Hank Shocklee, is by her side this time, the entire album is composed and produced by Jolly herself. She laments being shattered by speculation that she didn’t make the beats on Emika (she did). As the conversation continues, it becomes quite clear just how much Jolly’s art mirrors her personality (what I can glean of it anyway). Professionally she is known for expertly drawing together disparate musical influences to create something with tremendous poise. In conversation, her burning passion for things is tempered with an almost glacial cool-headedness, creating an air of effortless sophistication around her answers. Perhaps the best examples of this were her responses to my questions regarding a controversial article written by online music magazine, XLR8R titled Ladies on the Mic. Published in lateApril, the piece featured interviews from a selection of notable female electronic musicians about their thoughts on sexism in the electronic music scene (Cooly G and Laurel Halo refused to be interviewed). The article seemed to rely on two major premises as the focal points for discussion: 1) more men make vocal-less, beat driven music, because men

are generally more comfortable with machines and are not naturally inclined or conditioned to emote like women are and, 2) that women who sing over their tracks don’t receive the same accolades as their male counterparts. It was alienating to say the least and some of the participants have since voiced displeasure at their words being twisted. I asked her what she would have offered had she been asked to participate in the article. Though initially aghast at the thrust of the article, she felt the point didn’t even warrant discussion as the idea of “femininity” as an impediment was clearly so antiquated. “Well, I just think that it only really talked about one generation of musician. You can’t simply just talk to a bunch of women and make an argument.” On the point about why men doing the same thing get more attention, she sees the acclaim as more of a reflection on the way people like James Blake and Jamie Liddell emote, rather than the mere fact that they emote at all; it’s more of a breakthrough for men confined by their own set of gender stereotypes than anything else. Most interestingly of all was her response to my question about why lyrics are important to her music when producers like Ellen Allien and Ikonika claim not to view them as important to their respective visions. In a fleeting symbiosis of everything we were talking about, Jolly warmly says “I really made the transition from being a girl to becoming a woman when I found my voice” later adding an emphatic full stop, “words became important to me, because I felt like I needed to speak.” Self-discovery in the face of oppression – whatever the kind – is the artistic hinge of Dva and this is why the passion to create burns so intensely for Jolly. “I feel like I kind of found that through the process of discovery with Dva… I can only hope that other people will have the same experience.” WHO: Emika WHAT: Dva (Ninja Tune)



POST-HYPE “We hear the word ‘hype’ a lot,” Ayse Hassan, the bassist for the, um, y’know, much-hyped London quartet Savages tells Anthony Carew.

assan is on the phone from Amsterdam, still getting used to Savages’ current jet-setting itinerary: “I don’t particularly like flying, so it was certainly never my plan to fly around this much,” she offers. And still getting used to her band’s status as 2013’s most hyped indie band.


Hype can be both a blessing and a curse, especially in the way that it’s something that happens to bands; bestowing powerlessness as the hype becomes an entity unto itself. It opens doors, demands listeners to pick a side, and, at times, sounds like a pejorative; the ‘hype’ band often understood as being empty or ephemeral. Savages – who found videos of their first-ever show instantly bandied around blogs, and were the subject of a Pitchfork ‘Cover Story’ before they’d pressed their first single – find themselves having to talk about hype a lot; far more time than they ever spend thinking about it. “We’re constantly thinking about our live shows and recordings and songwriting, so we don’t necessarily see that hype,” Hassan says. “It can be frustrating, because hype seems like a negative word. And I want people to make up their own minds about us, good or bad, based on what they think, not based on hype.” Like any new-millennial hype band, there’s a division of opinions, from breathless coronations to backlash condemnations; Savages’ obvious debt to old post-punk bands (Siouxsie and the Banshees, the Au Pairs, Liliput) being something that can be both commended and derided. One thing that’s reached an agreed-upon consensus, though, is that Savages are, first and foremost, a live band, and a particularly good one at that. Where so many buzz-bands of the blogosphere are feted before they’ve ever played a show, and then struggle to deliver on the hype on stage, Savages are already a commanding live proposition.

band’s identity. “When we first got together it was us really connecting as individuals, gender didn’t really come into the equation,” says Hassan. “I never thought of us in that regard, or what gender could mean to other people. I could see that, outwardly, that could seem intimidating, having four people who are very strong in their thoughts and feelings and convictions in how they make their music. And I could see how that might mean a lot to someone else – another person, a man, a woman, whoever – and if they take inspiration from that then that’s a really awesome thing.” WHO: Savages WHAT: Silence Yourself (Matador)


“From the very beginning this has always been about being a live band,” says Hassan. “From that, everything else followed on, like the fact that we wanted to capture the energy of our live shows on our records. We always hoped that we’d give our audience something really interesting to listen and watch and enjoy. I’ve been to so many gigs where it all follows the same run-of-the-mill passage, where you have that feeling of sitting through the two opening bands that you don’t necessarily like. We wanted to make sure our live shows were an event, that you would come along not being sure of what you’d see or hear. We’d tailor everything from the music we’d play in between acts to what you see when you arrive. I think that’s really important, because it keeps it interesting for both the audience and for us. We’ve been really truthful to ourselves with this project, in all the steps we’ve taken along the way: from the recording process to the songwriting to the live show. Even what shows we play, and who we play with, those are all things that we’ve thought carefully about.” Savages is built along the tense, high-strung interplay of Gemma Thompson’s bent, angular, abrasive guitar-playing and Hassan’s coiled, menacing bassplaying. “Menacing?” Hassan laughs. “I wouldn’t totally disagree. I think perhaps ‘menacing’ could also be ‘passionate’. I like to think I play pretty intensely, putting my everything into that moment.” Then there’s also the vocals of Jehnny Beth, the band’s fearsome, ferocious singer. It’s she who furthers the at times political edge to the band’s post-punk delivery. Their debut LP, Silence Yourself, explores issues of politics in both social, political and physical ways: body politics, personal politics and theatrical politics (they borrow Harold Pinter’s “Don’t let the fuckers get you down” as a motto) at play throughout. The album’s title and its poetic cover art (with lament-for-the-Twitter-generation lines like “you are distracted/you are available/you want flattery”) seems to forward an essential thesis: that people need to say less, disclose less, share less, but that bands need to say more, communicate more, stand for more. “In our private lives we definitely have the feeling that there’s so much going on in the world, and people don’t really stop and listen,” Hassan offers. “Even when people are communicating with each other, the true art of listening is really lost. As a musician, you really want people to listen to the music, and formulate their own ideas about what we’re trying to do and say. Silence Yourself means quite a lot of things when you stop and look at it. There are too many noises in the world, and sometimes it is to important to step back and formulate your own views and your own ideas about something, rather than just going with these crazy voices that are pulling you each way.” That cacophony of voices includes, of course, the blogosphere, with its endless proliferation of opinions piling up to create self-contained dialogues about bands; all the hype and the hype about the hype and the backlash on the hype an endless cycle. “Sometimes I feel like it’s counterproductive to read things about yourself, because there will naturally be misinterpretations,” Hassan says, about the way the band has been portrayed. “But hopefully, over time, that will get cleared up as people come to shows and come to understand what we’re about, and what we’re trying to achieve with this. It can be slightly frustrating when something’s being perceived in a way that you don’t want it to be.” One of those popular perceptions is that the band – as captured on the cover photo of Silence Yourself – are stern, glowering, dark-haired and dark-hearted post-punks. “It’s important to take yourself seriously,” shrugs Hassan. “Because we’re all putting everything into this. Every day we think about it. Every day we work at it. But, that said, as important as it is to take it seriously, on the other hand you have to have the element of humour with it. It’s not totally surprising that may not come through. But anyone who comes to a show or talks to us at a show, it’s quite apparent that as much as we take this seriously, and make serious music, there are other sides to us as well, and we are human.”





They’re human, and they’re also women. And that’s something that is written about just as much as hype; Savages set to be seen, by a certain segment of the population, through the prism of a ‘girl band’. Yet, despite their make-up, gender was never central to the

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SKY’S THE LIMIT Gregory Taylor, better known by his stage name Skyzoo, is about to embark on his first tour down under. He chats to Kane Sutton about his influences growing up, the gamechanging nature of the Internet and the importance of relatability.


rowing up just a block away from The Notorious B.I.G., watching him go from local corner boy to rap superstar, Gregory Taylor couldn’t help but dream big. The Brooklyn native saw life in all of its heaven and hell splendour being from the infamous home of Jay-Z and Do The Right Thing. He started rapping at age nine, writing about what he witnessed on his daily routine as a child. For Taylor, there was never a backup plan. “I’ve been a writer since as long as I can remember. At six, seven years old, my grades in English were always an A+. For me, plans A, B and C were always music. I never pictured myself doing much else that didn’t at least relate to or tie back to the music and writing. I knew to be smart enough to prepare for other things in case the dreams never materialised, but I never saw them not doing so. Since day one I’ve credited my abilities as an MC to me being a writer first, then an MC.”


Felix Riebl: That’s a ridiculous question! And it should be taken as such. That said, I’d have to say the one that jumps out at me is Paul Simon’s Graceland. That’s mainly because I saw Paul Simon at the Blues‘n’Roots Festival in Perth this year and also because before we made Steal The Light we talked about celebratory music, and I really think that album is a real combination of poetry and celebration that’s stayed with me my whole life. Harry Angus: I really hate these questions. I mean, if I give it to The Beatles, I feel like I’ve let down Billie Holiday. There are records that I listened to my whole teenage life and that have great sentimental value, but as an adult I might not like them but that doesn’t mean it’s not a good album.


This rise in reputation has certainly affected Taylor’s style since putting together the aforementioned collaboration, but it’s always been for the better. “I definitely feel like my music has matured, as it should for myself or any artist out there,” he says matter-of-factly. “You never want to stay stagnant, or complacent, or just run a treadmill creatively.


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Those years of observation and living have turned into first-person narratives that have labelled Taylor as a ‘new legend’ and have led to his albums being lauded by fans and critics alike. Confidence in his ability saw him form a collaborative EP release Cloud 9: The 3 Day High with 9th Wonder back in 2006, in what ultimately led to his rise to prominence. “9th and I met in 2005 through my man Chandon,” he explains with that traditional swagger. “When The Justus League was still together, he was a member and took my early mixtapes to 9th and co, and we grew a working relationship which turned into us becoming almost family, outside of the music. The process with 9th is to always knock ‘em out and keep going. 9th doesn’t over think the music, he just goes. I learned that trait from him early on.” The fan base Taylor has been able to acquire since then stretches across the world and through a variety of demographics, from the college hipsters to the women who shop in luxe boutiques, which have all led to memorable placements: HBO’s hit Entourage, NBA 2011 and 2012 (he’s the first and only artist to date to be included in the franchise’s game and soundtrack in back to back releases), Grand Theft Auto 4: The Lost & Damned, and ESPN’s KIA NBA Shoot Around have all directed Sky’s music towards their markets, and the rapper also has a longstanding relationship as a musical rep for brand Jordan.

And so began the creation of his album A Dream Deferred, which was released late in 2012. Skyzoo took this project on as a challenge to build a stronger relationship between his music and his listeners; for

them to be able to see themselves within the stories he tells. The scene thrives in the US as of late, with Skyzoo now at a point in his career where people are considering him an influence. He believes the World Wide Web has played a massive role in his success and the success of other musicians. “The scene in the States is cool, it’s starting to get better. The Internet has made it so that people can make whatever music they please, and somewhere someone will be a fan of it, and help draw in more fans. Building a core fan base is more of a reality now due to the net, so the playing field is shaping up. I personally make the music I see fit to represent me and my story, while still staying aware of what’s moving and what matters at the moment within the climate. To me it’s about walking the line.” For Skyzoo, the idea of journeying down to Australia is an extremely exciting prospect, an entirely different scene beckoning him. “I’m looking forward to the culture. I’m not as well versed in the Australian scene and what the way of life is, so I’m interested in that for sure!” He plays at the Causeway this week in Perth. As for the rest of the year, Skyzoo is feeling optimistic about what lies ahead. “It’s gonna be huge. Coming up, I’m working on a collaborative EP with Jahlil Beats, as well as the Barrel Brothers group album with Torae, and then my next full length solo album Urban Vintage. The next 12 months are definitely packed for me and I’m really excited to see how it goes.” WHO: Skyzoo WHEN & WHERE: Skyzoo performed Wednesday 29 May at The Causeway

TRASH TALK Tommy Trash has built a reputation for head bangin’, fist pumping, party-hard live sets with an unmistakable stage presence to match. He chats to Sean McKenna.


he LA based DJ/producer Tommy Trash has carried his hard hitting dance anthems across the globe via Ministry of Sound to just about every major international dance festival, much to the delight of electro-house disciples from Coachella to Wonderland. On top of his own ARIA and Grammy award nominated production, the Queenslander’s juicy house cuts have earned him remix approval from the likes of Swedish House Mafia, Deadmau5, Tiësto, as well as Steve Aoki and Zedd. But what’s more impressive than the 26-yearold’s daunting resume and rock star reputation is the fact that he’s somehow managed to maintain a boy like sense of simplicity and humility throughout, unlike so many of those around him. He recently offered an insight into this profound modesty during an interview over a no doubt lavish dinner from his no doubt lavish pad in LA.


Emoticon Rod by Mark Dudiak source:

You always want to push yourself and grow as an artist. That’s the point, to me at least, to make better music today than I did yesterday. All of my heroes did so musically, such as Jay-Z, John Coltrane, Black Star and Andre 3000, so I’m just doing what I saw firsthand.” If his heroes influence him to create and perform as he does, then we could be seeing the steady rise of another influential force in the rap scene. He drops his projects more deliberately than most of his peers and has successfully been able to keep people’s attention spans in a climate where fans are accustomed to getting music fast. “My trick is to stay in people’s ears but not over saturate them. Some people drop once every two years, some once every two weeks. I’m not a fan of either of those theories. What works for me personally is one to two complete projects per year, which normally includes three to five accompanying videos, leaks, freestyle series to promote said projects, and press. Add all of that up and you have a full year of keeping people fed but still ready for more. That’s always been my game plan. To me, albums are supposed to be cohesive, tell stories, and show your life as is. So in order to write an album, I have to do some living. The living is what I write about and convey on record and what the fans relate to. So I can’t make two albums a year, because I haven’t lived enough life yet. Mix-tapes are more about hitting the rewind button, more loose as far as concepts and freedom and experimentation. To me, albums have to be perfect; nothing less.”

The City of Angels is a far cry from Bundaberg in rural Queensland where Trash or Thomas Olsen as he was known back then, was raised. This country upbringing offers the first few hints into his self-effacement. Given his obvious talent for composition and layering, it comes as little surprise to learn that Olsen’s initial musical introduction came in the form of a classical piano “around the age of four or five”. After school he spent time

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between bands and teaching piano in Brisbane and later Sydney. “The band I was in wasn’t really getting enough work so I had to go get an office job at the Bureau of Statistics – it was an interesting time,” he reminisces. Inspired by the sounds of Felix da Housecat, Axwell and Swedish House Mafia, Olsen simultaneously developed a curiosity for electro-house, and flirted with amateur production himself. “I basically got into it by just going to nightclubs, I just really wanted to be a part of it,” he reflects. Moving to Sydney meant the next step in this fascination was a subsequent DJ gig in Kings Cross, the ideal platform to hone his skills. Prior to going solo, Olsen had been part of a two man trance outfit,Trashthetic, which later provided the inspiration behind the individual pseudonym. “I started sending [my own] stuff into Ministry of Sound and they were like what’s your name? And I was like, ‘Oh fuck, oh okay – Tommy Trash!’ It was a name made out of desperation” he explains. Whatever it was made from, it rang true in the ears of Ministry of Sound, which subsequently helped Trash climb the ranks of the international club scene quicker than most through a succession of club bangers and collaborations

including that ever dividing jingle: The Bum Song. “It was a beer inspired dance tune that just happened late one night. It was always really meant to be a nonsense song, which is why we were so surprised at how well it did.” In case you haven’t picked up on it by now, Tommy Trash is not your typical international DJ sensation. On the contrary, he’s an unassuming dude pumping out masterful dance anthems, all the while simply enjoying the ride, “We’re making and playing party music so it’s really difficult not to get caught up in the whole party lifestyle; it’s just so much fun, why wouldn’t you do it”? With the standard bottle of Grey Goose in hand, expect to see Trash banging out some unreleased material as well as all the regular goodies during his time in Australia as part of an international tour in between his latest residency at Las Vegas’s newest dance mecca, Hakkasan Nightclub. WHO: Tommy Trash WHEN & WHERE: Sunday 2 June, Villa



JUDAS, THE CRUCIFIED A bruised and battered Tim Minchin explains to Guy Davis why it’s hard not to fuck up a musical.

im Minchin is suffering for his art, and he doesn’t mind one bit. The arms of the acclaimed actor, cabaret performer and writer of musical theatre are covered in bruises as he works up the requisite passion to portray Judas in the touring production of Andrew Lloyd Webber and Tim Rice’s rock’n’roll musical Jesus Christ Superstar.


“It’s because I told the guys playing the guards to stop being such pussies,” smiles Minchin. “They just weren’t grabbing me. I have this scene where I’m screaming at Caiaphas and I told them ‘You have to hold me back or I’m gonna tear his face off’. They said they didn’t want to hurt me, so I called them pussies and then they really fucking hurt me.” But any pain he may have incurred bringing the character to life is well worth it, Minchin feels. A long-time fan of the stage show, he freely admits to having zero objectivity about its excellence. “I started listening to it in my teens, did it in amateur theatre in my late teens, understudying the role of Judas, and I still think as a 37-year-old who is pretty involved with musical theatre that it’s one of the best things ever written in the genre,” he says. A Tony nominee for his songwriting work on the massively successful Matilda the Musical, Minchin has the bona fides to comment on what works and what doesn’t. And to him, Jesus Christ Superstar works. “I kind of understand how hard it is to not fuck up a musical,” he says. “How many people do you know who say ‘Oh, I hate musicals’? They don’t hate musicals; they just hate musicals that don’t work. Because it’s fucking hard.” All of which makes his admiration of Lloyd Webber and Rice’s achievement all the more genuine. “Somehow at the ages of 21 and 25, these two went ‘Yeah, let’s write about the last week of Jesus’ life but we’ll write it like an atheist thing or at least a secular thing. And we’ll put Judas at the centre of it, we’ll give Judas the ethical dilemmas, we’ll make him the protagonist, we’ll have Jesus slightly caught up in his own press and we’ll fucking kill Judas and then crucify Jesus. Will Jesus come back from the dead? The fuck he will – Judas will come back from the dead and sing a satirical rock song about religion!’ The potential for this to be a load of crap is just massive but it’s profoundly awesome! Can you even conceive of an equivalent now? Can you think of anyone willing to take that kind of risk now?”

“I just hope I have enough to be angry about in the same general area,” he laughs. “In terms of rationalism and scepticism and logic and maybe even religion to an extent and how we make our subjective judgements about the world – my general field, I think – there’s plenty to go around. But I don’t want to keep banging on about Jesus and shit; I‘ve sort of said what I want to say. So I’ll sit down and look through my notes on what I’ve been angry about and see if I can turn it into stupid songs.” WHO: Tim Minchin WHAT: Jesus Christ Superstar WHEN & WHERE: Friday 31 May to Sunday 2 June, Perth Arena


Well, there is Minchin himself, whose cabaret work frequently explores themes of atheism and scepticism in a blackly comic fashion. But recent years have seen him interested in working in a more collaborative fashion. “I was craving that,” he says. “Comedy can send you a bit nuts because of its narcissistic nature. I became known as a comedian but for 10 years before that I was writing music for the theatre and trying to be known as an actor. And although I’ve long tended to write silly lyrics, as an actor I haven’t done so much comic stuff. Back in Perth, back in the day, I played Mozart in Amadeus, I played Hamlet...this was not high-profile stuff but these were roles that defined me. And I found the challenge of going into the slightly shittier stuff, the darker part of human emotion, to be more attractive to me than comedy. And I guess that’s reflected in my comedy, which isn’t too cheap and cheerful.” Consequently, playing Judas in Jesus Christ Superstar enables him to delve into such areas, although he claims he’s not the type of performer who accesses any inner torment to convey that of his character. “I don’t get into a zone backstage,” he says. “The second before I go on I could be high-fiving someone or teasing them about something. And the second I get offstage, I’m off. But that’s the thing about good text: if it’s there on the page, you don’t have to go all Stanislavski. You just have to go ‘Where am I in this moment? I am pretending to this guy who’s in a situation where a man he once loved, who was his best friend, is utterly letting him down’. The text drags you in. As someone who isn’t highly trained and doesn’t have years and years of experience, something as passionate as the role of Judas is perfect because there’s no question about what his motivation is. He’s just trying to get shit back on track. Now he’s devastated, now he’s hanged himself, now he’s an angel. It’s awesome.” Technically it’s proven to be a terrific challenge for Minchin as well. “The whole thing is written in a range no one sings now, unless you’re a massively trained classical tenor – this is a screaming range,” he says. “As for the role itself, Judas starts off frustrated, gets furious, ends up so annoyed with Jesus’ absolute refusal to listen to sense and absolute acquiescence to the popstar bullshit he’s going through that he thinks the only thing he can do to save this movement, which is about helping the poor, is dob him in to the authorities and get him off the scene. When he does that and sees what happens to Jesus as a result, he feels so guilty he hangs himself and then comes back from the dead. If you take seriously as an actor, it’s a proper journey to go through.” The acting bug has clearly taken a nip out of Minchin – one of his next projects is appearing alongside Toby Schmitz in a Sydney Theatre Company production of Tom Stoppard’s Rosencrantz and Guildenstern are Dead this August. (Interestingly, the two appeared together in a university production of the play back in the ‘90s.) But that’s just the tip of the iceberg, really. He’s also penning songs for an animated musical for Hollywood studio DreamWorks, and by the end of the year he plans to get cracking on a new solo show he aims to premiere next year.


For more interviews go to • 17



PLUCKED FROM MEMORIES Something For Kate’s Stephanie Ashworth makes no apologies for being a hard taskmaster when it comes to choosing tour setlists. Nic Toupee gets the skinny on the band’s sixyear break and Paul Dempsey’s powerful memory banks.


omething For Kate ended a six-year hiatus in 2012 with the Leave Your Soul To Science album putting to bed speculation that the stellar career of one of Australia’s most successful independent rock bands had reached a quiet conclusion. With the third single from the album, Star-Crossed Citizens, released this week, the band have embarked on an extensive Australian tour from Cairns to Castlemaine. This tour is the band’s first ‘real’ opportunity to showcase the album to fans around the country, something which bassist and vocalist Stephanie Ashworth is genuinely excited about. “The first tour we did last year was only quick – a couple of cities only in venues which were not especially large,” she says. “We thought that we’d wait until the album had had time for the album to be out, for people to get to know it, before we did the larger tour; give them a chance to get to know the songs. We find that people have a different relationship with the songs – there’s something to be said for letting the songs sink in, I think.”




A new venue for Melbourne caught everyone’s eye Lorde at GoodGod Small Club Kim Wylde

Dylan Joel premieres Yep

Decline tour Europe


With over ten albums in the bag including B-sides and compilations (quite a feat considering the six year break), Something For Kate suffer the same dilemma as any successful, prolific band: how to choose the back catalogue for their upcoming tour. Ashworth is relishing the chance to rifle through the archives – she is happy to stare into the face of the past without fear or embarrassment. “I really enjoy the process of going through our records and deciding which songs we should play again and why,” she says. “There is usually a particular reason some songs are chosen and not others.” Ashworth holds the seat of power over the setlist, and sometimes is open to democratic debate – sometimes otherwise. “There are times where I’m not fun and can be stubborn about my choices,” she admits. “There are so many moods and atmospheres we want to convey in one evening. We need to make sure there are enough tracks from EPs and singles, enough B-sides. The fans want to hear the obscure songs, the B-sides. Actually, for some reason there is a lot of attention paid to our B-sides – so much so that we put out a double album of them. They seem to resonate for people. For us, they are the songs which are quite often a bit interesting.”

Prague, because the beer is cheaper than water and the women are like super models who love tattooed brown boys.


They are a band, not a jukebox. Cancel the request line. RULE #57

If you are high, quit talking about how fucking high you are.



Songwriter Paul Dempsey lets Ashworth and SFK drummer Clint Hyndman make the decisions, choosing to stay out of the Great Setlist Debate. “The setlist is something myself and our drummer preside over,” says Ashworth. “Paul is happy to be told. For him a lot of the emotional labour is in writing the songs, so when it comes to touring them he’s happy to let us do the setlist and to let go a bit.”

So is prising the B-sides out of the memory bank, playing that obscure track made for some compilation years ago – the fourth track from that very first EP – all part of the, er, fun of collating the Something For Kate setlist? Certainly it must be tempting to get a sneaky autocue set up just in case there’s a recall malfunction on stage? “No way! I’d get too much shit from the other band members if I ever used an autocue,” Ashworth laughs, horrified at the thought. “And Paul has an incredible memory, so it’s really only me who lets the team down. I have to intensely rehearse and get my head around the final batch of 40 or 50 songs.” So far she has been lucky but still lives in fear of that fateful moment when something crucial will escape her on stage. “It is definitely my big nightmare,” she confirms. “It happens to Paul very occasionally in his solo shows. He was telling me he did one solo show on his recent tour where one guy came all the way from Mexico and wanted to hear a particular song, so Paul knew he really had to do it. But four lines into the first verse he completely blanked. Luckily, the guy started singing the lines and so he quickly picked it up again.” Whilst fans perusing the band’s Facebook might find Dempsey’s backstage ‘shotgun karaoke’ clips, where he plays various improv covers, the band have been mulling over one particular song – and have decided it won’t make it to the tour’s playlist: their recent cover of Divinyls Pleasure & Pain. “I’m a huge Divinyls fan,” Ashworth says. “We recorded Pleasure & Pain as a B-side a couple of months ago and I really enjoy Paul’s interpretation of those lyrics. Then this terrible sad news of Chrissy [Amphlett]’s passing... Like most people I am still quite shocked and I don’t know that playing it feels appropriate. For us it’s almost too soon, too fresh. So I don’t imagine we would play it live on this tour.” Preparing for this tour comes hot on the heels – or at least so it feels to the band – of the album’s recording

and release. “The whole process was bizarrely quick,” Ashworth says, comparing the record time (pardon the pun) it took to create Leave Your Soul To Science to previous albums. “We had traditionally spent four months or more making records – for the record before this one we relocated to Los Angeles for four months – but for this one, we were in Texas for five weeks in total. In fact we were still mastering the album when the first single was about to go to radio! The way things are done these days is so different. We had four years off but the industry has changed so quickly. We were already in rehearsals, working out how to play the album live, getting our heads around how translate all those keyboards to the stage versions when our first single was already on radio,” she says. The band’s hiatus was long enough to seem perhaps permanent – certainly it caused ominous speculations to arise – however Ashworth pulls the dark rug from under these nasty thoughts, revealing a cause far more benign. “We finished our contract for Sony after writing five albums in a row with no break, so we thought ‘hell, let’s take a break!’ Paul wanted to do a solo album, and we thought it would be a good time to take a break and then come back. Paul made his solo album, and then ended up touring it for about three years or something – it did better than he thought so he toured for longer. He and I ended up moving to New York for two years – but there was always a commitment to coming back and making more SFK records. We can tell people weren’t expecting it, because it’s being called a ‘comeback album’,” she laughs. “When really Clint and I were both saying to Paul ‘excuse me, hello, another solo tour?’ We did have to tap him on the shoulder and say ‘that song you’ve just written, that’s going to be for Something For Kate’.” WHO: Something For Kate WHEN & WHERE: Friday 7 June, Astor Theatre

LABOUR OF BROTHERLY LOVE Sydney three-piece post-rock juggernauts Solkyri have emerged triumphant from the studio with their debut full-length, Are You My Brother?, in tow. But, proud though they may be, making the album was not always smooth sailing, as bassist Andrew Pearsall tells Mitch Knox.

t was a very long and torturing process, unfortunately,” Pearsall laments. “It was just a long process from writing the first track to actually receiving the CD back in physical form. “It took a long time to mix, and we had a few unfortunate incidents with our mastering engineer – he had some personal items he had to deal with, so that provided some unforeseen delays – but we wanted to be very strict on what we were doing, and to try and achieve something that we haven’t done before.”


But in achieving things, you do, or do not. There is no “try”. Everyone knows that, and Solkyri did. They just fucking went for it – they brought in vocals, vocalists, and a six-piece ensemble who, between them, played pretty much every instrument that could ever make a sound. “We didn’t really sit down and talk about what direction we wanted to take, but when we were writing we wanted to challenge ourselves and not do something that we’ve done before. I recall that, the first year of writing, we only penned two tracks because we tried to set the level

18 • For more news/announcements go to

and tried to achieve that level all the time, and at the start it was a bit challenging and frustrating, because we were like, ‘Well, we’re not really getting there,’ but towards the end we did.” Being used to writing and playing instrumental music, having a vocal element was a new consideration for the band writing this album, though even the most polished examples of the new dimension – such as Home, featuring the voice of Melburnian jazz stalwart Hannah Cameron – were not necessarily envisioned as vocal vehicles. “Home was originally just a shoegazy guitar demo by our guitarist, Adam [Mostek], who just layered and layered and looped guitars,” Pearsall says. “And we thought it should be on the record, and we should all try and play on it, so we turned it into a pretty straightforward rock song. We brought it to the studio and it felt a bit empty, considering that it did flow through a kind of verse-chorus-verse-bridge-chorus structure, and our engineer, Dax [Liniere], suggested that we put some vocals to it. We were a bit suspect at the start, but [Melbourne post-rock band] Laura have

done it well, Decoder Ring have done it … and we thought, ‘Let’s go out on a limb and give it a shot!’ “I think a lot of people have really grown to it. For people who don’t really listen to instrumental or experimental music, [vocals are] kind of a safety for them. And maybe it’s a good way to introduce them to sounds that they’re not already familiar with.” An even better introduction, one could argue, would be in the flesh. Fortunately, Solkyri are making northbound tracks our way. “Expect something that’s very diverse, and three guys just going for it,” Pearsall enthuses. “We have a lot of fun onstage; we like to get involved, and we like to bring it down with some slow numbers as well. I think there’s something for everyone, if people are open-minded and open to a good time… as cliché as that might sound.” WHO: Solkyri WHAT: Are You My Brother? (Bird’s Robe)



THE DUST SETTLES For nearly ten years, performer Kate Miller-Heidke travelled the world as a singersongwriter. Ahead of her Heavenly Sounds and regional tour, Matt O’Neill speaks to the one-time opera singer about settling down and spreading her wings.

ate Miller-Heidke’s Nightflight was a different recording for the Brisbane songstress. Where her previous albums ensured her vulnerable songcraft arrived intermingled with a certain degree of quirk and theatricality, Nightflight stripped away most of her decorations. There was very little of the baroque-pop of her 2007 debut Little Eve and even less of the art-pop eclecticism of her 2008 follow-up Curiouser. It was a rawer, more honest sound.


“I still love that album, surprisingly enough,” Miller-Heidke reflects of her 2012 album. “It’s definitely the most honest I’ve been on record. That was very conscious. It still has moments of that theatricality, I think. Sarah has a little mini-opera bit. Humiliation is a little bit surreal. I think I wanted to tap into my folky roots, though. Having gone on those long tours of America with Ben Folds and seeing what really worked for those audiences live – I wanted to keep going in that vein.”

great – but I’m kind of sticking with the current projects, for the moment. You know, life is good.” “I’m writing songs, I’m doing demos, I just got back from London,” she smiles. “It’s early days for the next album but I want there to be a lot more joy on it. I think I need a bit of a release.” WHO: Kate Miller-Heidke WHEN & WHERE: Wednesday 5 June, St Joseph’s Subiaco; Thursday 6, Mandurah Performing Arts Centre; Friday 7, Albany Entertaiment Centre

“You know, I think people can tell when you’re being honest. Curiouser was a much more layered, playful pop record, by comparison,” she muses. “I think I’m just really getting into the craft of pop music and really getting off on the idea of being, you know, absolutely, unselfconsciously daggy if I want to be. The freedom of not being a ‘triple j artist’ means I can kind of do whatever the fuck I want. I’m feeling quite liberated, these days.” Consciously or otherwise, it seemed to herald a new phase in MillerHeidke’s life. Having spent nearly ten years developing her reputation as a singer-songwriter, Nightflight has seemed to usher in a new era of experimentation for Kate Miller-Heidke. She’s an increasing fixture within the English National Opera (having sung principle roles in 2012’s The Death Of Klinghoffer and 2013’s Sunken Garden) and is currently in the process of writing an opera of her own. “That came about through Opera Australia,” she explains. “I sort of know [Opera Australia Artistic Director] Lyndon Terracini and he knew I’d been involved in that world over in London and obviously knew I was a songwriter and asked if I wanted to write an opera – so we’re writing a show based on Shaun Tan’s book The Rabbits. He’s this incredible illustrator from WA and it’s a big analogy about the colonisation of Australia. “It’s going to be an opera for children and adults. We’re still in the early stages, though. It’s obviously a massively project,” she elaborates. “I’ve never written anything like this before, so I hope I can do it. I’m collaborating with a guy called Ian Ramage, who has a lot of experience writing for theatre. Because of my classical background, I’m going to come at it from the angle of the singing – the melody and the harmony. Ian maybe will tackle the bits in-between.” In addition to her return to opera, Miller-Heidke’s been branching out in other areas. In 2011, she debuted her side-project Fatty Gets A Stylist with an eponymous debut album (debut single Are You Ready? scoring advertisements for both America’s National Lottery and Australia’s Channel 7). Previously, she’s starred in Jerry Springer: The Opera. Whereas once she turned her back on a career in opera in pursuit of pop music, she now embraces an entire range of careers. “I think it has a lot to do with getting older,” she says – MillerHeidke having turned 30 last year. “When I was younger, I thought I should have a strong musical identity and know what that was and stick to it. As I get older, I realise I’m still struggling with that idea and I’ll probably never really know what it is; I just have to settle for getting a little bit closer to it every time. It’s exciting and terrifying, really – though I have go for the former, mostly.” Ironically, it’s coincided with her actually settling down. After years of bouncing between various cities and continents, Miller-Heidke has made a home for herself in Brisbane with her husband and constant collaborator Keir Nuttall. In contrast to her seemingly cluttered workload (in addition to her current Heavenly Sounds tour, she’s also committed to a regional tour of Australia), she’s trying to take time and enjoy her work. “I have actually been quite protective of time at home. For the first time in years, I actually have a home – with my own piano and everything,” she enthuses. “This apartment came up in a building filled with heaps of old friends and we just kind of loved the idea of this musician commune. Me, my band’s old violinist Sallie Campbell and this fabulous guitarist John Rodgers have just been jamming on covers. We put on a concert of covers for charity over Christmas and it was great fun.” Except her relatively sedate domestic life has only been a necessary prelude to even more chaotic creative work. Eager to avoid a lengthy gap between releases, Miller-Heidke has already begun work on her fourth solo album and plans to have it recorded and released by next year. Like many things about the current period in her life, it stands in considerable contrast to her old habits. Her last album didn’t arrive until four years after its predecessor. “I’ve got about ten songs. I think I’m going to go into the studio later this year and have it out early next year,” she says. “It is a fast turnaround for me. I was kind of paranoid about leaving it as long as I did last time so I’ve actually been saying no to things this time. Not touring internationally as much and, like I said, being quite protective of my time. I really wanted it to be a fast turnaround this time. As always, this album’s a total reaction to the last.” “I don’t go looking for these projects, really,” she laughs. “You know, between writing that opera and preparing a new album, I’ve got more than enough stuff on my plate. I am going overseas next year to reprise my role in The Death Of Klinghoffer, which will be playing at The Met in New York, and obviously that’s going to be

For more interviews go to • 19



We’ve got copies of Bastille’s fantastic record Bad Blood up for grabs. If you’d like to get your hands on a copy, email giveaways@drumperth. with the subject ‘Off With Their Heads’.

DUMB YOUTUBER OF THE WEEK “Am I the only one who thought at the end they said we are all mexican monkeys... no? ok” From the comments box under: Daft Punk - Get Lucky (Official Audio) ft. Pharrell Williams, DaftPunk VEVO


After three years of slogging it out at empty bars, 44th Sunset are finally attracting some much deserved attention. Nik Thompson tells Zoe Barron why it’s odd that he hasn’t been punched in the face yet. 4th Sunset aren’t really that original,” begins 44th Sunset’s bio. “There, I said it.” At WAPPA – where lead singer and guitarist of the band, Nik Thompson, studies composition – originality is king. “Everything’s about the next thing that no-one’s done,” says Thompson, and he argues this can interfere with the process of simply making good music. “A lot of the time it’s actually sacrificing the music that you like,” he says. “You start focusing on originality rather than your own aesthetic.”

“The first show that we played, when I was 15, was in front of some old guys in front of TAB machines all yelling at us to stop interrupting their gambling. We didn’t have tuners or anything like that so we just tuned to each other onstage. So when we felt like things were getting a bit out of tune, I’d turn around and to the bassist or the other guitarist and be like, ‘Hey man, throw me an E’… It was so bad. The lyrics were like, ‘I woke up and there was bubblegum stuck to my head’. You know, trying to be hardcore.”

Even really distinctive bands like Arcade Fire are re-envisioning something that’s already been done, Thompson points out. “It just seems like a lot of indie rock bands are all claiming that they’ve revolutionised music,” he says. “I just write music that I wanna play and I wanna hear... It’s not super-original – it’s indie rock, indie pop music – but it’s just what I like.”

Three years on the band are finally allowed to buy a drink at the venues they play. And they’ve progressed a lot in that time. Their single Caesar is getting triple j airplay, they’ve recently released their first EP, Boa Constrictor Hat, and they’ve just returned from their first tour, playing support for Sydney band Jinja Safari.


At 18 years of age, Thompson is already a veteran of the Perth music scene. He and his bandmates started gigging when they were 15 and still needed their parents to chaperone their gigs. “It wasn’t just coordinating the band, it was coordinating the parents as well,” Thompson says. “Mum still comes anyway, so it doesn’t really change.




azz music’s golden era is quoted as being 1920s USA; a time when the genre reached a cultural peak, and when most of its protagonists emerged. The same goes for disco and British glam rock during the 1970s, or even R&B during the ‘90s. When it comes to underground dance music, though – jungle, drum and bass, trip hop and the like – the early ‘90s UK rave scene remains the genre’s historical zenith. Those artists fashioned by these periods are treated with a certain level of admiration and reverence by those of us that can’t help but think we were probably born a few decades late.


One such individual is Mr James Webster, or NVS as he’s known on the decks. Webster moved to Perth from Norfolk in the UK when he was only three years old and has continued to move between the two opposite ends of the globe since. One thing has remained consistent throughout this time, however; an intense passion for underground dance music, inspired by sounds like The Prodigy, Underworld and The Chemical Brothers. This appetite for heavy, underground beats soon developed into Webster’s introduction to vinyl turntables via his elder brother Shane, all before he was even a teenager.

MUSIC Implied Forms Exhibition Opening, Nyizstor Gallery

WATCHING The Reluctant Fundamentalist, Luna Leederville

READING Shantaram, Gregory David Roberts

EATING Bivouac

DRINKING Rosemount Beer Garden

WHEN & WHERE: Sunday 2 June, State Of The Art, Perth Concert Hall

London, Webster recalls Perth’s early rave scene in its infancy, when The Loft and Gravity were the ports of call and when things were “quite a bit more underground”. “Probably one of the biggest scenes was Gravity, where I spent most of my time out the back in sort of a hard-core, jungle and drum’n’bass type room – where’d you’d go when there was no raves on.” Despite reserving a special place in his heart for the old-school, Webster has contrived a reputation for covering an array of genres in his sets, rarely sticking to just one sound; “There’s good music to be found in every genre, just like there’s shit music to be found in every genre,” he explains. However, he expresses his distaste for the current eruption of overcomplicated, trivial genre sub-classifications. “It’s like everything’s just in subgenres and subgenres, broken down more and more, when I think people were writing exactly the same music years ago. It’s just now it’s got a name, before it was just trip hop and down-beat and left-field.” One thing Webster succeeded in throughout his time is staying true to the underground; rarely chasing gigs or handing out mix tapes, only playing when asked. Perhaps it’s this subversion that has led the part-time draftsman to play sets all over the world on what might just be some of the most unpredictable stages imaginable from

local Perth doofs to a collaborative performance with some of the Foreign Beggars crew on a roof in Saudi Arabia, not to mention a set in London’s dance mecca, Turnmills. If you thought the veteran was showing any signs of slowing down though, think again with a bunch of freshly announced gigs including a forthcoming spot on RTR’s weekly dance program ‘Looney Choons’ as well as featuring on the support bill for the back to the ‘90s gig featuring Technotronic on June 2 as well as playing at Electrified’s First Birthday Spectacular on June 29. But perhaps the biggest thing on the cards for NVS is Jungle Shakedown at Ambar on August 3. “Jungle is definitely one of my favourite styles, expect to hear a lot of Greg Packer from around ’97 as well as all the other classics.” The night beckons as a salute to the underground and all things Jungle, which is why NVS is the perfect man for the job. “Last time I played at Ambar, it was big, it was sweaty, it was noisy and I expect people to get loose this time again.” WHO: NVS WHEN & WHERE: Friday 3 August, Ambar

RESURRECTION TIME As The Superjesus faded, the ever-bubbling Sarah McLeod found herself more often mentioned for who she was dating rather than her music. After a decade away the band comes back together. And still gets all the old jokes. Ross Clelland tries to get a word in.

channel ORANGE, Frank Ocean


WHO: 44th Sunset

NVS walks Sean McKenna through Perth’s long history of turntablism and baulks at over-complication.

LISTENING TO DeadWeight! Presents Von D

The band are well known for their energy and spastic dancing. Thompson says he likes to get people annoyed during his shows, or at least riled up. He’ll jump off the stage and get in people’s faces, grab drunk FIFO workers and demand they dance with him – so far without consequence. “I don’t know why I haven’t been beaten up yet,” he says. “I’m not a big guy. I’m a tall, skinny streak of misery. It’s not like they’re intimidated by me.”


“The first rave I actually went to, I had to DJ at to go, mainly because I was only 15 at the time,” he explains. Despite spending significant time in both Norfolk and


“It was kind of interesting, the cultural difference,” Thompson says of their interstate shows. “I didn’t think that people were actually different from state to state. We had only played a few interstate shows before, none in Melbourne… Melbourne crowds are very super-cool. They don’t really want to do much. They just stand there, and if they were allowed to smoke cigarettes, they would.”

Adelaide was where the action was. “Adelaide was crazy,” Thompson says. “It was awesome. It was the best crowds I’ve ever played to. They just totally got into it, which was weird because they don’t even know any of our songs except for Caesar… we were climbing the speaker stacks and shit.”

ometimes, it all just falls together. The Superjesus never really had the door-slamming explosive break-up like some bands, more just slowly disintegrating as life got in the way.


The decade anniversary of their last performance, coupled with return of drummer Paul Berryman from living in America, seemed the ideal opportunity to take the beast out for a run. Just a hometown Adelaide pub gig was the idea, but events have moved things along a bit. One thing that hadn’t changed is Sarah McLeod’s mile-aminute interview style. Ideas, asides and maybe a bit of the question you actually ask her tumble out, occasionally remembering to censor herself after she second thinks something she said earlier. “Oh yeah, we always wanted to do it again, but were still all a bit trepidatious as to whether it would work. It really was ten years since we’d actually been on a stage together,” she admits. So, first rehearsal: “It’s so gunna sound like a cliché, but it was like we never left,” she laughs. “Y’know, all those bad punchlines and in-jokes that bands have being together in a van for years? They were all just there, right off.”

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The Governor Hindmarsh pub show kept them smiling: “The vibe was so good. It was packed, people singing at the top of their lungs; everyone knew all the words. Not just in the quiet bits – you could hear them over the drums and everything.” Even before that show, another opportunity had presented itself. “It was like our second day of rehearsing, and I got the call asking if we’d like to do the Stone festival thing. I was cool, like: ‘So guys, what about one extra show – about 50,000 people, with Van Halen?’ It was about half a second for them to say yes,” McLeod grins. Thus, The Superjesus’ comeback timetable has now extended. There’s a club show or two in various capital cities, with plans open-ended from there. “We’ll just see how we feel after that. It’s all still baby steps,” ponders McLeod. But don’t concern yourself about the singer keeping busy. Her own five years away in London and New York – in part, avoiding a local media that seemed more intent on diarising her love life and drinking habits than her creativity – saw her gain a international reputation making dance music, of all

things. That came with conditions: “I know I sometimes have to make it clear which music I’m doing; I know some of my audiences maybe aren’t going to be friends.” There’s also a solo rock album about ready to go, and her acoustic live shows are an extension of her talkativeness: “I sit there with a bottle of wine and have a very public – sometimes slightly drunk – chat with the crowd, then throw in a song here and there. “You can’t do that in the band. I can’t go off on tangents while the band stands behind going, ‘Fuck! Could you just shut up and play the intro to the next song?’” Not for the first time, McLeod laughs at something she maybe shouldn’t have said. WHO: The Superjesus WHEN & WHERE: Friday 21 June, Amplifier Bar







RAFFERTIE Build Me Up Ninja Tune London composer and producer Raffertie is back with his magically eclectic EP Build Me Up. Filled with tinkering synths, its lathered with the smooth, soft echoing vocals of Raffertie himself, a stark differentiation between this EP and his previous work. A pleasant collection of beats.

BLISS N ESO Home Is Where The Heart Is Illusive Travel back in time to the days of being late to class, sharing headphones, playing b-ball and listening to “classic rap”. This is where Home Is Where The Heart Is takes you. It’s definitely not a stand-out tune with regards to their output so far but, it’s a track to get the party started.

CRYSTAL FIGHTERS Wave Zirkulo/Pias/Atlantic There’s just no way you can hate Crystal Fighters. The British-Spanish electronica crew love wonky bass, Latin percussion and incorporate traditional Basque instruments into their ridiculously energetic productions. Wave is no exception. Expect to have all your inhibitions withered away when the record drops.

Warner Sleeping With Sirens announced themselves as one of, if not the most promising young post-hardcore bands following the release of 2011’s groundbreaking Let’s Cheers To This. While post-hardcore may have dropped off over the years, SWS were at the forefront of its revival. With the release of album number three in Feel, they have dramatically changed their sound. It’s as if the album is broken up into two sections. From the get-go their intentions are made clear – they’re not afraid to experiment and change things up. The first half of the album has elements of pop and rock with subtle hints of post-hardcore seeping through. The title track is a catchy pop song that is sure to have teenage girls in raptures, and perhaps it wasn’t the best way to open the album. Feel features many guest vocalists to complement frontman Kellin Quinn’s immeasurable voice, including Matty Mullins from Memphis May Fire. Alone showcases Quinn’s ridiculous range and includes a guest appearance from rapper MGK. The Best There Ever Was along with These Things I’ve Done are the heaviest songs on the album and are filled with heavily distorted guitar riffs with a dirty ‘90s rock sound. The album finishes with two of the most polished and heartfelt songs ever written by SWS in Sorry and Satellites. Sorry is the ultimate highlight of this record and showcases a side of the band perhaps no one has heard before, creating a pianodriven, spine-tingling and emotional ballad. Feel could rub some die-hard fans the wrong way with such a massive change in their sound, but the band have delivered their most poignant and honest release to date.



Save Rock and Roll

When It Was Now

Island Def Jam


To most long-time fans of Fall Out Boy, listening to this record will be like watching a poorly constructed remake of their favourite film. It will definitely remind them of the thing they love, and they’ll be able to appreciate certain elements of it, but overall it will cause an indescribable rage to brew within.

For a band from a country that is currently a forerunner in the promotion and success of independent music, Atlas Genius have slipped under the radar in their homeland. Selling out shows in the United States, Canada and even in Central and South America, these fellas are by no means small players, and given the sort of quality music they have produced, it is very surprising that their debut, When It Was Now, is not a huge favourite among the triple j demographic.

News of a Fall Out Boy reunion last year went worldwide in a mad inferno, and with international tour dates quickly lined up, fans had to pinch themselves to make sure it was real. The next logical step was a record, which is where the dream turned into a nightmare. Save Rock and Roll sounds like the members of Fall Out Boy went to a dance music festival, and then went home off their faces to write the record using Fruity Loops, or some other sampling/ looping software. But hey, they probably couldn’t care less about staying true to their roots at this stage, and are likely racking up more money with this CD than any of their previous releases. The only thing that remains of their pop punk heyday is the occasional quirky song title (My Songs Know What You Did in the Dark (Light Em Up)), and the powerful and unique vocal style of Patrick Stump. Even then it’s hard to differentiate between the voice of Stump and some of the female vocalists sitting in the Billboard charts. You know how you can really save rock’n’roll? By not buying this CD. Daniel Cribb

This album is a formidable amalgamation of just the sort of ‘60s- and ‘70s-inspired psych/pop rock that’s currently quite popular among Australia’s Generation Y (at an educated guess, from a quick look at the most successful tracks on the js this week). Throughout July these boys will be touring Australia, so hopefully that gains them (more than) a few well-deserved and faithful fans. The album they will be showcasing is highly danceable, most certainly, and easily listenable and in all a very well compiled bunch of songs. Opener Electric grabs the sensory attention straight away and the catchy hooks never cease to do the same, while Trojan is the favourite of the overseas masses, having blown up on the internet, and with good reason. Indeed, the overseas acclaim would have no doubt created pressure to produce more music right away, demands which would have caused less stubborn musicians and producers to cave and try and release an album right away to capitalise on the success. Fortunately for us these boys did not. It was a long wait for the debut album, but so very worth it. Lukas Murphy

Eli Gould




Some Say I So I Say Light

Jinja Safari Island/Universal

Didn’t It Rain

Jinja Safari’s new self-titled album has a sound to it like something they’ve been trying to get out of their bones for years. Not that their past output has been illegitimate in any way, but it’s never before been this consistent; it’s always been a collection of esteemed highs, and the natural troughs in-between. More than anything else, Jinja Safari is the record marking the band’s surrender to a series of freewheeling, sublimely enduring melodies.

When flicking through rows and rows of CDs (whether it be on the review shelves of Drum Media HQ or your local independent record store) Hugh Laurie is not a name a good many people would expect to stumble across. This reviewer certainly didn’t know that the beloved actor best known for his role in Stuart Little (right?) had produced an album. As it turns out, Didn’t It Rain is his second album.

Opening track Apple has the kind of chorus you’ll dream about coming back to all day. The percussion therein and indeed all over the record is deceptively complex; always a bony storm of colour and pitch, rickety sounds dancing together in a jungle of happy noise. Where it most counts, too, the band feel bigger than they ever have before. Toothless Grin is laced with gorgeously intertwining pan-flute, bubbly harmonies, and endlessly rushy keys. Like everything on this record, it at once feels effortlessly loose and yet so perfectly, meticulously constructed.

Where the first album had a stronger influence from blues music, this one branches out a little more and adopts a more New Orleans-inspired sound. Clarinets, a big band horn section and a general air of trad provide an upbeat and enjoyable backdrop for Hugh’s performance. As an album recorded and produced by an actor, this album excels. Often actors-comemusicians crash and burn in this territory, and there are a wealth of albums out there that are just not worth the time, but the beloved second half of Fry & Laurie is not one of those horror stories. This album has lovely renditions of St. Louis Blues, Kiss Of Fire, The Weed Smoker’s Dream and of course Didn’t It Rain. It is just further proof of the man’s talent and class.


THE SHOUTING MATCHES Grownass Man Middle West/Planet “It’s more just a trio of classy musicians sounding like they’re having a good time.” Ross Clelland

ROB ZOMBIE Venomous Rat Regeneration Vendor Universal “This is real metal and real horror from a veteran who knows his stuff when it comes to both.” Pete Laurie

JON HOPKINS Immunity Domino/EMI “Fans will enjoy this new dosage of lush, beat interrupting cinematic electronica and appreciate the variations, but there’s little to return to here.” Andrew McDonald

Ghostpoet is not a happy man, and if you can keep the headphones on for 50 minutes neither will you be. He’s trapped in an unnamed British city that is neither the pantomime villain nor grimy hero they play so well; and that Some Say I So I Say Light casts only as a place from which to escape. “Take me out the flames/Send me down the Thames” is the line, and the listener gets the impression that our narrator would leave on a burning ghat if he could. Ghostpoet rhymes about regrets and reproaches; never reverence. The sheer degree of introspection leads to moments of self-awareness. “Take me to a place where I’d rather go/I seldom know” on Plastic Bag Brain leads to “Maybe it’s time/to find out where I want to be” on Thymethymethyme, but the chink of light never gets bigger than that. Sonically, the hungover glottal stops and trailing anti-rhymes are more than a little like Roots Manuva, but there is none of the boom-bap or humour that lighten his releases – that’s the problem. It’s not that this is an album totally unworthy of your time. The rhymes are considered and the production is tight. It’s just so unrelentingly downbeat that it is very, very hard to love. This reviewer had to listen to A Rollerskating Jam Named Saturday eight times to compensate for every play of Dial Tones. No gun chat, but this rap album contains triggers. Tom Birts

Further on, Harrison grows hot out of a sitar-stung heathaze; a swell of shimmying, shimmering vocals, and an oily guitar that spills and curls deliciously over the track. So casually does the band shift in and out of signatures, you realise, as Harrison turns in its blushing, romantic outro. “Let’s take one last walk/I don’t want this last kiss goodbye,” Azon sings, never before this clear in the mix, nor so direct in subject and sentiment. A great love story told in deep pink-cloud synths, Afropop rhythms, and rainbow harmonies, Jinja Safari is a shining, scorching, bursting album that has so much to give it can barely contain itself. Sam Hobson

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Featuring the likes of Taj Mahal and the eloquent and lovely Gaby Moreno, Laurie is certainly not lacking in talented friends. Maybe his acclaim in cinema and television puts him in a position where he can ask such people to play for him, but his playing certainly holds its own against theirs, too – he is quite the keys player. To top it all off, he has a phenomenal band behind him. Looking forward to the next album. Lukas Murphy

arts notice unless up close. Thanks for the detail, Jack – we had a moment. There was also Ita Butrose, who brought it with a Gatsby umbrella (standard issue on the night) but subtly kept the logo side near cameras where she could – brand perfect – and Kerri Anne, who brought a camp warmth like only she can. The big names, Tobey Maguire and Carey Mulligan hid their likely carpet fatigue well, smiling, standing close (and in the correct light). And then Baz. Ah, Baz. Despite keeping us waiting as he talked to everyone all the way (think the doctor’s surgery where you can see the big line and start timing the patients before you, cursing them and their needs), by the time he arrived he was both on message and charming all at once. Liz Giuffre The Great Gatsby opens Thursday 30 May.


Carey Mulligan

BEHIND THE ROPE FOR THE GREAT GATSBY RED CARPET It begins when they check off your name and give you a media pass to wear like a dog tag. The standard response is mild disgust at being branded by the event, but secretly most ‘behind ropers’ horde these as the geekiest of souvenirs. Next, finding your behind-therope spot. Thankfully tonight’s rope possies were already predetermined with name/outlet cards (a spot inside rather than in the rain – score!) but this is often a bloodbath. Short streetpressers like this writer do their best, but often get shunted. Uncomfortable but big footwear is one tactic to avoid this; steel caps are another. Even with a spot secured there is still a hierarchy. Behind the rope we are given a cheat sheet of expected carpeteers to help us out (headshots and descriptions) – and then it’s just a giant game of ‘guess who’ as we work out which starlet with black hair, television experience or an interest in dubstep we want to target relative to our likely readers/ viewers/listeners. As the beauties wander past, we call at them, first with the tone of voice mum used

when it was time to get off the swing (sing-song version of the target’s first name like ‘Deell-taaaa’, ‘Too-beeeey’). Then, like mum, if the target ignores, passes over or gets distracted, the call gets aggressive (‘Delta!’, ‘Tobey!’). Mostly, it works and the target turns, hands their stuff to their human bag rack (sorry, date) and chats/poses. However, tonight there was one noticeable snub, as Sarah Murdoch passed our rope’s edge no matter how many mum voices were used. Conspiracy theories abounded. Did someone earlier on piss her off? (If so, $5 each way on an ABC ‘stunt’ program or breakfast radio duo). Or, did she have some deal to only talk to certain people (a major sponsor or particular media outlet, perhaps)? Maybe she just wanted a choc top and a sit down? There is also always one lonely kid wanting to be noticed – Richard Wilkins and random Voice contestants, for a while you all cut lonely figures. At the other extreme are the ‘very rope generous’. Tonight it was old school with Jack Thompson immediately noticeable as you could hear his famous drawl from down the line, but then as he came close his small ‘drama mask’ lapel pin was caught by small cameras that you’d never

Does anyone really care about the Hangover bros all that much? Their hopes, their dreams, their friendship? Or do we just want to see them make a bunch of bad decisions under the influence of mind-altering, memory-wiping substances and then frantically try to piece together the shambles of the night before? The franchise focused on the latter, it seemed, but with The Hangover Part III, it appears it’s the former that’s taken precedence. And that’s what makes this alleged “epic finale” to the trilogy (what, it’s a trilogy now?) such a letdown. Apparently we’re supposed to have embraced Alan (Zach Galifianakis) – once endearingly strange, now annoyingly so – and his ‘Wolfpack’ buddies Phil (Bradley Cooper) and Stu (Ed Helms) to our hearts over the course of these movies. So when they find themselves in peril at the hands of belligerent crime boss Marshall (John Goodman, phoning it in), who’s been ripped off by unofficial Wolfpacker Mr Chow (Ken Jeong), the stakes are seemingly raised from the aftermath of drunken, druggy shenanigans to a matter of life and death. And one is inclined to say, ‘So the fuck what?’ Director Todd Phillips still has a strong visual sense and a flair for the odd outrageous moment but the cast members seem to be going through the motions with one eye on the clock. As a result, it’s not so much a celebration as... well, an obligation. Guy Davis In cinemas nationally


WATCHING (MAD) MEN THE BETTER HALF S6, E9 This Week On Mad Men: SCDPCGC’s office may be the ’27 Yankees – a Murderer’s Row, though two big-hitters are dead-as-doornails – but Betty Francis is staging a ’68 comeback. Re-thin, re-blonde and clad in tighter shorts than Bob Benson, Betty trophy-wifeflirts with tuxedoed weasels, bats her daddy-issues eyelashes at Henry and casually seduces ex-husband Don. Mad Men’s original man/wife finally try on adultery together, rekindling old memories for both characters and viewers. Betty’s power extends to perceptive pity for Megan, who’s now less meta-soap-operatic, more tragic heroine. Joan and Bob, unseen during last week’s freakin’ & tweakin’, are now tighter than Bob’s shorts; this ruffles Roger’s peacock feathers, as he’s denied both (secret) fatherhood and (legit) grandfatherhood; while Pete gets his balls tickled by Duck Fucking Phillips. Peggy and Abe’s gentrification-pioneerin’ Westside “shithole” turns falling-marriage symbol; Abe stabbed twice-over like some Paula Fox character, victim of a city where the sirens don’t stop howling. How Big Is Thy Weiner?: At summer camp, the Fifth Bobby Draper is called Bobby 5. Sly wink, sir! Pete Campbell’s Punchable-Weasel-Face Watch: “Paint me a new portrait!” PC smirks, still wincing from the sting of Vick’s. Sterling One-Liner Of The Week: “I’ll do Dr Zaius! ‘The Forbidden Zone was once a paradise...’” Anthony Carew Screening every Monday night, 5.20pm and 8.30pm, on Showcase

Mad Men

For more interviews go to • 23

[REVIEWS REVIEWS] l i v e Railway Bell presented what I can only describe as old Americana music with a modern polish. From the potbelly hat and verbal cadence of the singer, to the lap-steel guitar on side, the country feel is undeniable. However, the singer, working alongside the enticing rolls and backing-vocals of the drummer, provided an engaging mix to the songs, combing themes of summer allure and heartbroken revelry. September Sun left a welcome hard-rock taste in the mouth at the finish of the night. Providing high energy, great riffs and banter, it was a wall of noise with a deliciously dirty bottom end. While the guitar didn’t lift above the wall, the drums provided the flourish to give emotion, as well as propulsion, to the music, with the vocals staying high and clean even as they howled out till the close of the venue. Mike Bowring

AMPLIFIER BAR: 24/05/2013 In what was a particularly quiet night, a small crowd gathered for opening acts Mammals and Collarbones before Owl Eyes came to the stage. After releasing a string of EPs and singles over the last few years, this tour was in celebration of her debut album Nightswim and much of the setlist comprised of these tracks. Performing under the moniker Owl Eyes, Brooke Addamo kept her stage banter to a minimum and let her music do all the talking as she entertained the intimate crowd with her vocal prowess. Opening up with Nightswim she had much of the crowd with her from the get go. While some fans may have been a little disappointed in the direction of her album, some of the more ‘80s synth-focused material off it also didn’t transcend well to the live arena as her more upbeat tracks. Hurricane and Golden Lies worked well, but Open Up and Diamonds In Her Eyes fell a little flat. The crowd lapped up her remix of Armand Van Helden’s You Don’t Even Know Me and Stardust’s Music Sounds Better With You and danced and sang along with her as she moved around the tiny stage. As the end of her set drew near she told the crowd that this was usually the time where she would say she had one more song left and then they would leave and come back for two more songs. But on this occasion Addamo pointed out there was nowhere for them to really go offstage, so they were just going to stay, and closed the night off with a great performance of Closure and Raiders. Marcia Czerniak

MATT CORBY, GRACE WOODROOFE THE ASTOR: 23/05/2013 While the temperature outside hit almost freezing point for Perth (10 degrees or so), there was no lack of warmth, or talent, inside the Astor theatre for Matt Corby’s sold out show. To open the night, the all-ages crowd was treated to a seductive, ambient and astonishing set from the talented Grace Woodroofe. Her husky, angelic vocals filled the theatre with ease for her hourlong set, and her stage presence mirrored that of someone who had been performing for years. With a three-piece band backing her up, and with the beaming beauty even picking up a guitar and rocking out at times, each song was a ballad of its own. With the end of Woodroofe’s set came a rising anticipation Matt Corby. The standing floor became more crowded, and there were very few empty seats in the house. In case you have been living under an incredibly large boulder for the last six years or so, Corby won hearts over as a 16-year-old on Australian Idol. Now 22, Corby is still winning hearts over with his charm, scruffy hair and his distinct soaring folk-inspired vocals. So like how everything changed when the hand struck 12 o’clock in Cinderella, the room fell completely silent when 10 o’clock struck at the Astor. Corby commanded both complete silence and a combined sea of squealed “awws” and love confessionals, with just a smile in the audience’s direction. The set began with a nervous Corby, but with every minute his performance continued, his confidence grew tenfold. His set featured old favourites such as Souls A’Fire, but also exhibited new songs such as Resolution. Corby interacted suavely with the audience, making jokes every time the crowd “awwed” at something he did. For example, Corby introduced a new track of his as “about a letter I received from a girl who was almost my first love.” With a chorus of “awwws” from the audience, he replied with “I can’t say anything these days. Don’t do that, it’s f***king manly. Love is legit.”

Later in the set he played a gorgeous stripped down version of his more famous single Dog, featuring Lisa Mitchell. Joking, he told the crowd it was ‘no big deal’ the song had made into to triple j’s Hottest 100. The show was intimate from the onset, with Andy saying how nice it was to “drink martinis and have a good old time together”.

Announcing this would be his last song; the crowd knew he would finish with Brother, his track that featured at number three on the triple j Hottest 100 for 2011. But he provided fans with an encore, teaming up with his keyboardist Bree Tranter for a duet of Big Eyes.

The mixed crowd, some quite obviously not at The Aviary purely for Andy Bull’s performance, seemed to enjoy the show. Their intermittent, and somewhat inconsiderate chatter even ceased temporarily for the obligatory Instagram photo. The highlight of the evening was certainly a Prince cover of If I Was Your Girlfriend. Super funky, with the addition of Bull’s unique personal sound. His incredible voice, sometimes drowned out by drums/ guitars in live performances, was the focus of this raw and somewhat understated set. Andy Bull ended the night with a heartfelt thank you to the crowd and a promise to be back soon, hopefully with an album and band.

Renee Jones

Darcy Rahn

Owl Eyes Pic by Chau Goh


The intimate setting allowed Bull to connect with the crowd, engaging in good old banter. He revealed he is now a married man, “although most of you probably thought I was gay”. He shared an anecdote about his ex girlfriend to the endless amusement of the girls in front, who continued discussing it all throughout the set. This led into crowd favourite My Street, which got people out of their seats on the fringe and bopping amongst the crowd. For such an understated performer, Bull certainly knows his way around a keyboard. His fingers never missed a key while he continually made eye contact with the crowd, producing a warm and personable vibe.

ISAIAH MITCHELL AND THE BLACK ELK MEDICINE BAND, SCUM OF THE EARTH, MOUNT MOUNTAIN MOJOS FREMANTLE: 20/05/2013 It was interesting to see how the Perth boys Mt Mountain had developed from the first time I saw them at Mojos a few months back; it’s thoroughly exciting to see a new young psychedelic band come out of the woodwork. Their sound remains complex and progressive, as seen particularly in tracks White Horses and Divides. The runthrough of their EP OMED showed how Mt Mountain have mastered creating beautiful and eerie rock through wandering guitar riffs and alternating tambourine shakes. Diverging from the Mt. Mountain set, I can only describe Scum Of The Earth as a massive wall of noise. With guitar and vocals from Joe Ryan (Pond), and drums by Jesus lookalike Nick Odell, their 30-minute set was predominantly made up of bone-rattling instrumentals. Their set was long, heavy and pure rock and roll from start, with only repetitive “scum of the earth” and “woo” lyrics resonated around the room. It was bursting in your face, and intricately intense. A few minutes later Isaiah Mitchell (Earthless) and The Black Elk Medicine band were up on stage. Mojos had been pretty full from Mt Mountain’s first set; it was a great presentation for Perth psych rock fans for sure. Their sound was a combination of Isaiah’s guitar shredding, Robert McManus (ex-Grey Daturas and Monarch) and Nick Allbrook’s (Pond, ex-Tame Impala) nomadic bass rhythms. To many devastated Tame Impala fans, Monday night only cemented the idea that Nick Allbrook is, as Tame’s Kevin Parker explained, “going off to do what creative people do”. No need to worry about him giving up on his artistic and musical aspirations any time soon. The evening embodied alternate rock through the suave sounds of Mt. Mountain, the shoulder shaking noise of Scum Of The Earth and intense intricacies of Isaiah and the Black Medicine Band. Being a passionate psychedelic rock fan, the set was perfect as the night bundled together three very different styles seamlessly. Tanya Bunter

GIGNITION RAILWAY HOTEL, FREMANTLE: 26/05/2013 With a name like that, Big Girls Blouse delivered a brand of clean-cut pop tracks. Dressed in matching white shirts, all clean-shaven and with high-end bouncy drum beats, the four-piece engaged a home audience with their catchy choruses and tight leads. Hard to criticise, they all delivered exactly what they promised, to genre-specific perfection. Mountain Giant stripped it back. One man on drums, the other on guitar and vox box, creating a chord crunching, octave sliding rock’n’roll good time. While delivering entertainment, and solid drum rolls, they relied too much on pedal effects and vocal distortion to give them variety, over alternating chord progressions and lyrical stylings. Changing to a folk tune, The Brothers Duke rooted their entire sound in melody, everything designed to treat that flow. The band as a whole remained present but unobtrusive, the guitar especially used for atmosphere over any assertion, and the drums ever-consistent in beat. All this served, however, to allow for the great vocal range, beautiful piano and violin playing to lilt and lift above the sound and craft the emotional heart of the music.

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Super Wild Horses Pic by Brad Serls

SUPER WILD HORSES, GUNNS, THE DIANAS THE BIRD: 25/05/2013 The Dianas were first on the bill-plate. It’s been a couple of months since this threesome put heel to stage. Washed Up was a ripper, and really, the three Perth girls were bite-size sample of Super Wild Horses themselves: both are guitar and drum basic, both draw heavy from that whole The Drums DIY musicianship ethos. Let’s hope The Dianas don’t put those guitars away again soon because they should be beating out some radio playtime. Gunns were next at the mic, and they did great, with a goofier, fuzzier approach – they have a track called Pigeons In The Pond – and they legitimately sound kind-of like the bands they hark to on their triple j unearthed webpage. Anyways, Super Wild Horses couldn’t play their instruments when they started as a band. What makes Amy Franz and Hayley McKee just so great is that their desire to be a band actually predates any capacity to play music on their part, which for the overwhelming majority of bands would probably be considered a ‘fundamental’, ie. essential ie. you-gotta-walk-beforeyou-can-climb-but-these-girls-decided-to-pole-vault. Ergo, they have since got to x from their initial position y through z where x is ‘being a great band’ and y is ‘being like, totally unable to play any musical instrument whatsoever’ and z is the sum total of album one (Fifteen, moody and angry) and album two (Crosswords, new and hype-y but still good), an equation more bands than there are words in this language have yet to master. And so SWH brought Crosswords to The Bird, fresh from the hype-oven, and still smelling of blog. Crosswords came out so recently your humble narrator had like 48 hours to etch five main tracks in ballpoint onto his wrist in an effort to learn it and not flunk review-school. Alligator was awesome and the obvious single, Meant For Two was great and the mid-tempo love song. Dragging The Fog worked nicely in their live set; like something that gets closer and more circumspect but never actually arrives, like the day you’ll stop drinking and get a real job. Also, these two are originally from Perth, except they moved to Melbourne around seven years ago (cool fact discovered in the course of this review). West Coast was lovely, and in the context of the previous factota the lyrics make sense.

100S, KIT POP, ASLAN, DONALD KRUNK STREET X LAUNCH PARTY, THE BAKERY: 24/05/13 One extremely cold evening the CNVS crew, along with the StreetX team, threw a party at The Bakery featuring one of the hottest young rappers in the game, 100s. In case you’ve been hiding under a rock, 100s is 19 year-old Californian rapper who has been described as the new Too $hort. Signed to indie label Fool’s Gold, 100s, who is recognised best by his luscious locks, has brought back the kind of raps that are just straight-up filthy. In fact, ninety percent of his lyrical content is about getting bitches and just being a player in general. But it’s all in good fun. Much before 100’s graced the Bakery stage we were treated to sets from locals Aslan, Donald Krunk and Kit Pop. Each of the aforementioned dropped tracks ranging from classic rap to current trap. Although each of these DJs has their own unique style, they all seemed to play in accordance with the act that was to follow, which suited the crowd down to a tee. As 100s’ young curly-haired DJ took the stage, we heard from artists such as Too $hort (of course) and Snoop Dogg (who 100’s is also often compared to). As theDJ worked the room, the crowd started to descend towards the stage. By the time 100s appeared on stage, the majority of the night’s patrons were huddled tight in front. Dressed in a snakeskin shirt and tight jeans, the man powered through tracks from his mixtape Ice Cold Perm. During the 20 minute set, we heard key tracks including Slow Drip and Brick $ell Phone, enabling the Californian rapper to showcase why Ice Cold Perm has been deemed one of the best albums of the year. Closing the night CNVS resident Luke Chan played hip hop classics to the remaining crowd. The night also served as a launch for Perth label Street X’s new pop up store. Located in 189 Arcade (on William Street) the new store is an extension of the existing online store which was launched in late 2011. With a slogan like ‘fuck the market’ the StreetX boys really aren’t like anything else in Perth. StreetX is one label and brand that won’t disappear anytime soon. And they also know how to throw one hell of a launch party (alongside the CNVS crew, of course). Good times all ‘round. Chantelle Gabriel

Both before and after their set, Franz and McKee hung out with the crowd/dealt their own merch, which was really decent of them considering tickets were a steal and they are so hot right now. Hanging around with random people in a pub is difficult enough when you’re drunk and a nobody, let alone sober and a buzz-band. Good stuff. Callum Twigger

ANDY BULL THE AVIARY: 26/05/2013 I wriggled my way to near-front of the stage just in time to see him slide discreetly in front of his keyboard, accompanied by two martinis and no band. Andy Bull versus keyboard. He opened his set with a slow synthy ballad, I Need Your Lovin Like Sunshine, to the enjoyment of his female fans. Accompanied by simple lighting and a garish projection of his face behind him, the set up was simple and low key. He later commented on the picture, “I’m Andy Bull in case you didn’t know,” laughing, “fuck that guy”.

100s Pic by Chantelle Gabriel







faded billboard in Gatsby’s wastelands: symbolically omnipresent. He surely hankers after an Oscar.

THIRTY SECONDS TO MARS Love, Lust, Faith and Dreams Jay-Z

MS MR Secondhand Rapture

THE NATIONAL Trouble Will Find Me

FAVOURITE RECORD RIGHT NOW CHANNEL ORANGE - FRANK OCEAN Abbe May: “Sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex sex.” Abbe May is on touring in June check The Guide for details

Baz Luhrmann’s blinged-out film adaptation of F Scott Fitzgerald’s 1925 American literary classic The Great Gatsby, opening in Australia this week, has been a US box office triumph. And the hip hop soundtrack, with Jay-Z as Executive Producer, is off-the-chain. There are parallels between the novel’s titular character Jay Gatsby (played by Leonardo DiCaprio) and Jay-Z. Both have acquired wealth through unorthodox means – Long Island’s mysterious Gatsby is supposedly a bootlegger (selling grog during Prohibition), while Jay-Z metamorphosed from Marcy Projects crack dealer to braggadocios MC. Both love beautiful women – only Jay-Z is married to Beyoncé, whereas Gatsby doesn’t yet possess Daisy Buchanan (Carey Mulligan). And, ultimately, both are chasing the American dream, Gatsby a precursor to Mad Men’s Don Draper. He throws fantastic parties to impress Daisy. Luhrmann specifically wanted his 3D blockbuster to have a contemporary soundtrack – “1920s-meets-now” – and realised that hip hop is today’s counterpart to jazz (Fitzgerald coined the term ‘The Jazz Age’). DiCaprio introduced him to Jay-Z. Some of the songs here cleverly reconfigure jazz and hip hop. Lina must be mad not to get an invite to Luhrmann’s party. She was making swing’n’B back in 2001 with the cult hit Playa No Mo’. The irony is that there actually isn’t much rap. The OST spans R&B, EDM, indie and, yes, jazz (Emeli Sandé’s jittery cover of Beyoncé’s Crazy In Love). It even has epic dubstep from Nero. It’s tricky to know just how hands-on Jay-Z has been. He’s only directly credited for one song – his own 100$ Bill, gala electro-hop with film dialogue and jazz horn samples produced by Ratatat’s E Vax (who’s also worked with KiD CuDi). Maybe Jay-Z, so inspired by Ridley Scott’s American Gangster that he made an unofficial OST, is like the Queens’ oculist Dr TJ Eckleburg on the

Of course, Gatsby isn’t Luhrmann’s first cinematic mashup. He assembled a trendy postmodern soundtrack for William Shakespeare’s Romeo + Juliet. Quindon Tarver was the choirboy singing Rozalla’s Everybody’s Free (Too Feel Good) and Prince’s When Doves Cry. The rising star dropped an eponymous R&B album but then disappeared. In later years Tarver has alleged that, along with B2K’s Raz-B, he was sexually abused by boy band mogul Chris Stokes. He unsuccessfully auditioned for American Idol. Another illusionary American dream... Meanwhile, Luhrmann reinvented the musical with Moulin Rouge! – the height of kitsch glam. He facilitated a hit girl-posse remake of Labelle’s Lady Marmalade, featuring Christina Aguilera, Lil’ Kim, Mya and Pink – Missy Elliott producing. Nor is Luhrmann’s Gatsby the first mash-up. There’s a vampire rewrite, The Late Gatsby. Inevitably, Jay-Z has called in his missus Beyoncé, who performs a controversial chopped & screwed-style duet of Amy Winehouse’s Back To Black with André 3000 (singing!) and indie guitar. This Back... is so unrecognisable from Winehouse’s – and brash – that it works. It fits the film’s tenor. Mark Ronson digs it. pulls off the eccentric Bang Bang – part club, part jazz-hop, and part Ol’ Dirty Bastard. It’s preferable to anything on his Eurovision-goes-to-Ibiza #willpower. Coco O, half of Denmark’s Quadron with Robin Hannibal of Rhye, sings the Lina-esque neo-soul Where The Wind Blows – produced by Andrea Martin, who had a hand in ‘90s urban faves like En Vogue’s Don’t Let Go (Love). The soundtrack’s cleverest number is Lana Del Rey’s absinthedrenched hip hop soul Young And Beautiful, helmed by Rick Nowels – even if it’s similar to the duo’s Summertime Sadness. The vapid Daisy was partly based on Fitzgerald’s wife Zelda, his muse and the OF (original flapper) whose own writing career he sabotaged. Del Rey offers a wry feminist critique of her idealisation and objectification. Luhrmann is an Australian patriot – and the OST has two Australian artists. Adelaide gal Sia’s turbulently tragic orchestral ballad Kill And Run surpasses Gotye’s recycled Hearts A Mess. It nearly eclipses, too, Rihanna’s Diamonds, which Sia co-wrote. Conspicuously missing is Jay-Z’s frenemy Kanye West – though 2011’s collab No Church In The Wild, used in a Gatsby trailer, finds its way onto a deluxe edition.



ARTS NEWS WITH MARCIA CZERNIAK memories of the first installment, or even worse, carried on a story that was bad to begin with.


Growing up I loved Honey, I Shrunk The Kids. It was one of my favourite movies along with The Boy Who Could Fly... now, that should have had a sequel made. But it didn’t and instead we got Honey, I Blew Up The Kid. All the wonder of the Szalinski kids facing off with ants was lost when instead we got a massive toddler.

Hangover Part III


It has been interesting to revisit Robots Vs Art as a writer. Just before we got into the rehearsal room the play was published, so it seemed that rewrites would not be an issue. But as soon as we hit the floor the actors had better ideas and my newly published play was quickly obsolete. This was disappointing for about a second. Then it became exciting. If I am involved in a new production of my work I don’t think rewrites will ever stop. As a director, because I have the same cast as the last production, remounting the play has been a breeze. We have an instant shorthand, and the work already done on the play becomes quickly established.

WHAT’S A RECENT DREAM YOU HAVE HAD? I dreamt that my partner and I were babysitting the child of my ex-girlfriend. We were very relaxed about doing this and enjoyed it. But when my ex came to pick up the child she stubbed a cigarette out on my arm… But as Martin Amis’s character Richard Tull writes in The Information: Dreams don’t mean anything. WHAT: Robots Vs Art WHEN & WHERE: Tuesday 18 June to Sunday 7 July, Bondi Pavillion

There is that old saying ‘to go out with a bang’, but sometimes there are things in this world that just don’t know when to call it quits. And no, I’m not talking about B-grade celebrities who can’t seem to let their five minutes of fame go or sporting stars who just keep going. Although on the subject of sporting stars, one could say that the recent David Beckham retirement announcement is a good example of going out with a bang. No, for the purposes of this column this statement is more in reference to the mass load of movie sequels we are about to be plagued with. And granted some sequels are good, we have a chance to be reunited with familiar characters and storylines we have loved and enjoyed in the past; kind of like visiting an old school friend you haven’t seen in a while. How could you not love the Shrek movies, or the Bourne movies, Batman or Godfather movies just to name but a few? And hey, even the High School Musical movies weren’t too bad. But for every good sequel, or prequel as the trend may be, there are the ones should have never gone into production. Over the next few months we are going to see Hangover Part 3, Iron Man 3, Fast And Furious 6, Despicable Me 2, Monsters University, Kick Ass 2, Red 2, Paranormal Activity 5 and the next installment of Thor, Thor: The Dark World. Now chances are that not every one of those is going to be a cinematic masterpiece. In fact, it is almost guaranteed that there will be a flop. So that leads to thinking about all of the sequels that should have never, ever been made. Those movies that either ruined the

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Then there was Weekend At Bernies 2 where Bernie was again the dead man living it up. Enough said. An eternal favourite for many people is Grease. How could you not love Olivia and John singing and dancing? But Grease 2? Yeah, that one went down as a big mistake. Another classic with a terrible sequel would have to be Dirty Dancing. It was Patrick Swayze at his finest and no matter how many times you watch it, you still love it. Now, Dirty Dancing: Havana Nights is another story. Made in 2004, 17 years after the original, it features Swayze as the dance instructor in Cuba and that is pretty much the only decent element to it. Then of course there was the Jurassic Park sequel The Lost World, Speed 2 (who thought it was a good idea to make a sequel without Keanu Reeves?), Legally Blonde 2, Be Cool, Star Wars Episode 1: The Phantom Menace and without a doubt one of the most terrible movies ever made, Dumb And Dumberer 2: When Harry Met Lloyd, which is definitely an example of a sequel (or prequel in this case) carrying on a story that was bad to begin with. Then there are all the scary horror movies that just seem to continue on and on, like Saw and Paranormal Activity. As someone who is easily terrified by these types of movies, I cannot comment on them in terms of quality, but how many of them can they seriously keep making? So in what seems to be the year of sequels we can only wait and see if they are duds, or old friends coming to visit us once again. And in the case of Fast And Furious 6, I am pretty sure lots of people are looking forward to a reunion with Paul Walker. Bring It On... but definitely not Bring It On Again.

Abbe May

FINAL STATEMENT The time is finally upon us; time to witness WA’s local music fitness as Celebrate WA’s State of the Art Music Festival lands this Sunday. This Sunday’s festival will include three seated Concert Hall Sessions, taking place inside the Perth Concert Hall (including a premium vintage blues double headliner featuring Dave Hole and pioneers Chain; an exclusive WA album launch for electro pop siren Abbe May’s Kiss My Apocalypse, supported by Schvendes; and hard rock heavyweights Karnivool). Each of these showcases only costs $24.60-30.20+TF, which is less than you’d normally pay to see such acts headlining a show, yet you also get entry into the outdoor stages with these Session tickets! The three open stages taking over the St Georges Terrace and Riverside ends of the Perth Concert Hall will feature Bob Evans, Gyroscope and Eskimo Joe’s Kav Temperley, along with The Chemist, Day of the Dead, Sons of Rico, Emperors, Grace Woodroofe, The Love Junkies, Rabbit Island, Jake & The Cowboys’ Jared Wall, Cow Parade Cow, Fitzroy Xpress, Rainy Day Women, MmHmm, Rachael Dease & Ylem, Rokwell & Groom, The Weapon is Sound, Sam Perry, Usurper Of Modern Medicine, 44th Sunset, Antonio Paul and Runner, plus the most recent additions of WAMi Song Of The Year Grand Prize award winner Timothy Nelson and drum’n’bass legend Greg Packer. Just want to go to these Outdoor Stages? Simple, it’s only $13.95-18.95+TF, making it heaps cheaper than if you were to fork out to see just one of its many headlining acts! State Of The Art is on this Sunday 2 June to celebrate the WA Day long weekend, with thanks to Celebrate WA. Tickets from http:// or on the door if still available.

VIDEO STARS WAM and APRA|AMCOS in association with the Australian Directors Guild of WA announce the third instalment of the 2013 Music Industry Sundowner Series, taking place on Monday 10 June at The Rosemount Hotel from 6pm to 7.30pm. The Meet The Video Makers session will focus on the visual element of music consumption and how crucial music video has become to any promotional campaign, including its application to digital marketing, the production costs involved and the access to funding. Moderated by Justine Smith (ADG WA), we have invited the crème de la crème of local award-winning directors, with Ben Young (videos for Drapht, Voltaire Twins, Emperors), Andrew Nowrojee (videos for San Cisco, Felicity Groom, Mama Kin) and Steven Aaron Hughes (Blue Forest Media, Usurper of Modern Medicine) all ready to share their secrets and advice. Entry is free for WAM members who RSVP before midnight Sunday 9 June, otherwise it’s $10 general admission door sales for non/unregistered members. The Western Australian Music Industry Association (WAM) strives to support, advocate and nurture WA talent of all types. More info:






























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Jason Pang How did you get together? One part The Preytells, two parts Lines and one part These Shipwrecks got together to experiment with post-rock. I filled in a couple times and then they couldn’t get rid of me.

KAKI KING @ THE BAKERY Hailed by Rolling Stone as “a genre unto herself,” Kaki King is a true iconoclast, a visionary musician/artist whose singular work rightly stands out amongst the easily formatted. Over her decade-long career thus far, the Brooklyn-based guitarist/composer has recorded five extraordinarily diverse and distinctive LPs, performed with such icons as Foo Fighters, Timbaland, and The Mountain Goats, contributed to a variety of film and TV soundtracks (spanning Golden Globe-nominated work with Eddie Vedder and Michael Brook on Sean Penn’s Into The Wild to teaming with Carter Burwell on his blockbuster Twilight score), and played to ever-growing audiences on innumerable world tours. She’s visited these shores before, and has always impressed, and now she returns to play The Bakery on Saturday 1 June. Tickets available through

MONORAIL! There’s a Simpsons theme park in the pipeline. Although it’s probably fifteen years too late, our inner children are gleeful, although that glee fades after series seven.

ALL GOOD DAWKINS GO TO HEAVEN The pope said in a sermon last week that good atheists get to go to heaven. Millions of internet atheists are now stoked they get to meet Raptor Jesus.

DEAD FUNNY A man suffering a rare brain disorder was so convinced he was a zombie that he would hang out in graveyards to be close to death. After a failed suicide attempt, he was convinced that he had in fact died and was one of the “walking dead”. Graham told doctors there was no point treating him because he had no brain and was already dead. He got better though.

Rising from the unhallowed wastes of Western Sydney, extreme metal outfit Thy Art Is Murder have carved a trail of bloody mayhem since their inception in 2006. With an acclaimed EP and debut album in Infinite Death and The Adversary to their name, the band have traversed the highways and autobahns of Australia, the UK and Europe on a relentless crusade to destroy every venue and audience they can with like minded peers in a who’s who of heavy metal. Now they make a one-off appearance over west at Amplifier Bar on Saturday 1 June, supported by I Am Eternal. Head to for ticket details.

OVER THE HILL Fremantle’s five piece quirk folksters Rachel & Henry Climb A Hill formed in 2009 from the ashes of local duo Mikael and Michael Mongoose. Drawing on their coastal roots, Irish heritage and rural upbringing, their music tells of lost loves, pirates, pigeons and kiteflying, with the occasional haiku thrown in for good measure. They’ve been gigging around for a little while now, and are looking forward to warm you up in these unseasonable autumn chills this Saturday 1 June at Ya Ya’s, along with Polly Medlen and special South Australian guest Kaurna Cronin. $10 from 7.30pm.

BACKLASH NEVER CHANGES ITS SPOTS We saw Justin Bieber’s new leopard-skin Audi. The young man is living in a Chuck Palahniuk novel.

DOUBLE BYNES The former teen star and contemporary trainwreck is our next Chuck Palahniuk novel. There is a strange melodrama to the downfall of megastars.

AUSSIE AUSSIE AUSSIE Chinese hackers have apparently stolen the blueprints to Australia’s new spy HQ months before it even opened. We get points for trying.

SON, I AM DISAPPOINT Since launching their debut single Dirt Farmer in 2012, Perth five-piece The Disappointed have picked up national airplay on triple j, supported Perth’s Emperors, Adelaide’s Dexter Jones and played shows all over WA. Their debut EP Stranger is now due to drop very soon, with a regional tour to back it. The EP is a harmony-laden blend of jagged new wave, lush pop and alternative rock, a thought-provoking humanist ode to life’s grey areas. Top shelf hooks, accomplished songwriting and an ambitious blend of light and dark run through Stranger from top to toe. Hear it yourself when they launch it at The Beat Nightclub on Friday 31 May, with Harlequin League, The Community Chest and Indigo in support. $12 on the door.

You’re being sent into space, no iPod, you can bring one album what would it be? Louis Armstrong - What A Wonderful World. Just one track. On repeat. First thing that springs to mind for a floating space montage. I’m picturing just being jettisoned in a suit here.

Why should people come and see your band? If they like feeling with their ears. When and where for your next gig? State of The Art Festival on Sunday. Big beefy lineup of WA acts at the Perth Concert Hall. Website link for more info? http://


KEEN AS MUSTERED Melbourne’s Mustered Courage combine the three key ingredients of delicious four-part harmonies, virtuosic pickin’ and brilliant songwriting to create their take on modern bluegrass, a sound that has been captivating audiences nationwide. The band have been steadily earning their reputation as one of the most exciting and innovative alternative bluegrass bands in the country. Now they make their way west, playing in Clancy’s Fremantle on Friday 31 May with local supports The Seals. Doors from 8pm.

If you could support any band in the world - past or present - who would it be? Cow Parade Cow

Greatest rock’n’roll moment of your career to date? I accidentally drank The Aston Shuffle’s rider at a gig once. Sat there listening while they discussed how violently to deal with the person that did it. Kept my mouth shut. We’re pretty mild, really. (Pretty sure they were kidding).



Sum up your musical sound in four words? Ornate choral space grooves.

HEY MAMA As a purveyor of foot-stomping, New Orleansinspired bass lines, coupled with ballads of openhearted tenderness, Mama Kin has earned a reputation for harnessing strength in vulnerability. With her new album, The Magician’s Daughter, Mama Kin traverses new sonic territory. It brims with her signature soul and raw emotion, mining the very depths of the human condition in search of connection and release. So far, she has done a great job of showcasing the new work – including a stellar set at Fairbridge Festival – and now she brings the magic to the Fly By Night tonight, Thursday 30 May, with support from Spender and Ruby Boots (solo). Tickets through

STRAIGHTEN OUT Out of the ashes of the shambolic Irish-folk band The Fauxgaels, three members joined forces to become Limpin’ Dave Foley & The Straight Legged Freaks formed into what is now widely recognised as Perth’s premier (and only) sleaze-rock band. Their unique blend of witty lyrics, tasty riffs and rockin’ rhythms has been winning over music fans throughout Perth and WA since 2008. Now a fourpiece (having recuirted an extra Freak), Foley and co. are still going strong. They head to The Rosemount Hotel tonight, Thursday 30 May, along with friendsIn Orbit, Calectasia and Almost Sunday. $5 from 8pm.

*CENSORED* You may be aware that we never shy away from a... contentiuous band name now and then at Drum headquarters. Well, “Perth’s most infamous tech/slam miscreants”, DeathFuckingCunt are releasing their debut album Ungodly Violation at Amplifier this Friday 31 May.It’s ten tracks of seething, insane perversion that will certainly be one of Western Australia’s most brutal releases this year. Joining them to celebrate will be Queensland’s In Death, Nails Of Imposition and Inanimacy, before a show at YMCA HQ (all-ages) on Saturday 1 June with Entrails Eradicated, In Death, Inanimacy and Obscenium. CDs will be at both gigs.

MUSTERED COURAGE Paddy Montgomery Album title? Powerlines. Where did the title of your new album come from? It comes from the title track of the album, Powerlines. It’s the story of potentially innocent man who has found himself in the electric chair. Far more interesting than a song about cocaine. How many releases do you have now? The second from us, following the Yellow album, basically a direct knock-off of The Beatle’s White album. How long did it take to write/record? 94 days, 477 soy-lattes, about 17 bags of carrots and 4 kilo tubs of hommus. Was anything in particular inspiring you during the making? Working with the producer Jimi Maroudas was very inspiring. He was always very uplifting when it comes to the next song. Top bloke. What’s your favourite song on it? Mine personally, Miss My Ways which is written and sung by bass player Josh Bridges. It’s just so goddamn feel-good. Will you do anything differently next time? Change of genre. Free jazz with three bass guitars and electric drums. Everyone loves that crap! When and where is your launch/next gig? We will be heading to the Perisher Snowy Mountains Music Festival from the 7-10 June. Very much looking forward to it! Website link for more info? http://

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[THE GUID IDE] i n d i e



THE HIGH LEARYS Jamie Turner The best record I stole from my folks’ collection was… It was a 7” of Money That’s What I Want by Barrett Strong from mum’s Dirty Dancing days, killer record! The first record I bought with my own money was… The Beach Boys’ Today LP was my first record purchase, I’m a massive Brian Wilson fan! The record I put on when I’m really miserable is… One of my favourite albums of all time is The Beach Boys’ Pet Sounds, it picks me up! The record I put on when I bring someone home is… Rubber Soul. My favourite party album is… It has to be Here Are The Sonics. The best album to comedown to is… Odessey And Oracle. What an album! The most surprising record in my collection is… : Chipmunk Punk... don’t ask why... The last thing I bought/downloaded was… It was a fantastic single by my Friend Christopher Wilson in San Francisco! A roll around in the grass and put a a flower in my hair record!



After a deadline extension to Friday 17 May, the inaugural Big Splash Band Competition saw 145 bands put their names down, each hoping to win a massive $10,000 cash prize. The Big Splash Panel has spent all weekend reviewing all entries and achieving the almost impossible task of choosing 32 acts for the eight-heat comp, which kicks off at Mojos on Tuesday 4 June, and will run each week at various venues. First up, Helen Shanahan, Red Engine Caves, Scalphunter and Villain will all get a chance to impress, with the winner moving onto the semifinal heat on Thursday1 August at The Bakery. Keep your eyes on these pages for the weekby-week heat announcements up to that date.

Following the success of its first incarnation, Release The Kraken II is back again to help raise money for new start-up Arcadia Collective. Arcadia is a brand new not-for-profit initiative that unites artists, musicians, creatives and facilitators with affordable studio space and in-house aid with promotion, events management and grant writing. Tonight, Thursday 30 May, The Bird will play host to fine local acts Weapon Is Sound, Doctopus and Mudlark, plus DJ Lovecraft, live projection art from Critics and a feast of Takoyaki balls out the back. $5 on the door.

RETURN OF THE DRAGON There are few bands whose music is as pertinent today as it was four decades ago, but legendary rock’n’roll warriors Dragon can claim this virtue. With an infectious raft of hits such as April Sun In Cuba, Are You Old Enough, Still in Love with You, Rain, Young Years and Dreams Of Ordinary Men, plus many more, Dragon have cemented themselves into the Australian psyche. Now, four decades after they burst onto the music scene, Dragon are celebrating their 40th anniversary with a massive headline tour, performing all their hits, and some impressive new tracks for fans. The show makes its way to The Astor Theatre on Friday 31 May. Tickets through Show Ticketing.

MAKE MINE A MACCA Australian musician, presenter and all-round great Aussie bloke Ian Mcnamara has had a career that has lasted for decades, from when he played guitar with Col Joy until the present. Now, McNamara hits the road with his Gumboot Band and special guests on a concert tour to celebrate his more than 30 years of Australia All Over, the legendary ABC Sunday morning radio show that connects Aussies all over this wide brown land - and around the world. The concert will showcase a range of special guest musicians and bring to the stage Macca’s genuine love of country on Sunday 2 June at The Astor Theatre. Tickets through Show Ticketing.

LOOKIN’ LEARY Hankering for some ‘60s swing? The High Learys have you covered. Their influence of British freakbeat and rhythm’n’blues mixed with their love for American garage and psych gives the band their unique sound – and, obviously, their Mod-styled, sharp dressed manner. After only a short time together, The High Learys have already released their debut LP, Here Come The High Learys (available on 12”, of course), which has perfectly captured their passion for retro sounds. The band bring a second Winter Beats Explosion to The Bird on Saturday 1 June, with DJs Seventh Son, Coaster T and Mr Kavebeat as well as GoGo dancers in tow. $10 from 8pm.

THE MAGIC NUMBER DM3 (aka The Dom Mariani 3) formed in 1992 as a vehicle for ex Stems/Someloves frontman Dom Mariani to pursue his love of classic rock and power pop influences. Over the course of three seminal records, One Times Two Times Three Red Light, Road To Rome and Rippled Soul, DM3 were critically acclaimed as one of the finest purveyors of the power pop genre. DM3 toured Europe numerous times, playing the club and festival circuit which included the prestigious Roskilde festival. The band eventually called it a day in ’99, but the last few months have seen Mariani reunite with his cohorts, playing a bunch of shows around town. That trend continues when they head to Mustang Bar on Thursday 30 May; Deville’s Pad, Friday 31; and Clancy’s Fremantle, Saturday 1 June.

The record I’m loving right now is… The Coasters’ Love Potion Number 9. Check it out, such a groovy version!

THE LUCKY NUMBERS Josie Crosby How did you get together? As you can imagine, there are less than six degrees of separation between each member... we got together to play a benefit for a friend. We liked making music together so we kept at it. Sum up your musical sound in four words? Rockin-bluesy Americana + soul. If you could support any band in the world - past or present - who would it be? Bob Dylan & The Band – all fantastic musicians and some of my favourite songwriters. You’re being sent into space, no iPod, you can bring one album what would it be? Tricky one! Each band member would pick something different no doubt, but two of us agree on Radiohead’s OK Computer. I could listen to this a million times and never be sick of it. Greatest rock’n’roll moment of your career to date? For me it would be when I got to hang out and sing along with Richie Havens while he warmed up backstage at a show in Connecticut. He had some great stories! Why should people come and see your band? We’re energetic and passionate performers playing a catalogue of genre-defying material with thoughtprovoking lyrics and rhythms that will move you. When and where for your next gig? Sunday 2 June, The Indi Bar with Jordan McRobbie and Lady Luck (Sian Brown)

When and where are your next gigs? We are playing The Bird on Saturday 1 June, where we’ll be hosting our Winter Beat Explosion Party!

Website link for more info: http://



Elli Schoen is one of the most unique new voices in the current Australian music landscape. Her gutsy, sassy, no-holds-barred approach to performing is a slap in the face to any preconceptions you may have of the female singer-songwriter. Growing up in Fremantle, Elli was kept out of trouble by a creative mind, wired for hatching melodies, that took the mundanity of suburbia, and from it fashioned her earliest songs. Since then, her abilitiesa have only gotten better, with a run of shows proving last year that she is a capable and heartful purveyor of fine tunes. She makes her way to Mojos Bar tonight, Thursday 30 May, to launch her debut EP, Love In Suburbia. The Evergreen and Richard Glover support. $10 Entry from 8pm.


LUCK OF THE DRAW After a year of Monday nights flirting tunes in a craypot factory, The Lucky Numbers have combed their musical hair and dressed their set list with the care that only your mother or your lover should show. The tracks are set for their debut Album, and with a spot of mixing at the Golden Bay Studio (aka Josie’s basement) it’s about to break free. The five piece, made up from some extremely talented musicians with long track records, are gearing up for the imminent release of the album, but first they head to Indi Bar on Sunday 2 June, supported by the band’s own Jordan Mc Robbie and Lady luck. $10 from 6pm.


Danny Marr

BACK ON THE BEACH On the back of blitzing South By Southwest and crowds across the US and the UK, San Cisco have returned Australia to hit the road on The Beach Tour this May. Helping to get the beach party started will be swaggering Brisbane four-piece Millions and USA sister duo Chaos Chaos. San Cisco just made a huge mark on the UK and Us scenes, with support slots for the likes of The Vaccines and Darwin Deez, as well as their own showcase shows at SXSW. Make sure you catch these current infallible youths when they head to the Astor Theatre on Saturday 1 June, and the following night, Sunday 2, at Mojos Bar. Tickets through Moshtix.




FRI 31 MAY $10 from 7.30PM


30 • For more news/announcements go to

Melding a fusion of jazz, rock, pop, funk and soul, Jean Proude’s sweet modern voice combined with her acoustic guitar skills creates her individual twist on the old classics to the best covers on the charts now. Her high energy and crowd interaction make her one entrancing performer. Jean has most recently completed a very successful solo tour over the past four months, performing at over 50 different venues and events throughout Western Australia and the Northern Territory, before returning to South Australia. Now she makes a round trip back to WA, playing The Belgian Beer Café Thursday 30 May.

How did you get together? Got together with friends and family to make our own music in remote Fitzroy Crossing in the early ‘80s. Back then there was no TV, only ABC radio and a couple of record players in town. Sum up your musical sound in four words? Rockin Apple Core Country If you could support any band in the world - past or present - who would it be? The Highwaymen. You’re being sent into space, no iPod, you can bring one album what would it be? Photo album of my wife and kids. Greatest rock’n’roll moment of your career to date? Drinking with Barnsey after we supported him in the ‘80s. He tried to poach our drummer and he dubbed me the black Jimi Barnes. I was 19. Why should people come and see your band? To dance the night away. When and where for your next gig? State Of The Art, Sunday 2 June; South Hedland, Monday 3 June. Website link for more info? http://




only BIG PAPPA Described as “The DJ’s DJ”, Anthony Pappa truly is a master of his craft and one of the most respected and revered DJs on the international circuit. The combination of his genuine love for his art, his down-to-earth, lovable personality and his constant desire to push the musical boundaries at performances all around the world has made Pappa one of the most sought after DJs on the planet. Over more than a decade, Pappa has lived by the mandate of bringing his music to as many people as possible all over the world; something he has thankfully been able to do, given how well-recieved he is wherever he goes. He knocks into Geisha Bar this Saturday 1 June, along with highly respected DJs in their own right, Chris Fortier and Rollin Connection. Tickets through, more on the door.



FRESH CRAYFISH KIT POP Justin Elwin Jeremih, 773 Love, ††††† Late Nights was one of the best tapes to come out last year. It’s SEXY as hell. #UOENO. Kendrick Lamar, Poetic Justice (Djemba Djemba Remix), ∆∆∆∆∆ Kendrick is good at raps, they sold the beat to Iggy Azalea. I like this version not the Iggy one. Cassie, Numb, ¥¥¥¥¥ Ross verse is good, used 10 seconds. Listen to it or watch it with the sound on or off.

Ambar loves all the fresh fruits of the bass music spectrum. The best way to do it? Offering their Fresh Produce platter – a tasting delight of the most in-season beat-gredients. Fresh Produce delivers the perfect opportunity to the dance floor diners – you get to sample the broad range of upcoming DJ talent, in one single sitting. Fresh Produce returns for a special long weekend “That Sh*t Cray” edition this Friday 31 May. Beats Swiss Army knife Arms In Motion, longstanding legend Subwalker, electro-trance teaser Alex Tong, new kid on the block Austy and the quicklyestablished Fendi will all be on hand to keep the ball rolling on the night. $12 before midnight, $15 after.

JOHN DIGWEED TA-KU Regan Mathews How did you get together? Music is always a passionate hobbie for me. Kit Pop is a homie to me.

Teedra Moses, Be Your Girl (Kaytranada Edition), ®®®®® Known from his Janet Jackson joint but this one tops it for me, it brings many :D, :O and :).

Sum up your musical sound in four words? SOUL. GENRES ARE HARD. If you could support any band in the world - past or present - who would it be? Michael Jackson is my dude. My set would consist of me moonwalking for an hour before him mostly.

Lord RAJA, He Won’t Pay Me Ft. Vijay Iyer, ©©©©© Well produced track and combines everything I have been enjoying in modern music at the moment. Download the Rubies EP.

You’re being sent into space, no iPod, you can bring one album what would it be? Stereolab. Dots & Loops. This album is an amazing journey from start to finish. Recommended listening.

When and where for your next gig? Ta-ku & Kit Pop #TREATS Mixtape Launch, Ezra Pound, 3PM - 10PM Sunday 2 June. Website link for more info? http://www.facebook. com/events/374628805990177/?fref=ts Cashmere Cat

JABBA AND THE CAT 25 year-old Norwegian producer Magnus Høiberg, AKA Cashmere Cat, has it sussed. His playful, melodydriven, up-tempo club oddities and consistently on-point remixes for Miguel, Jeremih, 2Chainz, Lana Del Ray, Benzel and Drake (his Soundcloud is loaded with diamonds!) have secured him big pats from Hudson Mohawke, Skream, Rustie, and Diplo, not to mention a recent stint touring with world fave Ryan Hemsworth in Europe and billings with Salva and Jerome LOL. Now, he makes his way to The Bakery, along with local-lad made big Lil’ Jabba. Friday 31 May is the date, with tickets through

Greatest rock’n’roll moment of your career to date? I dont do many shows but when I saw someone crowd surf when I did Boiler Room L.A - that was pretty amazing. I gave him a huge hug after the show. Why should people come and see your band? Sunday at Ezra Pound is all about showcasing Perth talent. Come see them and eat with us.

First set, and what was most memorable for you? I started off getting to play early warm up sets for the local DJs just to get experience in a big room behind the deck. Way too many memorable gigs to mention for me All time favourite 12”? New Order’s Blue Monday is one that springs to mind, even after 30 years it still sounds amazing. Funniest thing that has happenned to you while DJing and why? On the Delta Heavy tour back in 2002 at a gig in Austin TX the vodka got the better of me and I took to several stage dives to interact more with the crowd :) Weirdest thing you’ve seen in a nightclub? I think clubs these days are lacking in weirdest things. Put your phone down stop taking pics and texting and get lost in the music. How healthy do you see you hometown’s scene? London is still rocking with clubs like Fabric still at the top of their game, we have been hosting some amazing Bedrock events in London recently. Been touring lately? Any stories to tell of recent travels? I never stop touring and I love it. Recent trips have included Japan, Israel, New York, Miami, Ibiza & Slovenia. The Slovenia gig, we are releasing it as a live album on Bedrock Records Any local producers tickling your fancy? Dusky, Gaol and A Two-Handed Salute are all making some great music

When and where for your next gig? Really not sure. BUT. I will make sure to give it to Perth first and foremost.

What should people expect from your sets? Good quality forward thinking electronic music from deep house to techno and everything in-between.

Website link for more info? http://

Website link for more info? http://

Von D

DUB VON D London-based DJ and producer Von D is renowned for his ability to fill dance floors, fuse genres and hold his own in collaborations with some of the biggest names in underground music. Regularly playing guest mixes on Rinse FM and Kiss FM, he’s recognised for featuring exclusive and unreleased dubstep tunes alongside his own music. Having played across Europe, the USA and Asia, and with upcoming tours in America, New Zealand and Australia his worldwide fan base is testament to his skill. The man steps into Geisha tonight, Thursday 30 May, with an all-star local lineup: Clunk, Bazil Zemplys, Bolsty and the Deadweight! Crew. Head to to grab your ticket.

ROYAL OF REGGAE The Reggae Club at Bar Orient (hosted every Friday) is Western Australia’s premier weekly reggae club. The gang have been bringing the freshest and greatest reggae and dancehall tunes to the club every week for the last 15 months. Hostesses The Empressions always have an eye on new tunes and talent, and to encourage newbies to showcase their reggae skillz and style, they’re putting on Australia’s richest reggae DJ competition! With a heat going down every Friday in June, DJs will battle it out for a chance to enter the final in July, with the eventual winner scoring a cool $1000 and a limited 500-cd pressing of their work. The Reggae Club runs as usual this Friday 1 June, but it’ll be a big gear up for the next month.


BREACH, LOCK AND LOAD 2012 was a great year for Breach, the more house based alias of Ben Westbeech. Having launched his own label in Naked Naked, he has released an impressive selection of music via the imprint from the likes of Midland and Dark Sky with further music forthcoming from Dusky, Citizen, and of course more from himself. In turn the label has received consistent support from the likes of Maya Jane Coles to Eats Everything, Claude Vonstroke to Damian Lazarus via Annie Mac and Skream. He’s making his way to Gilkison’s this Friday 31 May, with a surprise: fellow UK bass breaker and current “who the hell is this guy” fodder, Route 94 will be joining him. Hit up Heatseeker for tickets.

32 • For more news/announcements go to

Kobra Kai

THE KOBRA STRIKES Since being heralded triple j’s state by state Unearthed winners in 2007, Kobra Kai have continued to lead the future of live dance music in Australia. They have filled dance floors for The Big Day Out, Future Music, Space Ibiza, Stereosonic, Creamfields, and Peats Ridge Festival, as well as a number of Australia’s thriving venues. On top of that, they have opened for international artists such as Roni Size & Dynamite MC, Killa Kella, DJ Marky & Stamina, Concord Dawn, The Upbeats, High Contrast, Andy C, and Skrillex. Finding time to formulate their sound and work on new material, the five-piece live bass band are making their way to Amplifier this Sunday 2 June.

m e m b e r s o n l y [THE GUID IDE]


Tyler, The Creator

RETURN OF THE WOLFPACK Los Angeles’ Odd Future crew remain one of the most exciting hip hop groups in the world right now - even if the hype has died down somewhat since they burst onto the world stage a couple of years’ back - so the return to Australia of a couple of their finest members is very welcome indeed. The Odd Future leader and Goblin himself, Tyler, The Creator, will be bringing his new album Wolf down under, while young’un Earl Sweatshirt (soon to follow up his 2010 EP Earl with new LP Doris) will be joining him, the team-up being dubbed Earlwolf. The two young guns hit Capitol on Tuesday 4 June.

DCUP Band history in brief? I’ve been Dcup since 2010 and have dropped some sweet tunes since then

Tell us about the EP. This is a ‘lil two-track colab EP with Lenno from Finland and KLP from Sydney. Recording Process. I do everything at home, then get it mastered in the UK. Collaborations? As per above. Tell us about the launch. Possible nudity. What’s on the horizon? More singles, might get on the mic. WHO: Dcup WHAT: VS EP (Chookie) WHEN & WHERE: Saturday 1 June, The Aviary


Describe your sound. It’s rather danceable.

CRUCIAL MANTRA DASH BERLIN, MARLO @ METRO CITY Fresh from impressive performances at Ultra Music Festival and Electric Daisy Carnical in Chicago, Dash Berlin will be performing six massive shows around the country, with a big one for the long weekend over here. Dash Berlin fans have eagerly been anticipating the announcement of the #Musicislife concert and stadium show since his standout performance at Stereosonic 2012. The huge popularity of Dash’s #Musicislife album amongst fans across the globe will ensure that Dash Berlin’s Australian leg of the tour will be a sound and visual extravaganza for fans. Berlin’s shows in Australia, and in Perth in particular have taken on iconic status, and this leg will most likely be no different as he packs out Metro City on Sunday 2 June. As an extra special surprise, mega man MaRLo will be joiing him. Fresh from impressive performances at ASOT 600, Beirut and Ministry of Sound, London, MaRLo will be welcomed home with open arms from his hugely supportive Australian fanbase. Head to Oztix for tickets.



As one of Australia’s most crucial new talents, ‘your favourite rapper’s favourite rapper’ Mantra is standing on solid ground with five years of touring, two ful- length releases and a triple j feature album (2011’s Speaking Volumes) already under his belt. Kicking off his career as a producer before being encouraged to pick up a mic, Mantra has emerged as one of the brightest stars in Australian hip hop. The autobiographical single Loudmouth celebrates the act of following your own destiny, and he will be hitting the road in support of it this June, playing four select shows in Perth, Melbourne, Sydney and Brisbane, the Perth leg taking place this Saturday 1 June at The Rosemount Hotel. Oztix for tickets.






y a r c t * h s t tha






TONIC • BEZWUN • BLACK & BLUNT For more interviews go to • 33


[THE GUID IDE] f o o d













The grand master of post-gig cuisine in Western Australia, one moon burger + Toblerone cocktail shaker is like filling your stomach with hangover-proof concrete.


This blog favours the quirky and out-of-the-way food stops, and includes reviews and delicious, delicious pics of dishes from food hubs around Surry Hills and all the way out to Canley Heights.

This site gives a generous fuck you to every would-befoodie who suffers from an insufferable condition that compels them to take extraordinarily ordinary mobile snaps of their food. Sound like anyone you know?


In one instance, some poor sod’s decided to post a picture of tomato sauce drenched straight-outta-thecan spaghetti and beans, that’s been served with a side dish of some half-eaten crumbed calamari rings. The meal is ripped apart on the site, which manages to spew out quite a few choice quotes such as, “This whole dish reminds me of one of those suburban houses for poor people who think they are richer than they are”. It’s all so deliciously horrible. Careful when you type the title...

This chick goes on a lot of holidays. For those of us stuck behind a desk eating cold take-out, you can live vicariously through this subtly girly blog that showcases local produce, pubs, supermarkets (hello Costco) and even features interviews with supremo food gods such as Anthony Bourdain.


“And the award for best food blog title goes to…” How wonderfully simple and provocative? As the title suggests, this blog is brimming with pictures of every kind of mouthful you can imagine; from the sweet to the savoury and everything in between. It’s scamp on the word count, with an iced-coffee described as a, wait for it, iced-coffee, leaving more room for glorious close ups of gooey toasted cheese sandwiches, oozing custard tarts and big hunks of meat. Rawr.


There is something deliciously beautiful about food photography. Probably because it’s all a little voyeuristic and we know food never looks that spiffy IRL. What Katie Ate is a quaint food photography blog that focuses the lens on dishes arranged in a very country styled ad-hoc way – complete with close ups of cheese crumbs and quinoa mixed salads, with a luscious balsamic and strawberry teacake thrown in.



Like grocery shopping on an empty stomach, visiting this site unprepared will cause mass confusion and lead to rapid drooling. If you’re a fan of some light foodie reading accompanying each photo, then clickety-click here.

Talk about dedicated. The chick behind the site’s love of food is so wonderfully extreme; at her wedding she carried a giant lollypop in place of the traditional floral bouquet. Sceptical? There are pics on the site to prove it.


ROFLcopter at the cutesy name. But in all seriousness, this is a very itsy-bitsy styled blog that focuses more on the homemade treat side of things, with recipes for things like lemon and vanilla curd, raspberry and rose jam and hot’n’spicy wedges. It’s a tad wordy at times and will suit those who can actually be bothered cooking and not just dialling-in-a-dish. Not that there’s anything wrong with that.

BRISBANE DEVOURED This is more of a ‘Tastes of Brissy’ blog that showcases everything from quirky cafes that specialise in crème brulee thickshakes (drool), to the more oo-la-la eateries that serve up things like spit roast sliders and coal grilled spatchcock. Bonus points for the mega big pics which manage to even make deep fried onion rings look luscious. It’ll make you just want to lick the shit out of the screen.

THE FOOD JAR If you’re keen beans to get on a health kick bookmark this site. It’s healthy without being preachy and actually includes some decent granola lovin’ recipes to keep your insides all spick and span. It’s also got some genuinely awesome-sauce healthy changeups to things like ice-cream, cheesecake and brownies. Plus, the blog also boasts an eco-friendly vibe for all you hippies out there. Peace, man.

A gem in Chinatown’s treasury, Uncle Billy Lee’s patience for drunken, filthy ingrates is as legendary as his dim sum.

Although not quite the institution it was in days of yore, Fast Eddy’s ironically slow service is more than compensated by the affordability of its vittles at any godless hour.

Situated basically next to ground zero of Northbridge’s weekendly apocalypse, Alto’s kebabs are greasy little columns of glory.

If you’re southside, Old Shanghai will save your guts (but before 10pm, like practically anything down in Freotown, it’s strangled by last-century trading hours).


ONE FAT COW If you’re one of those foodophiles who needs big, luscious, juicy pics to get you ‘in the mood’, this blog will leave you feeling half satisfied. It focuses on dining in and out around Melbourne, but doesn’t discriminate against run of the mill breakfast bars (there’s an entire post dedicated to a bowl of porridge) . The reviews are generally thorough, including all those niggling bits from nights out that everyone wants to know such as service and cost.



BARRA–MONDAY Salt water Barra cooked to your liking with chips, salad and a middy of beer or a glass of house wine for only



WEDNESDAYS WHITING WEDNESDAY Geradlton King George Whiting crumbed or battered with chips, salad and a middy of beer or a glass of house wine for only



Followed by Chet Leonard’s Bingotheque.

34 • For more interviews go to

Vegetarians ahoy! This blog’s taken the time and delicious trouble to scout out, taste and rate all the yummy vego delights Melbourne has to offer. It’s run by a vegetarian couple (surprise!) who also offer up their own meat-free versions to dishes like creamy spinach and bacon fettuccini and I-can’t-believe-it’s-not-meat pies. Snazzy.

THE VERY HUNGRY CATERPILLAR Beautifully presented, this baby is one of the best food blogs out there. It’s packed with generous pics of food, including close ups of all the greasy good ‘uns like kebabs, and manages to take you out for a virtual feed without boring you with over descriptive foodie jargon. …Hungry caterpillar leaves no edible stone unturned, reviewing everything from dank, dodgy sushi bars, to upmarket eateries. Bookmark. Bookmark. Bookmark.

Loos Anggelles Bused across town for 45 mins for some rad burritos and tamales from El Jalapeño. Drooool w @ lloydhoneybrook – with Lloyd James Honeybrook

g i g s [THE GUID IDE]

1,000’s of gigs at your fingertips. The Guide at

GOLD FIELDS: JUN 21 Metro Freo, JUN 22 Capitol JAMES BLAKE: JUL 26 The Astor YOU AM I: JUL 31 Astor Theatre



SAN CISCO: JUN 1 Astor Theatre

JAPANDROIDS: AUG 26 The Rosemount




FOALS: SEP 22 Metro City

BLISS N ESO: JUL 10 Metro City

THE BREEDERS: OCT 31 Astor Theatre

EMMA LOUISE: JUN 13 Prince of Wales, Bunbury; JUN 14 Fly by Night; JUN 15 Amplifier Bar



THU 30 MAY 2013 Ian McNamara: Astor Theatre, Mount Lawley Jean Proude: Belgian Beer Cafe, Perth Open Mic Night with +Rob Walker: Brighton Hotel, Mandurah Saint Ravine: Clancys Canning Bridge, Applecross Dr Bogus: Crown Perth (Groove Bar), Burswood Open Mic: Dunsborough Tavern, Dunsborough Cliff Lynton Band: Ellington Jazz Club, Perth Mama Kin + Spender: Fly By Night, Fremantle Greg Carter: Gate Bar & Bistro, Success James Wilson: Lucky Shag, Perth Elli Schoen + The Evergreen + Rupert Pupkin + Richard Glover: Mojos Bar, North Fremantle DM3 + TV Snow: Mustang Bar, Northbridge Pink18Stink + Melon Colon + Tim from Mills: Newport Hotel, Fremantle Almost Sunday + Limpin’ Dave Foley & The Straight Legged Freaks + Calectasia + In Orbit: Rosemount Hotel, North Perth Bill Chidgzey: Rosie O’Gradys, Northbridge Clayton Bolger: Rosie O’Gradys, Fremantle Open Mic Night with +Claire Warnock: Settlers Tavern, Margaret River Fenton Wilde: Sovereign Arms, Joondalup Release The Kraken II feat. +Weapon Is Sound + Doctopus + Mudlark + more: The Bird, Northbridge Jen de Ness: The Boat, Mindarie

Mikey T: The Shed, Northbridge MacPherson + The Kate Pass Quintet + Nisha: Ya Ya’s, Northbridge

FRI 31 MAY 2013 The Organ Grinders: 7th Avenue Bar, Midland DeathFuckingCunt + In Death + Nails of Imposition + Inanimacy: Amplifier Bar, Perth Dragon: Astor Theatre, Mount Lawley Mod Squad + The Brighton Horns + Tip Top Sound DJ: Bailey Bar & Bistro, Joondalup Free Radicals: Bally’s Bar, Ballajura Dirty Scoundrels: Balmoral, East Victoria Park Astrobat: Belmont Tavern, Cloverdale Pretty Fly: Best Drop Tavern, Kalamunda Jean Proude: Brass Monkey Hotel, Northbridge Matt Milford: Broken Hill Hotel, Victoria Park Velvet: Carine Glades Tavern, Duncraig Rose Tattoo: Charles Hotel, North Perth James Wilson: Chase Bar & Bistro, Baldivis DJ Boogie: Clancys Canning Bridge, Applecross Mama Kin + Spender: Clancys Fish Pub, Dunsborough Mustered Courage + The Seals: Clancys Fish Pub, Fremantle The Shoesmith Nu Jazz Ensemble: Clancys Fish Pub, City Beach Fnkd Up Fridays feat. +Eloise & The Infinite Squeeze: Claremont Hotel, Claremont

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

Tod Johnson & Peace Love + DJ Crazy Craig: Crown Perth (Groove Bar), Burswood Local Heroes: Crown Perth (Meridian Room), Burswood The So & So’s: Denmark Hotel, Denmark Power Pop Party feat. +DM3 + The JAC + more: Devilles Pad, Perth Bernardine: East 150 Bar, Ascot Corner Stone: Edz Sportz Bar, North Coogee Farewell The Big Lew+The Spread + Friends + Ali Bodycoat Quintet: Ellington Jazz Club, Perth Howie Morgan: Empire Bar, Rivervale Breach + Route 94: Gilkisons Dance Studio, Perth Greg Carter: Greenwood Hotel, Greenwood Back2Back: Herdsman Lake Tavern, Wembley Envy: High Road Hotel, Riverton Dr Bogus: High Wycombe Hotel, High Wycombe Ricky Green: Hyde Park Hotel, North Perth Ben Merito: Indian Ocean Brewing Company, Mindarie Stu McKay: Inn Mahogany Creek, Mahogany Creek Sophie Jane + The Chilly Bin Boys: Kalamunda Hotel, Kalamunda Nile Nation: Kulcha, Fremantle DJ Mischief: M On The Point, Mandurah Brow Horn Orchestra: Metropolis, Fremantle Oz Big Band + Cheeky Monkeys + DJ James MacArthur + Swing DJ: Mustang Bar, Northbridge Plastic Max: Osborne Park Hotel, Osborne Park Flyte: Paramount Nightclub, Northbridge Better Days: Peel Alehouse, Halls Head Jonathan Dempsey: Pink Duck Bar & Bistro, Rockingham

Thy Art Is Murder + Saviour: Prince of Wales, Bunbury A Nameless Fear + Adverse Reaction + Wicked Wench + Ebb N Flo: Railway Hotel, North Fremantle Evolution Machine + Beyond Never + Axe Cane + Arkayan: Rosemount Hotel, North Perth Wesley Goodlet Jamboree Scouts: Rosie O’Gradys, Northbridge Howie Morgan: Sail & Anchor, Fremantle Adrian Wilson: Saint, Innaloo Tim Nelson & The Infidels: Settlers Tavern, Margaret River Robbie King: South St Ale House, Hilton Big Steve Spouse Band + Greg Carter: Swinging Pig, Rockingham The Disappointed + The Community Chest + Harlequin League + Sons Of Saviour: The Beat Nightclub, Northbridge J Man & Rosie: The Boat, Mindarie Easy Tigers + Chris Gibbs: The Paddo, Mt Hawthorn Sophie Jane: The Rose & Crown, Guildford Fun House + DJ Glenn 20: The Shed, Northbridge Addicted To Bass+Tom Piper: Toucan Club, Mandurah Glen Davies: Victoria Park Hotel, Perth What So Not: Villa Nightclub (Speakeasy), Perth Slim Jim & Phatts Inc.: Woodvale Tavern, Woodvale Valdaway + Gombo + The MDC + Blackwater Station: Ya Ya’s, Northbridge

SAT 1 JUNE 2013 Thy Art Is Murder + I Am Eternal: Amplifier Bar, Perth San Cisco: Astor Theatre, Mount Lawley Slim Jim & Phatts Inc. + Tip Top Sound DJ: Bailey Bar & Bistro, Joondalup Retriofit: Balmoral, East Victoria Park Flyte: Bar 120, Hillarys Mike Nayar: Belgian Beer Cafe, Perth James Wilson: Boab Tavern, High Wycombe Adam Brand: Charles Hotel, North Perth Mister & Mitch: Clancys Canning Bridge, Applecross DM3 + Sugar Tooth: Clancys Fish Pub, Fremantle Zarm: Clancys Fish Pub, City Beach The Russell Holmes Trio + Friends: Clancys Fish Pub, Dunsborough Lixy: Dunsborough Tavern, Dunsborough Dirty Scoundrels: Gate Bar & Bistro, Success Sugarfield: Gosnells Hotel, Gosnells Baby Piranhas: Greenwood Hotel, Greenwood Chris Murphy & the Holy Rollers: High Road Hotel, Riverton J Man & Rosie: High Wycombe Hotel, High Wycombe Howie Morgan Project: Hyde Park Hotel, North Perth Mustered Courage: Indi Bar, Scarborough Shawne & Luc: Indian Ocean Brewing Company, Mindarie Kumar Bose + Debojyoti Bose: Kulcha, Fremantle Steve Hepple: Leopold Hotel, Perth Rhythm 22: M On The Point, Mandurah Envy: Metropolis, Fremantle The Empty Cup + Timothy Nelson & The Infidels + The Flower Drums + Archi: Mojos Bar, North Fremantle The Damien Cripps Band: Moon & Sixpence, Perth The Continentials Combo + Milhouse + DJ James MacArthur + Rockabilly DJ: Mustang Bar, Northbridge Paul McCarthy: Newport Hotel (Afternoon), Fremantle Gravity + Tahli Jade + Wot Evs + Steve Parkin: Newport Hotel, Fremantle Midnight Rambler: Osborne Park Hotel, Osborne Park

Flesh N Wood: Peel Alehouse, Halls Head Dove: Port Kennedy Tavern, Rockingham Abbe May: Prince of Wales, Bunbury The Blackbirds: Quarie Bar & Bistro, Hammond Park Waiting For Andy + The Rumble + The Hum: Railway Hotel, North Fremantle Mantra + Bam Bam + Creed Birch + Rob Shaker + Bryte: Rosemount Hotel, North Perth Blue Gene: Rosie O’Gradys, Northbridge Childs Play: Sail & Anchor (Upstairs), Fremantle Better Days: Sail & Anchor, Fremantle Brow Horn Orchestra + The Arsonist: Settlers Tavern, Margaret River Almost Famous + Greg Carter: Swinging Pig, Rockingham Kaki King: The Bakery, Northbridge Winter Beat Explosion #2 feat. +The High Learys + Vivian Marlowe + more: The Bird, Northbridge The Organ Grinders: The Boat, Mindarie de Grussa Band: The Fly Trap, Fremantle Huge + DJ Andyy: The Shed, Northbridge Dr Bogus: Woodvale Tavern, Woodvale Kaurna Cronin + Polly Medlen Band + Billie Rogers + Rachel & Henry Climb a Hill: Ya Ya’s, Northbridge DeathFuckingCunt + Entrails Eradicated + In Death + Inanimacy + Obscenium: YMCA HQ, Leederville

SUN 2 JUNE 2013 Good Karma: 7th Avenue Bar, Midland Kobra Kai: Amplifier Bar, Perth Andrew Winton: Balmoral, East Victoria Park Red Beret: Belgian Beer Cafe, Perth Jamie Powers: Belmont Tavern, Cloverdale Chris Gibbs Duo: Boab Tavern, High Wycombe Retriofit: Brass Monkey Hotel, Northbridge Justin Burford: Brighton Hotel, Mandurah


MAMA KIN: MAY 30 Fly By Night; MAY 31 Clancys Dunsborough THE SEEKERS: MAY 30 Riverside Theatre DRAGON: MAY 31 Astor Theatre; JUN 1 Albany Entertainment Centre SAN CISCO, MILLIONS, CHAOS CHAOS: JUN 1 Astor Theatre KAKI KING: JUN 1 The Bakery STATE OF THE ART MUSIC FESTIVAL: KARNIVOOL, ABBE MAY, DAVE HOLE, BOB EVANS, GYROSCOPE, KAV TEMPERLEY, THE CHEMIST, DAY OF THE DEAD, SONS OF RICO, EMPERORS, GRACE WOODROOFE, THE LOVE JUNKIES, RABBIT ISLAND, JARRED WALL, COW PARADE COW and more: JUN 2 Perth Cultural Centre 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 BREAKING ORBIT: JUN 7 Player’s Bar, Mandurah; JUN 8 Civic Hotel; JUN 9 Mojos +LE1F: JUN 7, Connections THE BEARDS, LITTLE BASTARD: JUN 7 Capitol; JUN 8 Prince Of Wales, Bunbury SOMETHING FOR KATE: JUN 7 Astor Theatre THUNDERCAT: JUN 8 The Bakery YOUTH OF TODAY: JUN 9 Amplifier EMMA LOUISE, THELMA PLUM, PATRICK JAMES: JUN 13 Prince Of Wales, Bunbury; JUN 14 Fly By Night; JUN 15 Amplifier THE KING KHAN & BBQ SHOW: JUN 14 Deville’s Pad BALL PARK MUSIC, EAGLE & THE WORM, JEREMY NEALE: JUL 12 Metropolis THE CHEMIST: JUN 15 The Bird +THE TEARAWAYS: JUN 14 459 Bar; JUN 15 The Prince Of Wales THE BLACK ANGELS: JUN 17 Capitol IN HEARTS WAKE: JUN 19 Amplifier ANDREW STOCKDALE: JUN 20 The Bakery; JUN 21 Fly By Night; JUN 22 Prince of Wales THE AUSTRALIAN BEE GEES SHOW: JUN 20 Mandurah Performing Arts Centre; JUN 21 Astor Theatre; JUN 22 Albany Entertainment Centre GOLD FIELDS: JUN 21 Metropolis Fremantle; JUN 22 Capitol SOMETHING WITH NUMBERS: JUN 21 Metropolis Fremantle; JUN 22 Rosemount Hotel THE SUPERJESUS: JUN 21 & 22 Amplifier MARTHA WAINWRIGHT: JUN 22 Astor Theatre BORIS: JUN 24 Rosemount Hotel P!NK: JUN 25, 26, 28 & 29 Perth Arena BILL ODDIE: JUN 27 Astor Theatre THE RED PAINTINGS: JUN 28 Rosemount Hotel GAY PARIS: JUN 27 Mojos; JUN 28 Ya Yas; JUN 29 Prince Of Wales, Bunbury +KIM MOYES: 28 JUN Metropolis Fremantle; 29 JUN Capitol TIGERTOWN: JUN 29 Ya Ya’s; JUN 30 Indi Bar MAJOR BASS: JUN 29 Villa +FREMANTLE WINTER MUSIC FESTIVAL: APRICOT RAIL, GRACE BARBE & AFRICA KREOL, ROKWELL & GROOM, DAVEY CRADDOCK & THE SPECTACLES, MENTAL POWERS, THE EMPTY CUP, DOCTOPUS, JUN 29 Various Venues CLAIRY BROWNE & THE BANGIN’ RACKETTES: JUL 4 Artbar CHAOS DIVINE: JUL 5 Amplifier Bar LA DISPUTE: JUL 6 Amplifier; JUL 7 YMCA HQ +ESKIMO JOE: JUL 9, JUL 10 Moore & Moore GRINSPOON: JUL 11 Studio 146; JUL 12 Settlers Tavern; JUL 13 Prince of Wales; JUL 14 Players Bar; AUG 23 Astor Theatre

To check out the mags online go to • 35

[THE GUID IDE] g i g s

1,000’s of gigs at your fingertips. The Guide at


DJ RASHAD: JUN 2 The Bakery

THU 30 DJ Pup + DJ Live Phase: Claremont Hotel, Claremont POP!+Various: Connections Nightclub, Northbridge

FRI 31 InsideOut+Various DJs: Connections Nightclub, Northbridge Bingay feat. +Hannah Conda: Connections Nightclub, Northbridge 90’s - 00’s feat. +Jack Doepel + Leon Osborn + Willy Slade + Aslan + Andrew Sinclair + George Capelas + more: Mojos Bar, North Fremantle DJ Tom Drummond + Tahli Jade + Sardi & Evan: Newport Hotel, Fremantle Paradise Paul: The Aviary (Rooftop) , Perth Tomas Ford: The Aviary (Birdcage) , Perth Cashmere Cat + Lil Jabba + Weeks + Mei Saraswati + more: The Bakery, Northbridge Rhythmmatism+Various: The Bird, Northbridge

SAT 01 Kitty Glitter+Various: Connections Nightclub, Northbridge DJ Crazy Craig: Crown Perth (Eve Nightclub) , Burswood Chalk +Various DJs: Lost Society, Perth DCUP + Micah + Paradise Paul + Troy Division: The Aviary (Rooftop) , Perth NDorse: The Aviary (Birdcage) , Perth Oliver Twizt + Uberjak’d: Villa Nightclub, Perth

SUN 02 Jodie Harsh: Connections Nightclub, Northbridge DJ Slick + DJ Don Migi + Francesco + Samantha Jade: Crown Perth (Eve Nightclub) , Burswood Dash Berlin + GeRmAn + Illuminor: Metro City, Northbridge Rooftop Sessions feat. +Paradise Paul + Troy Division + Dj Ben Sebastian: The Aviary, Perth DJ Rashad + DJ Manny + more: The Bakery, Northbridge Long Weekend Rinse with +Leon Osborn + Will Slade + Sleepyhead + Donna & Bambi: The Bird, Northbridge Caspa + Dynamite MC + Tommy Trash: Villa Nightclub, Perth

WED 05

Adrian Wilson: Broken Hill Hotel, Victoria Park Mike Nayar: Brooklands Tavern, Southern River Icehouse + The Stephen Pigram Quartet + Desert Child: Cable Beach Amphitheatre, Broome Adam James: Carine Glades Tavern, Duncraig Chasing Calee: Chase Bar & Bistro, Baldivis The Zydecats: Clancys Fish Pub, Fremantle The Salt Shaker Selectors + DJ Boogie: Clancys Fish Pub, City Beach Ensemble Formidable: Clancys Fish Pub, Dunsborough Sophie Jane + The Chilly Bin Boys: Como Hotel, Como Hi-NRG: Crown Perth, Burswood Chris Murphy: Crown Perth (Meridian Room), Burswood Courtney Murphy: Crown Perth (Pearl Room), Burswood Lixy: Dunsborough Tavern (Afternoon), Dunsborough Sonja D’Anne Vocal Studio presents The Beatles+Various: Ellington Jazz Club (Afternoon), Perth

Random Act: Ellington Jazz Club, Perth Greg Carter: Gate Bar & Bistro, Success J Man & Rosie: High Road Hotel, Riverton Everlong Acoustic: High Wycombe Hotel, High Wycombe Retriofit: Indian Ocean Brewing Company, Mindarie Alitia Martin: Kalamunda Hotel, Kalamunda The Aunts + The Whistling Dogs + King of the Travellers + Moana + Burnhabit + Kim McDonald: Kulcha, Fremantle Wesley Goodlet Jamboree Scouts: Lakers Tavern, Thornlie Pop Candy: M On The Point, Mandurah San Cisco + Millions + Chaos Chaos: Mojos Bar, North Fremantle Peter Busher & the Lone Rangers + Flash Nat & The Action Men + DJ Rockin Rhys + DJ James MacArthur: Mustang Bar, Northbridge Bang Bang Betty & The H-Bombs + The Stingrays + DM3: Newport Hotel, Fremantle

Tim Nelson: Newport Hotel (Afternoon), Fremantle Two Plus One: Ocean View Tavern, Nowergup State Of The Art Music Festival feat. +Bob Evans + Gyroscope + Kav Temperley + Abbe May + Karnivool + Chain + The Chemist + Day Of The Dead + Sons of Rico + Emperors + Grace Woodroofe + The Love Junkies + Rabbit Island + Cow Parade Cow + more: Perth Concert Hall (All Ages / Afternoon), Perth Kevin Curran: Port Kennedy Tavern, Rockingham Better Days: Quarie Bar & Bistro, Hammond Park Velvet: Queens Tavern, Highgate, Highgate Jonny Taylor: Redcliffe On Murray, Pinjarra Slim Jim & Phatts Inc. + David Fyffe: Rosie O’Gradys, Northbridge Big Steve Spouse Band: Royal Palms Resort, Busselton, Busselton Howie Morgan Project: Saint, Innaloo Mustered Courage: Settlers Tavern (Verandah / Afternoon), Margaret River Blackheart & Strangelove: South St Ale House, Hilton Craig Ballantyne: Sovereign Arms, Joondalup Siren of Sound + Broken Bones: Swan Lounge, North Fremantle Toni E + Ricky Green: Swinging Pig, Rockingham Stage Fright! +Various: The Fly Trap, Fremantle The Healys + Renogade: The Shed, Northbridge Off the Record: Universal Bar, Northbridge Fenton Wilde: Victoria Park Hotel, Perth

Jonathon Dempsey: Wanneroo Tavern, Wanneroo


Yarkhob + Nora Zion + Golden Skies + Step Reckoner: Ya Ya’s, Northbridge James Wilson: Yallingup Caves House Hotel, Yallingup Thy Art Is Murder + I Am Eternal: YMCA HQ, Leederville

MON 3 JUNE 2013 20 Astrobat: Balmoral, East Victoria Park Wire Bird: Brass Monkey Hotel, Northbridge Howie Morgan Project: Como Hotel, Como Chris Murphy + Courtney Murphy: Crown Perth (Groove Bar), Burswood John Sandosham: Crown Perth (Lobby Lounge), Burswood Toby Beard: Divers Tavern, Cable Beach

4 JUNE 2013 20 Open Mic Night with +Chris O’Brien: Brass Monkey Hotel, Northbridge Earlwolf + Tyler The Creator + Earl Sweatshirt: Capitol, Perth Perth Blues Club+Andrew Morgan + Wayne Green + On The Level + Braxton Hicks: Charles Hotel, North Perth Quentin Angus Quintet: Ellington Jazz Club, Perth Open Mic Night with +Nunz Vacca: Kalamunda Hotel, Kalamunda The Big Splash+Helen Shanahan + Red Engine Caves + Scalphunter + Villian: Mojos Bar, North Fremantle Danza Loca Salsa Night+Various: Mustang Bar, Northbridge Jacob Diamond + Sarah Pellicano + Amanda Merdzan + DJ Luke Dux + Little Skye: Ya Ya’s, Northbridge Northlane: YMCA HQ, Leederville

Mingus Amongst Us: Ellington Jazz Club, Perth


Steve Parkin: Hyde Park Hotel, North Perth Wide Open Mic+Various: Mojos Bar, North Fremantle

5 JUNE 2013 20

Tripple Shots: Mustang Bar, Northbridge Big Thommo’s Open Mic Variety Night: Ya Ya’s, Northbridge

Sugar Blue Burlesque: Brass Monkey Hotel, Northbridge

Open Mic Night with +Chris O’Brien: Carine Glades Tavern, Duncraig Minky G + Jacob Diamond: Clancys Canning Bridge, Applecross Chet Leonard’s Bingoteque: Clancys Fish Pub, Fremantle 5 Shots: Crown Perth (Groove Bar), Burswood Alcatraz Duo: Crown Perth (Lobby Lounge), Burswood Perth Jazz Society presents +Night Cap Session + Horizon Art Orchestra + Tom O’Halloran: Ellington Jazz Club, Perth Bernardine: Greenwood Hotel, Greenwood Fenton Wilde: Hale Road Tavern, Forrestfield Howie Morgan: Lucky Shag, Perth Happy Mondays + 808 State: Metropolis, Fremantle Fremantle Blues & Roots Club+The Whistling Dogs + Jeff’s Dead + Steve Andrews: Mojos Bar, North Fremantle Sean O’Neill + Mind Canary + Rabbit Island: Moon Cafe, Northbridge Envy + DJ Giles: Mustang Bar, Northbridge The Midnight Mules + Aztec Suns + Coronal Sky + Andrew Smith + Cyclone Tess: Rosemount Hotel, North Perth David Fyffe: Rosie O’Gradys, Northbridge Kate Miller-Heidke: St Joseph’s Church, Subiaco Jack Doepel + Cameron Scott + Leon Osborn + Andrew Sinclair: The Bird, Northbridge

LMW +Various DJs: Connections Nightclub, Northbridge


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SOUND BYTES UK singer, songwriter and guitarist KT Tunstall took off for Tucson, Arizona to record her new album, Invisible Empire // Crescent Moon, with icon Howe Gelb aka Giant Sand. Darwin four-piece Green Stone Garden recorded their debut EP, North, at Soundpark Studios in Melbourne with Steven Schram (The Cat Empire, San Cisco, Little Birdy), Brian Lucey (The Black Keys, The Shins) mastering it at Magic Garden Mastering in Ohio. Melbourne band Buchanan’s singer and guitarist Josh Simons coproduced the band’s debut album, Human Spring, with Catherine Marks (Foals, Death Cab For Cutie, Interpol), recording in seven different studios though principally Tender Trap Studios in Northcote and Simons’ home garage studio. The album was then mixed on an analogue desk by Andy Baldwin (Bjork, Midnight Juggernauts) and mastered by Geoff Pesche (Radiohead, Coldplay) at Abbey Road Studios. Sydney dream-pop five-piece Tigertown took off for the Blue Mountains recording studio of Cloud Control/Belles Will Ring member, producer Liam Judson to record their new EP, mixed by Steve Schram (Little Birdy, San Cisco, Little Red). Adelaide’s Bill Parton Trio recorded their eponymous debut EP in hometown Chapel Lane Studios with producer Darren Mullan (The Angels, John Swan, Russell Morris), recording engineer Adam Rhodes (Angus & Julia Stone, The Cat Empire, Paul Kelly) and assistant engineer Gabriel Agostino (Lowrider, Sundance Kids, Hilltop Hoods), with Neville Clark (Hilltop Hoods, Levitators, Funkoars) mastering at Adelaide’s Disk-Edits. The debut album, Roadtrip Confessions, from Wes Carr in his new guise as Buffalo Tales, was produced and recorded by Stu Hunter (Sia, Julia Stone, Katalyst, Passenger) at The Habitat in Sydney. Recorded over six weeks, the debut solo album from The Panics’ frontman Jae Laffer, produced and engineered by Anna Laverty, was mixed at Electric Lady Studios in New York City by John O’Mahony (Coldplay, Metric, The Cribs).



UNLOCKING THE VOICE Currently working on their third album, Blue King Brown are letting go in order to broaden the possibilities, as Michael Smith discovers.

e’re just wrapping up a track we’ve done with him today,” Blue King Brown’s dynamic frontwoman Natalie Pa’apa’a explains, on the line from the South Melbourne studio of producer Styalz Fuego – best known for his work with R&B and hip hop artists like 360, for whom he produced the quadruple-platinum album Boys Like You, which won him the 2012 ARIA Producer Of The Year Award. A singer and songwriter in his own right, Fuego is signed to Sony/ATV Publishing worldwide, is co-founder of production and management company Affinity Music Group and is one half of electronic/dance group ‘96 Bulls.


“With this album, it’s a little bit different,” she continues. “Our previous albums, we’ve done a lot of the production ourselves. However, we sort of wanted to open up that circle a bit wider this time and bring in some outside creativity. So Styalz is one of those people and the other main producer that we’ve been working with is Jake Savona, another Melbourne-based producer who records as Mista Savona, really knowledgeable and into everything reggae – roots, old-school to new-school and dancehall. He’s got really good ears as well.” An MD, keyboardist, engineer and songwriter, Savona is also the first Australian producer to release his own riddim series of records in Jamaica. “Each of these guys have their own studios, but we’ve been working a lot at our home studio as well, and we’ve done some work at Sing Sing [Studios]. I guess each producer brings a different style, a different flavour, and that’s what’s exciting. It’s part of the process of opening up that circle, as I said, and letting go. We’ve always been very protective of our music and very nitpicky and all that stuff, and just opening that to outside opinion, that was a big step,” she laughs, “in itself. It’s good to do that, and what has come back has made the songs better, whether it’s a chord change or the change of a sound, a better sounding instrument than the one we had or an effect on top of what we’d done, or taking that out and putting something in. It’s all the little things that really give the song its sonic fullness. Hopefully they sound fuller, bigger, all that good stuff.” For their previous album, Worldwize: Part 1 – North & South, Blue King Brown tracked all the

instrumentation in Melbourne, and then took the tracks to Kingston, Jamaica, to record the vocals as well as adding performances by a number of guests including the reggae rhythm section, Sly Dunbar and Robbie Shakespeare. So how is the songwriting evolving on this next album? “It’s definitely an evolution of our songwriting and our style, and our musical influences – it’s the next chapter, however, it’s not necessarily part two. We still wrote all the songs – they’re still very much our babies. The strongest flavour on this album is reggae, which I love,” she laughs. “So I’m stoked about that, and it’s sounding really good. We’ve done a bunch of mixing already. We’ve still been working with our mix engineer from our previous album, James ‘Bonzai’ Caruso, who works in [Las] Vegas. He was out here working with us in Sing Sing a couple of months ago, so we did some mixing there. We’re still sussing out our options with mastering.” New Yorker Caruso is a four-time Grammy Awardwinning recording engineer, producer, arranger and songwriter who got his start in 1982, aged 17, working as an assistant engineer at Secret Sound Studios in Manhattan. He made his name, however, mixing records by Grand Master Flash, Africa Bambaataa, Madonna and Ice T among many, and has recorded and produced albums for Stephen, Nas and Damian Marley, which gives him just the right reggae credentials for Blue King Brown. Joining Blue King Brown on this new album and live on stage are the powerful vocals of Lea and Petra Rumwaropen, daughters of the late Agosto Rumwaropen, singer, songwriter and lead guitarist with one of Indonesian-controlled West Papua’s most recognised and outspoken acts of the ‘60s through ‘80s, The Black Brothers. “The voices are very important obviously for Blue King Brown, not only for the melodic attributes but also lyrically, we’re still very passionate and lyrically driven. The girls are really passionate about the cause of freedom for West Papua and are also amazing singers. “There’s definitely more exploration of my voice on this new album, mainly because I’ve always been

an instrumentalist and singing is something that has been relatively new to me, and I still feel like I’m a real beginner in that sense. Every album, I feel like my voice gets a bit better and for this album, I’d done that much more singing and the vocals are stronger, and I feel more confident singing in different registers than I did before, and I feel more confident going through my own harmonies than I have before. So vocally it’s definitely I believe my strongest performance and, I dunno, I’ve really sort of unlocked a bit of my own sort of the unique sound in my voice somewhere, which is exciting because you can only hope you can get better as a singer.” And capturing that now unlocked vocal sound is a Neumann U47 microphone, a large-diaphragm condenser tube mic originally developed and manufactured in 1949 and used extensively by producer George Martin to record The Beatles’ vocal performances. Not that Natalie owns one, but it’s still her favourite – “the number one go-to for my voice, for sure.” WHO: Blue King Brown WHAT: Rise Up (Lion House Records)






Jax earphones are Sol Republic’s second-generation model, and as you’d assume from a brand repped by swimmer Michael Phelps, surfer Julian Wilson and rapper/crunk master Lil Jon, these buds are aimed at youth. Aesthetically, the earphones look like an extension of the US west coast culture from which the Sol Republic brand stems, and sonically they hold their own, no question. It’s just that the design side of things – yes, even with the flat cord developed to remain tangle free – leaves a little to be desired. The problem here is that even with various rubber sizes for your earphones, they still don’t sit in your ears incredibly well. And even when you do get them in, they’re not the most comfortable earphones available. The pellet-like speakers that rest inside your ears protrude a little more than you’d hope, removing that streamlined quality. The sound you get though is very clear and crisp, especially when you consider the sub$50 price tag. The i2 sound engine speakers do a great job at directing the right sounds where they need to be heard, and although there’ve been certain grumbles that the audio is designed to highlight bass more than treble, this reviewer couldn’t relate to such criticism, every instrument given a level platform to perform. The on cord remote and mic is another user-friendly addition that will connect with the iPod generation. Whoooooh! That’s pretty much what Sol Republic’s Steve Aoki signature Tracks HD headphones scream out. Very much designed with the man in mind (he’s even featured on the slick headband graphic), the Aokis are loud and proud. What’s unique is that each individual element can be separated: speakers to cord to headband. On one side, this makes things totally adjustable if you’ve got a few pairs on hand and compact when you’re thin on luggage space. On the flip, it can make it all a bit finicky and increases the chance of losing an individual piece. However, all the parts lock solid in place and once fitted the sounds filling your ears are pretty dynamic. Equipped with V10 Sound Engines, the music bubbles forwards with high-end clarity while managing to comfortably cancel out any outside noise bleeding in, a pleasant surprise as the leather padding surrounding the individual cans aren’t as engulfing as others on the market. By trimming such fat on the design side, Sol Republic have crafted a lighter product overall and in keeping with the current tech quota, a mic and three-button remote on the cord allows for easy audio control. The Steve Aoki signature model might seem a little style over substance; however, once snug over your ears you realise the Tracks HDs offer a fantastic listening experience at an affordable price.

The more subtle listening attachment from Danish manufacturers Bang & Olufsen, the BeoPlay H3 earphones are designed for the audiophile on the go, or as company CEO Tue Mantoni recently announced during the product launch at Fabric nightclub in London, for “people who don’t want to listen to music using little white earbuds.” As soon as you get these little guys pumping, you realise that as far as in-ear listening products go, the H3 model is pretty peerless. The earphones incorporate 26 ventilation holes on the outer hard-body aluminium to allow every sound, from the highest treble through to the most rumbling bass, to be heard to full effect. The storage box the earphones come with is better quality than most cases you’d receive from a jeweller. A threebutton inline remote on the cord means you can switch songs quickly, while a mic allows for phone conversations without drama. And if you’re thinking the default buds are feeling a bit snug or loose in your ear canal, worry not. The earphones come with an additional three sizes for listeners of any age, the rubbers able to be removed and replaced with minimal fuss. The diagonal design rests within the natural bends of your ears also, making them perfect for the gym, jogging, etc. Get these to get active, it seems. The H3 earphones are supposed to be aimed at a younger crowd, which stylistically and sonically they most definitely are. However, at $299, you might be living on pot noodles for a few weeks to afford a pair.

As soon as you put the BeoPlay H6 headphones on you know you’re in for an uncompromised listening experience. The engulfing design, completely containing even this reviewer’s far-larger-than-a30-year-old-man-should-have ears, means you’re instantly immersed in the music as soon as you hit the play button. Bang & Olufsen’s premium line of headphones has a subtle, classic design: lightweight anodised aluminium, soft lambskin and cow leather; fashionable as hell. The availability of left and right ear plug-ins means you can chain up the headphones with ease if you want to listen with a partner or friend, while the manoeuvrability of the individual parts allows the H6 to fit noggins of any contour. Sonically, the sound emerging is pretty special, and because it’s all so clear and crisp, there’s really no need to blow your eardrums with volume. But if you do want to pump up your proverbial jam, the H6 headphones are more than capable, with pure clarity found from music of any genre. Other great features include a three-button remote on the cord (designed for iPod/iPhone/iPad) to control volume, track selection and incoming/outgoing calls. Sure, the price tag will seem expensive to most people. However, if these are in your budget, rest assured you’re going to be one very happy listener.

Benny Doyle

Benny Doyle

Benny Doyle

Benny Doyle

38 • For more interviews go to

Drum Media Perth Issue 340  

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...

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