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2 • THE MUSIC • 5TH MARCH 2014
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2 • THE MUSIC • 5TH MARCH 2014
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themusic 5TH MARCH 2014
“NOT EVERY MOMENT ON THE RELEASE IS PERFECT, YET THESE KINKS ARE TREATED WITH TIGHT, CONFIDENT DELIVERY.”
INSIDE FEATURED Sally Seltmann Queens Of The Stone Age Flying Lotus Real Estate Valdaway Gold Panda Bayside Billy Bragg Wild Beasts The Bennies
TINIE TEMPAH @ FUTURE MUSIC. PIC: PAUL BARTOK
LOCAL ROCKERS THEM SHARKS AVOID A CULLING FROM CHRIS ARCHIBALD [P28]
“THE TENT WAS LITERALLY BEING RIPPED FROM THE GROUND TO LET MORE PUNTERS IN AND THE SUFFOCATING AIR OUT.” TASH EDGE GETS ROWDY AT FUTURE MUSIC FESTIVAL [P29]
Formidable Vegetable Sound System
NEWS In The Pines Die! Die! Die! King Of The Travellers Vance Joy IWrestledABearOnce Jeff Martin and Sarah McLeod Xavier Rudd
THIS WEEK Sculpture By The Sea Surf ‘N’ Turf High Waste
ALBUM Them Sharks Morrissey
“WE’RE A CHILLED-OUT DUB GROUP WHO PLAY SONGS ABOUT VEGETABLES, AND HERE WE ARE AT THIS GERMAN ELECTRONIC FESTIVAL. IT WAS PRETTY WEIRD.” FORMIDABLE VEGETABLE SOUND SYSTEM LETTUCE INTO THEIR WORLD [P25]
review “THEIR PERTH FESTIVAL APPEARANCE WAS LIVING PROOF THAT HIP-HOP IS INERADICABLY HARDWIRED INTO THEIR GENES.” CHRISTOPHER JAMES GETS DOWN AND DIRTY WITH PUBLIC ENEMY [P29]
Lior The Night Party
LIVE Future Music Festival
THE GUIDE Dan Sultan Opinion Columns Eat/Drink
feature 6 • THE MUSIC • 5TH MARCH 2014
“IT WAS ONE OF THE MORE COLLABORATIVE PROJECTS WE’VE DONE.”
REAL ESTATE’S MATT MONDANILE WAXES LYRICAL WITH CAM FINDLAY [P17]
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THE MUSIC • 5TH MARCH 2014 • 7
Street Press Australia Pty Ltd
GROUP MANAGING EDITOR Andrew Mast
EDITOR Daniel Cribb
ASSISTANT EDITOR Cam Findlay
MUSO EDITOR Michael Smith
ARTS AND CULTURE EDITOR Cass Fumi firstname.lastname@example.org
GIG GUIDE Justine Lynch email@example.com
CONTRIBUTORS Aarom Wilson, Adam Germano, Adrienne Downes, Amber Flynn, Andy Snelling, Annabel Maclean, Athina Mallis, Bailey Lions, Chantelle Gabriel, Christopher James, Claire Hodgson, Eli Gould, Gareth Bird, James Hunt, Jeﬀ Kit, Jeremy Carson, Joseph Wilson, Josie McGraw, Jessica Tana, Kane Sutton, Kershia Wong, Kitt Di Camillo, Liv Gardner, Lukas Murphy, Luke Butcher, Mac McNaughton, Marcia Czerniak, Mark Neilsen, Matthew Tomich, Michael Caves, Natasha Lee, Rachel Inglis, Rob Nassif, Renee Jones, Ross Clelland, Scott Aitken, Simon Holland, Steve Bell, Tess Ingram, Tom Birts, Taelor Pelusey, Zoe Barron.
THIS WEEK THINGS TO DO THIS WEEK • 5 MARCH - 11 MARCH 2014
PHOTOGRAPHERS Ebony Frost, Elle Borgward, Jacinta Mathews, Paul Bartok, Ashley Westwood, Kieren Chew, Rhys Machell, Ted Dana
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A celebration of staggering debauchery and unabated hedonism, High Waste transforms The Bakery into a pansexual party palace March 7. From the creators of the UK’s best underground queer parties, High Waste will feature performances from the queen of London’s alternative drag scene Jonny Woo, the ‘beating heart of Berghain’ Boris of Germany and many more.
Since its inception in 2012, music and surf festival Surf ‘N’ Turf has raised over $20,000 towards the humanitarian aid eﬀorts of SurfAid in remote Indonesian communities. Returning 8 March at The North Fremantle Bowling Club, the event will feature performances by local rockers The Floors, Timothy Nelson & The Inﬁdels and The Morning Night. Pluys a market, vintage surfboard exhibition, auctions, raﬄes, free bowling and more.
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ADMIN & ACCOUNTS Loretta Zoppos, Shelley Neergaard, Jarrod Kendall, Leanne Simpson
Once again, Cottesloe Beach will transform into Perth’s most popular outdoor art exhibition for the 10th anniversary of Sculpture By The Sea. The event has become a mainstay of Australia’s art scene since forming in 1997 on Bondi Beach and expanding to Cottesloe in 2005. An estimated 220,000 people will hit up the beach from 7 - 24 March to celebrate a decade of sun, sand and sculpture featuring the works of 74 artists from 11 diﬀerent countries around the world.
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CONTACT US Tel 08 9228 9655 firstname.lastname@example.org www.themusic.com.au 1/205-207 Bulwer St, Perth WA PO Box 507 Mount Lawley WA 6929
national news email@example.com FRENTE
SMELL A RAT FRIENDS AND STRANGERS
To coincide with the deluxe reissue the 21st anniversary of Frente’s Marvin The Album, the band is hitting up venues around the country to perform the album in its entirety, as well as some old gems. Catch them at the Arts Centre, Melbourne, 22 & 23 May; Theatre Royal, Castlemaine, 24 May; The Basement, Sydney, 30 & 31 May; Astor Theatre, Perth, 7 Jun; and Powerhouse Theatre, Brisbane, 28 Jun.
KNOCK ME OUT
The ever-suave Justin Timberlake will return to our shores in September for the first time in six years. Part of The 20/20 Experience World Tour, JT’s bringing his pipes and hips to Etihad Stadium, Melbourne, 18 Sep; Adelaide Entertainment Centre, 22 Sep; Brisbane Entertainment Centre, 26 Sep; Allphones Arena, Sydney, 1 Oct; and Perth Arena, 8 Oct.
A NU MAN
Gary Numan released his 20th album, titled Splinter, at the end of last year. His 20th album. That’s two times ten. Moving on, the guy who has influenced everyone from Trent Reznor to Prince to Bowie to Afrika Bambaataa is heading our way in May. He’ll be performing highlights from Splinter as well as material from his extensive (as previously noted) back catalogue at the following shows: Astor Theatre, Perth, 25 May; The Tivoli, Brisbane, 28 May; The Hi-Fi, Melbourne, 30 May; Metro Theatre, Sydney, 31 May.
FEEL THE THUNDA
Just months after the release of their feelgood single Smiles Don’t Lie, a successful subsequent tour and run of festival appearances, Sydney hip hop trio Thundamentals are back on the road again, this time in celebration of their third album, So We Can Remember, which drops on 2 May. To satiate fans ‘til then, they’ve dropped another single, Something I Said (featuring Thom Crawford). Thundamentals will launch their album in between their appearances in the Groovin The Moo festivals, stopping by the Corner Hotel, Melbourne, 2 May; Flyrite, Perth, 8 May; Mojos, Fremantle, 9 May; The Zoo, Brisbane, 16 May; and Metro Theatre, Sydney, 24 May.
HOT DUB PARTY
Human jukebox DJ Tom Loud, aka Hot Dub Time Machine, is bringing his retro music trip to audiences around the country. Taking punters on an audiovisual journey through musical history from 1954 to today, Hot Dub Time Machine will perform at a secret show, Sydney, 16 Mar; Chalk Hotel, Brisbane, 22 Mar; Metropolis, Fremantle, 4 April; Capitol, Perth, 5 Apr; Northcote Social Club, Melbourne, 11 Apr; Metro Theatre, Sydney, 19 Apr; Karova, Ballarat, 24 Apr; Beach Hotel, Byron Bay, 3 May; Argyle House, Newcastle, 10 May.
THE SPIRIT IS ALIVE
Celebrating its 25th anniversary in 2014, Australia’s multi-award-winning dance theatre company Bangarra Dance Theatre presents Patyegarang, about the inspirational journey of a potent Indigenous spirit alive in Australia’s past and present. The historically important new work tells the story of a young Aboriginal woman, who in the late 18th century befriended a colonial fleet Lieutenant, William Dawes, and gave her language to him as a gift and symbol of trust. The season runs between: 13 Jun – 5 Jul, Sydney Opera House; 17 – 19 Jul, Canberra Theatre; 30 Jul – 2 Aug, State Theatre Centre, Perth; 15 – 23 Aug, QPAC; 28 Aug – 6 Sep, Arts Centre, Melbourne.
“CAN U 3D PRINT DOG TREATS” HOPEFULLY SOMEDAY SOON, BRYAN LEE O’MALLEY [@RADIOMARU].
DZ Deathrays are taking their face-melting live show around the nation again, this time in support of their second LP, Black Rat. To be able to fully translate the sounds and textures on this new recording in a live setting, the duo will enlist a third surprise musician to join them on stage at the following shows and more: 8 May, Elsewhere, Gold Coast; 9 May The Zoo, Brisbane; 15 May, Karova Lounge, Ballarat; 16 May, Corner Hotel, Melbourne; 24 May, Amplifier, Perth; 25 May Newport Hotel, Fremantle; 29 May, Transit Bar, Canberra; 31 May, Oxford Art Factory, Sydney. See The Guide for the full list of dates. Proudly presented by The Music.
ON THE STEREO
Stereosonic 2014 dates have now been announced, and it will return as a two-day festival after the success of last year’s twoday expansion. Stereosonic will be held on 29 & 30 Nov in Sydney and Perth; and 6 & 7 Dec in Melbourne and Brisbane. The 2014 line-up will be announced in July. Early bird tickets go on sale from 13 Mar.
Chart-topper, ‘milk-maid’ and regular GI Jane Katy Perry has just announced a world tour in support of her 2013 album Prism. Perry will be Roaring about how she’s one of the California Gurls and that being a Dark Horse is an undeniable Part Of Me. Or something along those lines, we hope. Katy Perry performs at Perth Arena on 7 Nov; Rod Laver Arena, Melbourne, 14 & 15 Nov; Allphones Arena, Sydney, 21 & 22 Nov; and Brisbane Entertainment Centre, 27 Nov.
LUMP OF COLE
Lloyd Cole has visited our shores many a time in both band and solo mode. This year, he’s embarking on his most extensive Australian tour yet, taking his upcoming Standards album to cities and regional areas in solo mode. See Cole do his thing on the following dates: 18 & 19 Jun, The Basement, Sydney; 20 Jun, Lizotte’s, Newcastle; 24 Jun, Fly By Night, Fremantle; 26 Jun, Caravan Music Club, Melbourne; 27 Jun, Thornbury Theatre, Melbourne; 28 Jun, Theatre Royal, Castlemaine; 29 Jun, Flying Saucer Club, Elsternwick (afternoon show); 8 Jul, Street Theatre, Canberra; 10 Jul, Powerhouse Theatre, Brisbane; 11 Jul, Soundlounge, Gold Coast. THE MUSIC • 5TH MARCH 2014 • 9
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It’s Ambar’s 13th birthday, and there’s a lot to celebrate. Not least the re-opening of the hallowed halls of the Home Of The Underground after a long layaway. To celebrate, they’re ﬂipping things on the head and throwing Ambar out into the alleyway. Ambar: Alley Out! will see perennial favourites Benny P, Bezwun, Blend, BMB, Bunj, DNGRFLD, Easy P, Genga, Micah Black, Miss Demeanour, Mo’Fly, MReD, Oli, Parakord, Philly Blunt, Pussymittens, Slykidd, Standards Down, Tee EL and Tonic spinning a marathon party on 22 Mar, both under and above ground.
FROM THE DUNES
FIGHT FIRE WITH FIRE
Local Perth musicians are banding together for a night of original music at the Fly By Night Club on 15 Mar to help those devastated by the Parkerville bushﬁres in January. Leah Miche, Matt Cal, Tashi and MOKYM will provide an eclectic mix of music ranging from folk and roots through to blues and rock, culminating in a performance by surf-rock outﬁt From The Dunes, hot on the heels of their recent Big Day Out performance. All the acts are donating their time for the event, which will also see a silent auction of swag from a bunch of local bands. Tickets through ﬂybynight.org.
BUST A MOVE
As the world of electronic music continues to move away from the dry, minimal sound, Move D’s warm, deep past looks prescient. But while deep house and ambient music may once again fall out of favour, David Moufang, the man behind the Move D name, will most likely keep plugging away until the whole thing comes around again. After all, he’s already been at it for more than 20 years. A master creator of warm, chilled ambient sounds, Move D steps onto the Geisha Bar stage on 14 Mar for a special extended set. Geishabar.com.au for tickets.
One of WA’s best new music ensembles, Etica presents three cutting-edge contemporary chamber works in Fremantle Arts Centre’s Inner Courtyard as part of Tura New Music’s Scale Variable series. The outdoor concert will see the WA premiere of James Ledger’s Silver Swans, the world premiere of Chris Tonkin’s Transient States and a reprisal of legendary Australian composer Ross Edwards’ Laikan, which was premiered at the Perth Festival in 1980. It all happens on 10 Apr, tickets through Oztix.
BEAR WITH ME
With a massive year behind them, LA-based jazz-metal jokesters Iwrestledabearonce are getting well prepared for their return to Australia late next month. Armed with their latest record Late For Nothing, they oﬀer another experimental record full of metal/ jazz inspired time signatures. Whilst a host of east coast shows were announced, WA was left oﬀ the bill; now, due to a mountain of interest, they’ve announced shows at YMCA HQ on 26 Mar (AA) and Villa, 27 Mar. Sydney’s Caulﬁeld and a bunch of awesome locals support. 10 • THE MUSIC • 5TH MARCH 2014
The Revelation Perth International Film Festival (3-13 Jul) is Perth’s only international ﬁlm festival and Western Australia’s major annual screen culture event. Launching its country-wide Travel Fellowship for the sixth year, the Fellowship provides ﬁnancial assistance to attend Revelation in July 2014 to three successful applicants. Budding cinema buﬀs are advised to grab a form from www.revelationﬁlmfest.org/go/travel/travelfellowship for a chance for a $1000 grant, which includes accommodation and gold passes to Revelation events.
OUT OF THE CAGE
2013’s Red Parrot Reunion sold out in just two days, proving that the rebirth of one of this city’s original nights out was a pretty great idea. It was a resounding success, which many missed out on. But don’t fret – it’s all lead to the announcement of the Red Parrot Reunion 2. Taking over Astor Theatre on 14 Jun. Expect the old Red Parrot charm, with more live music, more DJs, more fashion, more glitz and glam and more details on the Red Parrot Facebook page. Tickets out 14 Mar through Show Ticketing.
A musical coupling of tremendous proportions, Jeﬀ Martin and Sarah McLeod – the former of The Tea Party, the latter of The Superjesus, both of big solo success – have announced the Man The Life Boats Tour. The pair met in late 2012 and performed a one-oﬀ acoustic set that ignited the spark to record together when they both had time outside of their own projects. The pair are currently in Martin’s Byron Bay studio, hinting at a possible album. Of course, the pair will make a stop in WA, heading to Fly By Night, 13 Mar; Dunsborough Tavern, 14 Mar; and The Prince Of Wales, Bunbury, 15 Mar.
VANCE VANCE REVOLUTION
Just three months into 2014 and Melbourne’s Vance Joy has already made it to #1 on triple j’s Hottest 100 countdown, the Top 10 of the UK Singles Chart, performed at Laneway Festival for the ﬁrst time and was recently announced on the line-up for this year’s Groovin The Moo. Vance Joy and band will be performing a series of sideshows in between his Groovin The Moo performances across Australia. The Perth leg drops into The Bakery on 8 May, along with the enchanting Gossling.
Sydney based multi-instrumentalist Nick Saxon’s resume is very crowded. Much more than a talented singer and songwriter, he also writes, produces, ﬁlms and edits his own short ﬁlms and is the music composer and television presenter for Fox Channel’s National Geographic adventure series World Traveller. On top of that, he’s a surf nut through and through. He brings chilled-out vibes and cool tones while launching his new album Broken On her Ocean at Mojos, 12 Mar; Indi Bar, 13 Mar; White Star Hotel, Albany, 4 Mar; and Settlers Tavern, Margaret River, 15 & 16 Mar.
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DIE! DIE! DIE!
Hailing from what is considered NZ’s iconic music city, Dunedin, Andrew Wilson and Michael Prain cut their teeth in the live music scene by playing in noise bands around town. It wasn’t until 2003 that they formed Die! Die! Die!, but they already had the hard-working DIY ethos that continues even now. What also continues is a passionate following of the band, with their persistent and ferocious energy earning them a fanbase that extends beyond their Kiwi borders. The show was in doubt earlier, but they’re now dead set to get to Ya Ya’s on 23 Ma, supported by locals FAIM.
This year’s HyperFest looks set to put a big ‘ol rubber stamp on past years: WA’s pre-eminent all ages music festival has gotten bigger and better, with the festivities taking place at Midland Oval on 6 Apr. On top of the already stellar lineup, I, Said the Sparrow, Aveira Skies, Winterfold, The Southwicks, Aborted Tortoise, The Georgians, Flowermouth, Rat King, Indigo, Spilt Cities, Lights Of Berlin and The Eb Oreo ﬁll out the local bill. More cool news: HyperFest tickets now get you free public transport to the event. For 25 big ones a ticket, that’s a pretty sweet deal. Tickets through Moshtix.
KING OF THE TRAVELLERS
2014 is heating up faster than a microwave oven for Fremantle’s gypsy-folk-punksters King Of The Travellers. The lads have stepped back into the studio to record their latest single, Rambling Jackson. Being the generous and handsome fellows they are, The Travellers have also recorded a bonus two tracks, which will be included on the disc, which is set to launch on 15 Mar at Mojos. After only forming last year, the Kings have already impressed with their pretty unique and daring music, so catch ‘em supported by Old Blood, Consolidated Sunlight Of The Signiﬁcant Priest and Rhys Croswell.
ON THE COLE TRAIN
Headlined by Australian country music star Beccy Cole and featuring special guest performances by past and present choir members and local Perth musicians including Courtney Murphy and Dean Denton (The Frames), the 2014 Variety Youth Choir concert is set to be a perfect evening of family-friendly entertainment at The Quarry Amphitheatre on 9 Mar. As usual, all proceeds will go to Variety to fund a, well, variety of children’s programs around the state. Grab tickets through Ticketmaster or by calling 13 61 00.
LIVE AND LOCAL
Ooh boy, we here on Music planet are getting pretty excited once again, because April is just around the corner. We all know what that means: RTR’s local love-in In the Pines makes a grand entrance soon. Once again ﬁlling out Somerville Auditorium on 20 Apr, In The Pines moves on from the nostalgic look back last year to a big contemporary party. Gunns, Scalphunter, Dianas, Kill Devil Hills, Moana, Flower Drums and Mudlark are ﬁrst oﬀ the block, with a whole lot more acts TBC. Keep an eye on these pages and rtrfm.com.au for future details.
FOOD FOR THE SOUL
Once again, the City Of Wanneroo will be alive with sounds and tastes from around the world at the annual Global Beats & Eats Festival on 5 Apr at Liddell Park, Girrawheen. This year, legendary roots musician Xavier Rudd will headline the event. Known for his ability to marry uplifting music with thought-provoking themes, Rudd will showcase the raw power of his songs at the free concert. On top of that, there’s plenty more activities and events for the whole family, plus plenty of nosh. Hit up wanneroo.wa.gov.au for tickets.
THE MUSIC • 5TH MARCH 2014 • 11
From an indie-rock four-piece to her acclaimed New Buffalo material into her self-named work and various collaborations, Sally Seltmann remains somewhat a musical chameleon, Samson McDougall discovers. Photos (cover & opposite page) Kane Hibberd.
ou always follow through with your dangerous pursuits/With open arms I always say to you/I say I want you to feel like a man/I need you to feel like a man,” sings Sally Seltmann in her new track Billy – the lead number on her latest album Hey Daydreamer. The video features a glamorous-yethousebound woman (Seltmann) in various stages of
to put on my own albums are songs that I am really feeling and relating to at the time,” she says. “I just felt like all of those sorts of songs were just coming out of me. I’d come straight off doing all the touring and stuff with Seeker Lover Keeper and I was feeling like I’d been working so much and I was really exhausted and I felt like my album Heart That’s Pounding felt kinda like my big pop album. I kinda just thought I wanted to make an album that was more like stressing all of the different things that we should feel... I just sat down at the piano and the songs just came out. So it was like, ‘Well, this is the body
at the time to play under a different name,” she says of the decision to steer clear of using her own name at the time. “I was kind of naming the music, and I just felt more comfortable doing that back then.” In 2007 the New Buffalo album Somewhere, Anywhere was nominated for the ARIA for Best Adult Contemporary Album and earned Seltmann the first of two Australian Music Prize nominations. 2010’s Heart That’s Pounding saw the beginning of the Sally Seltmann-titled material (interestingly Seltmann’s her married name, but you’ve got to admit it has a pretty nice ring to it), and it scored the songwriter her second AMP finals spot. Throughout her life as a musician, and under her various guises, Seltmann has played a large hand in the production of her recorded music. As with her approach to songwriting, Seltmann relates that it’s a practice born out of pragmatism rather than any deeper design. Being in control of the production, she says, simply allows her to carve the songs as she envisages them. “The main reason why I kind of got into [production] was ‘cause Darren [of The Avalanches fame], my husband, really encouraged me to record and produce my first New Buffalo album [The Last Beautiful Day] by myself... I kind of was a bit afraid to do it at first, but
“YOU ALWAYS LEARN SOMETHING FROM ANYONE YOU EVER WORK WITH, EVEN IF YOU LEARN THAT YOU KNOW YOU NEVER WANT TO DO SOMETHING LIKE THAT AGAIN, YOU’LL ALWAYS COME AWAY WITH SOMETHING.”
dress, meandering through the rooms of a large house (in Sydney suburb Bankstown, no less), lamenting a love lost. It’s a creepy kind of series of scenes; there are even weird fairies (also Seltmanns) dancing in the garden – it’s more than just a wee bit Lynchian Gothic.
of work that I have’. That felt like a good way for me to work – sort of like not really overthinking everything.”
“I just wanted to have a song where I was being like a character, so I’m this woman who’s singing about Billy,” says Seltmann of the single. “I wanted the song... It’s kind of basically talking about relationships and how much freedom to give your partner in order to keep your relationship alive. She gives her partner Billy freedom to be dangerous, ‘cause that’s what he desires, but that kills him. But at least she loved him so much that she gave him that freedom. So that’s kind of the whole story behind the song.”
Listening to Seltmann’s music now, it’s odd to think that her early musical output came in the form of a four-piece rock outfit called Lustre 4 (“like a two girls and two guys guitary kind of punk band with harmonies”). She formed the group with friend Lara Meyerratken, with whom she shared the writing duties, and they played the Sydney bar circuit before Seltmann moved to Melbourne. It was in Melbourne that she started playing and recording under the moniker New Buffalo. “I thought that it suited me more
As a taste of the new record, Billy sets the scene. On Hey Daydreamer Seltmann has set out to “create a collection of songs that express the full spectrum of human emotion” – no mean feat, one would think, and not your average method for constructing a pop record. It’s an approach that most would shrink from; it’s overwhelming in its scope. But Seltmann says the ‘concept’ of the album stemmed more from the songs as they amassed themselves, rather than any grandiose design. “Usually the way I work for my own albums is that it’s all just emotion and, I don’t know, the songs that I want 12 • THE MUSIC • 5TH MARCH 2014
after I did it and spent all the hours learning how to use Pro Tools and everything it just felt really empowering to be able to program tracks and record everything on my own... You can have ideas going around in your head and you can actually lay the ideas down on your own, so it makes you feel independent and strong.” There are elements of Hey Daydreamer that reveal an ever so slightly harder edge to Seltmann’s craft. The cover artwork itself is suggestive of an introspective experience – Seltmann stands among an acid-tinged landscape, tangled brush behind her and a path running off into the bush. The cover dares the listener to indulge in something bold; it entices investigation. Seltmann says she knew the artwork had to be very Australian in look – a kind of sly wink at her recent move to LA. “I kind of call it ‘psychedelic Australiana’ – the look of the cover,” she laughs. The album bio describes the song I Will Not Wear Your Wedding Ring as “a dark fairytale for grown-ups”, occupying the gloomier end of the human emotional spectrum. “I felt like I have no kind of tough songs,” Seltmann laughs, by way of explanation. “I just wanted to write a song that was a bit darker and a bit tougher... I really like how we got it sounding really primal – how percussive it is – it’s got that kind of feel to it.” On Hey Daydreamer, Seltmann shared production duties with Darren, something they hadn’t done before (though
DREAM ALBUMS It was July 2013 when Sally Seltmann settled on the name Hey Daydreamer for her latest album but she had to keep it under her hat in January this year. “That’s the frustrating thing about making music, I guess,” she says. “There’s a lot of time when you can’t tell people anything... [But] it makes it exciting.” The concept of daydreaming fits nicely with the subject matter – the expression of the full spectrum of human emotions – on the album, and as a titular choice it finds itself in some notable, if varied, company. For many readers of The Music it’d be Sonic Youth’s 1988 LP Daydream Nation that springs to mind when conjuring albums whose titles hinge on the act of daytime contemplation. The album was the band’s last minor label release before signing to Geffen to release Goo in 1990. Interestingly enough, Daydream Nation was the band’s choice of go-to album for their Don’t Look Back tours in 2008 (yeah, it was the 20th anniversary of the thing, but of all the Sonic Youth albums to play start-to-finish it was a bold move).
in 2001 Darren produced the first New Buffalo EP About Last Night in a solo capacity). “That was him being fully in control of all of the production whereas this one we kind of shared that role so it felt new and made the whole experience seem really kind of personal, which felt like it really suited the songs,” she says of the approach. It makes sense, given the depth and personal nature of the material, that she’d not be bringing too many outsiders in to the process. And what better person to turn to than your musically accomplished husband for the role. “[Hey Daydreamer] felt good; all of his ideas that he had for it I just really loved, so it felt
really great working together and I really love all of the things he brought to the songs,” she says. Of late, Seltmann has been no stranger to musical collaborations of the songwriting sort. A co-writer of Feist’s Grammy-nominated hit 1234, and member of acclaimed ‘supergroup’ Seeker Lover Keeper (alongside noted songwriters Sarah Blasko and Holly Throsby), Seltmann says she finds inspiration in working with other writers. And although she has remained an independent force in her solo stuff, the act of collaboration is something she immensely enjoys. “Both of those [collaborations] were natural and felt easy to do,” she says of working with Blasko and Throsby, as well as Feist. “I just think that, y’know, writing songs for a while and recording your own music it just feels natural to me to branch out and try other things so that’s kind of the path I’ve taken... You always learn something from anyone you ever work with, even if you learn that you know you never want to do something like that again, you’ll always come away with something. [It’s] very important for creative people to constantly be having sparks that go off in their brain that makes them think things and then create something with those thoughts.”
Daydream (1995) by Mariah Carey is obviously a very different kettle of fish than either of the above but it would be remiss not to mention it here. Naturally, it charted incredibly well (six weeks at number one in the US is pretty decent) and had a bunch of number one singles to boot. Possibly the most (only?) surprising thing about the record was that despite its six Grammy noms at the 1996 ceremony, and the thing’s massive chart successes, she failed to pick up a gong. The album Daydreaming (1987) by Morris Day possesses perhaps the most garishly incredible artwork of all time. Morris, in a pimp suit, stands open-armed as he soaks in a private jet, which I’m surprised he was allowed anywhere near, parked on a tarmac next to a Cadillac he’s obviously borrowed from some other bloke named ‘MORRIS’ (as the numberplate suggests) and a yellow bathing-suited honey languishes on the concrete. Aspiring rappers take note: this is how it’s done. Sadly, despite the great cover and the clever-ish play on his own name in the title, if he was looking for a hit record he was clearly (day)dreaming.
WHAT: Hey Daydreamer (Caroline) THE MUSIC • 5TH MARCH 2014 • 13
STONE AGE ROMEO Choosing not to concern himself with “a menagerie of dumbarsery”, Queens Of The Stone Age frontman Josh Homme isn’t afraid to walk away from assholes mid-convo, loves a good pun and wells up when he listens to Roy Orbison, as Bryget Chrisfield discovers.
ou’d be hard pressed to read a feature surrounding Queens Of The Stone Age’s sixth studio album … Like Clockwork without there being some mention of the almost-exactly six years between releases for the band. Let’s not forget that frontman Josh Homme is in Eagles Of Death Metal and Them Crooked Vultures – the supergroup trio rounded out by bassist John Paul Jones and drummer Dave Grohl. On how it felt to look across the stage and see JPJ during TCV shows, Homme enlightens, “I was just always like, ‘Thank god he’s good lookin’.’ If he was an ugly-ass troll I’d be like, ‘Oh, Jesus!’ I’d die, you know?” When a fantasy, tripleheader line-up of QOTSA, Them Crooked Vultures and Eagles Of Death Metal is suggested, Homme points out: “I would never leave the stage and I’d be a midget by the end of the show, I’d sweat so much.” When it comes to musical collaborations, Homme shares, “I think it’s okay to pass on a certain potential collaboration if the situation isn’t right, because I’d rather work with someone when the timing’s right, and the situation’s right, than try to forcibly work with someone just to work with them. I’m not a massage therapist. I don’t have to rub somebody.” He’s proved to be quite the remixer and if you haven’t yet heard Homme’s remix of Mickey Mouse And The Goodbye Man by Nick Cave & The Bad Seeds, do so sharpish. “There’s something wrong with those guys,” Homme says with affection. “I recorded, like, 20 clocks [for the remix] because there’s a lot of clocks at the house. But it’s funny, though – I don’t ever know what the fuck time it is.” Recording 20 clocks! Is Homme winding me up (pardon the pun)? “Um, no, and I did it in a timely fashion.” (Badum tish.) Homme also factored co-producing Arctic Monkeys’ third studio album Humbug into his QOTSA ‘downtime’. Does The Ginger Elvis find that producing other bands makes him critique the modus operandi of his own, Queens Of The Stone Age specifically? “No, because this band operates from watching how other bands worked for years before,” he considers. “Like, we don’t have passive aggressive bullshit and [everyone] says what’s on their mind and it makes it so much easier… I’ve been around so many musical relationships where I’m like, ‘Why don’t you just fuckin’ say what you mean?’... We have an expression that’s: ‘This is where most bands stop.’ We acknowledge this’d probably be where most bands would stop and that’s where we put in the detailed work and the little quirks to try to make it different.” …Like Clockwork is an exceptional body of work and also the first Queens Of The Stone Age album to top the charts in the States. With six albums to draw from when putting together their setlists,
14 • THE MUSIC • 5TH MARCH 2014
Homme says QOTSA needed to tap into a particular “headspace” when rehearsing material from their self-titled debut album (1998). “Everything was so on purpose and meticulous on that first record and it sounds really good when it’s played that way,” he stresses. “The white man’s groove is to play stiff, and when everyone plays stiff it gets groovy.” The frontman believes it’s important for listeners to be able to find their own meanings within song lyrics. “Early on, in order to not crush someone else’s interpretation of my own music – someone asked me what the lyrics meant... So I said to this person, ‘It doesn’t matter,’ which immediately [he] took as that our songs don’t mean anything. But, I mean, I probably should’ve guessed that he would do that: this guy wasn’t gonna do my math homework, you know what I mean? The point is that, um, they really do mean something and if someone really pressed me and really wanted to know, and we were alone, I’d be happy to say something… [The lyrics] mean the world to me, that’s why I don’t wanna just spill my guts all over you. Like, in the most respectful way,” he laughs. And Homme doesn’t downplay the songwriter’s privilege of being able to
process feelings through song. “I dunno what I would do without music,” he admits. “I feel really blessed that I’ve never had to have an alternative. I started playing young and that’s just how I dealt with my own feelings and I mean, I reckon if you put everything of yourself into a record you can actually become a better person from doing one. And that’s more important than, like, a ‘kick out the hits’ for me, you know?” So what of those unlucky souls who don’t have a creative outlet? “They make war, they fuck shit up, they ruin things because they’re not as productive,” Homme replies without hesitation. When Homme articulates his experiences as a music listener, his passion is palpable. “I love that song – it’s called Sleepwalk [Santo & Johnny], it’s an instrumental and it’s so dreamy and far beyond me, and I listen to that and I’m like, ‘Fuck, if I can just touch that for ten seconds’. Good music is like trying to hold beach sand; it just slips outta your fingers. You only get a couple of seconds with it before you’re doomed to chase it again. That’s what makes it great; it’s never over, that chase, you know?”
“THE WHITE MAN’S GROOVE IS TO PLAY STIFF, AND WHEN EVERYONE PLAYS STIFF IT GETS GROOVY.” Being able to hear different nuances with every listen is something that Homme defines as “the benchmark of something really great… something that’s so goddamn good that hearing what it really is is just too much to bear. I listen to Roy Orbison sometimes and I’m just like…” The tears well up? “Oh, fuck. Are you kidding me? Yeah. You know, I’ve been listening to tonnes of Dean Martin lately and there’s a couple of songs where I’m just like, ‘Oh, god! Fuck! It’s so good!’” You wouldn’t catch Homme listening to a song and trying to channel the energy from it while he’s recording, however. “There’s a menagerie of dumbarsery there and that’s why it’s important not to concern yourself with bullshit like that… At some point, you realise that you shouldn’t spend time on anything you don’t like.” When it’s suggested that there’s also not enough time to put up with people you don’t like, Homme agrees: “Oh, fuck yeah! It’s comforting to be around someone I know I don’t like, because I know I won’t be around them long. I say, ‘You know how you can keep an arsehole in suspense?’ And then I walk away and I don’t say any more.” WHEN & WHERE: 11 Mar, Perth Arena
Food • Coffee • Sound • 7 days till late Wednesday 5/3 – Singer-Songwriter Showcase with Kim McDonald / Paciﬁc Northwest (7:30pm – 9:30pm) – free Thursday Jazz Friday guests)
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THE MUSIC • 5TH MARCH 2014 • 15
JAZZIN’ UP Steven Ellison, aka Flying Lotus, talks to Cyclone about breaking out.
lying Lotus (aka Steven Ellison) looms as a sphinx-like figure in the post-IDM underworld. The Californian muso has presented successive innovative – and cult – albums. But he’s also infiltrated the mainstream, producing beats for MC Mac Miller. So why does he feel constrained? Ellison, easygoing about Aussies (especially) abbreviating his handle to ‘FlyLo’, is preparing for his most high-profile tour here yet. He’s bringing out his ambitious audio-visual live show Layer 3. Ellison’s original desire was to stimulate audiences. “People are already staring at me, anyway, so I wanted to give them somethin’ to stare at,” he quips. Ultimately, the show, referencing sci-fi and video games, is “fun”. Indeed, music has always been an “escape” for him. FlyLo’s mythos begins with his being the grand-nephew of jazz great Alice Coltrane. Inspired by J Dilla, the occasional DJ advanced glitchy hip hop with 2006’s debut, 1983, on Plug Research, leading him to bounce to Warp. Los Angeles would be his breakthrough album. Ellison last was 2012’s cerebral Until The Quiet Comes, veering off into Coltrane-y psy-Afro electro-jazz (his collaborators included Erykah Badu, old Radiohead ally Thom Yorke and, in the Tiny Tortures video, actor Elijah “Frodo Baggins” Wood). It was Ellison’s most acclaimed LP – and his most commercially successful, cracking the US Top 40. Over time he’s also developed his own imprint, Brainfeeder, supporting the equally avant-garde bassist Thundercat, aka Stephen Bruner. Moreover, Ellison has composed music for the US cartoon hub Adult Swim. Increasingly, he’s pursuing film projects. Two years ago Ellison introduced an anonymous animated cloud rap alias, Captain Murphy. So secretive was the enterprise that cyber-types initially wondered if it wasn’t Tyler, The Creator (The Captain did air a tune with Earl Sweatshirt, Between Friends). Ellison reluctantly revealed his involvement following the Duality mixtape. The auteur later explained to XXL that he “needed another outlet” without “any pressures or stigma.” There’s been speculation about a fifth Flying Lotus album since a flurry of tweets to fans in December. “I’ve started mixing it already,” Ellison updates. The perfectionist is determined to finish it before he reaches 16 • THE MUSIC • 5TH MARCH 2014
Australia. The tour will be his “little victory lap,” he jokingly suggests. The record will reportedly again be jazzy – and today Ellison confirms that Herbie Hancock features heavily. His new shadow self, Captain Murphy, will appear too – but in future he’ll keep his incarnations separate.
That Ellison should feel pressured to produce (as he implies) clubby bangers or ‘hits’ is surprising because contemporary music is so hybridised – and many credit him with fostering fluidity between urban, electronica and indie. “I always end up like, ‘What am I doing? What is my purpose? Why do people care? Why don’t people care?’ I always go through those cycles of thinking, but I always come back to the very simplified fact that I’m here to do what I’m here to do – let me do my thing that only I can do… I can make rap beats, I can make electro... I can make house music, I can make trap music – I can do all that stuff. But I wanna do the thing that I
“LET ME DO MY THING THAT ONLY I CAN DO” “The Murphy record that I’m working on now is way different. I’m into a lotta different music, and I’m inspired by a lotta different music, and it won’t always make sense as Flying Lotus. I don’t wanna even sign Captain Murphy – I just wanna be able to do it with no pressure from anybody. It’s like the thing that is all me... it’s just mine… I like being able to have something that is maybe the darker side of my ego that isn’t really tethered to anything.”
can do that I just know that no one else could do. It’s not to do with ability or technical whatever. I wanna just do the things that come naturally to me – and to me that’s being the weirdo guy in the room.” Ellison’s latest musical fixation isn’t ‘hip’. He discovered Queen through a guitarist pal. “I always thought they were kind of a joke – they call themselves Queen. But then [it was like], oh, wait a minute, it is a joke… that’s kinda what I like to do. I like to play with stuff like that where it’s serious, but not serious at the same time. I can laugh and poke fun at myself.” And the Brit glamrocksters have had an impact on his forthcoming FlyLo LP. “There is a lot of Queen influence, but not in the way you would think. It’s subtle.” WHEN & WHERE: 7 Mar, Fremantle Arts Centre
LOCATION, LOCATION, LOCATION
Atlas is the clue: Real Estate’s third album is all about place, for better or worse, Matt Mondanile informs Cam Findlay.
ong,” is the first thing Matt Mondanile says as we sit down for a beer during his brief stop in Australia. He says it with a sigh that can only come from jetlag. “It’s about a 20-hour flight from LA. I mean it’s fine, but it can really take it out of you when you travel that long and get here and have so much stuff to do in a short period of time.” Mondanile is currently over here as Ducktails, his solo moniker apart from the arguably more well known Real Estate. Doubling on Julia Holter’s national bill is a bit of
an aside. “She’s a friend of mine, actually. It’ll be our first show tonight, which is pretty exciting. We’ve been friends for a while and have always followed each other’s careers and stuff, so it’ll be fun to get out there and play this show with her. I fly out again tomorrow, over to Sydney and then Melbourne, so we won’t get any time to stop. I’ve got these interviews and then the sound check, and then we fly out straight again tomorrow. So yeah, hectic.” He’s somehow finding time to slot international jetsetting in between the release of Real Estate’s third album, the appropriately named
Atlas. In form with Mondanile’s current movements, the album revolves around a sense of place – both finding, and at times losing, where you belong. “Martin [Courtney] was writing the majority of the songs over the course of a year, and then we got together to flesh it out and make something out of it. It was one of the more collaborative projects we’ve done, because we wrote a lot of the guitar parts together. Once we got into the studio, we tracked it in about two weeks. It was the quickest we’ve ever recorded a record. We were really prepared going in, so we tracked it live for the most part. That was something new for us, because in the past the songs would be written almost while we were recording. So we kept all those live takes, and I think that lends itself a lot to what we were trying to do with the album.”
What they were trying to do with Atlas is capture the ennui that comes from being displaced, especially when your career does revolve around touring. “Martin was writing the lyrics about what was happening in his life, whereas before he was writing a lot about the past and all these nostalgic ideas,” Mondanile says. “He’s married now, so he’s writing about the fact he hast to cope with that settled life and providing for a family while still trying to have a career which requires you to do a lot of travelling and moving around. That’s what the lyrics are about: just the anxiety of dealing with that.” Mondanile is taking this time to relax – if only slightly – before Atlas is taken around the world. “It’s awesome, it’s like summer camp,” he laughs. “From Australia we have all of Europe, so I’m just trying to get some sun before we’re on our feet for months.” WHAT: Atlas (Domino/EMI)
THE MUSIC • 5TH MARCH 2014 • 17
SHORTS ON PARADE
Now in its 23rd year as an international film festival for all films short, Bronwyn Kidd, Flickerfest’s director, speaks to Matt Ziccone about this year’s exciting program. “The thing I really love about short film is that they are innovative. It’s entertaining, it’s very contemporary, it’s immediate, it’s stories that are happening now. Unlike feature films that may take seven years to get a budget up, people are making stories that are immediate to them and that they are passionate about.” In the realm of the internet and the renaissance of television and home cinema, Kidd stands by the art of the short film. “Handpicked away from the noise of the internet, I guess. It is really hard to find this kind of work. The filmmakers give it to the festivals exclusively because they are going on the career path journey for their film, and they really want it to be accepted into an Academy and BAFTA accredited short film festival like Flickerfest that will hopefully get them noticed in the industry and get them on the pathway to a successful career.”
Sapphires, which is a really lovely film that points to a process now and that still in the constitution Indigenous people still haven’t been recognised. We have Tango Underpants screening, which is a wonderful comedy which I think people have been really enjoying at the festival here in Sydney. It stars Emma Booth and it’s all about a girl who goes on tour; she is backpacking through Argentina, and she learns the delights
BLUE This short written and directed by Keir Wilkins is the latest project from Portrait Strange Productions, the team behind Bystander and Life In Red String. It’s a magical-realism story about a misfit who discovers a fantastical blue man living next door and decides to make friends with him.
IN THE AIR
As part of Short Laughs Comedy, the Broome-made short In The Air will be screened – a film that was not a part of the original comedy line-up at the festival back in Jan. It’s well worth the wait though. It’s a romantic comedy, directed by Kimberley West, about a cook looking for love with a quiet man who loves his radio.
The festival itself has a rich history of Australian filmmakers. From the screening of Adam Elliot’s Harvie Krumpet to David Michod’s earlier shorts like Crossbow, this festival really encompasses cinema away from the usual mainstream avenues, as Kidd explains. “It’s devoid of the commercialism that is such a part of the feature film commercial marketplace. These are all films made out of passion, love for a story and innovation, with a range of emerging filmmakers that will be defining the story of cinema in the future.” While not every film in the festival makes this year’s tour around the country, there are definitely some incredible films in the line-up, Kidd recommending a few to look out for. “Standouts for me that are on the tour are The Fence, which focuses on the Villawood Detention Centre in Sydney and when it was a hostel, back in ‘92. All of sudden our policy changes, the fence is built and it became a detention centre. Vote Yes, which focuses on the 1967 referendum and stars Miranda Tapsell from The
CANNIBAL STORY of the Tango as well as the importance of having the right underwear. “In the international program they are all pretty amazing, really. There are some great works on tour there. One of the films that has been a festival favourite has been Butter Lamp. It’s a Chinese-French co-production that one looks at a young photographer and his assistant, who suggest that Tibetan nomads take their picture against more or less exotic backgrounds.”
WHAT: Flickerfest WHEN & WHERE: 6 to 9 Mar, Camelot Outdoor Cinema 18 • THE MUSIC • 5TH MARCH 2014
Directed by Sohan Ariel Hayes and Martu artist Yunkurra Billy Atkins, Cannibal Story is the tale of carnivorous beings that live beneath a salt lake in the Australian desert. It’s one of our homemade picks, having been screened at the Edinburgh International Film Festival and nominated for the 2013 WA Screen Award for Best Animation.
TANGO UNDERPANTS Based on a short story by Carolyn Swindell, this is the story of young backpacker, played by Emma Booth, who heads to Buenos Aires to escape the break-up blues. Once she arrives she learns about the tango, and about wearing the right underwear. Directed by Miranda and Khrob Edmonds, this film is on our to-watch list, partly so we can perve at the amazing Argentinian scenery. FLICKERFEST DIRECTOR, BRONWYN KIDD
Ahead of the release of their debut record, Kane Sutton catches up with Valdaway vocalist Kohen Grogan to chat about the record’s conception.
utting together a debut release tends to be as daunting as it is exciting. For this group of young men, these feelings are amplified, given the relationship of the members and the newness of the band. “We started playing music a while ago – myself, two brothers and a mate. We officially launched Valdaway early last year. We’ve all grown up together and practically live together. It’s pretty... interesting, really!” he laughs. “The album’s been in the works for a while; we recorded it last year and we’re releasing it in March. We were really enjoying playing live and it just felt like
the right time to get some tracks down and really push something out. We could’ve released it late last year some time but we wanted to avoid the Christmas rush and line up a heap of shows around it.” Such is the chaos of growing up with two brothers, that building the songs seemed to happen in a manner the group members were very much used to. “Our songwriting process is practically just smashing out the jams. We all collaborate on the songwriting – we’re lucky really because we’re all brothers. If we have a disagreement we tend to get over it pretty quickly because we’ve argued about
lots of things for years.” Jamming it out poses its own threats, however, as the gentlemen quickly realised, they had too many songs to work with. “It became difficult because we have quite a few tracks,” Grogan chuckles. “We narrowed it down from about 20 to ten, then did demo recordings of them and then decided which ones we wanted to keep developing.”
Enter Dave Parkin. The renowned producer, who has worked with the likes of Karnivool, Jebediah and Sons Of Rico, joined in assisting the band alongside Leon Zervos (Muse, Tame Impala, INXS), who mastered the record. Parkin’s help with production and engineering had the band feeling confident and happy. Grogan explains what was great about working with Parkin. “It was awesome”, Grogan sighs. “He has a similar sense of humour to us so we had a great time working with him. Every other time we’ve worked on projects, from my experience anyway, it’s just been a really stressful thing and never really very enjoyable until meeting Parko. He added some stuff like making parts of our songs shorter and adding different tones and guitar lines that we wouldn’t have used otherwise, and we all just got along like a big group of mates.” The locals are now feeling ready and rearing to launch the record and those going along to the show should expect a huge party. “We’re definitely playing at least an hour-long set and we’re going to play every song from the EP. We’ve got some great bands on the bill like Indigo, and Black Water Station have been good mates with us for years, so it’s just gonna be a big party and we’re all going to have a really good time.” WHAT: Valdaway (Independent) WHEN & WHERE: 7 Mar, Amplifier
THE MUSIC • 5TH MARCH 2014 • 19
GO FOR GOLD Six months on from his second album – and at the exhaustion end of international touring – Derwin Schleckler aka Gold Panda talks to Cam Findlay about curries, criticism and the album as an art form. uick, go to Gold Panda’s page on Wikipedia. Now look at the bar on the right. There you’ll see a list of words, each in their little blue hue of hyperlinking: electronic, glitch, folktronica, microhouse, minimal techno, post-dubstep, wonky, ambient, chillwave. According to anyone you talk to, the man known as Derwin Schleckler to his parents is all of those things, if only because it’s impossible to categorise his music without obscure pseudo-genres. Gold Panda live sets have taken on near-legendary status for putting a wonky curve on electronic music. He is also just a guy.
“I’m just sitting on the sofa doing nothing,” Schleckler says. “It’s 8am or something here, so the day hasn’t really started. I’m alright for a few hours.” He finds himself in a reprieve, towards the tail-end of touring Half Of Where You Live, his big statement of 2013. “I’ve just been visiting my grandma, and she’s been teaching me to make curries. She’s Indian, so she’s teaching me all these old village recipes. Which are very, ah, random, very spontaneous. They change every day; one day it will be one thing, and the next it will be completely different.” The symbolism of that statement isn’t lost, especially in the ever-fluid environment of electronic music production. Half Of Where You Live slammed a big rubber stamp on the sound that was hinted at by Schleckler’s 2010 debut, Lucky Shiner. It’s an album born out of spontaneity: a huge swath of eclectic samples, finely tuned harmonies and delicate switches over a base of uncomplicated British dubstep beats. “I worried about it for a long time,” he explains. “I did spend a lot of time thinking, ‘Well, I should make a second album’, but you never want your work to be work. You always want what you’re doing to be better. “Actually, I listened to it for the first time since the release the other day. I liked about seven out of the 11 tracks; I could listen to them without cringing,” Schleckler laughs. “That’s a pretty good ratio, I think. I think it was just after touring and trying to meet all these people and being in all these different places, I wanted to capture a snapshot of it. And being in Berlin and having the spontaneity of live jams with, like, one drum machine. Being in a position where you’re... not 20 • THE MUSIC • 5TH MARCH 2014
forced, really, but you’re in a position where you have to arrange all these things while looking at a screen, all spontaneously. I wanted to capture that. It feels like quite a free album to me, especially arrangement-wise.” Therein lies the slight contradiction to Schleckler’s music: while
something that can stand up in the future,”) and that the album format is probably a big part of its strength. “I love albums as a format. I’m pretty old now, so I don’t really know what else to do. I don’t really know how the trend’s going to go. I think music is just released differently now; you don’t have to have an album, you can just release some tracks. And it’s fine, no one’s bothered. I think people do still say, ‘When’s the album out?’ which is weird these days, I think. The album is not as relevant, like the be-all-and-end-all of a band, as it used to be. But then that’s kind of ignoring the aesthetics of an album. I’ve always loved albums that
“I LIKED ABOUT SEVEN OUT OF THE 11 TRACKS; I COULD LISTEN TO THEM WITHOUT CRINGING.” a sense of flow and dispersion does work around the edges, there’s a pretty rigid set of rules he places on production; “I think with the first album, I toured it for three years, and then I was knackered.“ he shares. “When you play the same stuff for too long, you tend to go a bit loopy.” Despite that, Half Of Where You Live just works, and probably will for some time to come. Schlecker acknowledges that (“I feel like it’s
have a certain sound and capture a certain something that the artist’s going through, or a sound the band are experimenting with or something. The moments of, like, revelation I remember from music are through albums. They’re the parts of my childhood I remember. I think it’s important for music to have a narrative, something you can grasp. And a lot of the time, at least with me, albums are the best way to do that. “I’m really looking forward to doing another one now, and trying to maintain that sound, and that freedom. I was nearly there with the last one, and as important as albums are to me, I’m trying to... I guess it’s kind of cheesy to some people to think of an album as a project, but I still enjoy it in that way. I still feel like I’m making a piece of work, or a story. And I enjoy that.” WHEN & WHERE: 9 Mar, The Bakery
Canada, Glastonbury... weâ€™ve just been rolling with it since then, not fully aware that itâ€™s actually happening.â€?
What do you get when you cross a live electro-swing band, a love of locally grown food and a message? Formidable Vegetable Sound System, thatâ€™s what. Cam Findlay finds out what itâ€™s all about from Charlie McGee.
tâ€™s probably an unfortunate state of affairs that the joy of growing food in your backyard is a mercilessly disregarded theme in todayâ€™s music. Luckily, Formidable Vegetable Sound System, a spin-off of much-loved local electro-swing act Ensemble Formidable, is here to change that. â€œIt all started as a fortunate mishap, really,â€? frontman Charlie McGee explains. â€œWe were at the World Solar Eclipse Festival, the Australian one, when the organisers had actually stuffed up the program and put [Ensemble
Formidable] on the day before the band had arrived. So they asked if I could fill in on the headlining slot of the opening night. I was just like, â€˜Sure! Iâ€™ve got all these permaculture songs and a ukulele!â€™ Those songs were originally designed as a teaching resource; it was something that I was building to take to schools and stuff. But I just went and hacked together some dodgy beats on my laptop and rounded up as many musos as I could, and just jumped on stage while coming up with the name Formidable Vegetable Sound System. From that, we just got offers to play in Europe,
Dubbing themselves an â€œecological infotainmentâ€? band, FVSS is now a regular on festival line-ups internationally. Itâ€™s not totally left-field, with urban permaculture springing up all over the place and a select number of local heroes carrying the flag for sustainability. â€œI think itâ€™s going so well at the moment because thereâ€™s a real call for it. I mean, I only ever meant these songs to be used in schools; that was my aim for it. And from that moment when we got up on stage, there was this feeling like, â€˜Hang on, this could potentially be something biggerâ€™. Itâ€™s pretty amazing to be able to go to all these different places and see people understanding and resonating with our message. I mean, we donâ€™t want to force anything on anyone; thatâ€™s not what itâ€™s about. Itâ€™s about informing people. And getting them dancing too, I guess. â€œNew Zealand went off,â€? McGee says of their most recent tour. â€œIt was a combination of festivals and other pretty random shows. We did everything from German electronic music festivals to Victorian theatres in these little towns. This German festival, theyâ€™d shipped the entire thing over from Hamburg in shipping containers and set it up in a paddock in the middle of the north island. It was just bizarre, because half of the punters were just German ravers. I mean, weâ€™re a chilled-out dub group who play songs about vegetables, and here we are at this German electronic festival.â€? WHAT: Permaculture: A Rhymerâ€™s Manual (Independent) WHEN & WHERE: 8 Mar, Railway Hotel; 15 Mar, Nukara New Music Festival
Fri 21 Mar Sat 22 Mar Thu 27 Mar Fri 28 Mar Sat 29 Mar
The Zoo BRISBANE Miami Shark Bar GOLD COAST ANU Bar CaNBERRa Cambridge Hotel NEWCASTLE Manning Bar SYDNEY
Sat 5 Apr Fri 11 Apr Sat 19 Apr Sun 20 Apr
MELBOURNE Pier Live Frankston The Gov ADELAIDE Rosemount Hotel PERTH Players Bar Mandurah
Tickets available from TwelveFootNinja.com THE MUSIC â€˘ 5TH MARCH 2014 â€˘ 21
HEARTS AND MINDS Billy Bragg wouldn’t say it, but he is part of a tradition that goes from toting a banjo down a dirt road, through to building an audience 140 characters at a time. Ross Clelland listens to tales of the music of politics, and the politics of music.
ou don’t so much interview Billy Bragg as have a conversation – with him asking as many question as you – as he prepares for one his semi-regular Australian tours. His previous visit, a short hit-andrun for a music conference with a just couple of shows shoe-horned in, came a few days after the last election. ”I think a lot of you were in a state of shock,” he notes. “So how’s the Abbott thing working out for you?” The death of folk music legend Pete Seeger is still a touchstone for folk. For the music, the man, and what he represented. “He was taking on the world with just a wiry voice and a banjo,” Bragg explains. “I remember being at some ceremony for him, looking down and finding him doing cycling exercises on the floor – he must have been near 80. That’s 100 per cent better than twerking.” It was not just the physical vitality that impressed him. “Even in his 90s he still had work to do, things to achieve. And this was a man who had travelled with Woody Guthrie, wrestled the Ku Klux Klan as they tried to stop [legendary black singer] Paul Robeson performing. He actually walked alongside Martin Luther King. You were shaking hands with history.” Conversely, Bragg plays down moments from his own life. Being at the frontline of the Miners’ Strike in Thatcher’s England, visiting Russia as the USSR collapsed, and being a part of the campaign to free Nelson Mandela, among other things, just don’t seem to have the same currency to him. “I don’t want to think about that yet. I want to live in the present – I still have plenty to do. History will judge us on what contribution we make, but that’s for history, not for now.” For Bragg, it all comes back to the work: “Not all music, but some can carry a message – an idea that can just carry and take hold. You have to have a faith that sometimes that’s going to happen.” In another twist this most English of singers’ latest album, Tooth & Nail, has seen him embraced by America as never before, getting labelled as ‘alt-country’ or even ‘Americana’. “Americana is a quite broad word,” he says in that quite broad accent. “It can be Johnny Cash, it can be Booker T, any music that has its roots in American roots music, whatever that is. I was just trying to find my way back to Mermaid Avenue,” he recalls the celebrated – if slightly 22 • THE MUSIC • 5TH MARCH 2014
fractured – collaboration with Wilco of Woody Guthrie songs, which gave all the participants a wider audience. “I wanted to find more of that sound, that idea, that Wilco and I sometimes got in the studio. But I got sidetracked – that’s been known to happen before,” he muses.
where in England it’s quite different – it’s much more marginalised.” Does that mix in with the natural English reserve? “An embarrassment in letting go?” he asks himself. “Like Morris dancing? Everybody tends to be embarrassed by Morris dancing – sometimes even those actually doing it. Then again, I have Scots friends who are mortified when they see some bad singer get up in a kilt.” Bragg can also see the upside: “The folk audience – wherever they’re from – still want to hear topical songs, and that’s died out a lot in much other contemporary music. Do people not want to think? Sure, to switch
“THE FOLK AUDIENCE – WHEREVER THEY’RE FROM – STILL WANT TO HEAR TOPICAL SONGS, AND THAT’S DIED OUT A LOT IN MUCH OTHER CONTEMPORARY MUSIC.” Those thoughts dovetailed with his homeland’s view of the music. I throw one of his quotes back at him: ‘They’re embarrassed about folk music, the British. It’s something the Scots and Irish do when they’re drunk’. He pauses. “Did I say that? I might have been drunk,” he adds with a laugh. He quickly and politely clarifies: “Maybe I meant that our Celtic neighbours still use folk music as part of their identity,
off and relax – I’m fine with that. But don’t tell me that music’s only purpose, it can be more than that. It can be about any part of the human condition.” While knowing the past, Bragg knows things have changed, via a keyboard and a screen. “When I was 19, I really only had one outlet – learn to play an instrument, write songs, do gigs. If you were really lucky, go into a cheap studio and make a record. A 19-year-old now has so many more options: Write a blog, make a film and stick it up on YouTube, tweet up a crowd. Music has probably lost its vanguard role, where in the second half of the 20th century music was our social media. It used to be three chords and a chorus – now it’s 140 characters.” WHEN & WHERE: 9 Mar, Perth Concert Hall
Wild Beasts are exploring the moment. Anthony Carew shares some of that moment with their singer, Hayden Thorpe. The title, Present Tense, of the fourth album for English art-rockers Wild Beasts symbolises, according to warbling singer Hayden Thorpe, the LP’s themes. “It’s about the difficulty and the beauty of living-in-thenow. The Internet catalogues and codes our past, and almost supersedes memory, [but] at the same time as we have our personal history recorded for posterity, we’re forever thinking about the future, about what’s next, what’s the goal. In between those two things, there’s a very small sliver of time which is actually the ‘now’.” A timely idea, not simply because of Present Tense’s imminent release, but because, in Australia on a
Christmas holiday, Thorpe was confronted with his past, taking his first trip back to Maylands, the Perth suburb he lived in until he was six. “It was really quite moving,” he admits, even if Perth’s “endless skies” are far from the “consolatory grey skies and dour weather” he associates with the Lake District, where his family relocated. After the “culture shock” of trading WA for northern England, Thorpe settled into the local mindset, first wanting to be a footballer before “listening to records, drinking a beer and smokin’ with your mates became the new football.” A self-confessed “child of the mini-disc-andNapster era,” he started
recording songs with schoolfriend Ben Little as a 16-year-old, inspired by Jeff Buckley. “For kids who’d grown up in the Britpop era and were used to tolerating machismo, he really introduced us to, well, sexuality.”
At first they called themselves Fauve. “We were allured by the opium-smoking romance of that era of French art,” Thorpe recalls. “I wanted us to be fearless, audacious. We wanted to protest the blandness of music at the time. We weren’t a fan of that postStrokes era, that tidal-wave of men-in-leather-jackets, Libertines nonsense. It just wasn’t good enough.” After changing their name to Wild Beasts (the English plural of their French name), they made their debut LP, 2008’s Limbo, Panto, filled with grandiloquence, idiosyncrasy and complexity. The quartet has “never struggled for attention,” with 2009’s Two Dancers nominated for the Mercury Music Prize and 2011’s Smother cracking the UK Top 20. After a decade together, however, Present Tense forced Wild Beasts to “justify [their] continued existence.” The song-title, A Simple Beautiful Truth, served as the album’s “working manifesto”, Thorpe writing his most sincere, unguarded, optimistic lyrics; the band chasing “the holy grail” of “something that is both art and pop at once”. “For something to appear weightless, for it to defy gravity, for it to sound effortless, as if it’s always just been there, that’s actually a huge amount of work. Building things up, stripping them back, it was full of challenges, and we were riddled with doubts. We constantly felt like we were bordering on disaster, and, ultimately, I think that’s the best place to be working from.” WHAT: Present Tense (Domino/EMI)
JUST BE GOOD TO B
Although nu-garage diva Katy B is now signed to a major label, she still feels “very much rooted in club music and club culture”, Cyclone discovers.
K post-dubstep soulstress Katy B (aka Kathleen Brien) has triumphantly topped the charts at home with her credible new album Little Red. But, while Brien recorded some grown-up ‘pop’ songs, she remains a club chick. Indeed, she recently enjoyed partying at the Brit Awards – apparently no typically “dry” industry bash. “It was really, really fun,” a chatty Brien confides. “Everyone was just going for it!” Brien was raised in Peckham, South London, vibing to R’n’B, neo-soul and UK garage. Intent on pursuing music professionally, she attended the BRIT School, among its alumni her idol Amy Winehouse. Later Brien, then at uni, connected with Geeneus, founder of Rinse FM – the pirate radio station-turned-label empire. She burst out of the underground with 2011’s hit-laden On A Mission. The following year Brien offered the stopgap Danger EP. Meanwhile, she toured Australia with Parklife, only to cancel midway due to “personal reasons” (she’s desperate to return). Many artists dread their second album – and Brien was trepidatious. “This time around I have been signed to a major label [Columbia] and my team has grown. I think I felt a little bit more pressure, certainly.” Nonetheless, Brien’s label was “very supportive” of her vision for Little Red. “I wanted to keep the same ethos ‘cause I still feel very much rooted in club music and club culture.”
Brien was determined to again collaborate with Geeneus, and cutting-edge newcomers such as Sampha, yet she also reached out to traditional songwriters. “I really wanted to work with some people who write amazing chord structures.” One of them was pop maestro Guy Chambers, Robbie Williams’ long-time associate. “I went to his studio and we got on really well. I think in the first session we wrote [current single] Crying For No Reason, so I felt really comfortable with him straight away.” Brien has described Little Red as “darker” than her debut.“The last couple of years have
been a bit of whirlwind, really,” she says. “Some lifechanging things have happened to me and I think this album definitely is me trying to work them all out.” Little Red is housier than its predecessor, too. The opener Next Thing evokes Kevin Saunderson’s techno-pop Inner City. Brien has also resurrected Aaliyah – a duet with quiet stormstress Jessie Ware. When Geeneus gave her the instrumental, Brien visualised a club “with a lot of sexual tension in the air”. The Londoner imagined her DJ boyfriend playing to an alluring female dancer, named after the first act she spotted in her iTunes – Aaliyah. The title was meant to be “temporary” but, deciding that the tragic starlet was the song’s “muse”, Brien retained it. “It’s not about the singer Aaliyah,” she says, “but… she kinda fits the character. It’s a kinda homage to her as well, saying, like, ‘I can’t compete with you’.” WHAT: Little Red (Sony) THE MUSIC • 5TH MARCH 2014 • 23
LIVING THE DREAM
difficulty with a ska band booked for Soundwave Melbourne, and Horgan tweeted him saying he should put on The Bennies instead. “[AJ] was like, ‘Yeah I had a listen you guys are unreal – you guys are on,’ and that was it,” Horgan recalls. “He emailed us later and told us we we’re on for the Melbourne show – so we got it through Twitter. It was so funny, we couldn’t believe it. I don’t check Twitter much but when I came back to check I was like, ‘What the fuck?’”
2013 saw Melbourne party punkers The Bennies sign a record deal, release a new album, tour internationally and have a member stabbed on tour. Vocalist Anty Horgan tells Eli Gould about their wild journey.
ll we’ve got left is what the king said: ‘don’t fuck with our dreams,’” The Smith Street Band’s Wil Wagner belts out in the chorus of their 2013 EP title track Don’t Fuck With Our Dreams. The king he is referring to and his inspiration behind the song was The Bennies guitarist Jules Rozenbergs. While on an extensive tour early last year with The Smith Street Band, Rozenbergs was set upon by a drunken punter at a Byron Bay show, who smashed a bottle over Rozenbergs’ head and then stabbed him in the armpit. His response: “Don’t fuck with our dreams.” It was a shocking event – one that rocked the band to the core, where their long-term future was put under a cloud for months. But as the old saying goes, what doesn’t kill you makes you stronger – and The Bennies perfectly represent this. The past 12 months have been arduous for frontman Anty Horgan and his bandmates. Their latest album Rainbows In Space was released in early November through Poison City Records, who they only signed to in August 2013. The album received critical acclaim among music pundits and fans alike, and showcases a unique blend of party-infused punk-rock and ska. Already on the road as part of their tour throughout Australia, Horgan says this year will be their biggest. “Yeah, it’s been really good,” Horgan begins, speaking of the past few months. “We’ve been really happy with how [the album] has been received, all the reviews have been really good, but I don’t know how much you take them on board. I suppose most importantly we’re really proud of it.” The Bennies are a party band – they play simple chords with catchy melodies, choruses and sing songs about partying, getting drunk, smoking weed and having fun Rainbows In Space epitomises this, but Horgan insits he isn’t sure why the album turned out this way. “I mean we love Rancid, The Clash and Sublime and stuff like that – just good time-loving punk-rock,” he says. “I mean were pretty easygoing fun-loving guys as well, we like to party and have fun with mates so I think that influence comes through with the songs as well.” Following the release of the album, the band also headed off for an
international run of shows in China and Japan in December last year. For Horgan, the tour was an uncanny experience and marked the first time he had travelled to those parts of the world.
But Horgan and co will be the first to admit they’re still shocked at where they are at the moment – given the events from last year. Rozenbergs stabbing shook everyone in the band immeasurably. “We were all pretty freaked out – I mean, Jules couldn’t move his arm for like two months, and I’m sure [the experience] is going to stay with us forever,” Horgan explains. “But Jules handled it so well and he came back with just more purpose than ever.” It was all about being able to take a positive out of a very negative experience for the band, and to see their close friends in The Smith Street Band name an EP about the incident was something they found truly
“JULES HANDLED IT SO WELL AND HE CAME BACK WITH JUST MORE PURPOSE THAN EVER.“ It’s a different environment for musicians and bands given the power of online and social media allowing them to reach greater audiences. The Bennies will play the biggest show of their career at Soundwave, courtesy of a simple Tweet to Soundwave boss AJ Maddah. Maddah, famous for his no-bullshit attitude and Tweets, posted online about having
flattering. “It was cool – ‘Don’t fuck with our dreams’ is what Jules yelled at the guy, but it was a hard experience and that tour was the biggest thing we’ve done so far. We were absolutely on fire,” Horan enthuses. “Then we had to stop and we were at the hospital with poor Jules.” 2014 will also be another huge year for The Bennies. They will be looking at filming a video clip after the tour, and then will head back over to China for a run of festivals. “Then we’re gonna come back to Australia – do another tour, hopefully write and record a new album and then head over to the States, so yeah, that’s the plan,” Horgan finishes with a laugh. WHEN & WHERE: 6 March, Ya-Ya’s; 7 March, Prince Of Wales, Bunbury
THE OTHER SIDE
“It’s all about getting a point across. Are you keeping the listeners interested? I always go back and listen to the old stuff when we’re writing new stuff and I try to pinpoint all my favourite parts about my band.”
What happens when you’re in a punk band but no longer have anything to be angry about? Bayside vocalist Anthony Raneri provides the answer to Daniel Cribb while pondering legacy.
y wife, my daughter and I, we moved into a new house about a week ago,” Bayside frontman Anthony Raneri begins from Nashville, Tennessee. “I’ve been juggling a big move, unpacking and we’ve got the record coming out in a couple of weeks.” The album of which he speaks is the band’s sixth, Cult, and unlike previous releases, it took Bayside two years of writing - scrutinising every lyric, melody and beat before they were ready to enter the studio. “When the
record was done, I didn’t listen to it for a month. I was still hearing things and saying, ‘Argh, should that song have been different, should this have been different’. It was a very, very different process for us, but now I’ve been able to clear my head and just listen and enjoy.” Such a way of writing stems from working with Gil Norton (Pixies, Foo Fighters, Jimmy Eat World) on their fifth record, 2011’s Killing Time, and Shep Goodman on 2005’s Bayside. The band returned to Goodman for Cult. “Shep always preached excitement, and then Gil added drama.”
Cult manages to define Bayside, and its cover art features symbols that reference the band’s five previous records. Although their punk-rock sound remains relatively the same, with a new house, loving family and successful band, Raneri had to turn his aggression elsewhere when it came to finding lyrical inspiration. “[Cult] is more about legacy, and it’s about wanting to be like the men that came before me. Like you see these men in wars, and they’re war heroes, and they’re fathers and grandfathers and advice-givers, and they’re great men that are leaving the world now, and I want to be like that. “Think about the World Wars that men fought in. Think about men jumping out of planes with parachutes on. There’s a war going on, and they jump out of a plane into the middle of it... can you imagine our generation – the internet generation, the YouTube generation, the Instagram generation – could you imagine any of them doing that? No way, I can’t even imagine myself doing that. It makes me think about my generation and what our legacy is going to be,” Raneri explains. “I don’t know, and I don’t think that’s for me to decide,” he responds when asked how he wants to be remembered. “I think it’s my job to do my best and always try and be the best man I can, best musician I can, best father I can, best husband I can, and what they say, it’s not for me to decide. What matters is just that I tried and that I was never afraid.” WHAT: Cult (Hopeless/Unified)
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BURIED IN VERONA
ALBUM OF THE WEEK
Virgin/EMI Creating one of the finest house music records of the last ten years brings with it a certain degree of pressure. German DJ/ producer Marco Niemerski struck gold in 2010 with Comacat, a stop-you-dead-in-your-tracks combination of bassline sexiness, vocal dancefloor nostalgia and that unforgettable jangly keyboard riff. On the downside though, the track forced him into a ‘’90s revivalist’ pigeonhole, something he has simultaneously embraced and fought against on his debut album, Glow. Now signed to a major label, Tensnake uses the platform to take us on a trek through three decades of dance music, chopped together with a sharp 2014 edge. With a generous helping of ‘80s disco and pop influences Glow has undeniable similarities to the work of Daft Punk, the giant presence of Nile Rogers reinforcing the link; first single, Love Sublime sports an authentic ‘80s boogie-pop feel, Good
UNFD Four albums in, what type of band these Sydneysiders wants to be is gradually becoming clearer, but they evidently haven’t completely zeroed in on it yet. Enough To Keep is bright, soulful house too rarely heard these days while Prince influences abound on the guitar-synths of Feel Of Love with Jacques Lu Cont and Jamie Lidell. With Tasmanianborn Fiora handling the bulk of the vocal work, Tensnake has gone out of his way to create a ‘proper’ album in Glow, rather than a collection of club singles. While No Relief charts house history in seven minutes, it sits up against supple Naked Music-like depth, three-minute ‘pop’ songs and moments of downbeat chill such as the slinky, tongue-incheek 58BPM – widescreen vision and brilliant execution. The hype, it seems, has been well founded. Darren Collins
This LP is readily identifiable as the same outfit that created its predecessor though, boasting shiny, gleaming hooks, clean singer/guitarist Richie Newman confidently providing vitriolic Splintered, Illuminate and Graves greater resonance. Having traded in the polished production of metallic maestro Fredrik Nordström for much-lauded Joey Sturgis, Faceless emanates a slick, punchy sound. A somewhat monotonous bludgeon reminiscent of deathcore knuckledraggers Emmure is also afforded greater prominence. A welcome prospect for the pit ninjas, but it ensures an overplaying of their hand somewhat towards the record’s conclusion. Hardrock pseudo-ballad, Set Me
CALLING ALL CARS
It’s hard to nut out exactly what Calling All Cars were listening to when they embarked on writing for Raise The People (possibly some Electric Six and the latest batch of glossed-over pedestrian rock). This is the same heavy rocking trio that brought us Disconnect, Hold, Hold Fire and Reptile, all with a brute intensity courtesy of Haydn Ing’s forceful growl and some neat but ballbusting heavy riffs. While the album still captures a sense of that cool intensity of former releases, it’s such a radical change of direction it’s just not the same Calling All Cars we knew before.
It’s important not to have extraordinary expectations of Pharrell Williams’ new LP, G I R L. The artist has had a hand in so many of the biggest pop songs of the modern era that it’s forgivable to think he’ll perhaps pull something devastatingly important out of his hat for his first LP in eight years. He doesn’t. What you get here is slick pop with little substance. But is that such a bad thing?
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On Fire is a curiosity piece; whether it’s opening up further doors remains uncertain, although it’s a tad ham-fisted. “Buried in Verona have a message for anyone that has ever doubted them; go fuck yourself,” the press release proclaims. A polarising act, Faceless channels detractors’ nay-saying, indicating that even the most needless shittalking can inspire something constructive. This reviewer may also be subjected to the middle-finger salute, but despite shortcomings, recent momentum and incessant touring suggests a few less cynics may be showing their faces after this drops. Brendan Crabb
Raise The People
That said, Raise The People manages to do all the right things sonically and as a body of songs works through quite a range of structures and treatments that aren’t unlikeable and are catchy. The title track is a dark, snappy opener, getting neat melodic rock lines pulsing under Ing’s wail of
★★★ former days, then they up the grinding ferocity on Good God! to Dixie punk on It Don’t Matter. Singles Werewolves and Standing In The Ocean are the slickest movers on the album, dropping in twangy guitars and a muted vocal. One is reminded of Nine Inch Nails’ successful transition into a more production-heavy sound with that same edgy grind, but sadly this threesome isn’t yet on that lofty plane. Whether fans pull up stumps with a “meh” is a gamble Ing and co clearly felt was worth taking. Carley Hall
As expected from the man with his production nous, the sound of the record is taut and terrific throughout G I R L; the shiny and slick light disco of Brand New, the slinky Gush and the lightweight funk of the Miley-featuring Come Get It Bae are all pleasant without making much impact. On one side of that you’ve got the classy Marilyn Monroe and Gust Of Wind, which are meaty, exciting pop tunes, and on the other
★★★ ½ you’ve got throwaway tracks like Hunter, which feels like a waste of time. Alicia Keys makes Know Who You Are worthwhile, Gush will take you back to the Neptunes’ glory days and, well, you’ve heard Happy. There’s not enough substance for G I R L to be considered anything more than a very pleasant pop album, but there’s no shame in that. Its crispness will ensure it finds a wide audience and it’s no doubt going to be far more agreeable than other chart-topping fare in 2014, so you’re best off soaking it up and waiting to see what the allconquering Pharrell does next. Dan Condon
METRONOMY Love Letters
J RODDY WALSTON & THE BUSINESS
WE ARE SCIENTISTS
What’s Life Without Losers
Dine Alone/Cooking Vinyl
Metronomy don’t stick pound store lights on their t-shirts anymore and it’s a shame, because the Devon quartet work best when they’re at their weirdest and most quirky. The organ and keys dancing in the distance during the faux-R’n’B of I’m Aquarius for example, or Reservoir, a track that is just screaming for Wes Anderson to send Steve Zissou back out to sea.
If you want a safe bet for some background music at a casual get-together, TV En Français is what you’re looking for. We Are Scientists’ fifth LP is a collection of unobtrusive, melodic indierock. Nothing stands out. The record plays like one oversized, 35-minute track of indistinct radio-friendly “alternative” music. Slow Down creates enough noise to be noteworthy and Don’t Blow It will grow on you, but it’s been four years since their last studio album, Barbara, and you’d be forgiven for thinking the ten tracks here were off-cuts from that record.
Lackadaisical Norwegian troubadour Mikhael Paskalev takes his tight whiteys and runs with them on debut album, What’s Life Without Losers. The album plays like Devendra Banhart on a steady diet of Paul Simon, Nick Drake and the Davies brothers – a hefty slice of weirdnik pop that bristles with hooks and slanted irreverence. That isn’t to say that things don’t get serious – Susie is an amiable yet bittersweet ode to the love that got away, and the best track here – and whether cranking the electric or feathering the acoustic, Paskalev is an effervescent revelation. Brendan Telford
Love Letters sounds no better than bouncing centrepiece track Boy Racers, but for the most part it just lacks the usual groove we’ve now come to expect. Metronomy have gotten cool, but by losing that endearing nerd element they’ve also lost a vital piece of who they are.
From the gut-punch opening of Heavy Bells to the tribal beats and chants of Sweat Shock to the quiet beauty of Boys Can Never Tell to the jaunty romp that is Black Light, J Roddy Walston & The Business make sure you never get too comfortable with Essential Tremors, and that’s its greatest strength. Part blues, part Southern rock, part whatever they want to be at any given moment, it’s rough, it’s raw, it’s earnest, road-worn and lived in. Most of all, Essential Tremors is undeniably real. Pete Laurie
TV En Français
ERNEST ELLIS Cold Desire
JOAN AS POLICE WOMAN
The Take Off And Landing Of Everything
Ernest Ellis is one of those enigmatic figures we cherish in music. He’s pretty fearless when it comes to his own musical ideal, and Cold Desire is once again proof of that. Following the onetwo punch of 2010’s Hunting and 2011’s King’s Canyon, Cold Desire is stark, bold and intensely personal. Behind that, there’s a deep, textural resonance to the album: airy synths battle for space with scratchy acoustic strums. It gets slightly cacophonous at points, but Ellis and co have been careful to allow enough space for the tracks to develop, building a dark and brooding atmosphere.
Winnipeg’s finest, Comeback Kid (or as they’re otherwise known – the only good band still on Victory Records) haven’t given us an album in four years. Die Knowing more than makes up for their tardiness. There’s nothing revolutionary here, just wellexecuted melodic hardcore replete with catchy melodies, fist-raising gang vocals and an avalanche of rapid-fire riffs. Vocalist Andrew Neufeld finally delivers the performance that’ll make the most ardent of Scott Wade fans reconsider their loyalty (Full Swing, a collaboration between the two, provides a useful point of comparison). Make sure you’re screaming these songs next time they tour.
Fiction/Universal Possibly the only Mancunian band not to have disintegrated into fisticuffs, Guy Garvey presides as jolly landlord over the homely English pub that is Elbow. This sixth album gets cosy drawing a warm beer, taking stock of growing older and slowing down while life around them speeds on. Whether marvelling at a New York Morning (where “folk are nice to Yoko”) or going a bit Spiritualized sitting bewildered amongst the chaos on the title track, The Take Off And Landing Of Everything is a million miles from their debut or the anthemic camaraderie of The Seldom Seen Kid. Mac McNaughton
As it is intended as a kind of development from its predecessor, 2011’s The Deep Field, Joan Wasser’s fifth and latest effort is successful. Retaining certain themes and similarities, not least the incomparable groove and feels her formidable backing band is capable of providing, Wasser moves forth in leaps and bounds with her writing and musical exploration, as is immediately evident in the opening track, Witness. It’s worth mentioning that unlike The Deep Field, this has the feel of an album that grows on you over time, like a profound and fulfilling friendship. Lukas Murphy
Mark Hebblewhite THE MUSIC • 5TH MARCH 2014 • 27
SINCERELY, GRIZZLY Kafkaesque Gun Fever Music This nine-minute song draws us into a world of chaos and instability. The track draws inspiration from elements of math-pop and post-hardcore, and reminds of groups such as Brand New, Japandroids and Cloud Nothings.
THE OWLS The Krakow Independent The Owls have produced a track that is highlighted by a pounding guitar line and quick-paced, no-frills percussion loaded with momentum. It’s catchy rock and demonstrates the band is heading in the right direction.
BETTER THAN THE WIZARDS
In The Web
Better Than The Wizards
In The Web is a crusty punk throwback, which pretty much tells you whether you think this record is worth your time. It’s a sad reality, though Forty Five struggle as hard as they can to prove punk is not dead. The songs are solid technically and very genre-fitting; the real problem comes from the band’s insistence on staying firmly rooted within the audio styles of countless DIY/garage bands from the ‘70s, ‘80s and ‘90s. Forty Five never really add a modern or personal streak to their dated sound, the album ultimately remaining lacklustre and unconvincing.
As it turns out, Scattered Reflections is a pretty apt title for Lior’s latest work. The singersongwriter has been off the radar a fair bit since 2005’s Autumn Flow. This is no improvement over his last two nigh-forgotten albums. The image of Lior leaning forlorn against a table on the cover should give you some indication: this is him looking deep into his past, from lost love (Bells Of Montreal) to childhood (A Lift In The Morning Fog) to his grandfather (er, My Grandfather). It’s sincere, sure, but comes across as too sincere to the point of cheesy.
Independent The self-titled first album from Better Than The Wizards is pure, vintage fun. The Melburnian six-piece consistently deliver smooth grooves and joyous sounds across this debut and it’s a pleasure to listen to. These compositions are intricately put together and allow each musician to shine respectively. The Wizards have crafted a mish-mash of the sounds of funk and jazz while adding their own flavours to the mix. A fantastic first album, this is one from music lovers to music lovers. Jeffrey Kitt
SILENCE TO THE LEFT Boy Meets Girl Independent These newcomers greet us with a powerful rock track containing some beefy guitar lines and vocals reminiscent of Faith No More and Foo Fighters.
JAKARTA CRIERS Alright For Me Independent Crazy catchy guitar hooks in this indie-rock track that will have listeners immediately attracted to its warm, sunny vibe. It’s definitely suggestive of John Butler Trio and no doubt they’ll be garnering plenty of hype over the next few months. Kane Sutton
THE NIGHT PARTY
Your Arsenal (Def initive Master)
Get To You
The Beasts Of Bulwer Street
Warner Last year’s annus horribilis was meant to be a resurrection for the former Smiths singer with new material in the bag, a royal tour schedule and autobiography all marred by illnesses aplenty. At least we have 1992’s Your Arsenal (the third solo album to be remastered) celebrating the invincible, homo-erotic, provocatively ambiguous and antagonistic Mozzfather at the height of his powers. Bowie’s right hand man Mick Ronson injects glam and scuzz over the likes of flamboyantly acerbic classics You’re The One For Me Fatty and Glamorous Glue. Also includes a concert from 1991 on DVD (unpreviewed). Mac McNaughton
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Rum Jungle Records/MGM Melbourne dude duo The Night Party have delivered a pretty solid, if admittedly derivative, debut album with Get To You. There are pretty clear influences here: the familiar old school blues turned with a contemporary twist a la The Black Keys, plus a little Japanese rockabilly edge (the slip has a quirky Japanese print over it). There’s a pretty heady mix of everything you can find in that style, with the raucous Walk The Streets being a clear stand-out. Repetitive after a few listens, but solid and fun nevertheless. Cam Findlay
Independent Perth’s Them Sharks ingested a large and varied sonic diet to create their debut, with the largest bites taken from dub, punk, metal and hip hop. They’ll Call It The Electric Hutchence flows with a shout-along hook and pumping riffs that drop to clean reggae tones. The vocals are immediate and congruent, adding to the track’s considerable charm. Groove Motherf*cker is another highlight, infused with titanic bouncy chunk, while Roll The Dice shows a band capable of subtlety and melody. Not every moment is perfect but these kinks are heat-treated with tight, confident delivery. Chris Archibald
FUTURE MUSIC FESTIVAL Arena Joondalup 2 Mar Spread across seven stages at Arena Joondalup on Sunday, Perth’s eighth Future Music Festival was a hot, sweaty mess of skin, booze and good times. With an unknown delay pushing the entry back 45 minutes, sadly the starter acts had nobody to play to and Craig Hollywood vs Bastian’s Happy Flight DJs unfortunately saw not a single punter, while Helena played a rather superb set to an absolutely empty room. Unfazed, they charged on. Perhaps it was pent-up excitement from the entrance hold-up, but every kid at the
Club” was chanted as less than a minute into AC’s set technical difficulties rendered the duo silent, but with little resistance, the pair plugged back in and laid down a sick version of Crave You with Lullaby to end their set. Guy Gerber had a crowd of very few at the Cocoon stage (not what you want at a festival), but Britain’s Maya Jane Coles provided an immediate improvement, and her supersweet house beats had the audience well and truly up and moving. Netsky tore the roof of the Knife Party stage giving the jam-packed room a reason to take the dance party to the next level. However, Baauer had everyone absolutely dripping. Not a beat was left un-danced to or a note unsung as he delivered a dance party that you only dream of. Renditions of Shake N’ Bake and
MACKLEMORE AND RYAN LEWIS @ FUTURE MUSIC. PIC: PAUL BARTOK
Safari stage was ready to cut a rug, as Will Sparks was graciously handed an already eager crowd after Uberjak’d. Youngster Martin Garrix took to the Future Music main stage and had a great vibe, getting the crowd pumping early, which R3hab followed and, unfortunately, lost most of Garrix’s crowd as soon as he started. Swedish duo Dada Life picked up the pace again with their electro house DJ set, including a mix of Gwen Stefani’s Hollaback Girl, which saw the two sending a giant inflatable banana around the crowd. I See MONSTAS offered a mix of bass and soul to the loosely formed crowd at the Knife Party stage. It was a touch and go with the live vocal portion, but the bass had people engaged and bopping along nicely – the crowd doubled by the end of the set. “Adventure
to-back right at the beginning (for anyone wondering at home – Thrift Shop, Same Love, Can’t Hold Us and Cadillac), their live string, percussion and brass band and Macklemore’s various costume changes and charming swagger, the audience went absolutely nuts for a solid hour.
bit of a groove to them. Using an impressive animation series to back him up on the main stage’s big screen, Deadmau5, with his signature giant head and glowing eyes had the massive crowd jumping and dancing as if they were pinging (though I’m sure many of them were).
With most of the crowd over at Rudimental, Luciano played a solid DJ set to a small crowd, as Brodinski struggled to get his mob excited. Adding some funk to the Safari stage, Rudimental’s horde was keen – perhaps a little too much, what with some chest flashes on the big screen (twice). Synchronised dance moves and song dedication won over the audience, as they played Right Here and Feel The Love.
By the end of the night, you’d think that everyone would have lost steam, but Chase & Status had fists pumping, people jumping and squeezed a few more drops of perspiration from every kid that stayed to the sweet bitter end. The crowd – littered with costumes, onesies, morph suits and mostly very little clothing and a whole lotta butt-cheek – left fully breathless, some ready to do it all again on Monday for Soundwave.
Eric Prydz may have dropped out sick but Dutch DJ Hardwell didn’t leave the crowd hanging
RUDIMENTAL @ FUTURE MUSIC. PIC: PAUL BARTOK
Let Me See Your Hips Swing were belted like anthems, and he ended with the infamous Harlem Shake. Back at Cocoon, Gorgon City had a few punters ready to party with their electronic tunes, but the two pirates sword-fighting had just as interested a crowd too, and Lukas Wimmler had a serious dance party of his own keeping the Foamarama stage slippery when wet. Taking to the club-styled Future Sound System stage, Dannic had a bit of variety going on in his set, and Chicago’s Kaskade had the crowd jumping and dancing as if nobody was watching, and his set just improved as it wore on. Playing strangely early, hip hoppers Macklemore & Ryan Lewis proved they’re worth their weight in gold (chains) with their brilliant live set. With their four biggest singles played back-
and played a massive twohour set with appearances from fellow DJs of the day, Chuckie and Martin Garrix. One step in the steam bath that the Knife Party stage transformed into and there was no question that Knife Party stole the crowd from Cut Copy. Cut Copy were fun, but if you wanted to lose some serious calories, you knew where to be. The tent was literally being ripped from the ground to let more punters in and the suffocating air out. The haunted house theme was in full effect and people were delirious with excitement. Knife Party absolutely killed it. Markus Schulz had the Future Sound System stage pumping well into the night, and over at Cocoon, Germany’s Sven Väth had his beats rocking with a
Tash Edge and Josie McGraw
DEADMAU5 @ FUTURE MUSIC. PIC: PAUL BARTOK
PUBLIC EMEMY, THE BROW Chevron Festival Gardens 28 Feb You can rely on roots-rap pack The Brow, until recently known as The Brow Horn Orchestra, for high energy, genre-bending shenanigans, with obligatory non-stop dancing, kick-arse trombone and dextrous drums from Ben Lanzon. Also in effect were some stylish new visuals, incorporating snippets of their Don’t You Wanna Sing Forever? clip, still one of the finest music vids to come from WA. Ever the firebrands, The Brow weren’t afraid to wade into the asylum seeker debate in front of a partisan crowd, although some wondered if they THE MUSIC • 5TH MARCH 2014 • 29
live reviews were having any ethical qualms about playing in the “Chevron” Festival Gardens given their pro-environment/anticorporate exploitation stance. Nonetheless, lead man Nicholas Owens could barely contain his admiration and feverish anticipation for Public Enemy. He wasn’t alone. Tonight’s performance sold out in days, and the crowd – an inclusive mix of gym junkies, nerds, older folks and kids – was abuzz. With a full band in tow, the twin spearhead rap attack of Chuck D and Flavor Flav looked physically fit and mentally sharp, bounding about the stage in a way that would have put many acts 20 years their junior to shame. “I ain’t afraid of evolution,” Chuck announced, and he backed it up with wildly revamped versions of classics such as Black Steel In The Hour Of Chaos, which was given a slippery funk overhaul, and Shut ‘Em Down, featuring a cannibalised riff from Led Zep’s Kashmir. As revered as PE’s early albums are, much of their
material is even stronger when performed live before a pit full of bedlamites, with whom a sweaty Chuck and Flav got up close and personal during Fight The Power, amidst deranged chanting and a blizzard of scratching from DJ Lord. Their set had to be spontaneously trimmed as PE were clearly having way to much of a good time soloing and improvising call and responses, with Chuck sermonising revolutionary politics and party lunacy in equal measures. Flav retained his clown prince status though with a classic public safety gaff. I’m sure what he meant to say was, “if you’re drinking, don’t drive,” not “if you’re drinking, and you’re driving… please drive carefully.” After 27 years in the game, some might have questioned whether Public Enemy still had game, but their Perth Festival appearance was living proof that hip hop is ineradicably hardwired into their genes. Christopher H James
MIKHAEL PASKALEV, RAINY DAY WOMEN
Chevron Festival Gardens 1 Mar A crowded Chevron Gardens on the final night of festivities bore testament to the popularity and draw of the venue. The garden crowd slowly converted to a concert crowd as Rainy Day Women took the stage, looking as though they couldn’t believe where they were playing, but taking control of the stage nonetheless. As the set wore on they seemed to settle into the routine, blasting the swelling throng with summery pop tunes and beginning to make use of the stage space. Songs were sung about “wanting to screw your music teacher”, in amongst introductions to the band’s forthcoming debut album – that will be one to look out for.
A short changeover and Mikhael Paskalev took to the stage, expressing his disbelief at performing to such a large crowd so far from his Norwegian home. Upbeat offering to an ex-girlfriend Susie opened proceedings, with Paskalev showing his ability to carry a stage by himself. The set that followed was a feast for the ears, with Paskalev’s full band backing him perfectly as they roared through a list of harmony-fuelled pop tunes, reminiscent of the likes of Vampire Weekend and Dirty Projectors. The crisp, multilayered harmonies were mindblowing, the band following Paskalev’s lead effortlessly as he careened his way through his acrobatic range. Crowd favourite, I Spy drew a roar of approval as the harmonica came out for the opening strains, before a few more songs brought us to the end of the set with “cowboy disco” tune, Dust taking us to a quick encore break. A solo rendition of Hey Joseph closed out the set, as if the audience needed any more proof of Paskalev’s vocal ability. Andy Snelling
Ozone Reserve (finished) For kidults who secretly want to run away with the circus, Bianco will surely seal the deal. Performed in promenade style, Bianco is an immersive experience that is part circus, part play. Dressed in 19th century vaudevillian-inspired garb, the performers lark about with the crowd in between dangling from trapezes, swinging on the lampshades (literally), walking the tightrope or performing any number of the other tricks they have up their sleeves. 30 • THE MUSIC • 5TH MARCH 2014
Every performer specialises in at least one circus skill, all the more impressive given their skills in characterisation and improvisation. Equally surprising is the precision of the staging. It may seem that chaos is the order of the day, but the mayhem is carefully choreographed. Performers strap on to ropes, acting as human pulley systems to counter the weight of aerial artists in full flight. Transitions between stage sets become part of the act as the performers whoop and catcall to each other, slamming scaffolding together. All the while, costumed ushers herd the audience back, forward, into the middle, along the edges. Making the experience all the more immediate is the soundtrack, played live by UK band Fireproof Giant. The Bianco score is all original and is the heartbeat of the circus. For a seriously fun night at a seriously good circus, Bianco is your ticket. Rebekah Barnett
His Majesty’s Theatre (finished) The most remarkable sight in Beijing Dance Theatre’s latest production, Haze, is the dancers negotiating and exploiting the sprung and padded stage floors. The unstable mattresses make maintaining balance visibly difficult for the dancers while allowing for some of the most startlingly creative choreography to be seen in contemporary dance theatre. Dancers dive to the floor and roll over into an impossibly high leap; they fall backwards
and land as though asleep on their backs; they bounce and chug as though they were cogs in a giant industrial machine. Which, of course, is the great metaphor of this production. Haze is choreographer and Artistic Director Wang Yuanyuan’s imagined response to China’s shift from traditionalism to modernism, to global financial and environmental uncertainty, and to issues of the heart. The lighting and soundscape beautifully signpost the transitions in the focus of moods and themes. At curtains up, amber lamps dangle from the ceiling in the darkly lit, misty stage where the dancers stand still as tin soldiers while Henryk Gorecki’s Symphony No.3 undulates throughout the theatre, and the mood is melancholy. Haze closes with the dancers standing stock-still, looking out towards the future – perhaps an injunction to China to stop and consider its next move. Rebekah Barnett
Single title: The Last Man What’s the song about? Being accepted for what you are and how you should never change just for the sake of keeping someone happy How long did it take to write/record? The song was demo’d with Pip Norman from TZU, took a day to write, and then two days to record in Nashville! Is this track from a forthcoming release/ existing release? Yes, from my album Blackbird which is out on April 4th! What was inspiring you during the song’s writing and recording? Frustration in the first instance and then worrying about being able to get through to the person I wanted to get through to. We’ll like this song if we like... Psych-rock tinged with crazy banjo played by a Russian hillbilly. I kid you not! Do you play it differently live? Going to try and keep it as close to the recording but might be hard getting that crazy banjo sound. You wouldn’t know any Russian hillbillies, would you?? When and where is your launch/ next gig? Artbar on March 9th THE MUSIC • 5TH MARCH 2014 • 1
EXPERIMENTAL TOAST Not your typical toast toppings – because sometimes butter and jam just doesn’t cut it. Photos by Holly Engelhardt.
AVOCADO + VEGEMITE Can’t get much more bloody Aussie than this, mate. A national fave, the creamy avo balances out the saltiness of the Vegemite.
HUMMUS + TOMATO + SALT AND PEPPER You now have a legitimate excuse to eat hummus for breakfast. This is probably one of the heathier variations.
MASCARPONE/CREAM CHEESE + FRUIT Strawberries, kiwi fruit, apples... Whatever you like. Sweet (cheese) dreams are made of these.
PEANUT BUTTER + SWEET CHILLI SAUCE Basically a really lazy version of satay sauce. Good for those who love peanut butter but want to branch out.
BALSAMIC VINEGAR + OLIVE OIL It’s like a fancy bread entree at a French restaurant. Almost. Add strawberries if you want a hint of sweetness.
TUNA + EGG Works best with flavoured tuna (eg. tuna in tomato or savoury sauce or with salsa/curry). Fry, boil or poach your egg. Hearty. Might want to pop a breath mint afterwards, though.
BACON + BANANA + HONEY/MAPLE SYRUP American pancakes-style. Or epic French toast-style. This one is strictly an ‘occasional’ or ‘treat yourself ’ topping.
SAUSAGE + MAYO Spread the mayo like a butter, and top with slices of sausage. For best results, try using white bread, hot dog or frankfurt sausages, and kewpie mayo – like a cheapo BreadTop bun.
CHECK OUT KARMA COLA ORGANIC SOFT DRINKS Fairtrade, certified organic, GE-free – this is as good for you as a fizzy drink can be. But the most important thing remains: they taste top-notch. With flavours like Gingerella Ginger Ale (ginger, lemon, vanilla bean, sugar and spice – it’s got a kick to it), Lemmy Lemonade (lemons with a dash of grapefruit and other citrus, sweetened with organic sugar – for those who like some tang and zing) and their original Karma Cola (made with real cola nut and Fairtrade organic cane sugar), these drinks are refreshing and ethical. karmacola.com.au
32 • THE MUSIC • 5TH MARCH 2014
opinion MODERATELY HIGHBROW ARTS, CULTURE AND THE INBETWEEN WITH CAM FINDLAY If you’re a follower of our Facebook, or our website, or our Twitter (you should be, because we’re heaps cool and stuff ), and hell, if you keep up with music in Australia in general, you’ll know about the recent controversy US shock-metallers Gwar created during the Brisbane and Sydney Soundwaves. It turns out removing the heads of our Prime Minister and Head Of State to purge punters in fake blood does stir the pot quite a bit. And, as we know now, that was just the start of it. Clearly, the whole thing was a funny little stunt pulled off by a band that has made a career out of funny little stunts – more power to ‘em. But it did kick up a whole lot of stink in our current climate of refugee paranoia and argument. In a turn of surreal quality that can only come from a band dressed up in giant foam genitals and viking helmets, the Australians For Constitutional Monarchy (uncle Tony was once their prez) decided, puzzlingly, to criticize Gwar harbouring a “gross abuse of hospitality”. Apparently, the ACM thought Gwar’s ritual decapitation of effigies of important people were, well, mean or something. Who knows? Who the fuck cares what monarchists think about this? Maybe the more important question is: why would Gwar pull such a stunt? Might it be something to do with the news they inevitably walked into while stepping off the plane in Australia? If you haven’t read Gwar leadman Odorous Urungus’ reply to the ACM yet, I recommend it. Gross, yes. Awesome, definitely.
THE HEAVY SHIT
METAL AND HARD ROCK WITH CHRIS MARIC spread to Facebook groups that are diligent monarchists and Tony lovers. The level of aggression, judgment and downright hostility to what is essentially a modernday Punch And Judy show was incredible. There are nearly 1000 comments on one of the pages calling itself ‘Australians For Constitutional Monarchy’ alone. It became a war of intellect, with metal fans on one side attempting to explain the deal or at least ask what the problem was while on the other side, all they could come up with was ‘disgusting, ban them, send them home, not in my country’. No valid argument other GWAR AT SOUNDWAVE. than the fact they didn’t like PIC BY JOSH GROOM. something they actually didn’t see. Good to know these selfappointed guardians of society Soundwave is once again in have their priorities in order! the rear-view mirror and once
COMIC BOOK ACTION WITH GARETH BIRD
again it was an epic undertaking for all involved. Reviews are all over the place so I won’t bore you with mine, although I’m keen to learn the outcome of Ivan from FFDP’s brush with the law. What I did want to talk about was the whole beat-up surrounding Gwar. The band are 28 years into their career and no strangers to metal fans, but they’ve been copping it from all over because of a 30-second bit in their show they’ve been doing forever. In case you didn’t see it, second song in after completely pasting the crowd and security with their fake blood/cum from their massive appendages, they walk out an effigy of Tony Abbott who attempts to stop the show. The band, well up on local politics and the asylum seeker problem, dutifully tell Abbott to fuck off and promptly decapitate him, leaving him to yet again spray the crowd with more syrupy blood. They also manage to give a double mastectomy to the Queen and forcibly remove the future head of England from Mary’s guts: funny, silly and a well worn path by the Antarctic gods. But it set the conservatives on fire.
Soon after the Brisbane show news of ‘US band decapitates Prime Minister’ was all over the major news networks as if they’d really done it. It quickly
Here’s what frontman Oderus himself had to say on the matter the day after the furore: “Quoth Oderus, front-thing of GWAR and affirmed head-chopper, ‘We were just playing our show and this guy with giant ears wanders out onstage and tells us to go back to Antarctica, so naturally I removed his head from his shoulders. But what was really surprising was that it grew back and I had to chop it off again at Sydney’s Soundwave. So we are waiting to see what happens tonight. Will it grow back again? Will it come back as a Koala bear? And what about the poor Queen? We chopped her tits off and stomped the royal baby to death, and all people seem to care about is this Abbott guy. I tell you this, if you could harvest the power of the wind with this dude’s ears, then you could create a machine that would move time and space and enable all the asylum seekers to enjoy Caesar salad every night. And also not have dogs set on them.’” And with that, keyboard warriors everywhere hiding behind Abbott’s ears and the Union Jack will all go to sleep terrified that some space alien calling itself Oderus Urungus will come and eat them while they sleep. It would be hilarious if it wasn’t so sad. Get a hobby people! email@example.com
Unless you were living under a rock the past couple of weeks, you’d have noticed plenty of discussion among comic book fans about Guardians Of The Galaxy. Seen as a hidden gem amongst Marvel readers, the first trailer for the big screen adaptation (due this August) arrived online to an amazingly positive response. Somewhere between the Rebel Alliance and the crew of the Serenity, the Guardians are a ragtag group of interplanetary warriors, assassins and smugglers who band together in an effort to keep the cosmic side of the Marvel universe from descending into total anarchy. Despite these lofty goals, each incarnation of the series is renowned for its irreverent and sarcastic approach to dealing with the crazy events unfolding in each issue. Of all the movies Marvel Studios are putting together, Guardians Of The Galaxy represents the biggest wildcard yet. An ensemble cast of predominantly unknown characters, an unfamiliar setting for their film universe… it has all the hallmarks of a box office disaster. But the trailer has galvanised supporters and new fans alike, plus it certainly doesn’t hurt that two of the hardest to sell characters (Rocket Raccoon and Groot, a machine gun-toting raccoon and a giant anthropomorphic tree respectively) are voiced by Hollywood heavyweights Bradley Cooper and Vin Diesel. They can obviously smell a hit. COMICZONE’S BOOKS OF THE WEEK: Moon Knight; The Wake; Superior Spider-Man; Deadly Class; Serenity: Leaves On The Wind; Vandroid
GUARDIANS OF THE GALAXY THE MUSIC • 5TH MARCH 2014 • 33
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LIVE THIS WEEK
FOR WHAT IT’S PERTH
Perth’s doing pretty well – a NY Times travel journo gave Dulltown, WA a glowing review, including saying it’s more hipster than Williamsburg. Yes, you can gloat now.
SHIT BE CA$H ANZ have made a pretty brave move and reskinned their Sydey ATMs as “Gay TMs”, just in time for Mardi Gras, complete with kitsch wallpaper.
GIVE ‘EM A HAND Curated by local beatmaker extraordinaire Ta-Ku, Hand-Picked is a night of swell electronic genius. Ta-Ku has hooked two of the current greats to join him at Fremantle Arts Centre on 7 Mar: Flying Lotus and Ryan Hemsworth. That’s an amazing lineup, so make sure you jump on tickets from Oztix.
GWAR ON POLITICS Gwar decapitated Tony Abbott on stage at Soundwave? We, for one, welcome our new metal overlords. Gwar 4 PM.
SONS OF ARKAYANY
KING IN THE PARK
On 7 Mar at Ya Ya’s, Arkayan will be launching their third CD, and will attempt to remain decently clothed for a night of rock’n’roll indulgence with super dudes Midnight Boulevard and Approaching Opposite supporting. $5 entry from 8pm.
Backed by the classical strength of the West Australian Symphony Orchestra, Gurrumul will perform new works of simplicity and power on 8 Mar at Kings Park, along with Kate Ceberano and Dewayne Everettsmith.
A MARCH IN MARCH
WORST TO BEST
The Long March was formed in 2010 by 3 local musicians, all of whom have roots buried deep in the Perth music scene. They launch a fresh EP, Boy-O, on 7 Mar at The Rosemount Hotel, supported by Nevksy Prospekt.
After a massive 2013, local hardcore punk outfit Worst Possible Outcome are set to step it up a notch in 2014 with a new line up, new releases and a new lease on life, starting at The Prince Of Wales, Bunbury on 5 Mar. Ticketek for tickets.
PRAY TO THE GOLD PANDA
Gold Panda first flitted onto the public radar back in 2009 with the first of a since-steady stream of 7”s and EPs. He’s since dropped two criticallylauded full-length albums, and he brings the energy to The Bakery on Sun 9 Mar.
Chicago’s Derrick Carter is widely acknowledged for innovative productions, flawless technical skills and an effortlessly joyful attitude, his influence infiltrating throughout the spectrum of dance music. He spins it at Geisha on 7 Mar.
BACKLASH CUTTING SKIPPY
CON: Qantas has had to axe around 5000 jobs because of huge financial losses. PRO: Less chance of foreigners assuming kangaroos can fly.
WAVE GOODBYE It might’ve been a fun – and emotional – ride, but Soundwave Perth is now no more. Now is an even more important time to support your local heavy music community.
BUS TO BREAKDOWN We all know that the racist attack on the bus in Queensland is deplorable, but judging from the girl’s party dress and fascinator, we’re pretty sure she’s a shitty representation of Australia anyway.
THIS WEEK’S RELEASES… CALLING ALL CARS Raise The People Cooking Vinyl MIKHAEL PASKALEV What’s Life Without Losers Dew Process/Universal BURIED IN VERONA Faceless UNFD DRIVE-BY TRUCKERS English Oceans ATO/[PIAS] Australia
34 • THE MUSIC • 5TH MARCH 2014
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LIVE THIS WEEK
Single title: In The Middle
What’s the song about? The track is about being in a relationship that you don’t even know is a relationship anymore.
Jurassic 5’s incredible reunion at Coachella in 2013 was just as unexpected as their break-up in 2007 but was so incredible they took it to the world. Jurassic 5 are a critical reminder of how durable hip-hop can be when done correctly, and will offer an appreciated reprieve from the club rap that’s become a mainstay on today’s radio dials. The hip hop legends hit Metro City 14 March and we’ve got a double pass, Boomtick merch pack and a signed block mount to giveaway.
How long did it take to write/record? Two hours to write, three days to record. We had a single set in stone and my producer Joel Quartermain and I thought we would write its badass brother which is now the single. Is this track from a forthcoming release/existing release? Yeah it will be on my upcoming EP to be launched in May but the single that’s launching on March 7 will be digitally available on that date via Bandcamp and iTunes. What was inspiring you during the songs writing and recording? We were inspired by the old soul grooves like Stevie Wonder and The Isley Brothers, and it all came together pretty quickly from there. We’ll like this song if we like... It’s a soul influenced rock tune so if you like Stevie Wonder/Aloe Blacc/Gary Clark Junior hopefully you’ll like this. Do you play it differently live? I rarely play a song exactly the same live. When and where is your launch/next gig?: In The Middle is launched on 7 March at Astor Lounge with special guests Edie Green and Logan Crawford.
ROCKWIZ RocKwiz Live returns to Perth Zoo 22 March as part of the Nocturnal Concert series. The interactive show takes place under the stars and features an eclectic mix of Australian heritage artists alongside contemporary stars, performing songs written, played or produced by Vanda and Young. We have a double pass up for grabs. BEN & JERRY’S OPENAIR CINEMA Following the success of the nationwide tour, Ben & Jerry’s Openair Cinemas will be launching in Perth on 16 Mar. The month-long series of events at Riverside Drive will feature the likes of Gypsy & The Cat, Jinja Safari and Bertie Blackman by day and a range of independent and blockbuster movies at night. Up for offer are three double passes to the opening night. To enter out comps, head to themusic.com.au/win-prizes
Tijuana Cartel have been on the road for years now. After a near-disaster on a recent tour, Tijuana Cartel had a wakeup call; one that has lead them to become much more serious about their craft. Catch them at The Rosemount on 8 Mar.
Up for something a little different? Formidable Vegetable Sound System, the Fremantlebased electroswing-sustainability freaks, rocket into Kulcha on 8 Mar, supported by The Brow Horn Orchestra.
A STAGED PRESENCE
STICK ‘EM UP
Bex & Turin’s Wide Open Mic night continues in its second week at The Rosemount on 3 Mar. If you want to get involved, email turin. firstname.lastname@example.org.$10 before 12pm, $15 after.
Sticky Fingers are set to release their brand new single, Gold Snafu, with a big tour around the country. Catch’ em at The Prince Of Wales, Bunbury, 6 Mar; White Star Hotel, Albany, 7 Mar; and Settlers Tavern, Margaret River, 8 Mar.
SHOUT OUT LOUD
WASTE NOT WANT NOT
Singer Mali returns to Australia for a solo tour. Hear Mali’s voice, “one of the most beautiful in modern music”, at The Ellington on 9 Mar, along with NZ’s April Fish, Joni In The Moon and Leah Emily Grant.
The Monarchy are putting on a new show at The Bakery on 7 Mar. Called High Waste, it’ll feature alt-drag genius and performance artist Jonny Woo, legendary Berlin DJ Boris, London DJs Alex Karotsch and Lyal Hakaraia, plus locals.
RHYTHM OF THE NIGHT
Courtney Barnett has announced her first ever WA headline at Mojo’s on 8 Mar. She’ll be playing songs from two internationally acclaimed EPs and a full-length, as well as roadtesting songs from her soonto-be recorded second album.
Night Signals are back on the live circuit. The band has spent last three months recording a demo, travelling, putting on weight, watching True Detective and releasing a demo to the public. Catch them at The Bird on 6 Mar.
THE NEW JAC
ANTICS IN YOUR PANTS
The artist formerly known (and probably still known) as Joe Algeri, The JAC is back at The Odd Fellow on 8 Mar to launch new single Love Dumb. He’ll be joined by The High Learys and Pat Chow for a night of guitars, melody and stylish shirts.
On 8 Mar, The Claremont Hotel sees Antics – a night of live indie bands and DJs, featuring the top crop of local up’n’comers and old guards to get your weekend going. This week, catch Custom Royal and Yokohomos plusDJ John Black. Free entry ‘til late!
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THE MUSIC PRESENTS ABSU, PORTAL, DENOUNCEMENT PYRE: MAR 20, Amplifier CLOUD CONTROL: MAR 20, The Saint; MAR 21, Settlers Tavern, Margaret River; MAR 21, Yallingup Caves House Hotel; MAR 22, Empire Bar; MAR 22, Ocean Beach Hotel; MAR 22, The Northshore Tavern; MAR 23, The Brisbane Hotel; MAR 23, Whistling Kite SHAPESHIFTER: MAR 21, Metro City CALLING ALL CARS, THE LOVE JUNKIES, THE SINKING TEETH: MAR 21, Amplifier; MAR 22, Prince Of Wales Hotel, Bunbury; MAR 23, Indi Bar CASPIAN: MAR 22, Mojo’s Bar MONSTER MAGNET: APR 3, Amplifier
ELLA HOOPER: MAY 8, Artbar THE JUNGLE GIANTS: MAY 9, Rosemount Hotel THE JEZEBELS: MAY 9, Astor Theatre ARCTIC MONKEYS: MAY 13, Perth Arena NORTHLANE: MAY 28, Fly By Night; 29 MAY, Capitol THE BEARDS: MAY 28, The Pier Hotel, Esperance; MAY 29, The White Star, Albany; 30 May, Settler’s Tavern, Margaret River; 31 May, The Prince Of Wales, Bunbury; 1 JUN, Astor Theatre ONGOING: GIGNITION: Upcoming band showcases 4-8pm last Sunday of each month at The Railway Hotel BEX ‘N’ TURIN’S OPEN MIC NIGHT: 8pm-late every Monday at Rosemount Hotel
SUZANNE VEGA: APR 11, Astor Theatre
Get Weird with+Roland Tings + Tornado Wallace + Ben Taaffe + Manimal + Various DJs: Ambar, Perth Fridays Are Back feat. +KLa: Amplifier Bar (Midnight), Perth Bedroom to Big House Heat 4 feat. +Cassian + Death Disco: Capitol, Perth I Love 80s & 90s with+Darren Tucker: Capitol (Upstairs / 11pm), Perth Say Cheese! +Dr Wazz: Metropolis, Fremantle Fresco Flow Fridays with +Surge + DJ Don Migi + Various DJs: Metropolis (C5), Fremantle Yolanda Be Cool: Newport Hotel, Fremantle Blowout with +Klean Kicks + Jordan Scott + Not So Hot + Franchina + Simon Paiker: Parker Nightclub, Perth Paradise Paul + NDorse: The Aviary, Perth High Waste +Jonny Woo + Various DJs: The Bakery, Northbridge NDorse: The George, Perth
Japan 4 feat. +Mo’Fly + Dead Easy + Blend + Philly Blunt + DNGRFLD: Ambar, Perth
Unofficial Soundwave Afterparty+Various Artists: Amplifier Bar, Perth Sugar Blue Burlesque: Brass Monkey Hotel, Northbridge Open Mic Night with +Shaun Street: Carine Glades Tavern, Duncraig
Night Cap Session + Oehlers/ O’Halloran/Susnjar + James Muller: Ellington Jazz Club, Perth Bernardine: Greenwood Hotel, Greenwood
Chet Leonard’s Bingoteque: Clancys Fish Pub, Fremantle
BLISS N ESO: MAY 2, Signal Park, Busselton; MAY 3, Wellington Square
Next Gen+Various DJs: Metropolis, Fremantle
GIG OF THE WEEK COURTNEY BARNETT: 8 MAR, MOJO’S
Pure Pop feat. +Eddie Electric: Amplifier Bar (Midnight), Perth Death Disco feat. +Death Disco DJs: Capitol (11pm), Perth Cream of the 80s with+DJ Roger Smart: Capitol (11pm), Perth Father+Various DJs: Flyrite, Northbridge Metropolis Saturdays+Darren Tucker + Dr Wazz + Various DJs: Metropolis, Fremantle I Love 80s & 90s with+Dr Wazz + DJ Shane: Metropolis (C5), Fremantle Parker Saturdays+Kastel + Wasteland + Chiari + Acebasik + Jackness: Parker Nightclub, Perth Afro Beats with +DJ Sexy Chocolate + Tutomath + DJ D’Coconut Funkster: Swan Hotel (Lounge), North Fremantle NDorse + Hykus + Paradise Paul: The Aviary, Perth The Upbeats + State Of Mind + VLTRN + DJ Illusiv + Various DJs: Villa Nightclub, Perth
The Get Down with +Charlie Bucket + Klean Kicks + Nick Sheppard: Rosemount Hotel, North Perth Rooftop Sessions feat. +Troy Division + Dj Ben Sebastian + NDorse: The Aviary, Perth
Songwriter Sessions+Various Artists: Indi Bar, Scarborough Howie Morgan : Lucky Shag, Perth 42 Decibel + Day Of The Dead + Swiss Shepherd: Mojos Bar, North Fremantle Jozef Grech + Luke Dux: Moon Cafe, Northbridge Kickstart + DJ Giles: Mustang Bar, Northbridge Worst Possible Outcome + Unfair Dismissal + Die From This + Sludge Bucket + Danger Brain: Prince of Wales, Bunbury Old Blood + Man The Clouds + The Bonekickers + Moondog J: Rosemount Hotel, North Perth Braves + Villian + Rum Punch + Matt Passmore: Rosemount Hotel (Four5Nine Bandroom), North Perth Open Mic Night+Various Artists: Settlers Tavern, Margaret River
Dan Sultan: Art Gallery Of WA (Art Bar), Perth Open Mic Night with +Rob Walker: Brighton Hotel, Mandurah
Jack & Jill : Crown Perth (Lobby Lounge), Burswood
Valdaway + Indigo + Blackwater Station + Ryan Webb: Amplifier Bar, Perth
Night Cap Session + James Muller: Ellington Jazz Club, Perth
Morgan Bain: Astor Theatre (Astor Lounge), Mount Lawley
Greg Carter: Gate Bar & Bistro, Success
Danni Stefanetti: Balmoral, East Victoria Park
Karin Page : Grand Central, Perth
Roger Roger: Belgian Beer Cafe, Perth
Tracey Barnett: Gypsy Tapas House, Fremantle Open Mic Night+Various Artists: Indi Bar, Scarborough Dewayne Everettsmith: Kulcha, Fremantle James Wilson : Lucky Shag, Perth Palms + The Gooch Palms + Gunns: Mojos Bar, North Fremantle
Pacific Northwest + Kim McDonald: X-Wray Cafe, Fremantle Giggidy feat. +Last Week’s Heroes + White Avenue + World-A-Fuzzy + Sexicans: Ya Ya’s, Northbridge
Dean Anderson: Brass Monkey Hotel, Northbridge Rob Walker: Brighton Hotel, Mandurah
Pat Chow + Butter Guns + DJ James MacArthur: Mustang Bar, Northbridge
James Wilson : Chase Bar & Bistro, Baldivis Justin Cortorillo: Citro Bar, Perth
Sticky Fingers + Bootleg Rascal: Prince of Wales, Bunbury
Rolling Stones Tribute: Civic Backroom, Inglewood
Ol’ Bouginvillea + Bayou + Animal + Highway Breakdown: Rosemount Hotel, North Perth
Libby Hammer Trio: Como Hotel, Como
The Lake & The River + Paper Walls + Kites + Low Light + Santa Muerte: Rosemount Hotel (Four5Nine Bandroom), North Perth
Rockin’ A Gogo+Various Artists: Devilles Pad, Perth
Night Signals + Rag n Bone + Pippa Lester + Neil Fernandes: The Bird, Northbridge
Retrofit: Universal Bar, Northbridge
Pretty Fly : Best Drop Tavern, Kalamunda
Frenzy: Carine Glades Tavern, Duncraig
Toby: The Fly Trap, Fremantle
DJ Dillan: The Shed, Northbridge
Electrophobia: Belmont Tavern, Cloverdale
The Fix: Moon Cafe, Northbridge
Dilip Parekh: Settlers Tavern, Margaret River
Southern Cross + The Date + The Red Embers + Tashi: The Paddo, Mt Hawthorn
Louis & The Honkytonk + Catbrush + Delay Delay + more: 78 Records, Perth
Rock n Roll Karaoke+Various Artists: Devilles Pad, Perth
Tracey Barnett + Rachel Dillon + Jordan McRobbie + Matt Cal: Swan Hotel (Lounge), North Fremantle Adam Hall & the Velvet Playboys: The Laneway Lounge, Perth
The Bennies + Apart From This + Grim Fandango + Sail On! Sail On!: Ya Ya’s, Northbridge
Shotdown From Sugartown: Swallow Bar, Maylands
Trevor Jalla : Crown Perth (Meridian Room), Burswood
Cuddles: Dunsborough Tavern, Dunsborough Adam James: East 150 Bar, Ascot The Ellington 5th Birthday Bash+Various Artists: Ellington Jazz Club, Perth Howie Morgan : Empire Bar, Rivervale
Dewayne Everettsmith: The Fly Trap, Fremantle
Choppa + The Hitman: Gate Bar & Bistro, Success
James Flynn: The Laneway Lounge, Perth
Derrick Carter: Geisha Bar, Northbridge
Northern Blues n Roots with+Empire Blues + On The Level + Dom Zurzolo : The Northshore Tavern, Hillarys
Third Gear + Chris Gibbs: Gosnells Hotel, Gosnells
The Mystery Men: The Shed, Northbridge
The Elementals: Herdsman Lake Tavern, Wembley
Off the Record: Universal Bar, Northbridge The Jack Doepel Quartet: X-Wray Cafe, Fremantle
Mike Nayar: Greenwood Hotel, Greenwood
DJ Eugene: Hotel Rottnest, Rottnest Island Jamie Powers : Hyde Park Hotel (Courtyard), North Perth
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU THE MUSIC • 5TH MARCH 2014 • 37
the guide firstname.lastname@example.org Vdelli: Indi Bar, Scarborough Ben Merito: Indian Ocean Brewing Company, Mindarie Retriofit: M On The Point, Mandurah David Hamersley : Malaga Markets, Malaga Earthlink Sound + The KBI Sound System + DJ Corby: Mojos Bar, North Fremantle Flash Nat & The Action Men + Adam Hall & the Velvet Playboys + DJ James MacArthur + Swing DJ: Mustang Bar, Northbridge Brian McKnight: Perth Convention & Exhibition Centre, Perth Siren & Assassin: Port Kennedy Tavern, Rockingham The Bennies + Apart From This: Prince of Wales, Bunbury Blackbirds: Quarie Bar & Bistro, Hammond Park DFC + Nails of Imposition + Corpseflesh + 9 Foot Super Solider + Fetus Fertilizer: Railway Hotel, North Fremantle Psychonaut + Cold Fate + Legs Electric: Rocket Room, Northbridge Worst Possible Outcome + Circle One + The Reptilians + Beer Fridge + Mindless + Friendzone: Rosemount Hotel (459 Bar), North Perth The Long March + Nevsky Prospekt + Foreign Architects: Rosemount Hotel, North Perth
Eric Erdman & Hussy Hicks: Astor Theatre, Mount Lawley
The Healy’s + Renogade: The Shed, Northbridge
Wire Birds: Balmoral, East Victoria Park
Retrofit: Universal Bar, Northbridge
The Reggae Club feat+MC Cera + The Empressions + DJ Veeness: Bar Orient, Fremantle
Matt Williams: Wanneroo Tavern, Wanneroo
Why Georgia: Crown Perth (Lobby Lounge), Burswood Travis Caudle: Dunsborough Tavern, Dunsborough Jonny Dempsey: East 150 Bar, Ascot The Ellington 5th Birthday Bash+Various Artists: Ellington Jazz Club, Perth Dizzy Miss Lizzy : Endeavour Tavern, Lancelin Greg Carter: Gate Bar & Bistro, Success CoverUP: Hyde Park Hotel, North Perth Matt Gresham + Michael Triscari: Indi Bar, Scarborough Shawne & Luc: Indian Ocean Brewing Company, Mindarie Gurrumul + Dewayne Everettsmith: Kings Park, West Perth Hells Bells: Leisure Inn (Bar Indigo), Rockingham
Band of Frequencies : Settlers Tavern, Margaret River
Courtney Barnett: Mojos Bar, North Fremantle
Renae Elliot + The Shops + more: Swan Hotel (Lounge), North Fremantle
Milhouse + Peta Lee & The Deacons + DJ James MacArthur + DJ Holly Doll: Mustang Bar, Northbridge
Palmarama feat. +Palms + The Gooch Palms + Doctopus: The Bird, Northbridge Cheek2Cheek: The Highway Hotel, Bunbury Just For The Night + Hans Fiance: The Laneway Lounge, Perth Jonny Dempsey: The Principle Micro Brewery, Midland
Andrew Winton: Balmoral, East Victoria Park Dean Anderson: Brighton Hotel, Mandurah Justin Burford: Broken Hill Hotel, Victoria Park Gerry Azor: Brooklands Tavern, Southern River Open Mic Night with +Josh Terlick: Captain Stirling, Nedlands Mike Nayar: Carine Glades Tavern, Duncraig Jonny Dempsey: Chase Bar & Bistro, Baldivis The Zydecats: Clancys Fish Pub, Fremantle Ansell & Fretall: Como Hotel, Como Thierryno: Crown Perth (Lobby Lounge), Burswood
Billy Bragg + Courtney Barnett: Perth Concert Hall, Perth The Gypsy Minions: Quarie Bar & Bistro, Hammond Park Burnhabit + Who’s Your Daddy + Richard Lane: Railway Hotel, North Fremantle Brett Donald: Royal Palms Resort, Busselton, Busselton Childs Play: Sail & Anchor (Upstairs), Fremantle Ten Cent Shooters: Settlers Tavern (Verandah / 3.30pm), Margaret River Voudou Zazou: Swallow Bar (5pm), Maylands Modern Nash: Swan Hotel (Lounge / 4pm), North Fremantle Matty T Wall: Swan Hotel (Lounge / 7pm), North Fremantle Social Madness + Psychokinetic: Swan Hotel (Basement), North Fremantle David Craft: Swanbrook Winery (3pm), Henley Brook
Singer Mali + April Fish + Leah Emily Grant + Joni In The Moon: Ellington Jazz Club, Perth
Gold Panda: The Bakery, Northbridge Toby: The Fly Trap, Fremantle
Brett Hardwick: Esplanade Hotel, Fremantle
Graphic Fiction Heroes + Smooth Intentions + Room For Reason: The Paddo, Mt Hawthorn
Better Days: Sail & Anchor, Fremantle Sticky Fingers + Bootleg Rascal: Settlers Tavern, Margaret River
Big Steve Spouse Band: Swinging Pig, Rockingham
Sticky Fingers + Bootleg Rascal: The White Star Hotel, Albany
Dilla Tribute Night+Various Artists: The Bird, Northbridge
Nightmoves: Universal Bar, Northbridge
The Borrowed Few + Lynda Smyth + Singer Mali + April Fish: The Fly Trap, Fremantle
The Autumn Isles + Three Hands One Hoof + Todd Pickett: Newport Hotel, Fremantle
Formidable Vegetable Sound System + The Brow + Lexie Mgee & The Channel Three: Railway Hotel, North Fremantle
Nathan Gaunt: The Vic Hotel, Subiaco
Chainsaw Hookers + The Blazin’ Entrails + Scalphunter + The Shakeys + Black Witch: Amplifier Bar, Perth
Mossy Fogg + Sidewalk Diamonds + Noah Skape & The Teenage Wasteland + Jacob Diamond: Ya Ya’s, Northbridge
Siren & Assassin + Aiden Varro: Swinging Pig, Rockingham
Tijuana Cartel: Rosemount Hotel, North Perth
Astrid Ripepi + Bernadine: The Laneway Lounge, Perth Justin Cortorillo: The Saint, Innaloo Huge + DJ Andyy: The Shed, Northbridge Soul Corporation: Universal Bar, Northbridge Lauren O’Hara + Guests: X-Wray Cafe, Fremantle
Auto Pilot: Fremantle Arts Centre, Fremantle Chopper + The Hitman: Gate Bar & Bistro, Success
Howie Morgan Project: The Saint, Innaloo
Steve Hepple: Gosnells Hotel, Gosnells Adrian Wilson: Hyde Park Hotel (Courtyard), North Perth Ensemble Formidable: Indi Bar, Scarborough Nathan Gaunt: Indi Bar (1pm), Scarborough Retriofit: Indian Ocean Brewing Company, Mindarie The Mojos: Kalamunda Hotel, Kalamunda Wesley Goodlet Jamboree Scouts: Lakers Tavern, Thornlie Nathan Gaunt: M On The Point, Mandurah Co-Lab Jam Band: Moon Cafe, Northbridge Jack Royale & The Hot Shot Playboys + DJ Holly Doll: Mustang Bar, Northbridge
1000S OF GIGS AT YOUR FINGERTIPS. FOR MORE HEAD TO THEMUSIC.COM.AU 38 • THE MUSIC • 5TH MARCH 2014
Wire Birds: Brass Monkey Hotel, Northbridge Shaun Rammers: Ellington Jazz Club, Perth
Kris Buckle: Dunsborough Tavern, Dunsborough
Crush + DJ Matt: The Shed, Northbridge
Arkayan + Midnight Boulevard + Approaching Opposite: Ya Ya’s, Northbridge
GOLD PANDA: 9 MAR, THE BAKERY
Gravity + Tahli Jade: Newport Hotel, Fremantle
Ibis Elm + Mind Canary + Crawjaw + Pebble Mouse Creek Band: Swan Hotel (Basement), North Fremantle
The Fab Three + Guests: X-Wray Cafe, Fremantle
Antics feat. +Custom Royal + The Yokohomos + DJ John Black: Claremont Hotel, Claremont
Rhythm 22: M On The Point, Mandurah
Greg Carter: Swinging Pig, Rockingham
John Bannister + The Charisma Brothers: X-Wray Cafe, Fremantle
The Squeeze: Civic Backroom, Inglewood
Howie Morgan Duo: Sail & Anchor, Fremantle
Big Girls Blouse + more: Swan Hotel (Basement), North Fremantle
Electrophobia: Whistling Kite, Secret Harbour
Frank G: Carine Glades Tavern, Duncraig
Wide Open Mic+Various Artists: Mojos Bar, North Fremantle Triple Shots: Mustang Bar, Northbridge Bex & Turin’s Wide Open Mic: Rosemount Hotel, North Perth Big Tommo’s Open Mic Variety Night: Ya Ya’s, Northbridge
Open Mic Night with +Josh Terlick: Brass Monkey Hotel, Northbridge Slide Machine + Kerry B Ryan + One Thousand Years: Charles Hotel, North Perth Trivia: Clancys Fish Pub, Fremantle Howie Morgan : Crown Perth (Meridian Room), Burswood Hans Fiance: Crown Perth (Lobby Lounge), Burswood Ben Merito: Lucky Shag, Perth Matty’s Jam Night+Various Artists: Mojos Bar, North Fremantle Danza Loca Salsa Night: Mustang Bar, Northbridge Queens Of The Stone Age + Nine Inch Nails + Brody Dalle: Perth Arena, Perth Siren Song: Swinging Pig, Rockingham The Tom Tale Jazz Quartet: X-Wray Cafe, Fremantle Lumpy Dog + Custom Royal + Childs Play + The Dukes of Porn: Ya Ya’s, Northbridge
ALBUMS INTO FILMS TOMMY
WHERE ARE THE TUNES FROM? The Who’s 1969 concept album about a deaf, dumb and blind Jesus figure who’s good at pinball. Yeah, great imagery there.
WHO’S IN IT? The Who obviously, plus Tina Turner, Eric Clapton, Elton John and pre-zombie Jack Nicholson.
BEST SCENE Tommy beats Elton John at pinball; Elton John does not flip out and attack anyone.
MORAL OF THE STORY If you’re non-responsive, you can still become really good at amusement games.
WHERE ARE THE TUNES FROM? Pink Floyd’s attempt to stop kids from going to school. That might be a slight generalisation.
WHO’S IN IT? Bob Geldof, being marginally less charitable than he is now thanks to his acting skills.
BEST SCENE When Pink shaves off all his hair and becomes a Nazi. You probably have to watch it for any of this to make sense.
MORAL OF THE STORY Yeah, school sucks sometimes, but that doesn’t mean you should beat up minorities.
SGT PEPPER’S LONELY HEARTS CLUB BAND WHERE ARE THE TUNES FROM?
The album where the world’s greatest band started getting bigger than four guys from Liverpool.
WHO’S IN IT? Not The Beatles, but Bee Gees and Peter Frampton. Even Aerosmith. Not a joke.
BEST SCENE Every time Ringo has a line. Enthralling stuff.
MORAL OF THE STORY No matter how bad you screw up, at least you’re not making Magical Mystery Tour... THE MUSIC • 5TH MARCH 2014 • 39
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