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2 • THE MUSIC • 16TH APRIL 2014

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themusic 16TH APRIL 2014



INSIDE NEWS In Hearts Wake


Jeff Lang Janelle Monae and Kimbra Mitchell Freind The Waifs Little Bastard Chainsaw Hookers

THIS WEEK In The Pines Record Store Day Fremantle Street Art Festival

FEATURES The Jezebels Bliss N Eso The Used Cloud Nothings Twelve Foot Ninja Kid Kenobi Buried In Verona Puppet Up SCNDL X Black Lips

ALBUMS The Menzingers The Shakeys







Franky Walnut The Birds Of Satan

LIVE West Coast Blues ‘N’ Roots Elizabeth Rose Thief

THE GUIDE Opinion Columns Eat/Drink 4 • THE MUSIC • 16TH APRIL 2014



Fox Cat Rabbit

Scarlett Stevens (San Cisco)





coming soon THURSDAY 8TH MAY








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Street Press Australia Pty Ltd


EDITOR Daniel Cribb


MUSO EDITOR Michael Smith


GIG GUIDE Justine Lynch



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.



PHOTOGRAPHERS Ebony Frost, Elle Borgward, Jacinta Mathews, Paul Bartok, Ashley Westwood, Kieren Chew, Rhys Machell, Ted Dana


ART DIRECTOR Nicholas Hopkins

ART DEPT Eamon Stewart, Brendon Wellwood, Julian De Bono, David Di Cristoforo

Roaring with hunger and charging through the crowds, Saurus will be joined by some of the world’s best outdoor theatre, music, comedy, circus and cabaret performers for three jam-packed days of shenanigans, laughter and outright shock. Fremantle Street Arts Festival held every Easter weekend attracts thousands of people who flock to witness breathtaking performances. It runs 19-21 Apr. Head to to check out the program.

There’s a reason we bang on about In The Pines: the festival is one of the best examples of the local music scene celebrating what it is that makes everyone else go, “Why are there so many great Perth bands?” This year’s line-up, which hits Somerville Auditorium 20 Apr, has gone full new(ish) blood, with Dianas, Gunns, The Floors and Antelope joining more established acts like The Community Chest and DM3. Tickets from

ADMIN & ACCOUNTS Loretta Zoppos, Shelley Neergaard, Jarrod Kendall, Leanne Simpson

DISTRO Anita D’Angelo


CONTACT US Tel 08 9228 9655 1/205-207 Bulwer St, Perth WA PO Box 507 Mount Lawley WA 6929


Throw back to the glory days of the record store on Saturday with Record Store Day. In an unfathomable time before illegal downloads and endless singles, record stores once reigned supreme in mainstream society, not just the bearded hipsterdom. To celebrate the glory of the record, stores everywhere will be offering live music parties, discount discs and a horde of vinyl trash ‘n’ treasure for your nostalgic little hands to sift through.



national news





After their regional announce last week, In Hearts Wake have stepped it up a notch with a full list of national headline dates to launch their new record Earthwalker. Alongside a huge supporting cast which includes Dream On Dreamer, Being As An Ocean, Endless Heights (not appearing in WA) and Sierra, the Byron boys will perform 4 Jun, YMCA HQ, Perth (all ages); 5 Jun, Amplifier Bar, Perth; 7 Jun, Corner Hotel, Melbourne; 8 Jun, Arrow On Swanston, Melbourne (all ages); 11 Jun, Zierholz, Canberra; 12 Jun, The Small Ballroom, Newcastle; 13 Jun (18+) & 14 Jun (all ages), Bald Faced Stag, Sydney; and 15 Jun, The Tempo Hotel, Brisbane. The full tour is proudly presented by The Music.


Like Father, Like Son is the emotive story of two families thrown together after its discovered their young sons were switched at birth. Engaging, engulfing and ultimately refreshing, it’s a piece of cinema that challenges your perception of ‘family’, and makes you realise that paternal love is thicker than blood. The Japanese film was a jury prize winner at last year’s Cannes Film Festival and is screening in select movie theatres around Australia from tomorrow.


Following on from last week’s John Newman support announcement, Saskwatch are excited to inform they’ll be bringing their funk soul loving back for some headline launch dates in support of their second record Nose Dive. Catch them 18 May, Bond University, Gold Coast (1pm); 13 Jun, Soundlounge, Gold Coast; 14 Jun, The Zoo, Brisbane; 19 June, The Small Ballroom, Newcastle; 20 June, Oxford Art Factory, Sydney; 21 June, ANU Bar, Canberra; 27 Jun, Settlers Tavern, Margaret River; 28 Jun, Amplifier, Perth; 29 Jun, Mojo’s Bar, Fremantle; 4 Jul, Karova Lounge, Ballarat; and 5 Jul, Corner Hotel, Melbourne.

Aussie guitar virtuoso Jeff Lang is adding to his formidable canon with new record I Live A Lot In My Head These Days, and will showcase the new songs this winter. Proudly presented by The Music, catch the launch tour 7 Jun, Fly By Night, Fremantle; 8 Jun, Ravenswood Hotel; 12 Jun, Brass Monkey, Sydney; 14 Jun, Heritage Hotel, Bulli; 25 Jun, Lizottes Central Coast, Kincumber; 26 Jun, Lizottes Sydney, Dee Why; 27 Jun, The Basement, Sydney; 28 Jun, Camelot Lounge, Sydney; 29 Jun, Lizottes, Newcastle; 4 Jul, Caravan Music Club, Oakleigh; 5 Jul, Thornbury Theatre; 11 Jul, Mullumbimby Town Hall; 12 Jul, Brisbane Powerhouse; 18 Jul, Williamstown RSL; 19 Jul, Street Theatre, Canberra; and 20 Jul, Beav’s Bar, Geelong.


One does not simply credit themselves as being “the greatest rock’n’roll band in the world” if they don’t have the chops to justify it. That’s why we’re stoked with the impending arrival of Arizona legends Supersuckers. Put on your clean undies because your pants are going to be rocked right off! The band perform 19 Jun, The Zoo, Brisbane; 20 Jun, Manning Bar, Sydney; 21 May, Ding Dong, Melbourne; and 25 Jun, Astor Theatre, Perth.


Responsible for some of the finest electronic sounds to come out France throughout the past decade, music and fashion label Kitsuné continue to design the standard others try to emulate. Now, returning to Down Under for the second time, is the Kitsuné Club Night Australian Tour, headlined by producer du jour Pyramid – get a smooth serving of beats 9 May, Laundry Bar, Melbourne; 10 May, Chinese Whispers, The Underdog, Brisbane; 16 May, The Bakery, Perth; and 17 May, Civic Hotel, Sydney. Synth sweetheart Chela will also appear at the Perth and Sydney events.




They conquered in the ‘90s, disappeared for roughly ten years, then returned in the mid‘00s to continue their reign. Earth helped define what we now know as drone metal, so experience a religious awakening when the Americans play 17 Jun, Crowbar, Brisbane; 18 Jun, Rosemount Hotel, Perth; 19 Jun, Manning Bar, Sydney; and 21 Jun, The Hi-Fi, Melbourne. They also play Dark Mofo in Tasmania.



Few double bills in 2014 will hold a flame to the pop/soul experience set to explode on Australian stages next month, with the mighty Janelle Monae and Kimbra ready to shake the good vibes right out of you. These two incredible performers will lead full bands on the Golden Electric Tour, happening 16 May, Challenge Stadium, Perth; 19 May, Hordern Pavilion, Sydney; 21 May, Brisbane Convention & Exhibition Centre; and 26 May, The Plenary, Melbourne. THE MUSIC • 16TH APRIL 2014 • 7

local news


Beginning with a psychedelic mash of drum breaks and Nanna organs, Dawn Of The Head starts and finishes with the intensity of Dolph Lundgren in his prime, leaving you wondering when the next instalment of Idiocracy is coming. It’s all that can be expected of Funkoars, who have just wrapped up their latest album. Trials, Sesta and Hons are hitting the 15-year mark this year, and have not lost any of the cheeky effusiveness and cutting lyricism that has kept them at the top of their game. Hear Dawn Of The Head and more at capitol on 23 May and studio 146, Albany on 24 May.




The past three years of living life in different countries, hemispheres and time zones has seen touring taking a bit of a backseat for The Waifs. Individually, Donna, Vikki and Josh have been busy travelling, relocating and nesting with family. However, music has always remained an essential part of everyday life. This May finds The Waifs temporarily reunited on home soil - and what better way to celebrate than with a little tour around the country? Catch ‘em at Bunbury Entertainhment Centre, 21 May; Astor Theatre, 22 May; Kimberley Moon Experience, Kununurra, 24 May; and Fly By Night, 25 May.


Perth blood rockers, and a shared nod as one of our favourite local live bands, Chainsaw Hookers have just launched a Pozible pre-order campaign to aide in the recording and manufacturing of their upcoming full-length album. Up for the offering are some exclusive merchandise items and the opportunity to join them in the studio to lay down some vocals on the album. The news of any new ‘Hookers material is an exciting prospect, so head along to if you want to get involved.


Girl falls for boy. Boy falls for girl. But when the malice of an evil duke tears them apart and forces them to flee into the forest, can love still win the day? Or more importantly: can a woman still win her man while pretending that she’s a he? If this all sounds like an over-the-top Hollywood plot, then you should know that As You Like It was around long before your Bays and Tarantinos. Playful, passionate and enchanting, this topsy-turvy tale of Rosalind and Orlando from 17 May-1 Jun at the State Theatre Centre, thanks to Black Swan Theatre Company.


Armada Music, founded by Armin Van Buuren, is a name that needs no introduction. Over the years it has been the home of massive talents such as Andy Moor, BT, Chicane, Dash Berlin, Gabriel & Dresden, Hardwell, Paul Oakenfold, Paul van Dyk, Roger Shah and Markus Schulz to name a few. On 3 May, Armada Night explodes onto the Metro City stage with the next generation of superstars who are currently dominating festivals and shows worldwide: Andrew Rayel, Jorn van Deynhoven and MaRLo all entertain your listening pleasure. Oztix for tickets.

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Having firmly established itself as a “must attend” event on the calendar for the Pilbara region over the past couple of years, the North West Festival makes a welcome and wicked return to Port Hedland from 22-24 Aug. With artists such as The Living End, The Cat Empire, Vance Joy, Paul Kelly, Bernard Fanning, Hilltop Hoods, 360 and more flooding the red centre in recent years, it’s had to enlarge to handle the bigger crowds, hence the weekend-long stint for the fest this year. The line-up is TBA, but keep an eye here and for details.


The New York Times called it “astonishing and brilliant”, The Scotsman “dazzlingly intelligent”. Charles Darwin was unavailable for comment. That aside, be sure that Canadian Baba Brinkman’s The Rap Guide To Evolution is something to behold. A smash hit at the Edinburgh Festival, and off-Broadway, Brinkman’s bringing the one-man show to Australia from 19 May to 27 Jun. If you wanna catch an intelligent, entertaining and exciting science class, catch him at Albany Entertainment Centre, 19 May; Mandurah Performing Arts Centre, 22 May; and Octagon Theatre, 24 May.

On 30 Jan 1984, it is said that the whole of Dublin grieved the early death of Luke Kelly. He left an indelible mark as one of the greatest folk artists of the 20th century, and his music is widely regarded as one of Ireland’s cultural treasures. Dublin singer/songwriter/multiinstrumentalist Chris Kavanagh was born and raised on Irish music, and has been singing Irish folk songs since he was three years old. Luke Kelly was one of his earliest inspirations, and he brings his music to Riverside Theatre on 11 Jul. Ticketek for tickets.


The legacy of legendary singer-songwriter Harry Nilsson will live on locally with Tim Freedman from The Whitlams taking his Freedman Does Nilsson – A Live Imagining shows on the road. Harry Nilsson was a prolific hit songwriter through the ‘60s and ‘70s, whose body of work is going through a resurgence of interest at the moment. A 17 disc box set called The RCA Albums Collection has just been released, and Freedman continues the homage to the legendary musician at Ellington Jazz Club on 22 Aug. for tickets.



After gigging for a year amidst the Perth swirl, learning a lot and scoring some killer shows, Moana have crafted an unusual and magical style that meshes dark atmospheric rock, bluesy psychadelia, Bjork-esque oddity and gritty grunge, all saturated in the spooky, seductive spell of Moana Lutton’s wild vocals and intoxicating stage presence. Hear them launch their brand new EP A Mouthful Of Birds at Mojo’s on 25 Apr, featuring The Floors, Spacemanantics, Catbrush and David Craft in support. $10 entry.

local news



Mitchell Freind is a singer-songwriter originally from Dowerin, Western Australia. Also a member of the band Hostile Little Face, Freinf has been on the solo track for a little while now on the side, as a creative outlet for his more “dialed back” side. With around 12 years of musicianship behind him, he’s definitely experienced, but solo performance is a new angle for him. Last year, he successfully raised enough funds to get his debut EP off the ground, and you can get a taste of it when he launches it at Ya Ya’s on 3 May with Tourist and Trav & Jay supporting.


Following the sell out success of Good Life, Future Music Festival’s all-age younger sibling, Good Life After Parties have sprung up around Australia, and Perth’s has just been announced. No stranger to underage parties, Metropolis Fremantle joins forces with Good Life on 23 May to bring something new to the next generation of events, A Night Carnival. Featuring Melbourne Good Life DJ’s Rojdar, Marto and DJ Madzz, as well as Metropolis Fremantle resident DTuck there are sure to be beats hard enough to rival any 18+ party. Tickets thorugh Oztix.



Armed with a swag of new album tracks ready to be heard for the first time, Little Bastard are hitting the highways for a national tour, bringing their raucous, energetic and uninhibited ways around the country. Their turbulent stage performances are well known for getting sweaty and breathless, sending audiences home a little out-of-whack heading towards a heavy hangover. The band took their “no-bullshit approach” into Sydney’s Jungle Studios to record their debut album, which they now bring to Prince Of Wales, Bunbury, 19 Jun; Settlers Tavern, Margaret River, 20 Jun; and Mojo’s, 21 Jun.


Due to a serious medical condition affecting Joel Grind’s hearing, Toxic Holocaust, Skeletonwitch and Heathen Skulls have decided that the upcoming Australian tour will unfortunately need to be postponed. Per the band’s management: “Joel is extremely disappointed that he must pull out of the scheduled tour, but hopes fans will understand that by treating this condition now it will ensure he can continue performing for years to come.” Refunds available at the point of purchase.


You probably have stories about some of the crazy things you have seen in the Hatched National Graduate Show over the years. Known for its ambitious and momentous nature, Hatched is a curated showcase of new art from Australia’s top graduates. Returning for its 23rd year, the 2014 edition of Hatched hosts stiking images, unsettling video works and bold installation art encompass a wide span of cutting edge ideas and processes. It opens in the Perth Cultural Centre on 9 May, with the exhibition running at PICA ‘til 29 Jun.


From The producers who brought you Comicus Erectus And Il Dago comes The Good, The Bad, And The Ethnic, starring Fat Pizza and Housos’ Rob Shehadie and Tahir, George Kapiniaris and Italian comedy superstar Joe Avati on 23 and 24 May at Astor Theatre. If you’ve seen those shows – pretty much Australian heritage - you know what you’re in for: a hilarious show jam-packed with stand-up, songs sketches, videos and a heap of surprises with four of the country’s most talented comedians. Tickets on sale now through

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KEEPING VIGILANT On a rainy Tuesday afternoon in Newtown, The Music met up with The Jezabels’ Hayley Mary to talk feminism, the distinction between high and low culture, and being on The Brink. She chats to Hannah Story. Cover and feature pic by Cybele Malinowski.


here’s something refreshing about speaking to The Jezabels. There’s a sense of honesty and earnestness about everything from their music to the state of the music industry coming from Hayley Mary, frontwoman for the internationally beloved group. She’s clad in all-black with thick eyeliner; it’s a gothic outfit in line with her interest in the style, the music and even the literature. She talks freely as we walk the streets of Newtown

pub-rock, they love The Drones, they love dudes singing raw music, and I know what we could do to get a good review from all the people that have always and will always hate us, but I don’t ever want to do that. Because I feel like what I do is quite a girly thing and I don’t ever want to change it to get the recognition of the fathers of music criticism. I want to keep going despite them. “I think the other thing is that it’s cool to stay somehow alternative, because I know what happens to girly music is that it becomes mainstream. I know that we are becoming more and more mainstream

ourselves, that’s one thing I’d like to do, but I don’t really think of myself as a role model. I just kind of am just an angry person that seems to be on this mission for god knows what reason. I don’t even know what I’m doing most of the time, to be honest. I just kind of wing it.” Mary ties this idea of masculine music criticism to a distinction between “masculine” high culture, and things that are more feminine. “I’m cool with getting a negative review if it’s intelligent and thought-out and all that stuff, but I think that sometimes people just dismiss us completely. I’ve been called things like histrionic, and I’m cool with that, but they think it’s a bad thing, whereas I think I’m doing it on purpose because I’m alluding to gothic literature or something that they just haven’t read. “There’s a whole tradition of stuff that appeals to women that is considered low culture and crap, but sometimes I just think it’s because it appeals to the feminine side of people that it’s considered low culture. It’s something that’s started bothering me as I got into this industry, if you look throughout history at what is considered crap, or the standard of bad, it’s also, I don’t think coincidentally, defined by who likes it, and it’s always teenage girls. And the standard of what’s good for music is always middle-aged men that like it. I don’t think that’s a coincidence. I think it’s inherently the kind of sexist standpoint of music criticism.”


without umbrellas, about where to go for lunch or indeed, the nature of music criticism itself. When asked about their nomination (and subsequent win) at The Rolling Stone Awards for Single Of The Year for The End, Mary is frank. “I always feel more hopeful about People’s Choice Awards than I do about Critic’s Choice Awards for us. I feel we’re a little bit more of a people’s band.” They certainly perceive themselves in that way and attract a wide cross-section of people to their shows. “We just attract really normal kind of anyone people, like there’s not a type, there’s not a style, there’s not a scene, there’s just a lot of single 40- or 50-year old men, a lot of young girls, a lot of couples, a lot of gay guys and gay girls, a lot of just anyone and everyone. It’s really just very mixed. I don’t think they have anything in common with each other particularly, it’s just that they are all at our show… It’s a good and a bad thing because sometimes a scene can help you, but also I guess it’s cool to resonate with just the common person for no apparent reason.” Critically however, the circumstances seem different. Mary has a lot to say about the way The Jezabels’ albums and EPs have been received. “The one thing I don’t want to give into is certain streams of criticism that require that old-fashioned notion of authenticity you have to have to be good, particularly in this country. They love 10 • THE MUSIC • 16TH APRIL 2014

and therefore our critics will hate us even more, but the thing I’d love to do as a band and as a person, is to stay good and also be popular and prove that those things are not mutually exclusive. A lot of bands do it, like Depeche Mode, and The Pixies who we supported recently. And they’re great, great pop bands that are alternative, subversive and amazing, and they’re pop. I just feel like in this country in particular there’s this misunderstanding. We don’t mind international bands who do it, but we don’t want our own bands to do it or something. Maybe our own bands don’t have the avenues to do it. I’d like to be a pop band and continue to be

She admits that sometimes she feels resentful, but then acknowledges her way of dealing with the challenges of working in a male-dominated industry. “I try not to think about it way too much but I do think about it way too much. You try and surround yourself with good people, that’s how you deal with it. It’s not the hardest life, I live, I live a pretty easy life.” These challenges are part of the reason The Jezabels consider themselves a feminist band. Originally their material was quite overtly gender-focused, as a reaction to the music prevalent in Mary and keyboardist Heather Shannon’s hometown of Byron Bay: hardcore and blues. Now their music also talks about age. “Age is, kind of everyone can relate to that, getting older, becoming cynical or whatever. But I think you could argue that it still is more pertinent to women because they get less sexy as they get older, whereas men can become more sexy. “I remember reading an interview with Kylie Minogue once, talking about that – how pop stars have to get plastic surgery and look great, particularly women, but rock stars who are more often men, they can be Keith Richards and look really uncool, well not uncool, but look cool by being old and haggard. It’s not really just about looks; it’s just about that life cycle where you start feeling like you’re less valuable to the world, and you’re less up with the times and technology and stuff.

NO ROLE MODEL Mary doesn’t see herself as a role model, although she admits that The Jezabels have a clean image, one far removed from that of the woman who arguably generated the most talk in 2013: Miley Cyrus. “I don’t think we consciously try to have a clean image but I’m just into gothic stuff so I don’t really like to get my skin out too much. It’s probably insecurity rather than being against it or anything like that.

I’m sure that’s not a gender issue but it does definitely get women down, I think, maybe moreso than men.” It becomes clear that Mary struggles with the same issues around gender and self-esteem as many other women, young and old. “I’m definitely a lot more confident than I actually am when I’m on stage. I feel more powerful on stage than I actually feel. It’s kind of like you can be what you want to be on stage, so I sort of can define who I want to be; perhaps someone with a strong voice and someone who’s smart as well as attractive and all of these things you can pretend to be and people might believe you if you do it convincingly. Off stage I don’t feel like any of these things, I feel like I have no voice whatsoever and that I’m just a weak little person.” Mary and the rest of The Jezabels – Shannon, drummer Nik Kaloper and guitarist Sam Lockwood – head out on tour this month following a gap of more than 18 months since their last string of Australian headline shows. They played the Laneway circuit soon after they returned home from touring and recording second album, The Brink, in London, and were admittedly daunted about playing after “the biggest act in the world” Lorde. “‘Will they still like us? Will they remember us?’” Mary wondered. But they’re more at ease now. “I’m glad to be back and people have been really good to us so I don’t know,

“I think that it’s good to experiment with female sexuality a bit more. I guess it depends on whether you think you need to be a role model or whether you think that your job is to provoke discussion, like Miley Cyrus. If you think that the artist’s role is to provoke discussion, then she is a very important artist at the moment, she’s probably the best. But if you think that it’s her job to be a role model, which I tend to think it isn’t, because the role model people think she should be portraying is a very conservative one, I think she does it quite tastelessly and sort of without reason – but I also think we wouldn’t be talking about this if it wasn’t for her, so I kind of like her in that way. I like when women do it with some kind of impact and we talk about it.”

you can’t tell what’s going to happen, but we’ve had a really great reaction. I’m stoked about it.” The tour is an excuse to show off The Brink, a more focused album from the quartet than their talked-about debut LP, 2011’s Prisoner. “The first thing I think is that it’s more coherent, it’s more song-driven, and it’s warmer,” says Mary. “It’s probably more optimistic, musically. Lyrically it might be ambiguous; it’s kind of a bit depressing at times, but if we look at the lyrics in the context of the songs I think it’s a more positive record in general, which is the result of us being in a more negative place I think when we wrote it. We were actually all quite troubled at the time of writing but we got through it via writing. It sounds really wanky but it was quite therapeutic writing that album. The result of it is leads people to believe that it’s probably more vacuous because it’s not as dark but it’s that ‘We need to write a record that’s not as dark, otherwise we’re going to feel shit’. “It’s about hope, really; so was Prisoner though, hope and fear, and kind of teetering between them both. But I think it’s more hopeful, it’s more pushing towards the hope side of the spectrum.” WHAT: The Brink (MGM) WHEN & WHERE: 9 May, Astor Theatre; 10 May, Groovin The Moo, Bunbury THE MUSIC • 16TH APRIL 2014 • 11


SEND IN THE CLOWNS Max McKinnon aka Eso is hanging out to hit the road as part of Bliss N Eso’s travelling circus roadshow with his bros Seth Sentry and Horrorshow, but as he tells Chris Yates, there’s plenty more keeping him busy.


f you want the real, I have not slept. And not in that party-raging way,” he says, sounding a little worse for wear. Not one to shy away from taking on extracurricular activities even when the group is flat out, his latest venture still might come as a bit of a surprise to his fans. A good surprise.

“I was down in Canberra performing in my first role in a movie,” he says, like he can barely believe it himself. “No shit! Do you know Alex ‘Shooter’ Williamson? I did a YouTube video with him called You Can’t Say This Word and it’s about the word ‘cunt’. He’s put together this full budget motion picture called Me And My Mates Vs The Zombie Apocalypse and it’s him, Greg Fleet and Jim Jeffries, and I played a small part in it last night. It was like a night time shoot from 6pm to 6am so a got a flight at 7am and they said ‘Alright, you’ve got to do some interviews!’ so I said ‘Alright, give me a Red Bull,’ and here I am.” Since the release of Circus In The Sky, which hit number one on the national ARIA charts, Bliss N Eso decided to put on the biggest production yet for their live shows. “It’s been amazing,” he says. “We’re not just a DJ and two MCs anymore, we’ve sort of amped it up to another level. We’ve got a crazy drummer, a guy called Darren (Mathiassen) from Shapeshifter, we’ve got a great pianist, we’ve got Ceekay Jones over on guitar, he was on our single My Life, and so yeah it’s been amazing watching the tracks come to life from the CD versions to this roaring sound – it’s like riding a fucking huge wave. The lyrics – I don’t know what it is about natural drums and the timing – but the lyrics feel you can play with them a little bit more, so you can do different, extra melodies and stuff which keeps it fresh for us as well. I find when I freestyle to real drums my flow is more like liquid than the [drum machine sound]. Then I’ve got to be the flow because the beat is so stop and start.” Having already treated the capital cities and major centres around Australia to a live rendition of Circus In The Sky, they decided they wanted to take things up to the next level for a run of shows around the country which has turned into the behemoth, 15-date Circus Under The Stars tour. “We’ve done so many shows that were little pub gigs all around Australia when we first started, we’ve all really

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liked playing outdoors, having that nature vibes happening,” he says. “We started off going to all of these small towns all around Australia, that’s how we saw this beautiful country. As we’ve grown in success we haven’t really been able to hit all those places. We’ve hit the big cities and then a couple of other places so we thought it was definitely time to give back to the people and remember how we started. And how we started was as a live act and hitting up ‘your’ town when the town was thirsty for anything to come along and say hello. That’s a real big part of why we wanted to do this tour. And it’s not a small show, you know? I mean we’ve got a huge production on this, we’ve got a band – what we had at the Big Day Out we’re bringing on tour. We’ve got fucking Seth Sentry, we’ve got Horrorshow, and that’s a mini-festival in itself.” As they take Circus In The Sky to its ultimate conclusion, you would forgive the guys if they hadn’t had time to pursue many activities outside the promotion of that record, but of course that’s not the case.

“We’ve just recently come from playing for the troops in Afghanistan,” he says. “We were over there for eight days and we did six shows at six different bases, in September last year. That was an absolute eye-opener. I mean the closest I want to get to war is in my lounge room in my flip flops playing Call Of Duty. With the amount of soldiers – guys and girls over there – that were hitting our social media and saying ‘You have to come over here’ we had to do it Bliss N Eso are not for war at all, but it’s happening and there’s people over there that are risking their lives so you know, to be able to give them that break and supply them with a smile and a reason to jump around and have some fun, that was amazing. “We were basically in the bases, in the war zone, up in the Hercules with a bulletproof vest on, I heard SAS stories that I wouldn’t even be allowed to tell you, mate. I didn’t want to go at first, but it was a once in a lifetime opportunity.


“From there we went to Canada and did a tour from the west coast to the east coast over three weeks, and during that time I actually stopped drinking. The industry supplies the artist with quite a bit of booze at the end of the show as I’m sure you know, and I was one that kind of fell victim to drinking a little bit too much, so I am now four months and eight days off the piss. Everything has been a lifechanger this last six months. At the end of the Canada tour I got married in Vegas so it’s this whole new intergalactic world which has opened up for me.” WHEN & WHERE: 2 May, Signal Park, Busselton; 3 May, Wellington Square


Food •

Coffee days


• till

Sound late

 Wednesday 16/4  Showcase with Simon (7:30pm –

– Persson 9:30pm)

Thursday (8pm

Jack 10pm)



Quartet free

Dice $5

with special entry from

guests 8:30pm

17/4 – –


Friday 18/4 – The (8:30pm – 11:30pm)



Singer-Songwriter Jessica Moyle – free

Saturday 19/4 – DJ Dick Tracy (8:30pm – 11:30pm) – free Sunday 20/4– John Bannister and The Charisma Brothers (4pm – 6pm)DJ Click Brown Fox (7pm – 10pm) – free Monday 21/4 – Gypsy Masala (7:30pm – 9:30pm) – free Tuesday 22/4 – The Tom Tale jazz Quartet (7pm – 10pm) - free


 Lot 4 Fremantle

• 3 • 9430 9399 •

13 Essex St

THE MUSIC • 16TH APRIL 2014 • 13


CALL TO ARMS It’s been a tough couple of years for The Used frontman Bert McCracken. He’s conquered an addiction that once ruled him, but is still in the depths of another fight. Daniel Cribb prepares for battle.


hen you spend April Fools’ Day in the “Amsterdam” of the United Stated among a touring party of four bands, shenanigans are a given. In the midst of a month-long co-headline tour promoting their new record Imagery Enemies with old mates Taking Back Sunday, Australia’s Tonight Alive and Florida’s Sleepwave, there’s chaos surrounding The Used frontman Bert McCracken when he answers his phone. “There’s all sorts of shenanigans – Dan [Whitesides, drums] grabbed a trashcan and put it in the bunk area, someone did the whole cellophane on the toilet seat thing; people went wild,” McCracken laughs backstage at Ogden Theatre in Denver, Colorado, having just come off stage. Had such a conversation been instigated during the touring cycle of 2012’s Vulnerable, McCracken may have come across a little less focused. In 2012, the vocalist checked himself into rehab to deal with drug and alcohol abuse. “I was on a real destructive blackout phase, drinking, lying to everyone I knew, and even in rehab still sneaking and drinking. I did check myself in and I did get help, and I think in that context, that’s the only real way I was able to climb on top of my so-called [demons],” he says. “I can never be the guy who has four beers, or two beers, for me it’s all or nothing; I’m the best at it, so you cannot beat me. My life is just so much more balanced and happy without it… in Australia there’s a lot of heavy drinking going on which is culturally more acceptable than even smoking weed, and it blows my mind.” The drinking culture isn’t the only thing McCracken still hasn’t come to grips with. Moving to Australia with his wife and daughter in 2013, he’s seeking dual citizenship with America, but is willing to go to jail rather than vote in Australia because he believes the country’s political system is closer to “fascism” than democracy. “It’s hard because the Commonwealth was written so long ago. I don’t believe that democracy is possible when it’s based on antiquated ideas – in my mind, 100 years is antiquity… when the rules of the system to control

people only reflect old and out-of-date ideas, then we need to rethink all the rules, and who writes the rules is a really important part of this ‘democracy’. Being an anarchist at heart, I don’t believe in that type of democracy.

his sights from internal turmoil and direct it towards political issues. For the first time, The Used have produced a record with a political edge. “Now that I’ve been in Australia for a while, you really have to watch what you eat and drink [in the US]; it’s almost like everything’s poison out here. It’s really rampant for floriated water and genetically modified everything in the food. It’s slowly getting better out here and I think the people are becoming aware, but it’s crazy; the United States is a crazy place and I have a lot of hope for the future of the United States, but only time will tell – it’s up to the people. “People have to become informed about what’s going on in the world; what’s going on with the business of their government systems and politics or nothing will ever change. In the new record we talk about how this revolution has to start with each individual person; humanity depends on each one of us individually, so that’s kind of where we’re going – whether or not you’re ready to take the ride, that’s up to you.”

“YOU CAN EITHER VOTE FOR THE GUY WHO HATES HOMOSEXUALS OR THE GUY WHO DOESN’T CARE FOR FAGS.” “Being in Australia, with free healthcare, the system is so much better in ways, and it’s so much worse in ways. There’s bipartisan nonsense everywhere – I think in the last election for prime minister, it was really tough… you could either vote for the guy who hates homosexuals or the guy who doesn’t care for fags, you know. It’s pretty discouraging.” It was overcoming his addiction that allowed him to break

Long-time fans needn’t fret, though, as their new mindset is accompanied by a healthy dose of pop-influenced personal tunes. The pop sounds can partly be attributed to returning to producer John Feldmann – the Goldfinger frontman who signed the band back in 2001. With every new record, The Used’s sound and lyrical focus evolves into a new beast, but McCracken stresses this time they’ve found something that will stick. “My background of music is Michael Jackson first and then I kind of came into a real pop world growing up, so I have a strong love for a good melody that gets stuck in your head – I love a good melody. The magic behind the record is that it’s a snapshot of whatever’s going on in that artist’s life at the moment, but I doubt very much that I will lose passion for people who have no ability to fight for themselves.” WHAT: Imaginary Enemy (UNFD)

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HAPPY TO BE HEARD You might not realise through all the feedback, but Cloud Nothings are chasing perfection. Dylan Baldi tells Benny Doyle why things sound a little different nowadays.


ylan Baldi is the first to admit that Cloud Nothings are a simple band. But on the trio’s new full-length Here And Nowhere Else, they’ve found a way to take these average elements and make something remarkable. The Cleveland group – birthed from a fake band profile that Baldi created on Myspace in 2009 – have returned with a record that stands as a logical successor to the Steve Albini-produced Attack On Memory, the new album faster, louder and more crisp that anything in the band’s catalogue.

“Creatively speaking there’s not a whole lot to do with the songs we make and the band we are,” says Baldi, “so as long as someone understands that the results end up sounding good.” That “someone” this time around was John Congleton (The Walkmen, The Polyphonic Spree), who, according to Baldi, immediately understood what the band wanted from Here And Nowhere Else. One thing was assured vocals. “The reason I sang a little different, is that when I listen back to Attack On Memory – which I don’t do very often – but when I do the only thing


that kinda embarrasses me is the vocal – I don’t like the way I sing,” reveals the frontman. “On this one I made a point of going, ‘Okay, I’m going to do something where I can actually listen to it and not be upset, not cringing the whole time’. I couldn’t listen to [Attack On Memory], so recording that was a bane because you’d just have to listen to the vocal line, and you’d go, ‘Oh, Steve, turn that off ’. This one I just wanted to sing a bit more confidently, in a way that I could stand behind.” The pace of Here And Nowhere Else is another thing that grabs you from the first spin. Baldi laughs that he doesn’t know how drummer Jayson Gerycz is going to make it through a show, but “the songs just sounded better that way”. “If we played any of them slow it would just not be as exciting, not be as urgent,” he expands. “Not that you have to play fast to sound urgent, but with these songs you did. These songs are almost poppier in a way; they’re catchier. And I like putting barriers in front of that catchiness, so just having songs that are really fast can almost intimidate someone, so I just like to have something there that keeps it from being a really generic and boring pop-rock album.” Gerycz isn’t the only one testing his abilities, with Baldi admitting that he can barely pull off some of the guitar work found on Here And Nowhere Else. But when you’re trying to obtain the unobtainable, you’ve got to push the envelope to progress. “Every time I write a song I just try and make it better than the last song I wrote,” he finishes. “I listen to a lot of music so I think I have a decent idea of what a good song is, so I’m just working towards that unreachable goal of a perfect song.” WHAT: Here And Nowhere Else (Stop Start)

NO SKIDDIN’ Glam rockers Skid Row are the busiest they’ve been in years. They’re just over halfway through a series of EP releases and touring hard to make sure everybody knows it. Bassist Rachel Bolan talks to Tom Hersey.


asically we’ll just keep doing this for as long as people listen to us,” Skid Row’s bassist Rachel Bolan says of the band responsible for ‘80s hair metal anthems like Youth Gone Wild and 18 And Life. But back in 2012, Bolan says the guys collectively had a revelation. “There were seven years between our last release and this release because we were touring constantly, and then it started to feel like we were just touring to tour. So we thought to put out more music, and it seems like our fans are really digging it.”

The decision to start putting out more music resulted in the United World Rebellion series of EPs, the first of which dropped mid-last year. But what inspired them to take such an unconventional route to releasing new stuff? “The major thought was just about keeping a constant flow of music out. Because it is kind of the days of information overload, there’s so much stuff coming at people all the time, that there’s a lot of stuff out there for people to have to try and absorb. So it seemed like a really cool way to give people stuff that they could digest quickly, and then it keeps us out on the road and keeps us busy.” 16 • THE MUSIC • 16TH APRIL 2014

Keeping busy will see the band return to Australia for a co-headline run with Ugly Kid Joe. The two bands did a European tour together and it went gangbusters, so they just knew they had to reprise it somewhere else and when they thought about it, Australia seemed like the perfect place. “The love of rock is still so alive and well in Australia. You know, we see how many people are liking us on Facebook from Australia and how many people comment on our stuff and email the guys in the band. It’s obvious it’s still something that’s thriving there.”

As for what fans coming out to the shows can expect, Bolan promises that you don’t get to play shows for 30 years if you’re not making sure the crowd leaves with smiles on their faces. “We do what we call the ‘big six’, our most popular songs that we have to play every night. And then for a lot of it we go by what people are, online, asking us to play. And then we like digging deep into an album, playing a song that people like, but it’s not technically a ‘popular’ song. But it’s really cool to do that and see people’s eyes light up. And you can tell that they get off on that, and so do we.” That’s always been the point of Skid Row, that moment when you can just get lost in a crazy, sweaty and most importantly, fun, rock show: “It’s all about throwing your fist in the air and a big release. It’s about forgetting about the world and your problems for a couple of hours.” WHEN & WHERE: 23 Apr, Metropolis

CAN YOU SCNDL IT? Tom Grant of Melbourne bounce combo SCNDL tells Cyclone about their US invasion plans.


elbourne’s global bounce stars SCNDL don’t always live up to their cheeky handle. Tom Grant and Adam Amuso tend to avoid getting “fucked up”, as Grant puts it. “We do have wild nights out with our mates and when we play and stuff like that, but we have to be on the road writing music and keeping healthy as well because, if we’re not keeping healthy, then we’re not gonna be able to perform our best shows.” SCNDL are, rather, ‘scandalous in spirit’. “Our music is the most scandalous part – we like to be as aggressive and out-there with our music as we can be! I think that’s the best way to keep it.”

That healthy lifestyle is serving Grant well. SCNDL have just returned from Miami and, within 24 hours, flew to Sydney for two shows, including a gig at their regular haunt Pacha. “Today I’m hurting,” he admits. “I’m kinda jetlagged and tired and everything – but, yeah, getting through it, getting through it, ‘cause we’ve still gotta finish some records off this week.” SCNDL came to prominence on the back of Melbourne’s bounce explosion, following Will Sparks, putting their own spin on the genre. The two were introduced to EDM via hardstyle, big-room house and progressive – and all that continues to shape their style. “We try to

make it melodic and have really big breakdowns in there and have all the chords going on as well.” SCNDL’s music is bassy, too. “We also have a lot of dubstep influences in our music because, before we were writing bouncy stuff, we were writing a lot of electro-house and heavy complextro stuff.” Indeed, SCNDL teamed with electro-house kid Timmy Trumpet for Bleed last year.


As it happens, American DJ (and complextro pioneer) Porter Robinson has championed SCNDL’s bounce, picking up on their single, Gypsy. “We owe a lot to him for getting onto our stuff in the early days.” However, SCNDL’s major break has been to remix Flo Rida’s Nina Simone-sampling How I Feel for Atlantic Records. “It was awesome to see that someone as big as them took an interest in two guys from Melbourne.” Grant describes SCNDL’s experience in Miami as “amazing” – it was their first international jaunt. They’ll tour North America properly later in the year, joining the so-called Australian DJ invasion. SCNDL have secured their visas – “which,” Grant reveals, “was a massive drainer to get.” They recognise the huge potential for them in the US where, Grant reckons, “straight-up” dance music is more ubiquitous than in Australia, especially on radio – with “a ‘dance music for breakfast’ kinda culture”. SCNDL have new music on the way. “We’ve got about seven or eight unreleased tracks at the moment that no one’s heard.” And the duo are dabbling outside EDM, having been afforded “some really exciting opportunities”. “It’s all on the downlow,” Grant says. “I’m sure when it comes out in the open we can tell you about it, but just for now it’s still not there.” Is it scandalous? “No, no, nothing scandalous!” WHEN & WHERE: 19 Apr, Villa Nightclub

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TROLLBAGGERS Melbourne’s genre-flouting heavy rockers Twelve Foot Ninja are slaying online pests one at a time. Guitarist Steve MacKay discusses new material, metal elitists and Charlotte Dawson while Brendan Crabb chows down on a troll burger.


rior to her recent suicide, television personality Charlotte Dawson – a well publicised victim of internet trolling – indirectly played a role in the genesis of Twelve Foot Ninja’s much-vaunted anti-cyber-bullying video. The eclectic Melbourne hard rockers broke crowdfunding records when they collected $52,600 to create their hilarious new clip for Ain’t That A Bitch, setting a world record for most money raised by a band for a music video.

Axeman Steve MacKay picks up the story. “Incidentally, Charlotte retweeted one of our tweets about raising the money to make that film clip… When researching about internet trolling and trying to understand a little bit more about it, Charlotte Dawson came up. I think around the time that she retweeted our thing, I watched a couple of really awkward television news stories that she did, where she actually tracked down her internet trolls, like the people that were abusing her, and confronted them personally. “I found that fascinating, because it was really


awkward. It just reinforced that there is this weird social phenomenon where people do things on the internet that they wouldn’t do in real life. These people that she confronted back-pedalled massively and they were just insipid people. They didn’t have any real thought to what they were doing, or any kind of concept of who they were talking to and about.” Although widely praised for their efforts (enlisting a prosthetics make-up artist from The Hobbit, a seven-foot Alaskan brown bear, Penthouse “Pet” Madison Rhys and American metallers Periphery), some have taken umbrage with the gory tonguein-cheek tale of retribution. “I’ve made a point not to really get too involved in the negative side of it. But what I’ve heard from others is that it’s mainly the metal kind of purists that ironically are very troll-like in their behaviour in some of the blogs and their comments,” MacKay laughs. “I think they just sit at their computers just sort of hanging shit on stuff, that’s kind of their occupation. I guess the clip struck a chord, and they didn’t like it,” he chuckles again. “But that’s pretty much the whole point, so yeah, mission complete.” WHEN & WHERE: 19 Apr, Rosemount Hotel If you need help, contact: Lifeline 13 11 14 or; beyondblue 1300 224 636 or; Kids Helpline 1800 551 800 or

NO KIDDING AROUND Jesse Desenberg’s career has spanned over 15 years, but by no means has he run out of things to do. The man better known as Kid Kenobi gives Kane Sutton the low-down.


ountless accolades, awards, records and firsts have been the hallmark of Kid Kenobi’s illustrious DJing career. And yet perhaps the Kid’s greatest triumph is his ability to keep on evolving and growing as an artist. Music trends come and go – clubbers retire, scenes change and awards gather dust – but Kid Kenobi, it seems, is here to stay. Desenberg just launches into his next projects. “I’ve been working pretty hard in the studio just doing a bit of production for some TV on the side at the moment, actually. It’s basically for a station who every now and then need some music done for one of their promos – maybe they’ve got some new shows coming up or whatever – so they’ll need a track to go with the program. So it’s something a bit different and it’s nice to get a guaranteed payment at the end of it,” he laughs, “It’s like a normal job.” The man runs a huge variety of projects. Aside from television tunes, Desenberg also runs two music labels, is putting together an EP, writes and produces his own music and is always collaborating with other artists on new material. While the hectic workload might seem crazy to some, Desenberg is adamant that he’s doing what he loves and wouldn’t change it for a thing. He enjoys being a ‘veteran’ of the dance music scene and loves being caught up in a constantly shifting genre

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of music. “I reckon it’s harder now than it was [15 years ago],” he reflects. “It’s one of those things where dance music is so fastpaced and changes so quickly. When I go to play a classics gig these days it’s like, ‘Yeah, I’ll play that classic’ but then I have to think to myself, ‘Wait a minute, what I might think is a classic isn’t necessarily what the people booking me think is a classic’, so I find myself constantly needing to update my lists. When you’ve been doing it for so long it’s easy to over-think things and become misguided as to which direction you’re heading. It’s like trying to find

a balance between staying true to who you are and keeping up with what’s going on around you.” Desenberg is currently gearing himself up for a show in Perth in April, and claims the state is one of his favourite places in the world. “WA reminds me of why I started DJing in the first place and why I love music. Ambar is a phenomenon in itself – the thing I love about it is that it is basically what dance music is all about. People are there to hear stuff that’s new and exciting rather than be just entertained by stuff that they’re familiar with. WA just seems to have less pretention; it’s a very real dance world. I’m really looking forward to it.” WHEN & WHERE: 17 Apr, Parker Nightclub

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NEVER BEATEN It may be trendy to belittle Buried In Verona, but the Sydney metalcore heavy hitters’ shouter Brett Anderson tells Brendan Crabb that shit-talking only spurs them on to succeed.


uery Buried In Verona vocalist Brett Anderson about taking exception to diehard fans being harassed by the band’s burgeoning army of naysayers, and he swiftly goes into bat for those who embrace the Sydney metalcore mob. “It’s cool to hate Buried In Verona right now, for whatever fucking reason. The fans we do have from the start have just always been there. They’ve always supported us; they’re buying the records, coming to the shows. For them to put up with their shit; I’m sure lots of our fans have some of their mates going, ‘Why the fuck do you like these guys?’ or whatever. And they stand up for us. They’re still coming and being seen at shows, and we appreciate that from the bottom of our hearts. “It sounds clichéd, but we couldn’t do anything without their support. But it just so happens it means so much more, because they do have to… There’s an issue just liking Buried In Verona. We aren’t going to change the way we are, and we hope our fans never change the way they are to appease people who like to talk shit. This record is as much a ‘Fuck you’ to our detractors as it is a message to people to keep being themselves no matter what.” Since releasing 2012’s Notorious, Buried In Verona have become one of Australia’s most polarising heavy acts. The album debuted at #20 on the national charts, and drew the band their first ARIA Award nomination. They supported The Amity Affliction during their arena tour, and followed that by acquiring US management, a worldwide release and multiple UK, European and North American jaunts. They also performed on the Australian leg of 2013’s Warped Tour. Whether jealous or bandwagon-jumping, punters have attacked the band’s aesthetic, lyrics, music, fans and online presence. If it weren’t already apparent, the title of their fourth album, Faceless, directly references anonymous foes. “It’s just basically our little way of highlighting the fact that there’s so many negative people out there, just basically trying to bring any people who are rising up,

down. Not just in music – ‘We’re a band and we get hated’ – not just that shit, [but] in a bigger picture. There’s plenty of bullying, plenty of people doing well for a lot of different reasons and there’s always just those negative people who try and hurt the image, or hurt you personally.

between constructive and purely negative… ‘You put so much shit on us and other people,’ but the only way to get through it is to just keep doing it. We’re still having fun; we’re touring the world playing shows, still selling records… Like you know, fuck off,” the singer laughs. “We started this band a fair while ago, and we started this band on the basis that it was mates, we loved playing metal, we wanted to do an album and that was our dream. We wanted to accomplish recording an album, which we did. Then we showed some people, people liked it, then we started doing shows. It rolled on from basically just a thought between five dudes who wanted to do something.” Having traded the so polished it was blinding production of Swedish metal maestro Fredrik Nordström for muchlauded American Joey Sturgis, Faceless continues the band’s manoeuvring from Gothenburg-inspired sounds into a more melodic hardcore/punk-infused direction. “I think Buried In Verona will never write the same record twice, because it’s just boring to us. We try and reinvent what we’re doing all the time, and have a bit

“WE STARTED THIS BAND ON THE BASIS THAT IT WAS MATES.” We’re a bit fed up with the way things work at the moment, and that was kind of our message – the faceless, all the people who would never, ever come up to your face and say anything bad about you. But online, or via any other media outlet, they go hell for leather on what they think about you in a negative way. “Saying that, we definitely welcome constructive criticism off anyone and everyone, but there’s a difference

of a fresh sound. People can say we’re trying to copy other people or whatever, but this is fresh to us. It’s fresh to Buried In Verona; it’s new to Buried In Verona. “We just thought this time we wanted to get ourselves out of a comfortable position. We go to Sweden, we record and we’re comfortable; we know what’s going to happen, we know the process. We wanted to basically put ourselves back on our toes. Sometimes that creates spontaneity, different vibes and different music, and that’s what we had in mind. We didn’t want to risk going back to the same place and possibly doing an album that was very similar to the last… It’s always been on the cards for Buried In Verona to change it up.” WHAT: Faceless (UNFD) WHEN & WHERE: 16 Apr, Villa Nightclub; 17 Apr, Prince Of Wales, Bunbury; 18 Apr, YMCA HQ

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have stirred the pot – Hansen’s song regarding the deaths of celebrities in particular pushed the boundaries of insensitivity and brilliance.

The Chaser’s Andrew Hansen steps over The Music on his way to rehearsal, but stops to chat to Matthew Ziccone ahead of he and fellow Chaser Chris Taylor’s One Man Show.


should say there is a pile of your magazines that I step over when I go to my rehearsals; it’s used to chock open the theatre door.”

Andrew Hansen and Chris Taylor are leaving the rest of The Chaser to hit the stage and in their One Man Show. “It’s something that Chris and I have wanted to do for a very long time, is to do a two-hander sketch show, playing various silly characters and bursting into lots of songs. Finally

we had this big span of time to do that.” Hansen and Taylor are the more bizarre side of The Chaser group but what they bring is a classic, ballsier side of comedy. In the past their antics

It’s a hard task for the musical duo. On TV it’s easy for Hansen to rip out one song; an hour of comedy is pushing Hansen and Taylor. “I’m trying to get my head around all the songs especially because I do each song in different character and it becomes hard after about the tenth song and trying to figure out a different voice you can sing in without sounding like the same guy.” Hansen continues, “We have a right wing commentator singing a song, an annoying hipster singing about his addiction to cable TV dramas and how he doesn’t talk about anything else. Which is also Chris and me.” In a world where imitation versions of The Off ice and Louis CK flow through the comedy world (what Hansen calls “those real subtle sitcoms that don’t have a laugh track, about people in awkward situations, that has been quite fashionable for the past 14 years”), it’s nice to see them going to the alternative: classic satire and absurdity. “There is sort of a postcomedy happening now,” Hansen explains, “where you have to go far beyond what has been thought and said and way beyond the style that has gone before. I suppose there is something to be said for getting up and being silly and delivering some jokes.” WHAT: Andrew Hansen & Chris Taylor: One Man Show WHEN & WHERE: 3 – 4 May, Perth Comedy Festival, The Astor Theatre


ART TALKS Paul Foot talks about the blurring of lines between comedy and art, as assisted by Matt Ziccone.


’ve written a show and toured Britain since I last spoke with you. Now I’m back in Australia making art and performing a show.”

On the other end of the phone the Nutcracker Suite can be heard. Paul Foot is painting a picture and he’s getting serious about the game of making people laugh. For those who know the absurdity that comes with this man’s comedy, it’s surprising that something stranger isn’t happening. His comedic art, which has been likened to both genius and stupidity, gives his style a sense of cult class, a style people want to understand but most of the time can’t comprehend. “There is a craft to it. There is comedy which I’m developing which is like madness, which is the edge of meaning. It almost means something but not quite. So it’s meaningful enough to be funny but meaningless enough to be hypnotic and not to encumber the listener with too many judgements.” His exploration and departure from the bulk of the comic world, the obsession with observational and current issue funnies, has let him build his style without competition. He knows what he’s about. “My comedy for several years has been changing; not changing for the sake of it but gravitating towards a point. In last year’s show I had Madness 1.0, and now I have Madness 2.0. And my next show, which

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Australia won’t see until next year, will have Madness 3.0. Creativity is a fascinating sort of process. A lot of people ask me who inspires me, and it’s not really anyone in comedy; it’s more like Brahms inspires me, and Sibelius. They seem to understand my head. “In the latest show there is a rant on toast. There is comedy about how life is a pilafa. There is rookery-based comedy on getting into the rookery.” He’s also painting in his show, but he has got another name for it. “They are called disturbances. The disturbances are

sort of human, I read them off the back of a card then decorate the other side of them. They are quite involved some of them. A lot of people think the show is random, but it takes a long of time to make a show that looks random and holds together.” WHAT: Paul Foot: Words WHEN & WHERE: 2 – 5 May, Perth Comedy Festival, The Astor Theatre


more energised about it now, thanks to the current state of politics in the country.

With the 40th anniversary of seminal punkers X coming up, Cam Findlay talks to Steve Lucas about legacy, politics and why he’s still going.


n the ‘70s, the Australian music scene – and arguably a lot of the movements overseas – was influenced by Aussie punk bands like The Scientists and The Saints. X found itself in that cadre, and while they may not be held in as high esteem as others, the effect of the band formed by Ian Rilen, Steve Lucas, Ian Krahe and Steve Cafiero is still undeniable. Lucas is the only surviving member, a fact that led him to retire the name in 2010. The band’s now called the X-Aspirators, in honour of the band’s seminal 1979 album, X-Aspirations, but Lucas’ punk charm still keeps the band going.

“I’m just mucking around with a bunch of friends at the moment,” Lucas says. “I’ve got a new album coming out soon, and I thought I’d better find someone to help me when I release it and eventually play it live. But the X stuff... yeah, we’ll work all that out during soundcheck. I’ve been playing the music for 40 years now, it’s not like I have to do much preparation. Three months after I’m dead, I’ll still probably be able to get up on stage and play that stuff.” These words exhibit just a small part of Lucas’ passion in keeping the music of X going. In fact, he mentions that he’s feeling


“It’s like the world’s spun on its axis and gone back to 1977,” Lucas says. “We had Malcolm Fraser. Everyone was disillusioned after Whitlam had been sacked. Now we’ve got the Abbott government instead, bringing back dames and knights and just generally making everything seem like it’s the ‘70s again. It’s strange how we’re back in that political mindset where social conscience is rapidly becoming a thing of the past and corporate privacy is rapidly becoming the dominant factor. “When people start making statements like, ‘The homeless are homeless because they choose to be’ and, ‘It’s okay to be bigoted’ and they start selling Qantas and Medicare... Back in those days, they were just trying to get rid of Medicare full stop. It’s weird to see it all happen again, because we were supposed to be over this. But it’s like we’re saying, ‘Okay, we’ve done all these great things over the last 20, 30 years, let’s go back to the past and live like we did when apartheid was a thing.’” Lucas is obviously animated on the subject of social justice, and it’s meant that he’s become something of a philanthropist. He recently put together a Child Wise benefit gig, aimed at providing aid and protection for young victims of assault and abuse. “All this stuff – getting people out of the house, off the computers and back into pubs, it’s important,” he reckons. “I want people to go out again and be active. It’s important to me.” WHEN & WHERE: 24 Apr, Prince Of Wales, Bunbury; 25 Apr, Rosemount Hotel; 26 Apr, Swan Basement



Black Lips’ latest video clip came with a viewer discretion warning, but the band ask ‘What’s the point?’ when any kid can just type ‘porn’ into Google. Andrew Mast met up with all four in Austin.


t’s easy to find the members of Black Lips amidst the upmarket finery that is the lobby of Austin’s Embassy Suites. Bass player Jared Swilley and guitarist Ian Saint Pé Brown excuse the absence of the other half who have made a dash back to their rooms to rehydrate. They are midway through a week of intensive promotional work, for their new Underneath The Rainbow album, at the annual SXSW industry gang bang. Swilley politely chats Australia until the others arrive. “Honestly, I didn’t have super high hopes,” he recalls of their first visit here. “‘Cause before we came to Australia, we were pretty much living in England. I was like, ‘I hope it’s not just some weird ex-colony.’ But once we got there…” Drummer Joe Bradley and rhythm guitarist Cole Alexander walk up at this point. Immediately Bradley picks up on the subject at hand and promises a return soon, “Of course. The sooner the better. There’s talk about a Japan tour.” Swilley adds, “I heard, like, December.” Saint Pé Brown has another reason for enthusing about Australia. “For the young kids that don’t know,” he says,

“Masters Apprentices is one of my favourite Australian bands. “We search this music out - that’s what we do. We love this stuff. We love all kinds of music but within whatever genre you consider us, I put Masters Apprentices in that genre.” Bradley adds, “Eddy Current Suppression Ring too.” Now all the Lips warm to the topic, and props go out to Total Control, UV Race, The Missing Links and Beasts Of Bourbon. Bradley then reveals they

once recorded with Bourbons’ Spencer P Jones in Paris, “but it never came out”, says Swilley. What did make it out this year though was their VNSFW vid for ...Rainbow’s first offering Boys In The Wood. The southern gothic clip landed on YouTube with a viewer discretion warning. “What is the point of having that now?” muses Alexander. “Almost any kid with access to the internet can just go to Google and write ‘porn’ and then…” Talk returns back around to that video. Alexander admits, “I thought it was going to freak more people out.” Saint Pé Brown disagrees; “It wasn’t all that shocking.” Swilley adds, “It made my girlfriend really uncomfortable. That’s why I said to do it. They said they were gonna get an actor to do it and I was like, ‘Well… I can’t think of any other instances where someone was raped in their own video.’ Could you imagine Prince agreeing to be raped in his own video?” WHAT: Underneath The Rainbow (Vice/ADA) THE MUSIC • 16TH APRIL 2014 • 23



album reviews





A band that makes cacophonous, bratty noise being the toast of the year? No, this isn’t the turn of the century, but instead a pleasantly abrasive surprise. New York noiseniks Perfect Pussy annihilated all-comers at SXSW this year and left with a legion of bloodied fans in their wake. But with all ‘Next Best Thing’ tags, it has to be given with a dose of sardonic reality, surely?

There’s a deep-seated anger that reveals itself in short, sharp bursts throughout The Menzingers’ fourth record Rented World – the follow-up to 2012’s remarkable On The Impossible Past. For the rest of the time, it’s brutally honest lyrics that take control of the wheel and total everything in their path.

Rented World

Say Yes To Love

Say Yes To Love more than lives up to these raised expectations – it obliterates them and the last remnants of a carefully maintained sanity with an energised tirade against anything and everything. The five-piece play with the hiss of a rolling four-track before channelling their inner chaos on opener, Driver, followed without more ado with the roar of Dig and Bells. It’s in the melodicism of Advance Upon The Real and Interference Fits that some

more of the genius of Perfect Pussy comes through. These are considered song songs, not just a bunch of kids throwing perfectly calibrated bolts of noise into the abyss. The sludge and squall hides the fact that these guys know what they are doing. Yet amidst the maelstrom of chugging abrasion that will shear off bank vault doors, it’s Meredith Graves that pushes the band into another gear. Her lyrics may be self-effacing and confrontational (“And I want to eat myself/And I want to fuck myself ”), yet the vicious energy becomes life-affirming to the point of revelation. Brendan Telford


24 • THE MUSIC • 16TH APRIL 2014

Spending most of their time on the road – Australia’s seen them three times in as many years – they’ve honed their sound to one that records just as well as it comes across on stage. It’s rare to find such compelling songwriting in punk rock these days, and few truly understand the power of putting it all, mentally and physically, on the line like The Menzingers. This is punk rock that bleeds true emotion. Daniel Cribb

The Cautionary Tales Of Mark Oliver Everett

Ninja Tune/Inertia

Kelis’ previous attempts to capture the imagination of mainstream audiences has to date been hit and miss, but on this release she seems to have abandoned glitter-dusted dreams of pop stardom entirely. Instead Dave Sitek and her 13-piece band grind out the old-school funk, soul and gospel flavours of this album. Kelis’ sultry vocals are served unto our ears on a luscious bed of strings and horns. The mix works around her distinctive voice and Sitek, possibly fascinated with Phil Spector, has given this album a loud, rich, organic texture that recalls the dusty

While Rented World will struggle as a whole to outshine On The Impossible Past (they really nailed it with that one), tunes such as In Remission, Bad Things and The Talk stand as some of The Menzingers’ best and most catchy work to date. If you want a chorus rattling around your head for a week, you only have to run

through opener I Don’t Want To Be An Arsehole once or twice.



It’s been a long time since Kelis metamorphosed from the future funk and R&B of her earlier material to the surprising David Guetta-assisted disco house diva shenanigans of Flesh Tone. Adopting a gospel soul stance on a concept album loosely themed around food, Kelis continues to surprise with yet another stylistic shift.

It seems something has pissed these guys off big time – whether it’s an internal or external turmoil this reviewer’s unsure – and the lyrics on this record’s 12 songs come across as a way for them to sort through it.


E Works/[PIAS] Australia

★★★½ grooves of yesteryear. The album kick-starts with the glorious feel-good vibes of a generous all-day Breakfast, while generous servings of Jerk Ribs, Friday Fish Fry, Cobbler and Biscuits N’ Gravy ought to earn Kelis a Michelin hat for her culinary skills as she satiates listeners’ appetites for soulful introspection and crunchy deep fried pop hooks. She gets pink on Floyd and drifts into dreamy reverie. Food cooked with love always tastes better, and despite the song titles Kelis sings with great honesty about love affairs. When things get steamy, food is just a replacement for sex. Guido Farnell

With each album you tend to find the Mr Everett either looking inward or outward. As the title suggests, this is himself in reflective mode. And regrets – he’s got a few. Lots, even. There are obvious ones, like Agatha Chan – he knows he should have stayed with the girl with “the aching eyes”. But elsewhere it’s more existential, as simple and complicated as Parallel’s “Waking up lost, in a world I didn’t know”. The mood is weary and downbeat, a contrast after the somewhat more buzzy energy – and perhaps slightly slapdash nature – of the previous Wonderful, Glorious. This is Chamber Eels, with string section hums here and there. Opening instrumental Where I’m At is a wheezy brass overture; the resigned shrug of Series Of Misunderstandings muses over what sounds like a

★★★½ music-box winding down. It’s music for grown-ups, possibly with the realisation there might be fewer years ahead than behind him. He knows the Mistakes Of My Youth, but realises he might still make some of them again. And maybe darkly celebrate that he can. Eels enthusiasts will be comfortable with this latest intimate communiqué from the Everett bunker. He’s still happily unhappy to dig around in the dusty corners of his psyche and tell you about it. And if you’re prepared to listen to some uncomfortable home truths, you’ll probably learn something. Ross Clelland

singles/ep reviews



One Minute Ago Independent OPIA’s new track is powerfully produced, with a heavy beat and strong vocal deliveries. Their prog-rock sound allows for intricate moments within the verses, but overall, the song grows consistently bigger as it goes on, finishing off with a mighty instrumental surge.

BEE MANTIS Gazar Strips Independent Bee Mantis’ new single is a spiralling and dark creature. The psych-rock skeleton provides a tough and weighted sound to the guitar work, which pulls across a set of tense vocals, before the beat drops in and the tune descends into a chaotic finish.




One Louder Records/ Universal

Off The Hip

The Franky Walnut Reflective Drink Coaster If you extract the essence of what makes dad jokes so enjoyably cheesy and fuse it with some classic Australian country (Slim Dusty, John Williamson), you’re left with Franky Walnut, an artist who is as Australian as a “redback spider and a funnel web spider having a root inside a kangaroo’s scrotum”. If you’re not a fan of country music, this release still holds some value with witty lyrics and catchy melodies. And if that doesn’t do it for you, use this CD as the title suggests. Daniel Cribb

Here Come The High Learys

Fearlessly retro, there’s still an individual flavour to The High Learys’ ‘60s bubblegum-pop. Armed with Mod-style moptops, catchy, organ-augmented riffs and an infectious go-go beat, you half expect a squadron of hard-enamel Vespa scooters to vroom by in the background in homage to Quadrophenia, such is the authenticity of their sound. There’s still room for original ideas though, particularly on the two freakbeat instrumentals on this full-bodied LP that crams 10 finely cropped nuggets into 25 energy-filled minutes. Christopher H James


Ivy League

Undercover Independent

This electro-soul duo has produced a wonderfully intricate track here. Reminiscent of The xx, the two are minimalistic in their use of instruments, with the main focus being on Louise Millar’s voice – a soft, yet strong and resonating sound that keeps you mesmerised the entire way through.

Fox Cat Rabbit Independent

The recently launched EP of relative newcomers Fox Cat Rabbit is testament to the appeal of minimalistic songwriting. This endearing collection of folk-pop tunes isn’t exactly diverse, but it is catchy as all hell. We Threw Ourselves Into The Fire makes for a moody – if slightly Western – addition to the otherwise happy, summery vibe of the release, while a cover of Brand New Key perfectly fits the duo’s style. In a field inundated by electronic influences, this is a refreshingly organic release consisting of sweet melodies and elaborate harmonies complemented by their signature understated acoustic rhythms.


Dumb Ideas



Taelor Pelusey

BAD//DREEMS Bad//Dreems have proved their Ivy League worthiness with a cracking punk rock track. The hooks on this thing are catchy as all hell, while punters will be shouting along to the lyrics with these guys in no time at their shows, with a huge anthemic chorus closing out the song.






Shanabelle Records

The Shakeys’ second EP is a fast, powerful five-track collection of straight-up raw, bleeding garage-rock that sees them further embrace influences like The Saints and The Stooges while putting their own spin on the classic three-chord protopunk sound. From opener, White Lightning to Pink Demon, the band are firing on all cylinders, sounding tighter and more aggressive, recounting tales of partying until dawn and taking aim at everyone from poseur rockers to shithead friends. Bad Habits closes the album, reworked from their debut and bolstered by more ferocious production that screams through the speakers.

The Birds Of Satan are something of a conundrum. Fittingly for an album featuring Foo Fighters drummer Taylor Hawkins, the album crashes through the door, Kramer-style, with a big drum fill. The rest is, well, interesting. The chemistry within the trio is clear and effective, the album obviously a labour of love. Flitting incessantly between stadium hair-metal, prog, garage-rock and sappy ballads, it’s a completely unabashed collection of teenage-drinking-in-a-carpark anthems. On top of it all is enough studiousness to keep the hellraising interesting. Big and loud, but not dumb, Hawkins and co are onto something here.

Scott Aitken

Cam Findlay

White Lightning

The Birds Of Satan

Highasakite – Silent Treatment Tycho – Awake Teebs – E s t a r a The Amazing Snakeheads – Amphetamine Ballads Leon Russell - Life Journey Ian Anderson – Homo Erraticus Paolo Nutini – Caustic Love

Kane Sutton THE MUSIC • 16TH APRIL 2014 • 25

live reviews

ELIZABETH ROSE, SAFIA, FISHING Amplif ier Bar 11 Apr Elizabeth Rose’s electronic performance at the Amplifier Capitol on Friday night was an enjoyable way for punters to close their repetitive working weeks. The gig commenced with two commendable opening acts: Blue Mountains duo Fishing and electro-indie three-piece SAFIA, who both showed their worth by playing ecstatic rhythms and psychedelic melodies. Fishing started their set by playing their track Choy Lin which caused the crowd to gyrate to modulating off-beats, creating an atmosphere that was borderline psychedelic. The emphatic

on the back of the projector screen just before she emerged on stage. With her strong voice and the technical expertise of her partner for the show, her pop-cum-electro-cumdeep house music created a tour-de-force for the crowd that jaunted to her technical vocal hooks and pleasing synth swoops. Rose presented the crowd with a pleasing cover of Corona’s Rhythm Of The Night, which commanded the crowd to undulate to the ecstatic rhythms that Rose so wholly presented. Her unique combination of house and R&B created a beat that contained soul and melodic expression. Her final track was her new single, aptly titled Weekend. It included a strong harmony of synth and a rapid backbone that was the drum beat, allowing


sounds of Flume also entered the vicinity as the duo played a remix of the artist’s track Insane which, flavoured with the duo’s own sound, created a unique pastiche of hip hop and deep house. SAFIA created a presence with their electro-R&B infused track Paranoia, Ghosts & Other Sounds. The track’s phased-out synths, pitch bending vocals and swooning bass notes enabled the cleansing of the audible palate of any lucky listener. Ben Woolner’s vocal was the core to the group’s soul both audibly and metaphorically. One of most impressive feats that SAFIA could muster was the fact that most of the supposed sampled vocals actually came from Woolner’s voice, an impressive feat indeed. Elizabeth Rose’s set kick-started with a bang, with stylistic graphics displaying her name 26 • THE MUSIC • 16TH APRIL 2014

Avicii’s Addicted To You had the audience swooning. The set featured plenty of variety – O and the band would climb up to explosive highs with their energy levels, before dipping down and stripping back with something a little slower. The audience was given an instrumental feast, with catchy guitar hooks, ‘80s synth washovers, and even elements of funk by way of some awesome bass lines filling out the room, while Anna managed to show off her fantastic vocal ability from strong mid-range vocal lines to soaring and crisp top-end explosions of splendour. All up, the group set the scene perfectly for the heavily anticipated headliner. A short break later, and it was finally time for Thief to grace the stage. He did so in fine


the punters to finally kick back and welcome the weekend into their working lives. Joseph Wilson

THIEF, ANNA O, LEURE Amplif ier Bar 12 Apr Leure kicked things off on the warm Saturday night to a practically empty room. A shame, as her hypnotic vocals and bass-heavy beats made for a strong and enjoyable performance. Attendance hadn’t really picked up much by the time Anna O and her band took to the stage, but she enticed patrons to make their way inside with some incredibly catchy pop-rock hits. New single Sleepless was a huge highlight of the set, while the cover of

set in style, bringing out his arguably biggest and catchiest hit to date in Broken Boy, which produced the biggest reaction from the crowd that night. The show ended on a high for the audience, and given the calibre of the performance, Thief should be feeling the same way as he finishes off his tour. Kane Sutton

WEST COAST BLUES ‘N’ ROOTS Fremantle Park 13 Apr A little too sweaty for this time of year, punters were ready to get their groove on at West Coast Blues ‘N’ Roots. Early on in the day, local Perthian Dave Hole absolutely


fashion, launching straight into it with some incredibly catchy beats and bringing into the room a horde of punters in the process. The buzz around the room reached a new level as he reached Closer - the title track from his new EP – which incorporated intricate synth melodies and a super groovy disco styling in the vocal delivery which got the crowd moving for the first time that night. What sets Thief apart from similar artists is that despite his heavy use of synth, he has the ability to transition between drawn-out, measured sounds and short, sharp beats, all the while managing to keep his work sounding slick and polished. The performance never felt like dragging, nor did anyone feel like they were losing focus amidst the electronica. Thief ended the

shredded on his guitar, taking his slide solos from above the neck rather than below. Young Englishman Jake Bugg attracted a big crowd with twangy vocals that matched his guitar perfectly. Hit song Two Fingers was met with raucous applause from the swelling crowd, though it wouldn’t have killed him to look like he was actually enjoying what he was doing. Nobody seemed to care though, and his final track, Lightning Bolt, had everyone dancing along. Fellow Brits Morcheeba were inspired to cover David Bowie’s Let’s Dance when they discovered their pilot en route to Perth was of the same name, and the wellknown Rome Wasn’t Built In A Day went down a treat. Texas-based Gary Clarke

live reviews Jr. began his soulful, bluesy, groove-laden set with old standard Catf ish Blues , before incorporating his own tunes into the set. Sweet number Please Come Home showcased his stunning, Curtis Mayfieldesque falsetto, and his array of beautiful guitars had every guitarist in the crowd frothing at the mouth. The Doobie Brothers took to the undercover Big Top stage following Steve Earle & The Dukes, putting on arguably one of the best sets of the day. Featuring two drummers playing synchronised grooves, and at least three people on guitar at any given time, anyone who thought they might be seeing a band that the rock-and-or-roll lifestyle has been unkind to over the years was deeply mistaken. The Brothers laid down song after song, as tight as it has ever been, finishing up with the evident crowd pleaser Listen To The Music. John McFee exercised some serious multi-instrumentalism over the course of the set, playing lap steel, guitar, harmonica and

violin, before he was needed over at Elvis Costello’s set. Originally from Sydney, Matt Corby’s stunning vibrato echoed throughout the grounds in an intense set that highlighted this guy’s versatility. Recent hit Resolution made an appearance early in the set and he was accompanied by almost everyone in the vicinity with this one. Using a loop pedal for Trick Of The Light, he managed to beatbox and hum to support himself expertly, and of course he ended with his breakthrough single, Brother, which unfortunately lacked the first few lines due to technical difficulties. Recently (as in the day previous) returning from a massive tour around Europe and the US, fellow Sydneysiders Boy & Bear were rapturously welcomed home, playing a killer set filled with hits from both of their albums. Interestingly, placing Tim Hart up the front with his drum kit rather than the conventional back-of-stage location gave the band the advantage of playing a tight set that others would have to

refer to the back of the stage to achieve. Ending on old favourite, Feeding Line had the increasingly inebriated crowd having the time of their lives trying to sing along. Swaggering his way onto the stage, John Mayer just about melted the panties off every woman within a 500m radius with his smooth caramel voice (and every guitarist too, with those mad skills). Playing a good mix of new and old tracks, recent singles Wildfire and Paper Doll had everyone bopping along early, and almost every song contained an epic guitar solo from the man himself. Covering Van Morrison’s And It Stoned Me and ending with oldie-buta-goodie Waiting On The World To Change, Mayer delivered a stunning set that, along with The Doobie Brothers, proved the highlight of the day.

the Park Stage explode with innovative, intricate arrangements that had fans well and truly satisfied by their massive two-hour set. Well on its way to being a long-standing tradition in the City of Fremantle, the 11th Annual West Coast Blues ‘N’ Roots left every man, woman and the occasional baby screaming for more. Tash Edge & Lukas Murphy


Unfortunately Edward Sharpe & The Magnetic Zeros were not in their finest form, with their tracks not transferring to a live performance as well as might be hoped. Ending the day with America’s Dave Matthews Band saw

arts reviews



In cinemas 17 Apr Acclaimed actor, Ralph Fiennes, has directed just one film previously – Coriolanus. In The Invisible Woman, based on the factual book by Claire Tomalin, Fiennes again directs and also plays author Charles Dickens, who falls in love with a young woman and has a long-term relationship hidden from public

view. Dickens (Fiennes), bored with his matronly wife ( Joanna Scanlon) and domestic life with ten kids, is attracted to 18-year-old actress Nelly Turnan (Felicity Jones), when he meets her. It takes him a while – understandable considering the social mores of the time – but he wins over Nelly’s mother (Kristen Scott Thomas) and embarks on an affair with the young woman who admires his work and can speak intelligently about it. Screenwriter Abi Morgan (Shame, The Iron Lady) makes a few salient points about the lot of women in days gone by, focusing on the relative freedom of the male author, who was quite the celebrity in his day, and his ability to ‘shack up’ with his young lover and still enjoy his fame while Nelly had to hide in the shadows. Ralph Fiennes has crafted an aesthetically handsome film with some beautifully shot, memorable scenes. It might move too slowly for some cinema-goers but it’s a finely crafted piece with obvious appeal to a certain demographic. Performances are

excellent all round, including Fiennes who, unlike a lot of his quite cold stints in other films, exudes warmth as the charismatic Dickens. Vicki Englund


In cinemas 17 Apr ‘Switched at birth’ is a dramatic trope as old as time immemorial, but Hirokazu Kore-eda is the kind of filmmaker who can grant even the most questionable premise – like Air Doll’s blowup-sex-doll-comes-to-life hook – cinematic grace, thematic weight and dramatic depth. Turning, as ever, away from the sensational, Kore-eda settles his story in the domestic: the swapped sons having spent six years being raised in contrasting situations (one in a rural, middle class shambles amidst many children, the other in a single-child, upper class, high rise apartment of quietude and order). What

we’re essentially circling around is the old ‘nature vs nurture’ debate: whether it’s the genes or the environs that shapes a child, and bonds a family. Koreeda is most interested in what that means in patriarchal Japan, where the first-born son is still a totem, and is unafraid to suggest that fatherhood may be, for some, work of pure vanity. But Kore-eda is a deft director of children (from Nobody Knows to I Wish), and the film, eventually, becomes about the feelings of the children being thrown into the middle of this ‘debate’. Anthony Carew


28 • THE MUSIC • 16TH APRIL 2014

the guide

RECORD STORE DAY Answered by: Scarlett Stevens (San Cisco) Best record you stole from your folks’ collection? New Boots And Panties!! – Ian Dury. I like to play Sex & Drugs & Rock & Roll when I DJ. First record you bought? Elephant – The White Stripes. Record you put on when you’re really miserable? The Stone Roses. Diana – Diana Ross always puts me in a good mood though. Record you put on when you bring someone home? Al Green’s greatest hits. Most surprising record in your collection? In Memoriam – Fritz Wunderlich and a ‘70s Christmas compilation, both gifts from Tim at Mills. Last thing you bought/downloaded? The latest Broken Bells! Catch DJ sets from Scarlett Stevens and more 19 Apr at Mills Records.

Pic: Court McAllister. THE MUSIC • 16TH APRIL 2014 • 1


DINING OUT DON’TS Illustration Sophie Blackhall-Cain.



Do not ever click your fingers to attract the attention of a waiter. Raising your hand or waving is acceptable in some situations if you do it with a smile, but clicking? Waiters aren’t dogs. You wouldn’t whistle at them. So don’t click.

Yes, we are aware how much fun it is to shove the corners of serviettes into the flames of tea candles, but imagine how annoyed the waitstaff are when they see all those ashes and blackened tissues lying on the table. Unless you’re tipping big to apologise, bury your pyro 14-year-old self deep down, at least until the next backyard bonfire.

LICK PLATES You might argue you’re showing appreciation to the chef; you loved the dish so much you want to savour the very last smears of sauce. Well maybe ask the waitstaff to pass on a compliment rather than assaulting other patrons’ eyes with the off-putting image of your tongue being dragged across the plate.

ALTER YOUR ORDER USE YOUR PHONE This one is up for debate, and it all depends on who you’re with (and how judgemental they or you are), the formality of the restaurant and the occasion. Instagram/ Twitter-browsing is only okay if you’re all doing it, at a casual eatery. The odd text is fine if you need to respond quickly. For some, any phone-related usage that isn’t urgent may be frowned upon. But we can probably agree that a one-minuteplus phone convo at the table is at best awkward and at worst insultingly rude.

GLOBAL ETIQUETTE What’s rude/weird here but cool in other countries, and vice versa. Milky coffee after lunch/dinner It’s not an insult or anything, but in Italy if you order a cafe latte or cappuccino to drink after lunch or dinner you might be considered weird as Italians see milky coffees are more of a breakfast-time thing. Try a short black instead. Burping In certain Middle Eastern and Asian cultures, China and India being two examples, no one will bat an eyelid if you burp. It might even be considered complimentary depending on the context. Slurping Can you really enjoy a bowl of ramen or wonton noodles if you’re too busy concentrating on not making 30 • THE MUSIC • 16TH APRIL 2014

Unless you’ve got dietary restrictions, don’t be that difficult person who asks for X dish but without this and that, oh and can you please also add this and make sure that X thing is cooked in exactly this specific way I like.

any noise? In countries like Japan, China and Hong Kong (but not all Asian countries) it is perfectly acceptable to slurp up your noodles – just don’t be super loud and obnoxious about it; the slurping should happen naturally, not forcefullly. Eating with hands Hands are the original utensil. Just make sure you don’t use your left hand in places like India, the Middle East and parts of Africa, as that’s considered the unclean hand...

eat/drink DRINK UP

SWANBROOK WINERY & CAFE 38 Swan St, Henley Brook

Answered by: Theresa Marshall What’s your bar’s specialty drink? Wines including shiraz, merlot, cabernet merlot, verdelho, viognier, chardonnay and chenin blanc. We also have port

and sparkling. All wine is made with Swan Valley Fruit so that we remain true to the region to produce quality wines. What makes your bar different? Swanbrook Winery & Cafe is a boutique winery and is operated by the Marshall family. Swanbrook is an operating winery that has a cellar door for wine tasting and wine sales, and a cafe that has wine infused burgers! Live music every Sunday afternoon by original artists playing some breezy tunes to relax and enjoy and all set amongst Shiraz vines

in the Swan Valley in Western Australia. What’s the design/ atmosphere of your bar? Relaxing, friendly, enjoyable, welcoming, warm, comfortable, laidback, cosy, awesome music by original artists... What more could you ask for? Who is pouring at your bar and what makes them special? Our cellar door family that are experienced wine buffs and can tell you a tale or two over a glass or perhaps a bottle of wine! Best hangover cure? Sleep!

HOT SPOT THE STABLES BAR – 888 HAY ST, PERTH The Stables Bar features two levels, an outdoor bar and panoramic views of the city skyline. With menu favourites such as pork sliders with pickled zucchini, red cabbage and chipotle mayonnaise; pan-fried potato gnocchi with beetroot, whipped feta and basil butter; and the signature Stables Wagon Wheel, a playful interpretation of the old schoolyard favourite, the Stables chefs make everything in-house and source organic and local produce as much as possible. Also try the cider bellinis and Mai Tais. Hot tip: get in early on Fridays and Saturdays because the place fills up quickly.


THE MOON 2/323 William St, Northbridge Answered by: Georgia Mathieson What’s one food you can’t live without? Pasta. What is an ingredient you couldn’t live without? Salt. It makes everything taste good. What food fad do you see being popularised next? There are some


AMERICA In North America some places add, for example, 18 per cent of your bill automatically as a tip (mandatory gratuities). If no tip is added to the bill, a 15 to 20 percent tip is expected for regular to good service. In the US, it is understood that because of the low minimum wage, tips act as much needed extra compensation for waitstaff. Tipping is also customary in Mexico and South America.

ASIA Tipping in China isn’t frowned upon but it might be met with confusion, while it’s rude to tip in Japan at all. A five to 15 percent tip in Indonesia and India is appreciated but not required. A ten percent service charge is sometimes included on your bill in Vietnam, Malaysia and Singapore.


amazing things going on in food and I really enjoy trying all of them, but The Moon sticks to the classics. Simple diner food served until the early hours. We’re not pretending to the height of fashion.

with your friends and enjoy good music.

But I am partial to a high-end degustation.

What’s the design/ atmosphere of your restaurant? Inside it’s a deco diner; outside it’s a cosy retro lounge room. It’s relaxed place to hang out

Where do you eat out? I’m still trying to get through trying all the new places that keep popping up in Perth. Never have we been so spoilt for choice.

What should I order when I come down? People love our free range burgers, but I can’t help ordering pasta – the salmon pasta is really good.

Countries like France, England and Italy incorporate a service charge. However, in some parts of Italy (more rural areas for example) it’s frowned upon. In Iceland and Amsterdam, tipping’s not expected but you can round up to the nearest dollar as a gesture of appreciation.

THE MUSIC • 16TH APRIL 2014 • 31

opinion MODERATELY HIGHBROW ARTS, CULTURE AND THE INBETWEEN WITH CAM FINDLAY I collect too much shit. I know that; I’m a hoarder of certain things. Not all things, like, I don’t collect bottles of off milk and cigarette butts. I do often collect trash, but that’s not deliberate. But I do spend probably too much money on things that a) are way overpriced, and b) have no practical use. Things like the giant Godzilla print that takes pride of place on my wall, or the complete Tim & Eric collection boxset (to add to all the seasons I already own). One collection of goodbye-mypay-packet items I never regret, though, are my records. You hear it from any muso who brings up the topic of vinyl: “I just love the feeling of holding vinyl in my hands,” or “There’s something special about the warm analogue sound,” or “my ancestor died and left me this huge pile of archaic recording technology”. All of those things are true, and more than enough reason to get in on Record Store Day this weekend. Every record store in Perth will be getting in on the action, with special events, sale prices, rare prints and more going on all day. You can expect the usual skulduggery: impromptu gigs around milk crates and longnecks in alleyways, record store owners serveing cake to customers, all that good stuff. If you’re a vinyl feind, you already know it’s all going on. If you’re looking to get in on vinyl collecting, there’s no better time to start. Just try to ignore the record nerds fighting; it only happens once a year.


32 • THE MUSIC • 16TH APRIL 2014






Elitism gives me the shits. Throughout the various corners of the scene(s) and its associated internet I’ve been the victim of, a witness to, and a part of the problem itself throughout various cycles as many trends have risen and fallen over the last decade. Having come out the other side, however, I thought I’d share this little epiphany with the world. Most listeners that stick around long enough grow from being that clueless little kid with their entry level bands, to someone with a wider and more ‘respectable’ knowledge of what heavy music has to offer. It’s kind of the same as going through high school in many regards: your first couple of years are going to be filled with cautiousness as you work out who your friends are, and intimidation as you decide what subjects you want to focus on – that phase might even last you the entire duration of your journey. You might go from being bullied, to being the bully, or it could break you entirely. Some might have had enough and drop out into the real world after Grade 10, but if you stick around and jump through the hoops, getting to the end of Grade 12 isn’t exactly the most difficult thing in the world to do. Hell, in this country the government will even pay you to take a specific focus into higher learning after that. Still want that hypothetical medal? What’s the point in trying to make that insecure teenager who’s just discovered The Amity Affliction and Bring Me The Horizon, and thinks they’re the pinnacle of heavy music (and if you want to argue in terms of success, well, they are) feel worse than he probably already does? If

you just somehow suddenly came from nowhere to be into Nails and Watain then honestly, good for you and your older brother, but even still I’m sure there’s gotta be at least a few Trivium or Korn mp3s hiding on a broken hard-drive somewhere. Maybe it’s just because the internet gives people such an easy platform on which to be aggressive and mean that the opportunity to tease and torment is just too easy not to take, but I wonder what one has to gain from the next evolution of schoolyard bullying, or why it is that some people will just choose to perpetuate that cycle forever. Sometimes though I guess you have to be cruel to be kind. If you know someone just getting into heavy music who thinks Capture The Crown is a perfectly legitimate band, well maybe a slightly belittling nudge in the right direction is justified. However, I can almost guarantee that some kid who has just discovered one of the more intelligent bands from the newer generation like say, Northlane, is almost definitely going to have a better worldview and perception of what music is capable of than your average person who takes on board whatever the mainstream is feeding at the time. If you’re one of those outspoken types but can’t tell the difference between the two bands dropped in this paragraph, then it’s possibly time to just leave the kids alone. Heavy music is growing, but it’s still a minority and we’re essentially all in this together. Educating someone might not have the immediate payoff like teasing someone can, but the feelings it can create in the long run are indeed more gratifying. Can’t we all just get along?

Captain America: The Winter Soldier has been sweeping aside all-comers at the box office since its release. The latest instalment in the ever-expanding Marvel Studios film catalogue, it builds on the high-octane action of both previous features involving the Star Spangled Avenger, but also further broadens the scope of the Marvel universe by veering into a grittier espionage territory that’s previously only been hinted at. Aside from being based on the modern-era masterpiece story arc by Ed Brubaker (who scores both a co-writing credit and a cameo appearance!), there are a number of nods in the film to defining Cap’ stories throughout the years as well. The corruption and overbearing governmental control are definite tributes to the Mark Gruenwald-penned Captain America No More!, wherein a disillusioned Steve Rogers refuses to support a newly-formed US council in charge of superhumans and subsequently gives up the mantle of Captain America, choosing instead to operate as the less politically-skewed hero The Captain. The systematic destruction of everything Rogers knows and loves during The Winter Soldier is a cleverly-crafted echo of the vicious attacks by Baron Zemo in the seminal Roger Stern story, Avengers Under Siege, while the culture shock and reconnection to everyday life recognise the underrated Mark Waid mini-series, Man Out Of Time. The Winter Soldier manages to both pay tribute to the stories that have paved its way, but also forge fresh ground for those new to the world of Captain America. COMICZONE’S BOOKS OF THE WEEK: Iron Fist; Batman Eternal; Nightcrawler; All New Ultimates; Shutter


the guide




The Eagles got smashed by Geelong on Saturday night at Simonds Stadium. Let’s just leave this here and see what happens.




What did you do last Easter? Well Ensemble Formidable and The Brow had a family feud, but they’ll do it again at Clancy’s Dunsborough, 17 Apr; Denmark Markets, 19 Apr; White Star Hotel, Albany, 19 Apr (night) and Denmark Scout Hall, 20 Apr.

They battled warping tape, breaking reel to reel players, aching hearts and a bung Blues Pro pedal, but Catbrush have finally cobbled together a debut album. They want you to hear it at Mojo’s on 17 Apr with a whole heap of supports.

Hitting The Bakery on Easter Saturday (16 Apr), Tomás Ford brings his Crap Music Rave Party back to fundraise for his upcoming May tour, where he’ll hit the UK, Ireland and Belgium. Always an experience, tickets are available through Now Baking.




Disclosure promotions, the guys behind Monarchy, are launching a new weekly night in Guilty, hitting Ginger once a month on Saturdays. Electro, Trap, d’n’b and everything else is on offer on 19 Apr.

After spending 2013 in and out of the studio, White Avenue now have a five-song EP ready for release mid-way through this year. First they launch their new single at Ya Ya’s on 19 Apr, with Digital Order, Custom Royal and The Right Way Up.

Perth’s favourite independent theatre and performance venue The Blue Room Theatre has announced a seven-show season running from AprJul. Season subscriptions and individual tickets available at

Despite landing on an unoriginal name, it’s sounding like Double J should deliver some sweet tunes.

DEAD SERIOUS It’s almost time to celebrate the death of a religious icon by consuming a sickening amount of chocolate and entering a food coma. We’ll see you on the other side.



Attempted murder charges against a nine-month-old Pakistani boy have been dropped. He was present during a brawl between his neighbourhood and power company officials.




Gun Fever presents a tribute to the Pixies on 17 Apr at Flyrite, a chance for you to get out all that grungey fury. Mezzanine, Tired Lion, Pat Chow, Children, Emperors’ Adam Livingston and more delivering. Doors $10 from 8pm.

In The Pines rocks out Somerville Auditorium on 20 Apr, with Scalphunter, Kill Devil Hills, The Floors, Flower Drums, The Community Chest, Runner, The Morning Night, and heaps more playing on the day. for tickets.

As part of the launch of their new album, Buried In Verona hit the road with US band Fit For A King and our own Feed Her To The Sharks and Ocean Grove. Catch them at Villa, 16 Apr; Elliot St Bar, Bunbury, 17 Apr; and YMCA HQ (AA), 18 Apr.




Roller has always strived to bring you the best of Perth d’n’b and this year is no exception. They bring the party back to The Rosemount with VLTRN, Eyesdown Vs Cathedral and a whole lot more on 17 Apr. Free entry!

If you’re not completely worn out by the end of Roller, you can get along to the Roller Afterparty at Ambar. Miss Demeanour, Mo’Fly, Jazza, Gracie and the Roller Legends drop even more drum’n’bass from 10pm.

In Potato Dice’s own unique universe, she’ll transport you with a pop/rock mood topped by bluesy accents. She headlines a solo/duo night, also featuring Shola Lee, Tristram Corbett and Jeremiah Salt. $5 entry.

RICHIE RICH Private schools around the state are considering extending their July holidays break. Turns out money can buy anything.

GET OUT OF TOWN A proposed law by the City Of Perth will ban beggars from its streets if approved. C’mon, Barnett, musicians are doing the best they can!


the guide


THIS WEEK’S RELEASES… ED KUEPPER The Return Of The Mail-Order Bridegroom Valve THE AFGHAN WHIGS Do To The Beast Sub Pop/Inertia THE MENZINGERS Rented World Epitaph/Warner TYCHO Awake Ghostly International/Inertia 34 • THE MUSIC • 16TH APRIL 2014




Since 2001, following his win as People’s Choice at the NSW Dance Music Awards, Kid Kenobi has remained at the forefront of the Australian DJ circuit. He helps Parker celebrate the Easter long weekend on 17 Apr. $15 on the door.

In 2013, self-confessed synthfreak and Italo-style icon Touch Sensitive saw the worldwide explosion of his synth-house EP Show Me The Pizza Guy. The hero of uber-cool synth disco beats plays a chilled Sunday sesh at The Aviary on 20 Apr.

In just a few years Delta Heavy, or Si James and Ben Hall to their mums, have already proven their drum’n’bass mettle with a succession of heavy-hitting original tracks. On the up, they bring their Apollo EP to Villa on 20 Apr.




Get Weird and Fungle Club are teaming up for a big party in Ambar. It’s a Sunday, but Easter Sunday, so it’s kinda alright. Dutch legend Young Marco headlines, with local supports. Tickets $15 through

As you may well know, Record Store Day is on 19 Apr, and top shop Dada Records are holding a little party with Sacred Flower Union, Night Signals, Mitchell Freeway and more all playing out back from 2.307pm. Plus, y’know, records!

Also on the Record Store Day tip, Hidden Treasures in Freo are having their own celebration of all things vinyl with DJs playing all day, plus the usual heap of record specials and rare releases. Plus there’s a whole lot of cake and stuff, which is always good.




In honour of their much anticipated crowdfunded video, hard rock heroes Twelve Foot Ninja have announced an eight-date Australian headline tour this March/April. The drop into the Rosemount on 19 Apr, with local supports.

Ministry Of Sound’s debut installment of Bounce Sessions is a homage to Melbourne bounce that sees SCNDL and J-Trick belt it, with Axen, Kastel and Lukas Wimmler also on board. Tickets $20+bf through Mosthix and LIVE Clothing stores.

Alex Niggemann produces and plays whatever suits him at the moment, from dark tech house to vocal-heavy house music. Not one to be held down by genre specifics, he returns to drop smooth house at Geisha on 19 Apr. Eventbrite for tickets.




Prior to her move to Western Australia, Josie Crosby was an established musician in the New England music scene in the States, but she’s already made big waves with her band The Lucky Numbers. They head to peel Estate Winery on 20 Apr.

In Orbit are a thundering twopiece, playing progressive, hard rock. The band explores the sonic possibilities and textures of a minimalist guitar/drum setup, and they launch new EP Innerspace at the Rosemount on 16 Apr. $10 door.

Experience an eclectic range of performances with the added security of dim lighting and drink to hide behind when the Buskers’ Cabaret gets the Fly By Night all moody on 20 Apr, as part of Fremantle Street Arts Festival. for tickets.


the guide


SINGLE FOCUS coming out later in the year. the first three discs are songs inspired by shoe shopping. What was inspiring you during the song’s writing and recording? I thought it would be amusing to write a happy pop song about a bunch of kids horrifically murdering their friends.


Grace – Jeff Buckley

Answered by: Tim Stelter Best record you stole from your folks’ collection? Never stole any, but I should have stolen all the Led Zeppelin. I blew it. First record you bought? Mellon Collie & The Infinite Sadness – Smashing Pumpkins. Still such an epic album, so many classic songs! Record you put on when you’re really miserable? Night Is The New Day – Katatonia if I want to stay miserable, Snot - Get Some, if I want to get lifted.

Most surprising record in your collection? N**** Please – Ol’ Dirty Bastard

ODLAW Answered by: Mark Neal Single title? Cabins

Last thing you bought/ downloaded? The Satanist – Behemoth. An absolute corker, brutal but with epic vibes.

What’s the song about? Eli Roth’s horror film Cabin Fever. Five kids go into the woods and their skin falls off in gory-glorious fashion.

When and where are your next gigs? 17 Apr, Rocket Room

How long did it take to write/ record? This was the first song we wrote together. I had a lot of trouble writing lyrics, so our bass player Nicole wrote the lyrics while watching Cabin Fever.

Website link for more info?

Is this track from a forthcoming release/existing release? Yeah, we have a few more songs recorded and have been busy writing for a four-disc debut album,

Record you put on when you bring someone home?


We’ll like this song if we like... Summery indiepop. And stabbings. Do you play it differently live? Our old drummer Will moved to Sydney. He was a big part of the writing process. But we now have Dane Knowles, who used to play with Emperors. When and where is your launch/ next gig? 17 Apr at Beat Nightclub. Sail On! Sail On!, Dan Cribb, Oakland, and The Shops are playing also. Website link for more info? Mark Neal is employed by Street Press Australia, publishers of The Music. He also likes milk. A lot.


be a part of our upcoming EP Chrysalis which we are looking at releasing around June/July this year.

WHITE AVENUE Answered by: Sean Hogan Single title? The Void What’s the song about? Nothing too specific, when you’re 15 you kinda just write about anything,. It’s grown a lot since then though. How long did it take to write/ record? We recorded it in about five hours over several days, four hours and 45 minutes of that being Ben trying to get his solo “just right”. We really thought this track had promise when recording. Is this track from a forthcoming release/existing release? It will

What was inspiring you during the song’s writing and recording? Not too sure, it started off really simple, which it essentially still is today, but we just kept adding to it and creating a real good rock song... At least we hope it is! We’ll like this song if we like... Rock’n’roll, catchy riffs, lyrical hooks, distortion, breaking things, head-banging, yelling ‘hey’, drinking beer. Do you play it differently live? We like to drag out the intro when we play it live, bring up the hype a bit but otherwise it’s pretty identical to the recording. When and where is your launch/ next gig? We’re launching it on Easter Saturday, 19 Apr at Ya Ya’s with Digital Order, Custom Royal and The Right Way Up. Website link for more info?

SLEEPFREAK Song title: Sleazebag Director: Natalie Lewis and Ben Berkhout What’s the concept behind the clip? The main character being the ‘sleazebag’ is in his own world where he is admired and everyone and everything is glamorous. His concept of reality is very distorted. How long did it take to make? Four days to shoot the clip, plus editing. Where did you f ilm it? University Of Western Australia. They were extremely helpful with the clip and they were kind enough

to let us shoot in their gym. What’s your favourite part of the clip? We pretty much wet ourselves once we saw the final cut of the bit where the ‘sleazebag’ notices himself in the mirror and begins admiring his own mug. Damon (the sleazebag) is a very funny man and a great actor. Was anything in particular inspiring you during the making? Going through the process motivated us to continue to create songs which have a solid theme and storyline. Will you be launching it? 26 Apr at The Bakery. Website link for more info? THE MUSIC • 16TH APRIL 2014 • 35

the guide



LIONIZER: MAY 2, Lionizer

FRENTE, MAPLES: JUN 7, Astor Theatre

BLISS N ESO: MAY 2, Signal Park, Busselton; MAY 3, Wellington Square

JEFF LANG: JUN 7, Fly By Night; JUN 8, Ravenswood Hotel


DUNE RATS: JUN 13, Mojo’s; JUN 13, Amplifier

THE JUNGLE GIANTS: MAY 9, Rosemount Hotel

LITTLE BASTARD: JUN 19, Prince Of Wales Hotel, Bunbury; JUN 20, Settlers Tavern, Margaret River; JUN 21, Mojo’s

THE JEZEBELS: MAY 9, Astor Theatre ARCTIC MONKEYS: MAY 13, Perth Arena


THE DECLINE: MAY 17, Rosemount Hotel

THE AUDREYS: JUL 4, Fly By Night

DZ DEATHRAYS, PALMS, FOAM: MAY 22, Prince Of Wales, Bunbury; MAY 24, Amplifier; MAY 25, Newport Hotel

SOMETHING FOR KATE: JUL 4, Astor Theatre THE WHITE ALBUM TOUR: JUL 26, Riverside Theatre

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; JUN 1, Astor Theatre

GIGNITION: Upcoming band showcases 4-8pm last Sunday of each month at The Railway Hotel


WED 16

Quiz Night + Various: Albion Hotel, Cottesloe

The Academy feat. Vanity + Idle Eyes + Agitated + Health Legend: Amplifier Bar, Perth Sugar Blue Burlesque: Brass Monkey Hotel, Northbridge

Full Moon Party + Slumberjack + B-Boy Battle: Newport Hotel, Fremantle Tw!st with Wrighteous + Seventh Son: The Bird, Northbridge

THU 17

Roller Easter After Party + Miss Demeanour + Mo’Fly + Various DJs: Ambar (10pm), Perth

Justin Cortorillo: Grand Central, Perth

Mike Nayar: Belgian Beer Cafe, Perth

Anthony Buttaccio: Greenwood Hotel, Greenwood

Electrophobia: Belmont Tavern, Cloverdale

Shades Of Indigo: Herdsman Lake Tavern, Wembley

Tandem: Best Drop Tavern, Kalamunda

Acoustic Aly: Hyde Park Hotel (Courtyard), North Perth

Karaoke: Brass Monkey Hotel, Northbridge

Indi Open Mic + Various Artists: Indi Bar, Scarborough

Keira Jane: Greenwood Hotel, Greenwood

Ricky Green: Brighton Hotel, Mandurah

The Black Fridays: Kalamunda Hotel, Kalamunda

Darren Guthrie + Trojan John: Indi Bar, Scarborough

Karaoke: Brooklands Tavern, Southern River

Siren & Assassin: M On The Point, Mandurah

Japan 4 feat. Bezwun + DNGRFLD + Tee EL + Philly Blunt + Micah: Ambar (10pm), Perth

Howie Morgan: Lucky Shag, Perth

Buried In Verona + Fit For A King + Feed Her To The Sharks: Burlington Hotel (Elliott Street Bar), Bunbury

Parker Saturdays + Simon Paiker + Acebasik + Mind Electric + Paul Scott: Parker Nightclub, Perth

Old Blood + Filthy Apes + Elli Schoen: Mojo’s Bar, North Fremantle

Catbrush + Foam + Doctopus + Hideous Sun Demon + Shit Narnia + Laurel Fixation + Black Swan + Fabian Rojos: Mojo’s Bar (6pm), North Fremantle

Chet Leonard’s Bingoteque: Clancys Fish Pub, Fremantle 5 Shots: Crown Perth (Groove Bar), Burswood

FRI 18

DJ Boogie: Clancys Canning Bridge, Applecross

SAT 19

Teachings In Dub feat. The KBI Sound System: Railway Hotel (Main Room), North Fremantle

Animal House: Pirates + Various DJs: Capitol, Perth

Deep Doogs feat. Hugo Gerani + Basic Mind + Leighton Head + Modesty Blaze + Jack Doepel: The Bird, Northbridge

Super Thursday feat. DJ Mind Electric + DJ Pup + Tahni + B-Fix: Claremont Hotel, Claremont

Bounce Sessions with SCNDL + J-Trick + Axen + Kastel + Lukas Wimmler: Villa Nightclub (10pm), Perth

Allied Health 2014: Sugar & Spice + Various DJs: Metro City, Northbridge Easter Bounce feat. Kid Kenobi + Acebasik + Drifter + Paul Scott: Parker Nightclub (10pm), Perth Beat Lounge + Laidlaw + Creed Birch + Wallace + D-JEONG + more: The Bird, Northbridge Mondo Easter Thursday Party with Cosmos Midnight + Various DJs: Villa Nightclub (10pm), Perth

SUN 20

Get Fungled + Young Marco + Ben Taaffe + Om Fom + Reece Walker + Beecroft Sux + Lightsteed + more: Ambar (9pm), Perth Rooftop Sessions feat. Touch Sensitive + Sam Perry + Philly Blunt + Troy Division: The Aviary (4pm), Perth Delta Heavy + Lost Tempo + Terrence & Phillip + Spillage + more: Villa Nightclub, Perth

Night Cap Session + Fat Sparrow: Ellington Jazz Club, Perth

Killswitch Engage + Kill Devil Hill: Metro City, Northbridge

Going Solo feat. D-JEONG + Leure: Moon Cafe, Northbridge Frenzy: Mustang Bar, Northbridge Brazil Night with Xoxote: Ocean One Bar, Scarborough In Orbit + Tuxedo Pig + Mind Canary + Bay Sickly: Rosemount Hotel, North Perth Paper Walls + Welcome The Wildfire + Kites + Santa Muerte + This Other Eden: Rosemount Hotel (459 Bar), North Perth Open Mic Night + Various Artists: Settlers Tavern, Margaret River Open Mic Night with Greg Carter: Swinging Pig, Rockingham Fiona Lawe Davies 3: The Laneway Lounge, Perth Dove + Stu Nugent + The Suntones: The Paddo, Mt Hawthorn Retriofit: Universal Bar, Northbridge

Frenzy: Carine Glades Tavern, Duncraig Comedy Night + Various Artists: Charles Hotel, North Perth James Wilson: Chase Bar & Bistro, Baldivis Justin Cortorillo: Citro Bar, Perth One of None + DFC + Face Grinder + To Hell WIth Honour: Civic Backroom, Inglewood Ensemble Formidable + The Brow: Clancys Fish Pub, Dunsborough

Good Friday Eve Party with Kickstart: Mustang Bar, Northbridge Open Mic + Various Artists: Newport Hotel (The Tiki Beat Bar), Fremantle Open Mic Night with Turin: Ocean One Bar, Scarborough Open Mic Night with Danny Bau: Peel Ale House, Halls Head Gyroscope + Special Guests: Prince of Wales, Bunbury

Penny King Trio: Como Hotel, Como

Back2Back: Quarie Bar & Bistro, Hammond Park

Helen Reddy: Crown Perth (Crown Theatre), Burswood

Pyromesh + Dawn of Leviathan + Tusk + Arkarion: Rocket Room, Northbridge

Keira Jane: Crown Perth (Lobby Lounge), Burswood Hi-NRG: Crown Perth (Groove Bar), Burswood Rock n Roll Karaoke + Various Artists: Devilles Pad, Perth Phat Monkey: Divers Tavern (Beach Bar), Cable Beach Open Mic Night with Kris Buckle: Dunsborough Tavern, Dunsborough


Choppa: Gate Bar & Bistro, Success

Superseeds: Balmoral, East Victoria Park


Next Gen + Various DJs: Metropolis (C5), Fremantle

THU 17

Gouge Away - A Pixies Tribute + Mezzanine + Pat Chow + Lionizer + High Horse + Children + Gun Fever DJs: Flyrite, Northbridge

Doctor Dru: Geisha Bar, Northbridge

Open Mic Night with Shaun Street: Carine Glades Tavern, Duncraig Trivia: Charles Hotel, North Perth

WED 16

Foundation with Kid Tsunami + Kaotik + Pawel: Ya Ya’s, Northbridge

Night Cap Session + Howie Morgan + Lucky Oceans: Ellington Jazz Club, Perth

Julian Clary: Astor Theatre, Mount Lawley

BEX ‘N’ TURIN’S OPEN MIC NIGHT: 8pm-late every Tuesday at Rosemount Hotel


Harlem Wednesdays Vs Majesty + Genga + Peter Payne + Philly Blunt + more: Capitol (10pm), Perth

Buried In Verona + Fit For A King + Feed Her To The Sharks + Ocean Grove: Villa Nightclub, Perth

Three Hands One Hoof + Guests: Rosemount Hotel (459 Bar), North Perth Easter Roller feat. VLTRN + Eyesdown + Cathedral + Darts + Blend + more: Rosemount Hotel, North Perth Simon Kelly: Settlers Tavern, Margaret River

THE MUSIC • 16TH APRIL 2014 • 37

the guide James Atles + Mind Canary + Calectasia + Simon Beaton + Gabbi Fusco + Aaron Gwynaire: Swan Lounge, North Fremantle

Twelve Foot Ninja + The Algorithm: Players Bar, Mandurah The Get Down with DJ Charlie Bucket + Klean Kicks + Nick Sheppard (DJ Set): Rosemount Hotel (Beer Garden), North Perth

Odlaw + Sail On! Sail On! + Oakland + The Shops + Dan Cribb: The Beat Nightclub, Northbridge Howie Morgan Project: The Deen, Northbridge

Acoustic Sunday Session with Lightening Jack: Settlers Tavern (Verandah / 3.30pm), Margaret River

Why Georgia: The Laneway Lounge, Perth

Astrid Ripepi + AJ Wigwams: Swanbrook Winery, Henley Brook

Adam James: The Principle Micro Brewery, Midland

The Healy’s + Blue Hornet: The Shed, Northbridge

Crush: The Shed, Northbridge

Off the Record: Universal Bar, Northbridge

Josh Pyke + Special Guests: The White Star Hotel, Albany Off the Record: Universal Bar, Northbridge Nathan Gaunt: Vic, Subiaco Shane Dickson: Wintersun Hotel, Geraldton The Jack Doepel Quartet: X-Wray Cafe, Fremantle Kat Wilson + Indigo + Nicky Sandover + more: Ya Ya’s, Northbridge

FRI 18

Jazz+Jen de Ness: Albion Hotel, Cottesloe The Jack Doepel Quartet: Clancys Fish Pub, City Beach Tod Johnson & Peace Love + DJ Crazy Craig: Crown Perth (Groove Bar), Burswood Karaoke Classic with Steve Parkin: Newport Hotel (Two Sparrows Bar), Fremantle Mad Agents: Ocean One Bar, Scarborough The Dice + Guests: X-Wray Cafe, Fremantle Buried In Verona + Fit For A King + Feed Her To The Sharks: YMCA HQ (All Ages), Leederville

SAT 19

Bam Bam + Savo: Amplifier Bar, Perth

Rooster Police + DJKL: Astor Theatre, Mount Lawley Grotesque + Maximum Perversion + Sanzu + Facegrinder + 9ft Super Soldier: Civic Backroom, Inglewood

GYROSCOPE: 17 APR, PRINCE OF WALES HOTEL, BUNBURY Steve Parkin: Clancys Canning Bridge, Applecross Antics feat. Anna O + Oh Velveteen + Antics DJs: Claremont Hotel, Claremont Proof: Crown Perth (Groove Bar), Burswood Spoonful: Divers Tavern (Beach Bar), Cable Beach Bindhu Holavanahalli + Alcatraz + Penny King Quintet: Ellington Jazz Club, Perth Amateur Pole Queen + Various Artists: Fly By Night (6pm), Fremantle Father + HIPHOPTRAPJERSEY + PurpleNote4APurpleDrank + Free Throws: Flyrite (9pm), Northbridge New Soundland: Indi Bar, Scarborough Black Stone from the Sun + Puck + Apache + Aborted Tortoise + Graphic Characters: Mojo’s Bar, North Fremantle Karaoke Classic with Steve Parkin: Newport Hotel (Two Sparrows Bar), Fremantle Desert Bells: Ocean One Bar, Scarborough

Twelve Foot Ninja + The Algorithm + I, Said The Sparrow: Rosemount Hotel, North Perth Qynn: Settlers Tavern (9.30pm), Margaret River Jeremiah Salt + Potato Dice + Tristram Corbett + Shola Lee: Swan Lounge, North Fremantle Crap Music Rave Party + Various DJs: The Bakery, Northbridge Record Store Day feat. Ben Taaffe + Maria Mendes + Tom Lettenmaier + Jack Doepel: The Bird (1pm), Northbridge Throwing Shapes + K-Town + Wisdom2th: The Odd Fellow, Fremantle Huge + DJ Andyy: The Shed, Northbridge Ensemble Formidable + The Brow: The White Star Hotel, Albany

Kreator + Death Angel + Special Guests: Capitol, Perth The Zydecats: Clancys Fish Pub, Fremantle DJ Boogie + The Salt Shaker Selectors: Clancys Fish Pub (2pm), City Beach Special Brew: Clancys Fish Pub, Dunsborough Peace Love + DJ Crazy Craig: Crown Perth (Groove Bar), Burswood Jim Jefferies: Crown Perth (Crown Theatre / 8pm), Burswood Jim Jefferies: Crown Perth (Crown Theatre / 10pm), Burswood Buskers Cabaret + Various Artists: Fly By Night, Fremantle

In The Pines 2014 feat. Gunns + Scalphunter + Dianas + The Kill Devil Hills + Moana + The Flower Drums + Mudlark + DM3 + The High Learys + Rabbit Island + Leeches! + Golden String + Pat Chow + Antelope + Mt Mountain + Runner + The Morning Night + Bill Darby + The Floors + The Community Chest: University Of Western Australia (Sommerville Auditorium / 11am), Perth John Bannister + The Charisma Brothers: X-Wray Cafe (4pm), Fremantle Click Brown Fox: X-Wray Cafe (7pm), Fremantle

MON 21

Justin & Mike: Crown Perth (Groove Bar), Burswood Song Lounge + Various Artists: Ellington Jazz Club, Perth Wide Open Mic: Mojo’s Bar, North Fremantle Trivia: Rosemount Hotel, North Perth Gypsy Marsala: X-Wray Cafe, Fremantle Big Tommo’s Open Mic Variety Night: Ya Ya’s, Northbridge

Soul Corporation: Universal Bar, Northbridge

Beyond Blue Benefit with Bitter Belief + Complete + Smiley + Sarah Pellicano + Paulie P + Adam Crook: Mojo’s Bar, North Fremantle

White Avenue + Digital Order + Custom Royal + The Right Way Up: Ya Ya’s, Northbridge

Sunday Sessions + Timothy Nelson: Newport Hotel, Fremantle

Open Mic Night with Shaun Street: Brass Monkey Hotel, Northbridge

DJ G Martin: Ocean One Bar (2.30pm), Scarborough

Perth Blues Club feat. Rick Steele + Bob Patient + Wayne Freer + Pete Stone: Charles Hotel, North Perth

SUN 20

Kevin Bridges: Astor Theatre, Mount Lawley

Tahnee: Ocean One Bar (6pm), Scarborough

TUE 22

Trivia: Clancys Fish Pub, Fremantle Jack & Jill: Crown Perth (Groove Bar), Burswood Daniel Susnjar: Ellington Jazz Club, Perth Mad Rabbit + Lumpy Dog + Necter + Sprawl + Piano Donkey: Mojo’s Bar, North Fremantle Overgrowth Acoustic Showcase + Various Artists: Ocean One Bar, Scarborough Bex & Turin’s Wide Open Mic: Rosemount Hotel, North Perth The Tom Tale Jazz Quartet: X-Wray Cafe, Fremantle Choking Stanley + Dischordians + Yiannos McStavros + more: Ya Ya’s, Northbridge






Large, clean, fully equipped rehearsal rooms at competitive rates! Open weeknights from 6pm & weekends from 12pm. PA & Equipment Hire also available. Call or SMS us on 0402425158 Ad ID: 6-13782






THE MUSIC • 16TH APRIL 2014 • 39

40 • THE MUSIC • 16TH APRIL 2014

The Music (Perth) Issue #34  

The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...

The Music (Perth) Issue #34  

The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...