# 7 8 • 04 . 0 3 . 1 5 • P E R T H • F R E E • I N C O R P O R AT I N G
SAN CISCO “WE WERE SCRAPING THE BOTTOM OF THE BARREL WITH THAT FIRST ALBUM.”
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FOO FIGHTERS. PIC: MARKUS RAVIK
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The Bayswater Youth Festival is taking place this week. There’ll be something for everyone on Saturday at Wotton Skate Park, including the heat of the Sound Overload Bands Comp, Skate, Scooter and BMX Competition, stalls, games and free food in the form of a sausage sizzle. If you’re vibing on the music side of things, local legends The Love Junkies will be headlining on the day.
Rise Against usually perform to sold out stadiums. This Saturday night, they’re playing a show at the 400-capacity Amplifier Bar (the previously booked Carnival has been postponed and LDRU has moved into Capitol for the evening). It’s Rise Against’s only headline show on their visit to Australia, who are here supporting the Foo Fighters on their national tour. I know, it’s going to be insane. Tickets are out now, so hurry yourselves up and get onto it.
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The Camelot Outdoor Cinema gets the Flickerfest tour this week, screening over three days from Thursday. The runlist will include: Best Of Australian Shorts, Best Of International 1 and 2 and Short Laughs Comedy. Check out Boogaloo And Graham which scored an Oscar nomination for best live-action short film. The drama follows the story of two kids who are given baby chicks to care for by their parents.
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national news email@example.com BRITISH INDIA
A BALLET REVOLUTION
British India have announced an April tour in support of new release Nothing Touches Me. Joined by Grenadiers and Tired Lion, see them 23 Apr, Beer Deluxe, Albury; 24 Apr, Romano’s Hotel, Wagga Wagga; 25 Apr, Area Hotel, Griﬃth; 1 May, Sound Lounge, Gold Coast; 2 May, Urban Music Festival, Caboolture; 15 May, Dunsborough Tavern, Dunsborough; 16 May, Capitol Theatre, Perth; 17 May, Newport Hotel, Fremantle; 22 May, Metro Theatre, Sydney; 23 May, Cambridge Hotel, Newcastle; 29 May, 170 Russell, Melbourne; and 30 May, The Workers Club, Melbourne. Tickets on sale 5 Mar from 9am.
HUMAN RIGHTS ARTS & FILM FEST
The eighth Human Rights Arts & Film Festival has announced its 2015 program. Containing exhibitions from Christian Thompson and Rushdi Anwar, and works concerning activist Ai Weiwei, Ethiopian marriage abduction and student debt in the US, the festival kicks oﬀ across Melbourne on 7 – 21 May. The festival then tours to 22 – 25 May, Palace Electric Cinema, Canberra; 26 – 30 May, Dendy Cinema, Sydney; 2 – 4 Jun, Brisbane Powerhouse, Brisbane; and 2 – 4 Jun, Cinema Paradiso, Perth. The full program will be announced in early April.
Portland metal group Red Fang are celebrating their tenth year together in 2015 with an Australian tour, their ﬁrst since making their way Down Under for Soundwave in 2013. They’ll be bringing their album Whales & Leeches to the country too, so get ready to hear the new tunes 7 May, Rosemount Hotel, Perth; 9 May, Barwon Club, Geelong; 10 May, Cherry Rock Fest, Melbourne; 12 & 13 May, Crowbar, Brisbane; 14 May, Manning Bar, Sydney; and 15 May, Prince Bandroom, Melbourne.
MAKING A KILLING
Fresh from slaying Laneway Festival audiences around the country, Adelaide rapper Tkay Maidza has just announced a national tour for her whip-cracking new single M.O.B. She’s up there as having had one of the busiest years for an Australian musician, playing Falls and Southbound, and has Groovin’ The Moo to look forward to, but in the meantime, you can see her performing her own headlining show with Acclaim, UV Boi and Joy coming along for the ride – 10 Apr, Flyrite, Perth; 17 Apr, Goodgod Small Club, Sydney; 18 Apr, Woolly Mammoth, Brisbane; 24 Apr, Northcote Social Club, Melbourne.
DOES THAT MAKE ME CRAZY?
Thief has debuted a new single with Dom Alessio on triple j and has now announced a national tour in support. He launches into the new year after his Closer EP had over 4.5 million plays on Spotify and rave reviews. Thief will be joined by Lanks, playing 20 Mar, Shebeen Bandroom, Melbourne; 22 Mar, Sets On The Beach, Perth; 26 Mar, Newtown Social Club, Sydney; 27 Mar, Southern Cross Arts Festival, Lismore and 28 Mar, Alhambra Lounge, Brisbane.
#THEDRESS HAS ME HUDDLED IN A CORNER IN THE FETAL POSITION. MAKE IT STOP. YOU AND ME BOTH, @MIKEYPIFF. 8 • THE MUSIC • 4TH MARCH 2015
Internationally acclaimed Cuban ballet show Ballet Revolución will return to Australia for a national tour in June and July. The brand new production is on 23 Jun, WIN Entertainment Centre, Wollongong; 24 Jun, Canberra Theatre Centre, Canberra; 25 – 28 Jun, State Theatre, Sydney; 1 – 5 Jul, State Theatre, Melbourne; 7 Jul, Frankston Arts Centre, Frankston; 9 – 12 Jul, QPAC Concert Hall, Brisbane; and 21 – 31 Jul, Regal Theatre, Perth. Tickets on sale 2 Mar.
US power pop heavyweights Everclear will celebrate the 20th anniversary of Sparkle And Fade with Australian fans when they come to visit for a tour, performing the album in full, plus all the favourite singles. Catch the band 8 May, Corner Hotel, Melbourne; 9 May, Eatons Hill Hotel, Brisbane; 10 May, Metro Theatre, Sydney; 12 May, The Small Ballroom, Newcastle; 13 May, Mona Vale Hotel, Mona Vale; 14 May, Rosemount Hotel, Perth.
Japanese noisemakers Boris have put out 19 albums in 19 years so it’s really no wonder that they’re one of the most signiﬁcant and proliﬁc bands to emerge from Japan’s doom and nose scene. Witness the power trio live when they come to Crowbar, Brisbane, 27 May; Newtown Social Club, Sydney, 29 May; Corner Hotel, Melbourne, 30 May; Rosemount Hotel, Perth, 1 Jun.
AL FRASCA DINING
Dallas Frasca are set to release their third studio album, Love Army, on 17 Apr. The release coincides with a tour announcement and record deal signing with Aussie independent label Social Family Records. Help them celebrate these milestones after almost ten years of hard work: 14 May, Mojo’s Bar, Fremantle; 15 May, Indi Bar, Scarborough; 16 May, Bunbury Entertainment Centre, Bunbury; 22 May, Transit Bar, Canberra; 23 May, Goodgod Small Club, Sydney; 29 May, Parkwood Tavern, Gold Coast; and 19 Jun, Howler, Melbourne. More dates on theMusic.com.au.
WED 4TH MAR
GINSPIRATION! THU 5TH MAR
RICKY GREEN SINGLE LAUNCH, WITH BLUE CHILD AND PHIL SLABBER New album
Unintended Consequences out April 11
FRI 6TH MAR
HEAVY SOUL DJ’S SAT 7TH MAR
The Astor Lounge Saturday April 11
Eye of the World available now at stuartorchard.com.au
THE KILL DEVIL HILLS, THE PAINKILLERS + MORE TUE 10TH MAR
SAT 14 - OCEAN ALLEY 9 NORFOLK ST FREMANTLE
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local news firstname.lastname@example.org
FRONTLASH WE ALL FALL DOWN
If you’re a celebrity who doesn’t have viral footage of yourself falling over, you’re not doing fame right. Madonna is the latest to be added to the list, taking a tumble at the Brit Awards.
HEAR THEM ROAR Congratulations to Perth rockers Tired Lion who have been added to high rotation on triple j this week.
DIAMOND IN THE ROUGH Turns out if you complain and make enough of a fuss, you actually do get what you want. A Perth date has been added to Neil Diamond’s November Australian tour.
GODS BE PRAISED
Last week The Blue Room Theatre Summer Nights program, presented in association with PICA, won ten Fringe World Awards, including the prestigious Martin Sims Award (Monroe & Associates), Theatre Award (Fake It ‘Til You Make It by Bryony Kimmings and Tim Grayburn) and Best Independent Program for the fourth year running. The Blue Room Theatre Summer Nights was the biggest yet in 2015, with 11,095 tickets sold (excluding Artist Passes), 295 sessions, and 84% capacity across the season.
PINE TIME DRESS OF DOOM
BACKLASH LLAMA DRAMA
Only in America would the media ﬁxate their attention on two llama roaming the streets as if it was some sort of high-speed chase. There was live helicopter footage of last week’s zoo escapees.
DRESS CODE A picture of a dress took control of the internet last week, with the world divided as to whether it was blue and black, or white and gold. Seriously, what colour is that dress?
FLYING HIGH There’s something mildly terrifying about Black Hawk helicopters soaring over your house in the middle of the night. The army has been ﬂying the war machines over residential areas as of late as part of training.
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Heavy WA rockers Hailmary are hitting the road in March for their ﬁrst shows of the year. The four-piece have a solid line-up now in place with the injection of new bass and guitar players, and they’ll be bringing themselves to Rosemount Hotel with The Brown Study Band, Still Frame Mind and Beyond Stone Rising on 18 Mar.
The iconic In The Pines Festival returns for its 22nd consecutive year on Sunday, 19 Apr. RTRFM’s ﬂagship event will feature 20 of Perth’s ﬁnest live acts across two stages in the lush green surrounds of UWA’s Somerville Auditorium. For RTRFM members, $15 tickets are on sale now from rtrfm.com.au until 4 Mar. The ﬁrst line-up announcement will be made that morning on the station’s morning segment, Breakfest With Caitlin. It’s always a cracking festival, so save the date!
Life is Noise has become a staple in the local music scene over the last ﬁve years, and they’ve put together a line-up of epic proportions to celebrate this milestone. On 2 Apr, The Bakery will be buzzing with performances from some of Perth’s best acts like Mt Mountain, PUCK and much, much more. This is also one of the last times you can catch live music in all its glory before The Bakery closes its doors for good, so don’t miss out. Tickets available from lifeisnoise.com and Oztix.
FREMANTLE VIA EVERYWHERE
Fremantle’s Festival season will continue in Perth with the 2015 Fremantle Street Arts Festival. Busking, street theatre, circus, cabaret and comedy acts – including Waterbombs, a water balloon gladiator show with comic antics, ﬂying balloons, and opera – will make their way to the event, with performers attending from Cuba, Netherlands, Great Britain, Japan, The USA and more. The free event runs 4 – 6 Apr.
Attention all Tolkien fans… Billy Boyd, who you may know for his portrayal of Peregrin “Pippin” Took in The Lord Of The Rings ﬁlm trilogy, is the latest guest to be added to the Oz Comic-Con Perth line-up. Oz Comic-Con is on at Perth Convention & Exhibition Centre on 11 & 12 Apr.
LUCKY NUMBER SIX
They’ve sold out shows around the globe and now British rockers You Me At Six are bringing their energetic performance to Capitol, 28 Apr.
OPEN FOR BUSINESS
Voicebox Poets Fremantle will be taking up residence at the new Blinco Street Cafe. Their monthly poetry night commences 30 Mar from 7pm, with punters given the option to BYO, and purchase a range of tasty treats from the cafe.
Australia’s political punk-rockers Super Best Friends have just announced their long-awaited debut LP Status Updates. The group are riding high of the viral success of Round & Round which featured the embarrassing dance moves of some of Australia’s most famous politicians. The group play 27 Mar, The Bakery; 28 Mar, Four5Nine Bar; 29 Mar, Hyperfest.
READY & REARING
Local legends Tired Lion have just had their new single I Don’t Think You Like Me added to triple j rotation, and they’re showcasing it around the country this month, supporting Luca Brasi’s and Kingswood’s shows. Get in on the action when they play 6 (w/ Luca Brasi) & 27 Mar, Capitol; 26 Mar, Prince Of Wales; 28 Mar, Dunsborough Tavern; 29 Mar, Newport Hotel; The Bird, 10 Apr.
A SHINING LIGHT
Good news for live music! Amongst the recent domino eﬀect of Perth live music venues closing down, Fly By Night Musicians Club has managed to remain in Freo, albeit moving venues to the 260 capacity Victoria Hall.
UP THE LADDER
They hit number two in the iTunes Electronic Music Charts with their debut EP, scored triple j rotation and clocked over a million Soundcloud streams for their lead single Body Cry: Now, Perth’s Slumberjack are taking it up a notch with a national tour. See what all the fuss is about 27 Mar, Villa Nightclub.
local news email@example.com SONS OF ZION
Black Swan Theatre Company will be serving up the delectably biting dark comedy Dinner this March. This latest work by Moira Buﬃni tells a tale of deception, murder and intrigue, set amongst the backdrop of a nefarious dinner party. Cast includes actors Tasma Walton, Rebecca Davis and Greg McNeill. The show is on at the State Theatre of WA from 14 – 29 Mar.
Brit Award Winner Tinie Tempah will take over Labrinth as main support slot for The Script’s show at Perth Arena, 24 Apr.
MAKING A NAME
Kiwi lads Sons Of Zion will be bringing their infectious blend of roots, dub and reggae to Perth in May. The group will be performing 30 May, Prince Of Wales Hotel; and 31 May, Rosemount Hotel.
HAVE A DIG
Unknown Pleasures (formerly Unknown Treasures) Records have relocated and set up shop in Malaga Markets. Head down there on any given weekend and check out their extensive record collection, which includes the likes of The Beatles, ZZ Top, Led Zeppelin, David Bowie, Pink Floyd, Sleater Kinney, Black Sabbath, Judas Priest, Eels, Bob Dylan, and heaps more.
Following the release of his debut album on Flying Lotus’ label Brainfeeder last year, genredefying producer Taylor McFerrin returns for a ﬁve-date tour as part of the Red Bull Music Academy Club Night series. He plays 15 Mar, The Bird.
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MOVING ON With their second full-length album on the brink of release, the San Cisco troupe – Jordi Davieson, Scarlett Stevens, Josh Biondillo and Nick Gardner – are feeling more confident than ever, telling Kane Sutton that while they were “scraping the bottom of the barrel” with their first record, the second is a full body of work. Cover and feature pics by Kane Hibberd.
f you hadn’t kept up with San Cisco’s appearances since they broke out with their single Awkward in 2012 and their popular rendition of Daft Punk’s Get Lucky in 2013, you’d be looking twice as they made their way up the stairs to the top floor of Fremantle cafe The Attic, particularly at vocalist Davieson and bass/keys player Gardner, who are both sporting a respectable amount of facial hair
just got everything we had and sent it to Steve [Schram] to see what he thought – Steve’s our producer, he’s produced everything we’ve ever released. We weren’t really planning on working with him this time, we just wanted to know what he thought about it, and he told us a lot of it was pretty shit, so we were like, ‘Sick, can we work with you.’ He’s brutally honest, so we got back with him. The recording process was a lot different to everything else we’ve ever done.” The first single from their new album, Run, was a pretty hefty change-up of sound for the group, bringing
we were down at a Myer building, and we had all these dressups, all this shit, and we were just like ‘bugger that’. We just went nuts.” Stevens assures me, “We’re never going to be that disorganised again.” According to the band though, what they enjoy most about the new album isn’t the shift in sound – the consensus among the four young musos is that Gracetown feels like a positive result of successive lessons learned from putting together their first album. It also helps that these new songs are just that – new. “When we released that last record, we’d already moved on from it. There were new songs coming out by the time we dropped that record.” Gardner explains. “Rocketship, one of the first songs from the first album, was the reason we got together,” Davieson continues. “We got together to record that song, in like 2010. That song was one of the songs on the album so there were a bunch of old songs – I think we were just excited to start making new music and moving forward.” “Albums aren’t even that important these days, it comes down to songs, so we never relied on that album to give us these opportunities, we had strong singles.” Stevens reasons, and Gardner chips in: “We were scraping the bottom of the barrel with that first album.”
“PEOPLE FORGET THAT WE PLAYED A FUCKLOAD OF SMALL SHOWS – PEOPLE ASK US, ‘HOW WAS YOUR OVERNIGHT SUCCESS WITH AWKWARD?’ AND IT’S LIKE, I’VE PLAYED PUBS SINCE I WAS IN YEAR NINE... WE PLAYED SHOWS TO NOBODY, TO THE BAR KEEP, TO ONE PAYING CUSTOMER.” these days. The quartet seem relaxed, despite having had an interview right before this one – this scribe discovers they’re just happy being back in their old stomping grounds after a crazy last, well, couple of years. Japan was a big highlight in 2014, Gardner expressing his enthusiasm for the crowd (“Japan was so polite and so nice, they’d clap and then just go really quiet”), while Davieson reflected on the tougher times: “You have great days where you can discover all these really cool bars, for example, but for those days, there’s also other days where you’re just like, ‘This is so fucked up, I do not want to be here. I’m so tired, I want to go home.’ But you get addicted to it, the constant unknown.” The most significant task the Perth quartet has faced in recent times has certainly been their work putting together their second full-length album, Gracetown. Davieson dives straight into the chronological turn of events. “We came off tour and we were pretty ready to just have a big break from music. So we did that for about a month, and Josh was basically just writing the whole time and setting up the studio, and then we came back and set up in his studio, just writing and putting bits and pieces together. Over the space of about three or four months, we just started demoing and writing and figuring out how to use software; we didn’t really know what we were doing. Then we went to our friend’s studio, got a lot of demoing and work done there, and then we sort of 12 • THE MUSIC • 4TH MARCH 2015
to the fore a much funkier focus. “Daft Punk’s record might’ve unconditionally come through a little bit – [we were playing that record] big time,” Gardner chuckles. Their respective music clip only added to the vibes, and surprisingly for the band, it worked out way better than expected. “It came together literally on the day. There was a rough idea of how I would be running on a green screen, and then the director Matt Sav wanted to get ten of his favourite filmakers to send ten seconds of footage for Run. We were just gonna cut between bits of that, me running, and then these other bits of random footage, but then on the day
Stevens jumps back in. “It was a more enjoyable experience. With the first album, we were meant to record an EP and then we changed our mind and decided we probably had enough songs for an album. And we did it over two separate sessions, really far apart – one at the start of 2012 and the other in the middle, in two very different studios, so it was disjointed. We just knuckled down in one spot for this one.” “We’re definitely on the front foot with this album,” Davieson summarises. That all said, it wasn’t like they didn’t struggle. After spending so much time touring the world, Davieson found it really difficult to sit down and write. “There was a while where Josh had all this material and I just had nothing, and then I had to really sit down and start picking apart how the last year and a bit had affected us as people. I sat down trying to write songs, and I couldn’t do it; I’d completely forgotten how to write songs. We just played the same set for like two years, so it took me like a month to get my chops back up – that felt really good, and it’s a mistake I’m never going to make again; I’m never going to stop writing.” The band have undoubtedly become one of WA’s biggest success stories, and while it can be easy at times for bands to get carried away with themselves – they’re heading to the US, UK,
and Europe throughout March and April – San Cisco will always call south-west WA home. The new album’s title, Gracetown, is actually named after a small town in WA with significant ties to the band. “Josh and Scarlett found this artist, this work of art in this local cafe, and we thought it was really cool and wanted to try get him to do some artwork. And there was this house down in Gracetown in the bay, it’s been there since the ‘70s, and the guy who owns it is a family friend who’s helped us out in so many ways, so we had the artist and got a picture [of the house]. Gracetown means a lot to all of us – it’s where Scarlett and I first met, and we wrote so many songs down there – and it’s just a really cool, unspoiled town, there’s nothing else really like that down there anymore. Just a lot of good memories. We locked everything away – the art, the title and stuff – before we’d even finished the record, which is like, unheard of. Usually it takes months and months to all agree on something. It’s new and different and has a bit of originality, so we went with it.” WHAT: Gracetown (Island City Records) WHEN & WHERE: 23 & 24 Apr, Fremantle Arts Centre; 26 Apr, Groovin The Moo, Bunbury
SUPPORT YOUR LOCALS In the midst of what some are calling a venue crisis, with live music spaces shutting down across the country, Perth’s local music enthusiasts had a meeting about it last week, bring together promoters, musicians, venue owners and council officials. The topic gets brought into conversation: “The Bakery is closing down?!” Davieson is in disbelief. The Bakery may be what you’d call a middlesized, but playing smaller local venues gave the band that vital live performance experience which helped them get to where they are today, a fact many people don’t seem to recognise. “People forget that we played a fuckload of small shows – people ask us, ‘How was your overnight success with Awkward?’ and
it’s like, I’ve played pubs since I was in year nine. I used to play The Moon, then when we got together we did The Odd Fellow, Indi Bar, we did Manhattans! We played shows to nobody, to the bar keep, to one paying customer.” Davieson ponders, “It could be a good thing? More people at less venues?” “People just don’t want to travel to see music – people living in Perth don’t want to go to Freo and people in Freo don’t want to come to Perth,” Stevens adds. “And especially since you’ve got YouTube right there – good camera angles, and you can watch it in your jocks.” Gardner laughs. “We don’t endorse that though,” Davieson assures. “Go to live shows.” THE MUSIC • 4TH MARCH 2015 • 13
also be impressed by the luscious head of hair “big man” still boasts. “Well, it’s not only him, darlin’,” Gallagher laughingly offers. “It’s the one thing that will keep me going. I mean, if I was to lose the hair I’d ‘ave to retire.”
Noel Gallagher was unaware that trainers dangling from overhead powerlines signify drug activity in the area, until informed by Bryget Chrisfield. “Mind you, I’ve never been a heroin user.”
n London at 8.40pm, seated in one of his record label’s offices (”There’s no one here but me and a cleaner”), Noel Gallagher is smart as a whip as expected. There’s a song on the new Noel Gallagher’s High Flying Birds album – the outfit’s second, Chasing Yesterday – called The Right Stuff. When told New Kids On The Block have a similarly titled track, You Got It (The Right Stuff ), Gallagher jests, “One day I will get ‘round to covering a New Kids On The Block song, you know, them bein’ one of my major influences.” On the abbreviated tandem band name that was attached to NKOTB’s collaboration with Backstreet Boys (NKOTBSB – New Kids On The Back Street Boys?),
Gallagher quips, “Right. So they shoulda called themselves Bunch Of Cunts and had done with it. I’da definitely bought a T-shirt, for sure [laughs].” There’s sax on some Chasing Yesterday tracks. So, if Gallagher told his young self that he’d go on to record an album featuring said brass instrument, what does he imagine he would’ve said? “Ah, my younger self would’ve probably looked at me now and gone, ‘Ok, I trust you, big man. You fuckin’ look cool. I put my faith in you.’ And I would say to ‘im, ‘Good. Because you fuckin’ got me to where I am, so the saxophone’s partly your fault, ya little shit.’” Surely the “little shit” would
The music video to accompany Gallagher’s Ballad Of The Mighty I single is a corker, even if he doesn’t usually like them. “No, no, no, no, no, no, no. Listen, listen, listen. Let’s not underplay this: I fuckin’ hate videos. It’s proper hate… I like other people’s videos,” he clarifies. “I just fuckin’ hate my videos: I hate bein’ in them, I hate fuckin’ havin’ to have conversations about them, meetings about them – I like everybody that’s workin’ on them because they’re doin’ their best, you know. When I’m forced to watch one of my videos, when I have to sign off on it, it might ruin my fuckin’ entire day.” At the tail end of the aforementioned music video, there’s a shot of a pair of trainers dangling from overhead powerlines. Is this a sign of drug activity in the area? Gallagher laughs, “Seriously, is that what that means? Really? It was in quite a dodgy part of town. Is that some mad, underworld shit? I did not know that. Mind you, I’ve never been a heroin user.” When asked whether the abandoned footwear was already there or part of the set dressing, Gallagher says, “I’m assumin’ they were there already, haha. I’m sure no one’s gone to the fuckin’ trouble of gettin’ a ladder, climbin’ up there and throwing a pair of Converse on and goin’, ‘Fuckin’ hell, it’ll be an amazing drug reference!’ Surely not. I’m gonna ask my friend when I go out with him tonight. He was a recovering heroin addict so I’m gonna ask ‘im if that indeed is true.”
WHAT: Chasing Yesterday (Warner) To read the full interview head to theMusic.com.au
FIVE LIVE JIVE In the age of YouTube and one-click downloads, instant gratification of consumers has changed the climate for selling music. Dante ‘Akil’ Givens of Jurassic 5 tells Rip Nicholson that post-reunion his worldrenowned hip hop act have stepped up their game.
t’s a different age in how people do stuff, now,” Dante ‘Akil’ Givens begins. “We release albums, but really we’re amusing a new generation. It has to be a lot more strategic now. The life expectancy of a song now is like, two days. You click over one song to the next so easily; peeps already heard your joint and have moved on. That’s why I believe the visuals help out a lot. So, if there’s anything that we want to work more on now it’s the visual side of things. Making something that is tangible. That’s why I think YouTube is so big right now. It’s that connection to the music that you can grasp. “You might get a video for Thin Line now, in this day and age,” says Givens who is looking to re-up J5 songs into videos. “For songs that people loved but never had a video for.” Los Angeles-based rap outfit, Jurassic 5 was formed in 1993 when Givens joined MCs Marc 7, Chali 2na, Zaakir and producers Cut Chemist and DJ Nu-Mark, and in ‘97 released their self-titled debut on TVT Records. After their second album, 2000’s Quality Control, J5 opened for Fiona Apple on the Warped Tour. “We’ve always been around different styles of music. And that prepped us to be able to be performers, 14 • THE MUSIC • 4TH MARCH 2015
period. We don’t just want to fall into hip hop gigs. We can perform live music in front of anybody, on any stage.” “You can’t beat the live shows, because that’s the original Instagram. It’s living in the moment and that’s what these Twitter and social accounts try to capture. That is our strong point. We make good albums and we’ve made some made super, super hits,” says Givens between chuckles. “But, it’s always been our live shows that connect with our fans. And we are very conscious of that and how we can further our reach with the same music, performed live.”
So, working to their skills, when J5 got back together in 2013 – they broke up in 2007 – they toured. Then they kept touring into 2014’s Glastonbury Festival. This year, J5 rocks the Bluesfest and West Coast Blues ‘N’ Roots festivals. “Hip hop is essentially a hodge podge of all different genres. This is right in line with what we do. I didn’t grow up on hip hop, it came about when I was a teenager. Before that I listened to funk and jazz and soul. That’s what I grew up with, so, I’m at home. “That’s what we’re able to do as hip hop performers, is teach people what actually is hip hop. Real hip hop. What we bring is not the commercial side of the game that you have been fed. This is the core of the real thing.” WHEN & WHERE: 29 Mar, West Coast Blues ‘N’ Roots, Fremantle Park
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NIGHT MOVES DZ Deathrays stumbled organically onto the formula that’s endeared them to so many, but drummer Simon Ridley tells Steve Bell that in their minds the party’s only just beginning.
he last few years have been a wild ride for Brisbane-based duo DZ Deathrays, the friends – Shane Parsons (vocals/guitar) and Simon Ridley (drums) – having blitzed all-comers with their hyper-energetic brand of dance-punk. Just a few years back they were a fixture on the Brisbane house party circuit, now they’re just as likely to be found hobnobbing backstage at festivals in London or New York as they are in some beer can-strewn backyard. “I guess in the beginning we just wanted to make something for house parties where we could just play and it would be fun,” Ridley recalls. “But then after a while we thought, ‘Let’s try and go as far as we can with this,’ and after that it was just working jobs so
that we could go and play shows to nobody down in Melbourne or whatever. It was always that kind of progression from the outset.” This early ambition paid handsome dividends immediately, their hybrid of rock and dance earning global accolades pretty much everywhere they ventured. Having achieved so much traction Ridley sees little point altering this successful formula too dramatically. “I always hated bands when I was younger that changed their sound,” he smiles. “I think that DZ has always been a party band, so as long as it can exist
within a party atmosphere we should be fine. [2014 second album] Black Rat was always written as a nighttime record – there’s thrashy moments for early in the night when everyone’s energetic, and then there’s slower songs for the end of the night when everyone’s kinda lethargic and boozed out and that sort of thing. In my mind, Northern Lights is like a 3am song, and that’s how we wanted it to flow – it has dance elements, it has rock elements. “Shane and I both like going to see crazy rock bands at the start of the night when you’re boozing hard, then you go to a dance club and just hang out, and then you go back to someone’s house and just listen to chilled-out music – that’s how we approached Black Rat. We always wanted it to be a nighttime sort of thing. So I think we’ll always keep it like that – music that’s appropriate for partying or nighttime.” Does all of the success achieved in such a relatively short time – such as winning an ARIA for Best Hard Rock/Heavy Metal album for Bloodstreams in 2012, and Black Rat last year – add pressure to the creative process? “No, not at all,” Ridley laughs. “I still live with my girlfriend at her mum’s house – we’re not rockstars or anything. It’s still just us having fun. There’s no gigantic gains or losses to be made – I still just feel like it’s us making music for us and our friends to enjoy. That kind of sounds selfish, but it’s got to be – if we don’t enjoy the songs then why the fuck are we making them?” WHEN & WHERE: 6 Mar, Amplifier Bar; 7 Mar, Prince Of Wales, Bunbury; 8 Mar, Newport Hotel
WEIRD PARALLELS Jeff Bridges talks to Guy Davis about the good old Lebowski days and being ‘willing to destroy his own heart’ in Seventh Son.
or a legendarily chill individual, Oscar-winning actor Jeff Bridges has lately displayed a real facility for playing cantankerous, curmudgeonly old bastards. The latest one he tackles is Master Gregory, a surly, grumpy witch-hunter in the new fantasy film Seventh Son, in which he and young apprentice Thomas (UK actor Ben Barnes) take on a variety of sorcerers and creatures as they head towards a showdown with the magical, shape-shifting Mother Malkin ( Julianne Moore), who is bent on world domination and revenge. Bridges is all for embracing characters who are a bit out-of-sorts (“You can’t always play The Dude, man,” he laughs, referring to his iconic, laidback character from the Coens’ Big Lebowski), but when it comes to Seventh Son, his sympathies lie with Moore’s character, who emerges from a centurylong imprisonment by Father Gregory – her former lover – with payback in mind. “She has every right to be pissed off,” he says. “Her boyfriend, who she loves, locked her in a hole for a hundred years!” Much has been made of Bridges and Moore reuniting for the first time since they shared a handful of memorable scenes together as The Dude and Maude in Lebowski – “It was like we had a long weekend and just picked up where we left off,” recalls Bridges – and the actor actually speculates that Seventh Son could well be viewed as a medieval prequel to the Coens’ cult 16 • THE MUSIC • 4TH MARCH 2015
classic. “There are some kinds of weird parallels,” he laughs. “I think of Maude flying with the paint is kind of like her dragon. The Dude liked to smoke it and drink it, and, you know, Gregory... well, I’m sure he’s got some kind of smoking mixture that he would probably enlighten you on. There are probably some similarities.” Don’t go thinking, though, that Bridges didn’t take seriously his characterisation or his investigation into Seventh Son’s ideas seriously. While he feels a strong sense of makebelieve and enjoyment of the process is vital, he is quick to praise his collaborators on both sides of the camera
and to delve into the discussions he had with the movie’s director, award-winning Russian filmmaker Sergei Bodrov. “One of the things that I was really hoping that the film could convey is rather than the traditional battle between good and evil, that it could go a little deeper than that. In my research, I came across this quote I’ll read to you by Aleksandr Solzhenitsyn, and I knew we had a Russian director and when I read this, he goes ‘Oh yeah, of course.’ Here’s the quote: ‘If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being, and who is willing to destroy a piece of his own heart?’ And I’m hoping that is in the movie somewhere.” WHAT: Seventh Son In cinemas 5 Mar
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ROLL TAPE If you’re looking for what drives singer-songwriter Nick Waterhouse, you need to look way past the classic American pop of the ‘60s most people hear in his music, as he tells Michael Smith.
n 1971, filmmaker Peter Bogdanovich released his directorial debut, a bittersweet coming-of-age movie titled The Last Picture Show. “That was a massive influence on me,” Nick Waterhouse admits emphatically, fresh from a session accompanying, writing with and co-producing an emerging singer named Paul Bergmann. “That, American Graffiti, Chinatown, Easy Rider… I felt like a lot of that new American cinema in the ‘70s, which comes from the ‘40s classic films and French cinema and new wave stuff from other countries, and then recalibrating it to make new statements about things like Vietnam and
changing cultural things, and nostalgia, people growing up. I already felt in tune with all that stuff as a young man. That was something I was thinking about a lot when I was making Holly.” Second album, Holly, was released last year, Waterhouse releasing his debut album, Time’s All Gone, in 2012. In high school, he’d been in a band called Intelligentsia, but that had fallen apart within a couple of years and he’d been working at a record shop, disillusioned, when, aged 23, he recorded and independently released his first single, Some Place, in 2010. “I knew I’d
turned a corner when I first ran tape on my first single,” he explains, “because I kind of impulsively recorded that. It was a pick-up band of my friends. Genuinely when I first ran that song down, which was the day of the recording, it felt like a record. “Before I was making music professionally I had aspirations to make films professionally, without really knowing what that meant. But I think the auteur aspect of it has spurred on how my music works. Like, I don’t just write the songs and then give them to the band to play. I direct, I then band-lead, I then am really involved in the manufacturing; I want to create a whole atmosphere for the listener, which some nights I’ve had with records, playing them in a nightclub or alone in my room – they can feel like movies. “My whole career has been about gestating my influences – most people tend to just focus on that idea, you know, my influences – a lot of ‘60s rhythm and blues, rock’n’roll and soul, whatever you want to call it. I just really like this mélange of that stuff, and I don’t intensely like it – that was just what I grew up listening to a lot – and re-jiggering it for what my experiences are, growing up in San Francisco in 2004; that sort of feel telling stories that are related to that. But I like incorporating… I like dreams a lot, I like terrible dreams, I like confusing dreams, I like how they reflect the same nightmare feel that one can get very late at night in cities, and that’s been a thing that’s come across generations. Tunes like Holly or Sleeping Pills, I felt like I was really getting to the point of what my vision was, you know?” WHEN & WHERE: 7 Mar, PIAF, Chevron Festival Gardens
ON THIN ICE Home grown comedy heavyweight Felicity Ward talks to Sarah Barratt about her new show The Iceberg, that looks at all things Australian from an expat point of view.
riter, actor and comedian Felicity Ward returns to show us what she has been up to living in London “for nearly a year now”, where her skin has turned a shade she describes as “British translucent”. Always a strong stand-up presence, Ward has also featured on the shows Spick And Specks, Thank God You’re Here and Good News Week just to name a few. Her show focuses on what doesn’t appear on the surface of our national conscience. Basically, Ward has spread her wings, taken to the UK, and has come back to tell us all about ourselves with satirical perspective, ‘inspired’ by her need to write 60 minutes of material and “not come back to Australia a failure”. It will be “looking at Australia from London: cricket, politics, Twitter stoushes with reverends. The usual”. Ward has never been one to shy away from public or political debate, which recently landed her in a Twitter feud with a reverend about abortion. Sex and abortions are very much on the table for discussion, especially if creating good comedy is concerned. “The development of this one was like good sex: slow and hard. Before I took this show to a couple of festivals in Australia last year, I just couldn’t come up with enough material I was happy with. Then one afternoon in London I wrote about 20 minutes of the show in one go. I got very angry with the
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comedy gods and told them not to pull any that last minute shit like that again.” After writers’ block and that day when a stroke of genius hit, the next challenge was figuring out whether all of this material was actually funny. “Comedy is so tricky; there’s only one response that is correct. Anything else is a bonus. But you need to have the laughter first.” All of her hard work hung in the balance in front of one test audience in Melbourne: “That was petrifying. What if I’d written a winner in my head and a stinker on stage? Turns out if was awwwwright.” Since then, The Iceberg
has triumphed with sold out shows in Melbourne, Sydney, Perth, Brisbane and Edinburgh in 2014. The show pokes just enough fun at Aussie stereotypes, politicians and our dependence on technology for us to laugh at it all but not be offended. She’s also not afraid of sharing personal stories or being sacrilegious. She is high intensity, fast-talking, somehow has time to be colloquial and eloquent at the same time, all while making you laugh. “I think the ending of the show is the most controversial ending I’ve ever had. And definitely the most fun I’ve ever had with an audience.” WHAT: Felicity Ward: The Iceberg WHEN & WHERE: 7 Mar, Subiaco Arts Centre
THE BIG PICTURE
important to a 14-year-old girl as a 50-year old man. Shakey Graves is a soapbox to talk about that stuff.”
After studying Leonard Cohen’s songs, Austin singersongwriter/actor Alejandro Rose-Garcia (aka Shakey Graves in his musical guise) realises he approaches songwriting quite differently, he tells Annelise Ball.
here’s something immediately genial and charming about Shakey Graves, aka Alejandro Rose-Garcia. Perhaps this explains the tonguein-cheek ‘hobo’ tag, especially given the kick-drum fashioned from a suitcase he’s frequently known to play. He’s not just a busking street performer though. First trying his hand at acting, Rose-Garcia enjoyed a reoccurring role in TV series Friday Night Lights and made a recent appearance in Sin City: A Dame To Kill. “My family have always been in theatre: my mother’s a playwright and director, and my dad’s in set and light design,” Rose-Garcia explains. “I started auditioning
for film and TV when I was about ten, which was also about the same time I started playing guitar. Guitar was something I always loved and put a lot of work into, so I figured it was worth pursuing.” Rose-Garcia then contemplates songwriting, musing, “When you study people’s music, some people are very direct in how they write. Like Leonard Cohen’s Famous Blue Raincoat, the song’s clearly about something happening at that time in his life... I’m more trying to hint at archetypes and bigger themes we all experience. I want to write stuff that’s just as
With 2011’s Roll The Bones still near the top of Bandcamp’s digital best-seller charts, second album And The War Came purposefully evolved through a much different process. With a larger audience now in mind, Rose-Garcia had statements to make. “The way Shakey Graves is evolving, we’re kind of at the tip of an iceberg we’re just figuring out,” he says. “The music is starting to change, so the second album is a bridge between the past and what will be in the future.” Featuring ex-Paper Bird Esme Patterson on three tracks, Rose-Garcia was lucky to hit songwriting gold with the lady describing herself as ‘if Elvis was a girl’. “It can be hard to write songs that aren’t too serious, yet meaningful, but Esme and I just churned them out,” reflects Rose-Garcia. “We wrote Dearly Departed in probably in hour. We were shocked, like, ‘Woah!’” Aside from figuring out how to bottle up and sell that songwriting luck, Rose-Garcia soon embarks on his debut Australian tour, co-headlining with husband and wife duo Shovels & Rope. Bringing a little piece of Austin to Australia in particular makes him proud. “That’s the real honour of it all, representing my city and its music,” he enthuses. “Austin is sort of the new musical frontier where some are getting disillusioned, but some are getting amazing opportunities. I lucked out on being born here.” WHAT: And The War Came (Dualtone/Cooking Vinyl) WHEN & WHERE: 8 Mar, Astor Theatre
When Canadian trio BADBADNOTGOOD were given the opportunity to make a record with rap legend Ghostface Killah, they thought it was too good to be true, keyboard player Matty Tavares tells Tom Hersey.
onestly, until I actually saw the test pressing of the record, I never thought it would come out as this full LP,” says Matty Tavares of Sour Soul. He wasn’t alone; there were serious doubts in the BADBADNOTGOOD camp. On paper, it seems like a weird move for bona fide rap god to hitch his wagon to a trio of jazz musicians from Toronto who like to dabble in minimalist electronica. Tavares takes us back to the record’s genesis to explain how it evolved: “Frank Dukes, who produced this record and is a really good friend who we now share a studio with, came to us three years ago and said, ‘Do you want to do a Ghostface record?’ because he had toured with him. So that’s where the initial plan got started before anything got locked in with Ghostface. Then we went to New York and left the songs with Frank, just instrumentally, because we were thinking, ‘Yeah, this would be cool but if it doesn’t work out we’ll still have these songs,’ but then he rapped on all of them. Then over the next three years we kept going back and forth to make it a real record.” That back and forth, stuffed between BBNG and Ghostface’s busy touring schedules, was the time were Tavares’ doubts about the record really started to grow. He was aware it might never happen, just like the long-rumoured Supreme Clientele sequel or
the DOOMSTARKS full-length. “There were so many times that we were making it that we thought it wasn’t going to come out. We wanted the songs to be really good and Ghost wanted them to be really good, but we were touring so much and he was touring so much that getting little moments where we could get things into place was really hard.” The timing of the album proved a blessing and a curse for BADBADNOTGOOD. While they were working on their record, Tony Starks would go ahead and do two full-lengths with live instrumentation: 2013’s Twelve Reasons To Die
with Adrian Younge and last year’s 36 Seasons with The Revelations. “We started working on it before Ghost had even done that Adrian Younge record, and all these other records he was doing with bands, so that was a bit disappointing. When we started we thought we were going to make this record, as a band, with Ghost, and then he did these other records… But then I kind of started to think it was cool that he’d done those other records. Because we both kind of interpreted similar influences in very different ways.” For all the similarities between the last three Ghostface Killah records, Tavares is quick to point out a major difference. Sour Soul eschews the regular guest verses from the usual suspects, and helps to contemporise, if not revitalise, Ghost’s sound. “[Sour Soul] doesn’t have anybody from Wu-Tang on it. And that was on purpose, because we wanted to see how Ghost would sound like somebody like Danny Brown, or like DOOM – because obviously they’re amazing when then do stuff together.” WHAT: Sour Soul (Lex/Warner) THE MUSIC • 4TH MARCH 2015 • 19
NOEL GALLAGHER’S HIGH FLYING BIRDS
Island City Records
ALBUM OF THE WEEK
It’s been something of an adventure watching San Cisco grow up. They’re one of those bands that, due to their relatively young age at which they hit the big time, have been necessarily open about their artistic progression. Gracetown is sheathed in a slick sense of maturity, but don’t fret too much on that clouding their cheeky, childlike perspective. If Gracetown is a statement on anything, it’s the four-piece’s devoted understanding and love of pop music. From the cartoonishly bright album cover – a Gracetown beach shack, naturally – to the average track time of around three minutes, this is a band harnessing the energy they’ve gathered over years of being thrown into the midst of the national and international circuit. A handful of singles have already established the jaunty pop lean, such as openers Run and Too Much Time Together.
Chasing Yesterday Warner
There’s an honest attempt to produce serious gems though, with Snow seeing some subtle funk experimentation and the quirky, eclectic beat of Jealousy peaking in the middle. But it’s the spot-on R&B groove of closer Just For A Minute that pins the whole lot together. And man, that solo. Lyrically, Gracetown is a whole lot of longing after the opposite sex flitting around tongue-incheek references to awkward moments and nostalgia. There’s an obvious context behind the whole record, which does drag on through the latter half of the album, but at least it’s concise and direct. Cam Findlay
Chasing Yesterday is an apt title for Noel Gallagher’s latest record, steeped in sounds we associate with him. Which after all, is probably what you want from a Noel Gallagher album. We don’t expect him to reinvent the wheel; we want solid rock songs with an anthemic tinge and, though Chasing Yesterday delivers this in some respects, moments in it tend to fall flat. Lead single In The Heat Of The Moment is the epitome of a Noel Gallagher tune: catchy chorus, singalong ready ‘na na na’s, a hint of strings to bolster a chugging guitar riff. It lives in the shadow of its predecessors on 2011’s selftitled record. There’s wistfulness in the lyrics of The Dying Of The Light when he says, “I was told, the streets were paved with
★★★ gold,” even if he carries on to use every possible cliché. Style sometimes overrides substance; see the truly nonsensical line “You want love like a kid on crack” on the otherwise rollicking The Mexican, or The Right Stuff bordering on Café Del Mar jazziness with its smooth saxophone keeping company with softly harmonised vocals. It’s here that Gallagher starts to sound like a caricature of himself: surly, speaking in curling aphorisms that don’t necessarily mean anything once you dig a bit deeper. Yet there’s a comfort in the familiarity; fans aren’t going to be disappointed by more of it. Sevana Ohandjanian
MATTHEW E WHITE
Shedding Skin is an appropriate title as it uncovers a whole new side to Obaro “Ghostpoet” Ejimiwe. Stepping away from the grimy London streets stagnant with economic depression and resentment, album number three features a balance of light and shade. Ghostpoet’s patented oldman-at-a-bus-stop mumble is cleared up significantly and the whole shebang has much more of live feel. Ejimiwe’s personal sounding lyrics take new, almost optimistic, directions, however in amongst a handful of crackers there’s some slightly awkward moments. Ghostpoet version 2.0 is a revolution, but the beta release might be the keeper.
The opening song is Take Care My Baby, and before long a warm layer of instrumentation envelops the Virginian singersongwriter in a slinky groove. His velvety and soulful voice caresses the chorus with a high falsetto, before the bass line wiggles the verses back into submission. It comes across as effortless, one of the finest pop moments on the album. Circle ‘Round The Sun later recalls the poetry of a lackadaisical Leonard Cohen, and Tranquility is a tribute to Philip Seymour Hoffman. Between his writing and rich orchestration, White creates a world to get lost in.
Several years ago, upon discovering a shared obsession with the boogie-disco-funksoul sound of the early ‘80s, blue-eyed soul singer Mayer Hawthorne and blue-eyed hip hop beatsmith Jake One decided to create a tribute act, Tuxedo. The resulting EP was so well received the duo has now expanded the idea into a full-length set; and it delivers on the promise of that EP in spades. With a clutch of catchy, sexy, synth-driven midtempo dancefloor workouts, Tuxedo exhume a low-riding session of dumb fun(k) that has officially extended summer.
Perth’s Catlips is anything but casual here. Amidst the recent signing to Pilerats and subsequent thrust into the national spotlight, these five tracks justify her success and showcase her versatility in her approach to eclectic, often percussive-sounding house beats. Leading track Fade is a bouncy, dizzying tune with a strong ‘80s vibe and clever layering, while Banker sounds frantic and busy, as though you’re rushing down a bustling inner-city street on the way to work, thanks to the distorted vocal samples. Each track has its own distinct flavour and demonstrates just how exciting a prospect Catlips is.
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GANG OF FOUR
Now that the Mumford & Sons-esque raspy indie vocal delivery is commonplace, bands need to find another distinguishing factor, or become lost in the crowd. Sean Heathcliff (Snakadaktal) crafts a tight, pulsing, synth-driven romp under his Kagu moniker. In between the persistent hi-hat sizzle of Human, the album’s most straightforward pop song, lies a collection of acoustic guitar flourishes that either explode into reverberant synth wails or, in the case of The Misunderstood Judgement Of Stones, act as quiet, introspective punctuation. What emerges is a collection of blueprints that signal better things to come.
Longtime enthusiasts will know it’s now really a Gang Of One, with the serrated guitar of Andy Gill the only original element left. The loss of Jon King’s declamatory vocals can’t be ignored. Replacement yeller Gaoler Sterry delivers the slogans of personal and societal politics energetically, but it really is a different band now. Some guest lead vocals from The Kills/The Dead Weather’s Alison Mosshart will encourage some curiosity, while middleaged rebel yells like First World Citizen show the ideology is intact, even if the band isn’t.
When it comes to Daisyhead, they won’t make it complicated. They are melodic rock with excellent spouts of half time, and yeah, it’s a little emo. If you listened to A Day To Remember, or any of those poppunk favourites from 2005, you will enjoy The Smallest Light. In Lacking Basis vocalist Michael Roe sings, “I just don’t have time to waste”. And that pretty much sums up the premise of this release. Every song will hit a nerve and, if it’s your jam, will feed the music monster within.
What Happens Next
The Smallest Light Shakey Graves – And The War Came Steven Wilson – Hand. Cannot. Erase. Mahalia Barnes & The Soul Mates – Ooh Yea! – The Betty Davis Songbook The Furrs – More Furrs The Vanns – Scattered By Sundown The Bitter Sweethearts – Everybody Wants To Be Free The Seven Ups – The Seven Ups
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FUTURE MUSIC FESTIVAL HBF Arena 1 Mar “One, two, three, jump!” was probably the most used term of the day as Future Music brought one of its most DJ-heavy lineups to Australia this year, but in terms of quality, it certainly matched its predecessors. Killafoe got the party started at the Futuredome Stage under the big top shortly after midday with an ear-splitting bass-heavy set, while Future Of Future DJ Competition winner LOOK3 proved his credentials at the consistently popular Foam-A-Rama Stage, which had punters frolicking around in what proved to be
little awkward, but the crowd seemed to enjoy the shake up. Coming all the way from Netherlands, Amsterdam, the Yellow Claw trio brought their energetic hardstyle and trap fusion to the Future Dome Stage, meeting with great acclaim and some extremely vigorous and intimidating dance moves. MC Bizzey did a laudable job in hyping up the crowd, conjuring both a wall of death and a moombahton twerking competition that went down to the wire. Nineties trance god Darude toyed around with some token cheesy electronic selections, but it was his signature single from 1999, Sandstorm, that truly whipped the crowd into a frenzy. It’s always fresh and exciting to see electronic acts give their
SIGMA @ FUTURE MUSIC FESTIVAL HBF ARENA. PIC: CALEB MACINTYRE
very wet foam rising well above head height all day. Christening the decks at the beginning of the day over at the Cocoon Stage was JimiJ and Nuphoria, playing out some appropriate deep house numbers to edge the early comers into the spirit of the day. Saul Bliss followed in a similar vein, presenting his deconstruction of tech house music. Throttle was happy to kick things off pretty smoothly at the main Supernova Stage, incorporating a bunch of popular tracks into his setlist, including the likes of Michael Jackson’s Thriller, before Klingande stepped it up a notch with the introduction of a live saxophone. Kiezsa was one of the very few acts of the day that actually had someone singing into the microphone, and it was a welcome change up. Some of the dance moves were a 22 • THE MUSIC • 4TH MARCH 2015
more commanding with Alana Watson’s angelic and haunting set of pipes. Hilltop Hoods took charge of the Future Stage for what was probably the biggest turnout at that stage for the day. They worked the crowd with hit after hit, including tracks Chase That Feeling, Still Standing, The Nosebleed Section and more, and did so with a three-piece horn section backing them up to add that bit of extra flavour. Knife Party were forced to play earlier in the night due to flight delays from Sydney, and they were one of the real highlights of the day, much thanks to their phenomenal lights display to go with their incredibly high-energy performance. Martin Garrix took over next, who has become one of the biggest names in the business since he released his track
NERO @ FUTURE MUSIC FESTIVAL HBF ARENA. PIC: CALEB MACINTYRE
music an acoustic interpretation when performing live, and it’s simply impressive witnessing the daunting pace of drum and bass music executed by a drummer in the flesh. London duo Cameron Edwards and Joseph Lenzie aka Sigma did just this, employing the likes of an entire band as well as some striking vocalists to put together what was a lively and electric performance. “Sorry I’m late, the plane just landed. I came all the way from Los Angeles to fuck with you guys,” were the words that came out of the mouth of Carnage as he began a violent set of dubstep and trap music. An explosion of yellow and red confetti signalled the end of an explosive performance, making way for the likes of Nero. The trio delved into all of their big hits old and new, making the experience all the
received a cheer of recognition; Omen producing a rousing singalong; but Smack My Bitch Up nearly took the roof off. The Canadian self proclaimed “legend” Drake headlined the Future Stage, earnestly apologising for his belatedness as well as expressing sincere gratitude that he was even able to make the performance because of flight complications. A wash of amber light and the anthemic trumpet riff of Trophies met with exhilarated wails of giddiness and excitement from men and women alike. His OVO posse made some welcome tributes on the night – OB O’Brien on 2 On/Thotful, P Reign providing his flow on DnF, as well as 2 Chainz spitting out his menacing verse on All Me. Drizzy concluded
DIE ANTWOORD @ FUTURE MUSIC FESTIVAL HBF ARENA. PIC: CALEB MACINTYRE
Animals. It’s insane to think he’s only 18; he had the crowd in the palm of his hand over at the Supernova Stage and he fed off their reactions like a seasoned veteran. Die Antwoord nailed it under the big top; the wacky duo have a hell of a reputation to live up to and they exceeded all expectations like the fantastic performers they are – Ninja managed to find the time to crowd surf, while Yolandi Visser climbed all over the stage setups. Happy Go Sucky Fucky was a huge highlight, the crowd chorusing “Fuck your rules!” right back at the duo, while final track Enter The Ninja took everyone back to where it all began and showcased just how consistently brilliant the band have been since. The Prodigy had punters losing the plot at the same stage as they delivered the most frenetic and energetic performance of the day. Nasty
with the highly anticipated Started From The Bottom, topping off what was simply an enlivening and masterful performance from the Toronto based MC. Despite having his set trimmed and spending much of his set showcasing newer tunes, Avicii still managed to pull the largest crowd of the night and fit in a catalogue of hits – The Nights bled seamlessly into The Days, which in retrospect fit the festival’s vibe perfectly, while Addicted To You had the collective 10,000 or so people jumping up and down in unison. He closed with the song that started it all – Wake Me Up – and it left the crowd feeling as such: wired and ready to continue partying well into the night, enjoying the idea of a long weekend. Kane Sutton & James Hunt
THE SMITH STREET BAND, PUP, GREAT CYNICS, APART FROM THIS Rosemount Hotel 25 Feb The Smith Street Band are riding a hell of a wave and have been for some time now, and they can not put a single foot wrong. They announced a second show for Wednesday, after Friday night sold out, and they almost managed to sell that one out too. They also continually pick out amazing support acts: Melbourne’s Apart From This kicked things off with some slower, surging punk riffs that
back at them, with most songs coming from their 2014 debut (it is incredibly difficult to believe that’s all they’ve got considering how good they sounded). They’re going to continue doing big things, so keep an eye on them. The Smith Street Band introduced themselves like people mightn’t have known who they were, before launching into Something I Can Hold In My Hands, which had everyone losing their shit from the get-go. Of course, that song seeped straight into Surrender, which you couldn’t help but grin at when the entire room was surging as a collective and shouting the chorus lines back at a thrilled Wil Wagner. Wipe That Shit-Eating Grin Off Your Punchable Face also produced a laughable roar of approval. There are plenty of moments
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brought people in consistently throughout the performance, before Great Cynics, who, hilariously, sounded as chavvy as The Streets, took to the stage and produced a performance worthy of a headlining slot. The band’s blend of carefree punk was fun, catchy-as-all-hell, with songs like Waster really getting the crowd moving and picking up the momentum for what was to come. Toronto’s PUP, again, put on another performance that could’ve easily seem them heading the show. This reviewer hasn’t seem a band perform so tightly in a long time – their vocal harmonies were pitchperfect and timed brilliantly, while their hooks were just so easy to enjoy. Their biggest fans all crammed their way toward the front and made it their mission to shout the band’s lyrics
O’Connor’s tattoos, attire – including skinny jeans, Ireland-themed T-shirt, and leather jacket – and shaved head helped her stand out from even her band members and the spectacular arena aesthetic. Her soft-spoken personality, Irish brogue, and bright sense of humour punctuated the event with strong human moments and laugh-out-loud lines. Her tough, expletive-fuelled aura illuminated her enthusiastic rendition of Queen Of Denmark. A rock-heavy
THE SMITH STREET BAND @ ROSEMOUNT HOTEL. PIC: CALEB MACINTYRE
throughout the set where Wagner allowed the room of voices to sing the song for him, which was a great thing to do considering the relatable nature of the lyrics. Don’t Fuck With Our Dreams, Young Drunk and I Love Life capped off another amazing set from the boys, and it’s obvious their run of form won’t be slowing down any time soon. Kane Sutton
Perth Concert Hall 28 Feb The Perth International Arts Festival and Perth Concert Hall were wholeheartedly determined to give local Sinead O’Connor aficionados the ultimate live experience. The 48-year-old musician – having recently
the singer’s array of smash hits and new tracks went down smoothly. Each song’s haunting lyrics and confronting themes stunned the near-capacity crowd.
released her tenth album, I’m Not Bossy, I’m The Boss – shows no sign of slowing down. The Irish superstar, judging by her latest performance, is still one of modern music’s most entertaining forces. As the pint-sized icon came out on stage, the crowd went berserk over her gorgeous presence.
O’Connor, after bringing her band back out onto the stage, delivered several rousing rock anthems throughout the final act. Thank You For Hearing Me’s eclectic rhythm got heads bopping and toes tapping. My Darling Child, dedicated to her daughter and daughter’s baby, was a sure-fire set stand out. The singer capped off her stunning performance with The Voice Of My Doctor and The Last Day Of Our Acquaintance. Her encore was a scintillating microcosm of her career. After making fun of Madonna’s recent Brit Awards fail, fitting renditions of Streetcars and Nothing Compares 2 U
SINEAD O’CONNOR @ PERTH CONCERT HALL. PIC: KAREN LOWE
version of Take Me To Church displayed her five-piece backup ensemble’s spirited rapport and stylish instrumentals. Each track’s thumping beat and strong tempo reverberated across the venue, as O’Connor’s distinctive vocals won the crowd over. Each high note further amplified smash hit 8 Good Reasons. O’Connor’s raw charisma and tough-chick attitude became infinitely joyous to behold. Despite the occasional lyric fluff and equipment mishap, uplifting performances of Three Babies and Harbour (dedicated to Bobbi Kristina Brown) erased all issues. Even more so, her harmonic, a cappella rendition of In This Heart sent chills down our spines. The second act showcased several remarkable solo performances. Digging straight into blues numbers Black Boys On Mopeds and Something Beautiful,
received thunderous responses. The icon’s latest Perth stint became a touching tribute to her ever-lasting career. Thomas Munday
THE MUSIC • 4TH MARCH 2015 • 23
arts reviews three years later, take her child and essentially take her life.
MADAMA BUTTERFLY Festival
His Majestyâ€™s Theatre to 7 Mar
â˜…â˜…â˜… For the first time in Perth, Madama Butterfly (directed by Sarah Tipple) tells the story of Cio-Cio-San aka Butterfly, a 15-year-old geisha married to the gutless American Pinkerton who marries, impregnates, then abandons her, just to return
Anthonyâ€™s Minghellaâ€™s original Butterfly, English soprano Mary Plazas, reprises the role while Adam Diegel portrays Pinkerton. The audience favourites however are undoubtedly Sharpless ( Jonathan Summers) and Suzuki (Maria Zifchak) â€“ the ever-compassionate yet realistic supporting characters. Arguably, the casting falls a little short with Plazas, a middle-aged English Caucasian woman portraying a 15-year-old geisha, while Diegel, a half-Korean man portrays the blue-eyed American. This is forgivable however considering opera is famed for relying heavily on the suspension of disbelief. The set is stunning yet quite minimal, while the score subtly incorporates The Star-Spangled Banner during Butterflyâ€™s moments of misaligned American patriotism, if not only to consolidate the tragedy of a 15-year-old girlâ€™s adoration of a life she was never going to have. Taelor Pelusey
A MAN MADE ENTIRELY OUT OF BATS Lit
â˜…â˜… Â˝ If Patrick Lenton is in possession of a superpower (the proliferation of such gifts - alongside sad, pantomimed villainy, fan fic, and an occasionally jarring and inexplicable heavy smattering of profanities - in this collection suggest he would welcome one) it could be said to be minute persistence. While it would hardly earn him a place amongst the ranks of the Fantastic Four, it would find company among the powers he bestows upon his characters: a man who turns into a cat at full moons, a girl with one withered arm sheâ€™s unable to move, the hairless Mr Aerodynamic, the spermless Infertility Manâ€Ś The effect of this power, of Lentonâ€™s minute persistence, is to take an absurd or novel
While his voice on occasion overrides that of character or narrator, stifling the variety of the collection (When The Helicopters Come and Sheila Discovers Magnetism are impressive exceptions), Lentonâ€™s curt and comedic creativity make for a fast, funny read. He should proudly don a seaweed cape. Dave Drayton
A MAN MADE ENTIRELY OUT OF BATS
STORE.THEMUSIC.COM.AU 24 â€˘ THE MUSIC â€˘ 4TH MARCH 2015
kernel, oftentimes a pun, that seems exhausted by its mere conception â€“ a man made out of bats (as opposed to Batman), an insomni-yak, a neighbourrherd - and to stretch it across a page or two to a point of poignancy, puerility or both.
SCULPTURE BY THE SEA Answered by: Stormie Mills Will your sculptures reflect your street art? Yes, it is a derivative of a character that I created a long time ago called ‘Bunnyman’. It has more of a vinyl toy aesthetic but by virtue of the fact that it is placing work within the public domain it sits really well with all of the work that I’ve done previously in the street. What does your art say about you? Everything. What I paint is an extension of who I am and how I think about things, how I understand things and how I hope things to change for the better. A lot of what I do evolved in a kind of ‘lost in translation’ sense because of the tyranny of distance and the fact that I’m self-taught. Are you looking forward to your f irst appearance at SBTS? Yes, absolutely. It’s always a pleasure and privilege to be able to present work in your own city and Sculpture By The Sea has such a huge audience that are able to engage with those works. Can you describe your sculpture this year, and how the beach environs will blend or stand opposed to the work? The idea of my sculpture is that it’s a very simple device for interrupting somebody’s day with something that is fun. It doesn’t make any grandiose statements necessarily and I guess there’s really strong parallels there with people having a fun day at the beach. What else are you working on? I’m working towards a couple of exhibitions and participating in the second installment of PUBLIC Perth with FORM WA amongst other things. Sculpture By The Sea runs 6 – 23 Mar at Cottesloe Beach.
THE MUSIC • 4TH MARCH 2015 • 25
MAKE ME, DRINK ME Methods. There are quite a few of them.
Let’s get down to some serious beanness. Where to go to ensure an A+ cup o’ joe. Photos Dina El-Hakim.
Percolator: The humble stovetop buddy. Water goes in the bottom, ground beans go in the middle, the boiled water shoots up through the beans and voila! Coffee comes out the top. Simple. DO NOT WASH WITH DETERGENT.
MILKIN’ IT What about the milk part? Sometimes bunging it in the microwave and leaving it at that just won’t do. Electric mini-whisk frother: $3 from IKEA! Batteryoperated. Fun to use and great if you’re not a froth snob.
Pound Coffee Roastery Specialty selected green beans are locally roasted and packaged by the duo team of Justin and Irene under the small batch company name of Pound Coffee Roastery. For this pair, it’s all about the journey, in every way, and they hope to minimise the gap between grower and roaster. Their eponymous blend is all dark cocoa, raisin and spice flavours as espresso, or choc caramel with milk, while the Your Mate blend features honey, cherry and cola hints. The Northbridge Coffee Roasters These guys have been roastin’ since 1936 so, ya know, they know what they’re doing. They’ve got the experience and knowledge, while also looking to the future. There’s something for every taste: from the full-bodied, rich and creamy (Silvana), spicy (Mono Origin Javanese), smoky (Mono 26 • THE MUSIC • 4TH MARCH 2015
Origin Jamaican Blue Mountain), to carameltinged (Braziliano range) and nutty (Leonardo). Micrology Coffee Roasters This independent coffee roaster wants to school WA on the world’s best coffees. They do the hard work to make it easy for you to expand your palate; try the almond berry honey blend from Guatemala, the sweet and creamy blueberry from Ethiopia, or the choc-caramelplum combo of the Barbershop blend. The Naked Bean You can get some of the best quality beans from places like Papua New Guinea, East Timor, Ethiopia, Kenya, Mexico and Brazil all from this little roaster in Albany. The Ugandan Bugisu AA blend boasts big body, citrus acidity and a hint of spice, butter and cocoa, while the Costa Rica produces a vanilla/malt finish.
Filter/Pour Over: This one’s elegant but fiddly. If you liked playing with your food/drinks as a kid this is kinda like the adult version? Cold drip: Looks fancy as fuck. But you have to wait ages. If dripping and glass sounds give you ASMR this is probably for you. If you’re impatient and prone to smashing things, avoid this. Aeropress: People rave that this is the best way to make your coffee at home, and that the inverted or ‘upside down’ method works better than the standard way. Personally I haven’t tried using this yet but it looks like a spillage waiting to happen, or it’s likely I’m gonna slip and slam my face into the coffee cup. Worth it for that perf brew though.
Manual milk frother: Looks like a coffee plunger/French press (a quick Google finds people using their French press for such a purpose). You froth the milk by making a pumping motion. Possibly too much effort. Stove pot: Whisk your milk as it warms up on the stove. If you like tedium and handle disappointment well, this is a good method. Automatic milk frothing machine: If you have a lot of money and are a lazy shit, this is perfect. You drop some dough, push a button. Stovetop steamer: If you wanna be really authentic but don’t have a coffee machine at home, you can fork out for the stovetopoperated steaming wand. If you get immense satisfaction from watching and feeling the texture of milk change right in front of you, by your hand, just fork out for one of these babies.
BEANS, BEANS, THEY’RE GOOD FOR YOUR HEART... ...Making good coffee is a work of art. That’s how the old saying goes, pretty sure. But really, there are so many factors to a good coffee: where the beans come from, the roasting process, how the beans are ground, and then how the coffee gets made. And if you want milk, that’s a whole other thing to deal with. It all starts, though, with the beans. Taste is affected by all the other stuff, sure, but your base is the choice of bean. Do you want chocolatey, citrus-y, caramel-y, fruity, acidic, florally, smoky, tobacco-y, leathery, honey, herbal, spicy, buttery, nutty or cola flavours? If you’ve never even thought about these adjectives before, are you even tasting your coffee or, like, are you just using it for its caffeine? There’s a whole ritual that goes into coffee beans before you even grind them to kick off your own coffee-making ritual.
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LIVE THIS WEEK
X MARKS THE SPOT
A NIGHT OF INTRICACY
MAKING IT BETTER
Self-described death-jazz group Tokyo’s Soil & Pimp Sessions hit Chevron Festival Gardens on Thursday, with the Australian release of new album “X” Chronicle of SOIL&”PIMP” SESSIONS Friday.
In celebration of 30 years of playing at the Mundaring Weir Hotel David Helfgott will return to share a range of piano works, including Beethoven’s Pathetique Sonata on Saturday.
Klara and Johanna Söderberg, aka First Aid Kit, are bringing their sublime sisterly sounds Perth Festival’s Chevron Festival Gardens. Their famous tranquil harmonies will be on full display Wednesday alongside The Gentle Good.
READY TO ROCK
TAKING UP RESIDENCY
ONE SHOW ONLY
Sydney rockers Kallidad will be showcasing some new tunes at Mojo’s this week. Fresh from 2015’s Nannup Music Festival, these lads deﬁnitely know how to put on a show. Catch them this Wednesday.
Perth’s favourite brass party band The Brow are taking up a Sunday residency throughout March at Clancy’s Fish Pub Fremantle. Get yourself pyched up for the week the right way. DJ and band member NDORSE will also be spinning tracks.
Melburnians The Delta Riggs are ﬁnding time in their busy schedules to play a one-oﬀ gig in Perth. These lads have been selling out venues all over the country, so get in quick. It’s happening at Capitol on Saturday.
SUNNY TIMES AHEAD
‘80’s alt-rockers Sunnyboys will be returning to Perth alongside locals DM3, and are guaranteed to give you feelgood vibes all night. They’re playing at the Chevron Festival Gardens on Friday as part of PIAF.
With lead single Wood & Wire nominated in two categories for this year’s WAM Song Of The Year, Rag n’ Bone’s new EP looks mighty promising. Hear the new tunes in the ﬂesh when they launch the piece Friday night at The Bakery.
After taking home the ARIA Award for Best Heavy/Hard Rock Release last year, DZ Deathrays are coming at Perth hard this week, playing Ampliﬁer Bar on Friday night. They’ll be joined by Bass Drum Of Death and Hockey Dad.
Be sure to catch Perth rock outﬁt Hostile Little Face as they bring the house down at Rosemount Hotel on Thursday. With The Date and Parker Avenue supporting, it’s going to be one helluva night.
US soul man Nick Waterhouse is bringing back the sounds of the past in the coolest way possible. Head down to the Chevron Festival Gardens and soak up every last drop of his sweet jazz. Saturday, supported by Melbourne’s Mojo Juju.
From The Jam, featuring former The Jam bassist Bruce Foxton and Russell Hastings, make their way to Perth this week as part of their national tour. Get nostalgic for Going Underground, Town Called Malice and The Modern World, Thursday at Capitol.
FOR MORE HEAD TO THEMUSIC.COM.AU
Canberra/Seattle-bred electronic duo and recent triple j additions Vallis Alps have emerged as the best-performing new act on the Carlton Dry Independent Music Charts this week, earning a double debut on the Singles ladder with Young and their selftitled EP, which stepped out at #6 and #18 respectively. Interestingly, the pair’s new entries mark the only debuts on the Singles chart for the week: San Cisco, Twerps and King Gizzard & The Lizard Wizard took home #5, #18 and #20 in the radio play stakes for respective singles Too Much Time Together, Back To You and Hot Water, while the Albums chart also managed two new entrants: A Night In Texas’ The God Delusion arrives at #8, while Roland Tings’ self-titled full-length just missed out on a top-10 place, entering the charts at #12. Canberran electro outfit SAFIA made a decent northward leap from #17 to #12, with You Are The One. However, for most of the week’s high performers movement is an alien concept as Sia’s Elastic Heart hung onto its spot (at #1), as did the remainder of the top five: respectively, Chet Faker’s Talk Is Cheap, Sia’s Chandelier, Hayden James’ Something About You and Sheppard’s Geronimo. On the Albums ladder, Chet Faker leapt over Flight Facilities to see his iTunes Session (#2) overtake Down To Earth (#3), while Thinking In Textures slotted in at #4 once again. Sticky Fingers’ Land Of Pleasure, too, kept on giving at #5, but nothing can budge the unassailable Sia and 1000 Forms Of Fear, dominant once again at #1. THE MUSIC • 4TH MARCH 2015 • 27
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HAVE YOU HEARD If you could only listen to one album forevermore, what would it be and why? The Beatles – Abbey Road.
we recorded the album in three weeks at STL Studios. Was anything in particular inspiring you during the making? Personally, the last year of my life, as well as camping in a van with four other guys during the recording process.
YOUNG LIONS Answered by: Kyle Morris Album title? Blue Isla Where did the title of your new album come from? The title is a sum up of where the five of us are in life. Such as for me, it is about my new life as a father and the relationships with my family. How many releases do you have now? This will be our second. How long did it take to write/ record? The writing process was close to a year, although once we got into the studio to record, further material was written. Once finished
What’s your favourite song on it? That’s hard. But it would be a tie between Blue Isla and I Know. Will you do anything differently next time? Yes always, just have to figure out what. We always want to push and develop ourselves to be better musicians. When and where is your launch/next gig? YMCA HQ, 6 Mar; Babushka, Leederville Hotel, 7 Mar. Website link for more info? facebook.com/younglionsaus
THE SILENT DEEDS Name: Adam Quigley When did you start making music and why? I’ve jammed with Corey (vox) and Tom (drums) for a couple of years. When Clayton (lead) got on board it was the final piece of the puzzle. It sounded awesome. We wanted to share it. Sum up your musical sound in four words? Foo Fighters Tom Petty. If you could support any band in the world - past or present - who would it be? Way too easy to choose a legendary rock act. Let’s make it interesting. We’d support The Floors or Kingswood. 28 • THE MUSIC • 4TH MARCH 2015
Greatest rock’n’roll moment of your career to date? Every gig we get a greatest rock’n’roll moment. Last show I looked across to see Corey headbanging off the bass drum, a dude dancing on stage, and Clayton using one hand to solo and the other to give high fives. Why should people come and see your band? Because it’ll be fun. You’ll leave with ringing ears and a smile on your face. Sometimes Corey gives out beer. When and where for your next gig? 20 Mar at Railway Hotel in Freo. Website link for more info? facebook.com/silentdeedsperth
S U P P O R T I N G
Why should people come and see your band? Darcy has always wanted to impersonate Hendrix at Monterey despite being a drummer and it’s sure to happen soon enough!
Answered by: Dion Mariani When did you start making music and why? I grew up surrounded by music, so I guess I begun as soon as I could form a beat or melody, which was probably around something like three years old.
When and where for your next gig? We’ve been lucky enough to be supporting Bruce Foxton’s From The Jam on 5 Mar, Capitol.
Sum up your musical sound in four words? Rock. Loud. Fast. Wanton.
Website link for more info? facebook.com/customroyal
If you could support any band in the world – past or present – who would it be? The Backstreet Boys? Probably Led Zeppelin or The Stones, that would be pretty surreal.
HAVE YOU HEARD If you could only listen to one album forevermore, what would it be and why? I’d choose Sleepmakeswaves’ ...And So We Destroyed Everything. Dark, complex, epic and heavy. If I’m going to slowly go insane listening to one album over and over again forever, that can be the one.
Greatest rock’n’roll moment of your career to date? Opening for David Hasselhoff... Or the time I went for a big jump on stage and subsequently landed on my ass.
poured out like a large excellent sandcastle being knocked over by a wave in reverse.
Answered by: Andrew Ryan Album title? Interior Where did the title of your new album come from? We discovered that the album both lyrically and in terms of vibes is very much in the key of all things Interior. How many releases do you have now? A few EPs, our debut album Measure & Step and now our second album Interior. How long did it take to write/ record? A year or so. Was anything in particular inspiring you during the making? We had about six days of tracking and it all just I N D E P E N D E N T
What’s your favourite song on it? At the moment it’s the track Air Flows. Will you do anything differently next time? We are not during next time. We are during now. When and where is your launch/next gig? 6 Mar, Fall Electric launch Interior on vinyl through record label Status Factory Records at Rosemount Hotel with Mt Mountain, Lanark, Slums and DJ Jason Baritone Burton. Website link for more info? fallelectric.bandcamp.com
A U S S I E
M U S I C
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THE MUSIC PRESENTS DZ DEATHRAYS: MAR 6, Ampliﬁer; MAR 7, Prince Of Wales; MAR 8, Newport Hotel SETH SENTRY: MAR 20, Metropolis Fremantle BEN HOWARD: MAR 26, Fremantle Arts Centre
SAN CISCO: APR 23 & 24, Fremantle Arts Centre THE BEARDS: MAY 7, Prince Of Wales, Bunbury; MAY 8, Settler’s Tavern, Margaret River; MAY 9, Capitol SLEEPMAKESWAVES: MAY 30, Rosemount Hotel
THE BEAT: APR 1, Charles Hotel GIPSY KINGS: APR 13, Riverside Theatre
GIG OF THE WEEK DZ DEATHRAYS: 6 MAR, AMPLIFIER BAR
Trivia: Albion Hotel, Cottesloe
Bianca Del Rio: Astor Theatre, Mt Lawley Open Mic Night with Shaun Street: Carine Glades Tavern, Clarine Glades
Botikk Vol. 1 Launch Party + Various DJs: Flyrite, Northbridge
Various DJs: Brass Monkey Hotel (2 levels), Northbridge
NDorse + Paradise Paul: The Aviary, Perth Back to Uni Party + Various DJs: Villa Nightclub, Perth
Japan 4 feat. Parakord + Micah Black + Philly Blunt + DNGRFLD + Tee EL: Ambar, Perth
Various DJs: Brass Monkey Hotel (2 levels), Northbridge Paradise Paul + Micah + Chico: The Aviary, Perth
Perth Festival + First Aid Kit + The Gentle Good: Chevron Festival Gardens, Perth Trivia: Como Hotel, Como
Katey Brookes + Joni Hogan: Moon Cafe, Northbridge DJ Anton Maz: Rosemount Hotel (Backyard), North Perth Alex Elbery and The Strangers + Childsaint + Todd Pickett + Luke Dux: Rosemount Hotel (Four5Nine Bar), North Perth Petty Things: Rosemount Hotel (Main Room), North Perth
Riley Pearce: Ellington Jazz Club, Perth
Open Mic Night with Claire Warnock: Settlers Tavern, Margaret River
Yalla Yalla: Herdsman Lake Tavern, Wembley
Karaoke: Swinging Pig, Rockingham
DJ Neil Viney + Philly Blunt: The Aviary, Perth
Karaoke: Indi Bar, Scarborough
Shake + The Matador: The Bird, Northbridge
Habitat Garden Party with Audio Jack: The Stables Bar, Perth
Howie Morgan: Lucky Shag, Perth
Adam Hall & the Velvet Playboys: The Laneway Lounge, Perth
Vices: Galactic + Various DJs: Villa Nightclub, Perth
The Great Women of Country feat. Melinda Schneider + Beccy Cole: Mandurah Performing Arts Centre, San Remo Kallidad: Mojo’s Bar, North Fremantle
S U P P O R T I N G
Courtney Murphy: The Saint, Innaloo Lake Street Dive: Vancouver Arts Centre, Albany
I N D E P E N D E N T
A U S S I E
Open Deck Night + Various DJs: Brass Monkey Hotel, Northbridge Karaoke: Brooklands Tavern, Southern River From The Jam with Bruce Foxton + Custom Royal: Capitol, Perth Trivia: Captain Stirling (Back Bar), Nedlands Perth Festival + Soil and “Pimp” Sessions: Chevron Festival Gardens, Perth Open Mic Night + Various Artists: Clancys Fish Pub, Dunsborough Jo Quail: Ellington Jazz Club, Perth Greg Carter: Gate Bar & Bistro, Success Ben Merito: Grand Central, Perth Open Mic Night + Various Artists: Indi Bar, Scarborough James Wilson: Lucky Shag, Perth
M U S I C
the guide email@example.com The Crossbars: Mojo’s Bar, North Fremantle
Davey Craddock & The Spectacles: Fremantle Arts Centre, Fremantle
Open Mic Night with Danny Bau: Peel Ale House, Halls Head
Little Basterdos: Indi Bar, Scarborough
Little Bastard + Guests: Prince of Wales, Bunbury
Wesley Goodlet Jamboree Scouts: Lakers Tavern, Thornlie
Perth Festival + London Grammar + Wet: Red Hill Auditorium, Red Hill
Jim Moore: Last Drop Tavern, Warnbro
Hostile Little Face + The Date + Parker Avenue: Rosemount Hotel (Main Room), North Perth
Daniel Champagne + Michael Triscari: Mojo’s Bar, North Fremantle
Daniel Champagne: Rosemount Hotel (Four5Nine Bar), North Perth Monty Cotton: Rubix Bar & Cafe, Perth Stu Harcourt : Settlers Tavern, Margaret River The Floors: The Bird, Northbridge Catherine Summers: The Laneway Lounge, Perth Trivia: The Saint, Innaloo Off the Record: Universal Bar, Northbridge
DZ Deathrays + Bass Drum Of Death + Hockey Dad: Amplifier Bar, Perth Acoustic Fridays + Various Artists: Balmoral, East Victoria Park Various Artists: Belgian Beer Cafe, Perth Acoustic on the Balcony + Various Artists: Brass Monkey Hotel, Northbridge Various Artists: Brooklands Tavern (Sports Bar), Southern River The Great Women of Country feat. Melinda Schneider + Beccy Cole: Bunbury Regional Entertainment Centre, Bunbury
TOTAL WASTE: 4 MAR, ROSEMOUNT HOTEL
Foo Fighters + Rise Against: nib Stadium, Perth Perth Festival feat. Sunnyboys + DM3: Chevron Festival Gardens, Perth DJ Boogie: Clancys Canning Bridge, Applecross Jade-Lori Crompton + Hammer Nine: Ellington Jazz Club, Perth Sundowner Fridays + Various Artists: Gosnells Hotel, Gosnells Zarm: Indi Bar, Scarborough Stevie M: Lakers Tavern, Thornlie Fisherman Style feat. Earthlink Sound + Future Soundz + Fireside Imperial: Mojo’s Bar, North Fremantle Ewan Buckley: Moondyne Joe’s, Fremantle Candy - Hip Hop Fix + Various DJs: Parker Nightclub, Northbridge Karaoke: Peel Ale House, Halls Head Scalphunter + Blackwitch + The Dark The Light + Crash Rat: Prince of Wales, Bunbury Various DJs: Queens Tavern, Highgate Kelly Read: Rendezvous Grand Hotel (Lobby Bar), Scarborough Breaking Punk feat. Castle Bravo + Burning Fiction + Silver Foxes + Ben Elliot & The Travelling Mulberries + Priority One: Rosemount Hotel (Four5Nine Bar), North Perth Fall Electric + Mt Mountain: Rosemount Hotel, North Perth Wesley Goodlet Jamboree Scouts: Rosie O’Gradys, Northbridge Client Liaison: Secret Location, Perth
Little Bastard + Guests: Settlers Tavern, Margaret River
Little Bastard + Silver Hills + Childsaint: Mojo’s Bar, North Fremantle
Macy Gray + Special Guests: Perth Concert Hall, Perth
In The Now + The Corner + Fuzz Bucket + Anderson: Swan Basement, North Fremantle
DZ Deathrays + Bass Drum Of Death + Hockey Dad: Prince of Wales, Bunbury
Various DJs: Queens Tavern, Highgate
Breast Cancer Fundraiser + Social Madness + The Flying Embers + Enemy Minds + Fight The Morning: Swan Lounge, North Fremantle
Various DJs: Queens Tavern, Highgate
Soul Stirring with Various DJs: The Bird, Northbridge Nightmoves: Universal Bar, Northbridge Young Lions: YMCA HQ, Leederville
The Great Women of Country feat. Melinda Schneider + Beccy Cole: Albany Entertainment Centre, Albany Rise Against + Dan Cribb & The Isolated: Amplifier Bar, Perth The Delta Riggs + Timothy Nelson & The Infidels + Tired Lion: Capitol, Perth The Amplifier Capitol Carnival 2 + LDRU + more: Capitol, Perth Perth Festival feat. Nick Waterhouse + Mojo Juju: Chevron Festival Gardens, Perth Ali Bodycoat Quintet + Hammer Nine: Ellington Jazz Club, Perth
Domenic Zurzolo: Rendezvous Grand Hotel (Lobby Bar), Scarborough Turin Robinson: Rosemount Hotel (Backyard), North Perth Legs Electric + Apache + Custom Royal + King Cactus: Rosemount Hotel, North Perth
The Get Down with Aslan + Klean Kicks + more: Rosemount Hotel (Backyard), North Perth Kallidad: Settlers Tavern (Verandah), Margaret River Timothy Nelson + Matt Waring: Swanbrook Winery, Henley Brook Retrofit: Universal Bar, Northbridge
Timeout: Rosie O’Gradys, Fremantle
Trivia: Clancys Canning Bridge, Applecross
Kallidad: Settlers Tavern, Margaret River
Daniel Champagne: Ellington Jazz Club, Perth
Felicity Ward: Subiaco Arts Centre, Subiaco
Wide Open Mic: Mojo’s Bar, North Fremantle
Treestump Almighty: Swan Lounge, North Fremantle
Trivia: Rosemount Hotel, North Perth
Gravy Murphy + Phil Arbon + timeofhex + Omega Is The New Alpha: The Bird, Northbridge Rock Candy: The Craftsman, Cannington Soul Corporation: Universal Bar, Northbridge
Shovels & Rope + Shakey Graves: Astor Theatre, Mt Lawley
Open Mic Night + Various Artists: Brass Monkey Hotel, Northbridge Trivia: Brooklands Tavern, Southern River Trivia: Clancys Fish Pub, Fremantle Rick Webster + Allira Wilson: Ellington Jazz Club, Perth Trivia: Herdsman Lake Tavern, Wembley
Dirtwater Bloom + Jupiter Zeus + Lantana: Herdsman Lake Tavern, Wembley
Sunday Sessions + Various Artists: Brooklands Tavern (Beer Garden), Southern River
Various Artists: Hyde Park Hotel, North Perth
Acoustic Sundays + Various Artists: Como Hotel, Como
Billy Connolly: Perth Arena, Perth
Resound: Indi Bar, Scarborough
Courtney Murphy: Currambine Bar & Bistro, Currambine
Sandra Bernhard: Regal Theatre, Subiaco
Various Artists: Lakers Tavern, Thornlie
S U P P O R T I N G 30 • THE MUSIC • 4TH MARCH 2015
DZ Deathrays + Bass Drum Of Death + Hockey Dad: Newport Hotel, Fremantle
Howard Levy: Ellington Jazz Club, Perth
I N D E P E N D E N T
Mojo’s Monthly Comedy + Various Artists: Mojo’s Bar, North Fremantle
Bex & Turin’s Wide Open Mic: Rosemount Hotel, North Perth
A U S S I E
M U S I C
THE MUSIC • 4TH MARCH 2015 • 31
32 • THE MUSIC • 4TH MARCH 2015
The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...
Published on Mar 4, 2015
The Music is a free, weekly gloss magazine of newsstand quality. It features a diverse range of content including arts, culture, fashion, li...