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X-Press – First on the street, Wednesdays



X-Press – First on the street, Wednesdays



X-Press – First on the street, Wednesdays



If you didn’t manage to cop tickets to Rudimental’s gig on Friday, September 13, at Metro City – well, here’s a second chance. The British quartet has announced another show on Saturday, September 14, at the same location. The tour celebrates the Londoners’ first full-length album, Home, which recently was sitting #2 on the ARIA charts. The album features the award-winning hit track, Feel The Love, along with Not Giving In and Waiting All Night. Tickets are already on sale, so head to for full details.

Belle Harvey




The beauty of good old vinyl records will never be substituted by any digital download, that is for sure. Perth’s dirty-blues-rock trio The Floors certainly agree, and have just announced the release of their vinyl-only seventh single, Built From Bones. On the back of the release follows the national Bones tour which will see them performing at Settlers Tavern, Margaret River, on Saturday June 22; Clancy’s Fish Pub, Dunsborough, on Sunday June 23, and in Perth on Saturday, June 29, at The Bird featuring Dead Owls and Man The Clouds.

Australian country music stalwart Bill Chambers and local gal Belle Harvey are soon due to head down South for a short winter tour, kicking off Thursday, July 25, at Transmission Lounge, CWA Hall, in Denmark; followed by stops at White Star Hotel, Albany, on Friday, July 26; The Fly Trap (Fly By Night Club) on Saturday, July 27, and the Indi Bar, on Sunday, July 28. The WAMI-award winning Ruby Boots joins on stage at all shows except the Indi Bar, where singer/songwriter Karen Page (China Doll) takes her spot. Fore more details and tickets, go to


Stellar community radio station RTR FM wants to turn better, greener and smarter, and are going ahead with something we all want to do – set up a solar panel system. But your help is much needed. The station’s initial step is a fundraising effort of raising $10,000, which began on Monday and continues until the end of the month. All donations over $2 are tax deductible and the station welcomes anything listeners can spare. To join in for a sustainable future of local community radio, head to or call 9260 9200 to make a donation. Long live solar energy! Oh, and RTR FM.

A hilarious take on electronic dance music’s effect on society comes in the form of Disco: The Vinyl Solution, at the Mandurah Performing Arts Centre next Thursday, June 27, from 7.30pm. Written a n d p e r fo r m e d by Melbourne-based c o m e d i a n , s a t i r i s t, broadcaster and DJ, Fiona Scott-Norman, the show is the follow-up to her first solo outing, The Needle And The Damage Done, which toured nationally. She’ll even get behind the decks to spin a few tracks after the show. Tickets Disco: The Vinyl are on sale now from Solution, at the m a n p a c. co m . a u o r Mandurah Performing Arts Centre 9550 3900.


The much loved new tradition that is Hidden Treasures returns to Fremantle next month, celebrating music (and its makers) borne from the heart and soul of the Port City. Each Thursday night in July musicians and audiences across all generations will descend upon venues in Freo’s High Street (Workers Club, Buffalo Club, Merenda Gallery and Navy Club) for this third annual Winter Music Series presented by the City of Fremantle. Among the Freo-centric line-up, Pond singer and Tame Impala’s former bass player Nick Allbrook, the reunion of ‘90s Freo funksters Book Of Funk and other, diverse treasures such as Pimps of Sound, Mama Says Yes, Axe Girl, The Crux, Mister and Sunbird, Leon Osborn, Valiant, Bass Reflex, Tashi and more. Head to au/festivals for full details.

The Murphy Brothers


Local icons Chris, Courtney and Kieran Murphy The Murphy Brothers - have compiled their first album together in 10 years, already available via iTunes. The long-awaited Thick As Thieves launch takes place on Sunday, June 30, at Deville’s Pad. Special guests are Nat Ripepi and Midnight Sun. Doors open at 6pm. Head to themurphybrothers. for tickets.


As mentioned a few weeks back, the Perth Blues Club’s 10th annual memorial showcase, A Rhythm And Blues Variety Revue, takes place at the Astor Theatre on Friday, June 28, in support of Australian war veterans’ charity, Legacy. Lining up is an all-star cast coming together to honour departed mates, featuring Normie Rowe, Dave Hole, Matt Taylor, The Healys and PBC President, Rick Steele. Tickets are $35 each, are available from, the Astor Theatre box office or from the Perth Blues Club shop on Tuesday evenings at the Charles Hotel.


Formed back in 2011, Far Away Stables have released two singles, A Beggar’s Plea and The Art Of Madness and have supported the likes of Paramore, The Offspring, The Getaway Plan, Northlane and The The Floors Rubens, building an international fan base in the process via YouTube. They’ve just released their debut EP, Behind The Bookcase, as well as an upcoming music Armed with their latest full-length LP, Collider, video and national tour, which will bring them to the American pop-punkers Cartel are back down Prince Of Wales, Bunbury, next Wednesday, June 26; under this August for a national jaunt. The Georgia Residence at Metropolis Fremantle on Friday, June 29; quartet will be joined by Arizona favorites Lydia, Beat Nightclub on Saturday, June 29, and an all-ages touring on their fifth album, Devil. The pair take the show at YMCA HQ Sunday, June 30. stage on Wednesday, August 14, at Amplifier. Since the headliner’s last national appearance was sold out, early bird tickets now already available from General tickets are up for grabs from 9am AEST this Friday, June 21, via Oztix.


Nick Allbrook, Hidden Treasures Photo: Stefan Caramia

Normie Rowe, A Rhythm And Blues Variety Revue

Cartel Far Away Stables


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Next Wednesday, June 26, looks pretty tasty at Mojos, what with Ben Ottewell from Gomez fronting up to play some faves from his well-loved band as well as selections from his 2011 solo album, Shapes & Shadows, plus some of his favourite covers. Quality support comes from Paul Wood (Red Jezebel, Ghost Hotel). Pre-sale tickets are $30 (plus booking fee) through Very limited $35 tickets will be available at the door on the night.

COVER: With their debut LP, The Revolution Is Never Coming, out now,The Red Paintings are on a national tour that brings them to the Rosemount Hotel on Friday, June 28. Story on page 12. SALT COVER: Newcomer to Perth, Emcee Crisis (Mr Swagger) has carved out quite the rep in his homeland of Zambia. Read more on page 27 ahead of his gig this Thursday, June 20 at the Indi Bar.

Ben Ottewell 7

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Managing Editor Bob Gordon: Fashion Editor Emma Bergmeier: Dance Music & Features Editor Jo Campbell: Local Music & Arts Editor Travis Johnson: Gig & Event Guides Co-ordinator Entertainment Services Co-ordinator / Competitions Photography Callum Ponton, Stefan Caramia, Daniel Grant, Sammy Granville, Matt Jelonek, Denis Radacic, Emma Mackenzie, Guang-Hui Chuan, Max Fairclough Contributing Writers Henry Andersen, Ashleigh Whyte, Nina Bertok, Shaun Cowe, Derek Cromb,Chris Gibbs,Alfred Gorman,George Green,Alex Griffin,Chris Havercroft, Joshua Hayes, Brendan Holben, Coral Huckstep, Rezo Kezerashvili,Tara Lloyd, Adam Morris, Andrew Nelson, Chloe Papas, Tom Varian, Ben Watson, Jessica Willoughby, Miki Mclay, Morgan Richards, James Manning, Joe Cassidy, Shane Pinnegar For band gigs and launches -



Lady Waks


Major Bass will be hotting up Villa next Saturday, June 29 with Lady Waks from Russia and CRNKN from the US as main headliners. Lady Waks stole the show at Breakfest (proving that breakbeat is breathing), and is the best thing to come out of Russia since Smirnoff and was the driving force behind the Russian breakbeat massive In Beats We Trust club night. She’ll be supported by DNGRFLD, Bezwun, The Barons Red, Tapeheads, Tom Drummond, QWERK, MR eD, Dead Easy, 4by4 and Easy P. We’ve got two doubles to give away!

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Sales and Marketing Manager Keeley Warren-Langford - Online Marketing Keeley Warren-Langford - Music Services / Musical Equipment / Bands / Record Labels Dez Richardson - Entertainment Venues / Live and Dance Music Promoters Tim Milroy - Lifestyle Development Manager Natasha Bederson - Agency / Movies / Education / Sponsorship Keeley Warren-Langford - Classifieds Linage

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To celebrate the release of World War Z in cinemas this Thursday, June 20, we are giving you the chance to win one of three huge prize packs valued at over $150. United Nations employee Gerry Lane (Brad Pitt) traverses the world in a race against time to stop a pandemic that is toppling armies and governments and threatening to decimate humanity itself. The prize includes a set of walkie talkies, a survival kit a first aid kit and a Hoyts Xtremescreen 3D double pass. Check out the trailer at and head to to enter!


Steve Kilbey can only be referred to as a modern day Renaissance man. Over the last decade as a visual artist, blogger and raconteur and was inducted along with his band, The Church, into the Australian Music Hall of Fame in 2010. We’ve got two double passes to give away to his gig at Fly By Musician’s Club on Saturday, July 6.

9213 2854 Imogen Kelly (Photo By: Caveboy Studios)

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Steve Coogan in The Look Of Love

Perth International Burlesque Festival starts next Monday, June 24 and we’ve got one double festival pass up for grabs. To be used across all events happening throughout the festival, each pass is valued at $110 and will get you into the Opening Night Party, Dark of the Cabaret show, Glitter, Garters & Tease and the Retro Market.

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World War Z

Next Wednesday, June 26, Ben Ottewell from Gomez will be playing at Mojo’s Bar and we’ve got a double pass to give away. Ottewell’s powerful tenor has graced many Gomez fan favourites, from early songs Deadlines like Get Miles and Revolutionary Kind to the more EDITORIAL recent singles How We Operate and See The World. General: Friday 5pm,, Eye4 Arts: Thursday 10am, Comp’ Thing: Monday Noon,, Salt Clubs: Monday 5pm , Local Scene: Email with ‘Ottewell Comp’ in the headline along with your name and Monday Noon,, Gig Guide: Monday 5pm contact details to be in the draw. ADVERTISING


In cinemas next Thursday, June 27, The Look Of Love is based on the outrageously true story of Britain’s richest man. After Tristram Shandy and The Trip, Michael Winterbottom and Steve Coogan team up once more to chronicle the outrageous story of Paul Raymond; a legendary gentleman’s club owner, erotic publisher and one-time richest man in Britain. Enter to win one of 15 doubles!


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Nina and Lauren


It’s been 10 years since the incredible and intense singer/pianist extroadinaire Nina Simone passed away, leaving a legacy like no other. After a sold out show in Brisbane, and shows in Sydney and Melbourne, Lauren Lucille and her quartet are bringing the show to Perth to pay tribute to Nina at The Ellington this Thursday, June 20 from 7pm. With Tal Cohen on piano, Pete Jeavons on bass and Daniel Susnjar on drums, it’s sure to be an incredible night of the music and stories of Dr Simone. We’ve got one double pass to give away but you’ll have to enter and be able to check your email this Wednesday (June 19) afternoon.

Primal Scream


Thanks to Inertia, we’ve got two of Primal Scream’s latest LP, More Light to give away. An adventurous, 13-track collection of new songs – and the band’s first LP in five years – More Light was written by Bobby Gillespie and Andrew Innes and produced by David Holmes. It features guest appearances from Robert Plant, Kevin Shields, The Pop Group’s Mark Stewart and Jason Faulkner.

X-Press – First on the street, Wednesdays



X-Press – First on the street, Wednesdays

The Superjesus

THE SUPERJESUS Resurrection Shuffle

The Superjesus are back in action and will hit Amplifier this Friday-Saturday, June 21-22. BOB GORDON catches up with vocalist, Sarah McLeod.

It seems like a very civilised way of going about things, but back in the heavy heydays, it would never have cut it. “We would never have done that,” McLeod notes. “We used to play, like, six nights a week. We’d get in a van and off we went; we had no other lives. “It’s very different now, everybody’s got things going on and different agendas. So we meet on the weekends and become The Superjesus again, then we all go back to doing what we were doing before. We stop being Superman and become Clark Kent for the week.” The Superjesus called it stumps in 2004, after releasing three albums, Sumo (1998), Jet Age (2000) and Rock Music (2003). At the time McLeod wouldn’t have rated the chances of the band playing together, for any given reason, very highly. “Oh zero,” she says with some immediacy. “Zero. When we first started we were under the impression, because we’d been told, that the music business is short and sweet, so if we got a couple of good years out of it we could consider it a success. “I remember our manager having a word to my mum and saying, ‘just so you know, the main goal here is if we can get three good years out of them that’s the best that we could hope for’ and mum was like, ‘oh okay, I’ll be prepared for that’. But look at us now... 20 years later and we’re at it again.” In terms of the years in between for McLeod, diversity was not quite been the word... “Schizophrenia?” she offers, laughing. Possibly. She certainly didn’t stay in, or follow, her niche. “I totally go where the wind blows,” McLeod states. “I have ideas and just jump on them immediately. I have to strike while the iron’s hot because if I leave it I get cold on the idea and I get bored. I have a really short attention span. “So when I was in The Superjesus, originally, you just did one project and the concept of being in an external band was almost like you were some sort of Judas - ‘you work in your band and that’s your life’. So when it finished I just wanted to try doing some different stuff. I started off putting a rock band together and did an album called Beauty Was A Tiger and that record was not that dissimilar to The Superjesus. So I thought I needed to break out even more so I went into electronic music and went to live in London and New York and focussed on electronic music for a few years. “Then I came back still doing electronic music and I thought I’d break it down. So I did some solo acoustic touring, which I can’t believe I haven’t been doing my whole life, because I just love it just as much as playing in a band. I think I’ll continue doing that forever.” McLeod says the band have and amazing cross section of audiences so far on this reunion and while it seems silly not to continue, they’ll talk about further plans once they’re finished the tour “I think the great part of what’s going on now is being able to have a second chance to do what I was doing before but being able to take all the knowledge I’ve gained from the past 10 years back to the original project and give it a second chance knowing what I know now,” she notes. “That’s pretty rare; I think I’m really lucky to be able to have done that. I’ve been excited about everything I’ve been doing but to be able to do it with my old mates again... I forgot how much I love those guys, you know? We’re having a really good time. Enthusiasm doesn’t cover it, we’re really pumped.”

They were one of the top Australian bands of the late ‘90s, but The Superjesus went to the big gig in the sky some nine years ago. But after a one-off hometown reunion at Adelaide’s The Gov in February this year, the band played at the two-day Stone Music Festival (headlined by Billy Joel and Van Halen) in Sydney in April and are now on a full national tour, dubbed The Resurrection. “It’s still a bit surreal,” says vocalist, Sarah McLeod, when asked how it’s all feeling. “The first show at The Gov was like a one-off, like a big burst of excitement out of the blue down memory lane. Then Stonefest was a pretty weird gig; we were on really early, it was pretty quiet and we were playing a really short set. That was more like a rehearsal. “But when we started the tour it was like being thrown back into our old lives on weekends, but then we’ve got all during the week off. So we go back to our normal lives during the week - and that’s the weirdest part. You just come home and go back to doing what you were doing before, then suddenly the concept of getting up and playing with the band on the weekend seems terrifying (laughs). Once you get there it’s fine, ‘oh yeah, let’s go’, but I find during the week I forget all about it and Sarah McLeod also plays two solo shows (6.30pm sink back into my old habits and then I get nervous and 8.30pm) at Ellington Jazz Club on Sunday, June 23. about going out again.”

Boys Boys Boys!

Boys! Boys! Boys! (Photo: Matt Jelonek)


Boom! Bap! Pow!/44th Sunset/Echo Kid/Wasabi Peas The Bakery Friday, June 14, 2013 Remember all-dancing, all-sass ‘90s teen sensation, Blossom? Boys Boys Boys! sure do. Fresh from a trip down memory lane to the land of 4:3 music videos and Ginger Spice, Boys Boys Boys! launched their album, We Are Excited About Everything, with a burst of novelty song wonder and good old-fashioned bubblegum pop.This show was less album launch and more nostalgic celebration of the decade that was. Boys Boys Boys! opened their set with high energy and remained that way all night. With super synth-heavy backing tracks that were almost more reminiscent of the ‘80s than ‘90s, the girls unapologetically danced around the stage, with choreography not seen since primary school music class. Highlights included the tongue-in-cheek I Spend All Your Money, Cut The Roof Off Your Car and the excellent Blondie-esque Superfine, complete with Debbie Harry-style rap as the verses. Only once did the Boys Boys Boys! slow down to take a more serious look at themselves, with the interesting and harder Water’s Edge, which

maintained the energy of the show, with classic ‘80s synth backing and sweet backing vocals. However, intense subject matter and slightly edgy guitar hooks made it a refreshing change from the sugary sweetness in the rest of the material. For myself, I would hope to see BBB taking this path a little more often in their songwriting – I feel that there is room for this in their set without it compromising their image, whilst simultaneously opening up musical doors they are not currently considering. Supporting Boys Boys Boys! were Mighty Boosh tribute act and total mindfuck Wasabi Peas, baby-faced rockers 44th Sunset, and the ever wonderful Boom! Bap! Pow! (whose excellent musicianship threatened to overshadow the main act before they even got on stage). These bands were an unusual collection of support: there was a bizarre clash of genres between them that, honestly, didn’t quite work, despite the individual musicianship of each act. This said, to the first time observer, Boys Boys Boys! themselves were a trip.The band was tight, energetic and entertaining, with choreographed dance moves and sweet three-part harmonies. Completing this trip were covers from both Boom! Bap! Pow! and Boys Boys Boys! of the first singles they ever bought: the amazing End Of The Road by Boys II Men and Slave To The Music by Dutch band Twenty 4 Seven respectively. Admittedly I was a little disappointed that neither band shared my shame in this regard (Len’s Steal My Sunshine for anyone interested), however this disappointment was a very small part of an overall insane evening. _ LEAH BLANKENDAAL


Vance Joy

After the very successful God Loves When You’re Dancing EP tour, Vance Joy is again hitting the road this August for a national tour. Since its release earlier this year, his break-out single, Riptide, has enjoyed the #1 spot on Hype Machine’s Most Popular Chart and secured a spot in the iTunes Top 50 Singles Chart for quite some time. Before the Melburnian singer/ songwriter arrives in WA, he will dedicate July and early August to supporting Bernard Fanning on his sold-out Departures tour. His headlining WA date is Friday, August 23, at Fly By Night in Fremantle. Tickets go on sale this Friday, June 21, from

Scott Kelly


Visiting our shores for the first time in 2012 as a solo musician, Scott Kelly is now ready to hit the Australian and New Zealand stages again at the end Parkway Drive of the year. The founding member of Californian experimental metal band, Neurosis, has announced a nationwide tour this November, backed by his band Australian metal-core quintet Parkway Drive have unveiled the dates for their 10-year anniversary national The Road Home. Tantalisingly, Kelly is joined by tour set to kick off in WA with an all-ages show on Saturday, September 14, at Metropolis Fremantle. Thy Art Is Jarboe, ex-member of American post-punk giants, Murder and Confession have been revealed as opening acts for the Fremantle show. The 10 Years Of Parkway SWANS. Drive tour set list promises the Brisbane outfit’s entire back catalogue with some old faves for the aficionados. Lock in Sunday, November 10, at For over-18s, the band’s Capitol gig on Sunday, September 15, is already sold-out, but tickets are still available the Rosemount Hotel. For full details go to to the Monday, September 16, return bout. For full details, head to


IanColours Kenny Ian Kenny, True


Back in the ‘80s, Perth outfit True Colours ruled the heavy metal roost, but it’s been a while since they’ve let those power chords ring out. Destiny, however, has come in the form of guitarist, Ian Kenny’s 50th Birthday Jam, which will see True Colours once again hit the stage at the Charles Hotel on Friday, June 28. Special guests Legacy Of Supremacy will add to the metal dosage. Doors open at 7.30pm. $10 entry. 11

Between explaining why he left Melbourne to giving a quick run-down on his plans to launch the album into space attached to giant geisha balloons from 13 different countries, this young man shoots for further stars than most. Amongst the Melbourne-gone-LA group’s swollen fanbase, anticipation for the debut LP is at bursting point. The band’s history of immersing themselves in particular concepts and themes, with great attention to detail and fan interaction, means that this culmination of five years’ work will be heavily dissected by a dedicated clan.


“The album is really my whole life up to date, in 13 songs. So it’s all the things I’ve experienced and needed to say in an hour and 25 minutes. It’s a concept album. It’s trying to say that the revolution’s never coming because it’s a contradiction... until you realise that human beings – including myself – actually have a choice, and there’s more than one road to take, there won’t be any revolution.”


“Well, the album is really my whole life up to date, in 13 songs,” McSweeney says. “So it’s all the things I’ve experienced and needed to say in an hour and 25 minutes. It’s a concept album. It’s trying to say that the revolution’s never coming because it’s a contradiction... until you realise that human beings – including myself – actually have a choice, Trash McSweeney, The Red Paintings and there’s more than one road to take, there won’t be any revolution.” McSweeney is certainly in a position to With their debut LP, The Revolution Is Never Coming, out now, The Red Paintings on the subject: he’s taken himself from are on a national tour that brings them to the Rosemount Hotel on Friday, pontificate Geelong to the rest of the world, flying by the seat of his own tenacity and the conviction of his supporters. June 28. ZOË RADAS chats with vocalist/songwriter, Trash McSweeney. “I lived most of my life in Geelong,” McSweeney says. The otherworldliness and spatial beauty demonstrated on The Red Paintings’ new album, The “Brisbane seemed like a cool city – it was smaller Revolution is Never Coming, is apparent within hearing the first few notes, but vocalist Trash McSweeney than Melbourne, but had a big vision. You get so lost in the Melbourne scene. I find it’s a great musical clearly doesn’t want to speak on a solely melodic level.

scene but very cynical. And we just looked like freaks there. We weren’t part of anyone’s scene. I already had the band in Geelong and Melbourne for four years and we were going around in circles; within a year in Brisbane we were on at the major festivals, we were touring Australia and triple j were starting to look at us.” The reason the Paintings only released EPs prior to this year’s album is pretty basic, and has nothing to do with not being ready or not having the right material together. “I didn’t have the money, and no-one would give me any money,” McSweeney says simply. “Australia is just a different industry to everywhere around the world. So I ended up just putting the brakes on, I moved to Los Angeles, and just toured my arse off. I’ve been touring there constantly the last three years and UK and Europe.” This is when the fan thing booted into action. “I asked the fans to get on board and they were happy to help me with finance to create the album, which took a long time because I’m not knowledgeable in how to record an orchestra and choirs and lead guitar and you know, this massive wall of sound. So I had to find expertise around the world, until I got to a place where I was like, that is the album I want to create, that is the vision.” Obviously the visuals are a huge part of the concepts the Paintings are attempting to impart. The clip for single, You’re Not One Of Them, is rather wild, and even more so once McSweeney elucidates on its imagery – it refers to a dream he had in which there was an art gallery existing for 100 years. During that time each piece of art that had adorned its walls left behind a little of its spirit and the accumulated spirits and energies become manifest during the video. It turns out McSweeney’s directing all the music clips for the first time. “This is me,” he says. “This whole package, The Revolution Is Never Coming, it’s everything that the band’s about. This is the first time that I went, ‘You know what? I’m going to fucking take full control of this visual artwork, I’m not going to let anyone fuck with it, I’m going to do exactly what it is that I feel in my heart and my head and I’m going to get it right. If it takes me five, six, seven, 50 years to do it, well fuck it. It’s going to take that long’. “‘Cause when you do touch it and you feel it, you’re going to go, ‘Woah! This is actually saying something, and I want to listen to this again’, or even if you hate it, it’s creating an emotion that I guess is important to the journey that I went on, and the sacrifices I made, to reflect on the emotional status of what it’s going to feel like for a listener.” If you don’t get it, that’s okay – to each their own. “It’s always been The Red Paintings, and their fans, and they do whatever they want,” McSweeney concludes. “We’ve created our own yellow brick road.”


Never Solved Japanese noisemeisters, Boris, play their cult-favourite third album, Flood, in full at the Rosemount Hotel on Monday, June 24, supported by Eleventh He Reaches London. ALEX GRIFFIN reports. Yoshimoto P-We, leader of the Japanese band Boredoms, described his work thus: “imagine a moon and a lake. Except there is no moon and no lake; only Boredoms.” It works to describe fellow Japanese experimental band, Boris too, since trying to fit Boris into a sentence is like landing a plane in a packed parking lot. Deftly veering between oppressive drone, delicate ambience and forays into spiky, sugary J-pop, they’re maybe the least ‘metal’ metal band in existence, and as hard to predict as they are to pin down. Atsuo, the drummer, shares vocal duties with guitarist Wata and bassist Takeshi (no last names), the same line-up sticking together for almost two decades of relentless, shifting weirdness. Despite the myriad of approaches, Atsuo describes the Boris approach to moving forward in pretty simple terms; it’s all about keeping it new. “Each time, we escape from the Boris ‘character’ or originality that we’ve established in the past, because we like to see what we can arrive at when we have no ego or particular direction about what we’re doing. Fans and artists always want to experience fresh things, right?” Fresh is right; Boris have an intimidating and constantly growing discography, with 18 LPs and numerous collaborations with likeminded mavens Sunn O))), Merzbow and Michio Kurahara to their name. Navigating it isn’t easy; there are three versions of their 2006 LP Smile, and two entirely different albums both called Heavy Rocks, released a decade apart. The contrast between the doom-laden heaviness of their music and their wily sense of humour is central to the band’s personality; the celebrated cover of Akuma no Ata sums it up perfectly, mimicking the cover of Nick Drake’s Bryter Layter except with a double-necked guitar. For Atsuo and Boris, leaving their work open and inscrutable is part of the plan. “I think surprised reactions from fans are a symbol of mutual participation in experiences, and 12

Boris that’s why we want to leave enough space on our works to invite our fans. I like music/design/artwork that seem to be unfinished, and especially the ones that have enough space to enable me to imagine what could be there. Something like a never solved puzzle, since I can find new inspiration from there endlessly.” They’ve taken the guesswork out of their setlist for Perth, since they’ll be playing their hourlong Flood start to finish. Released in 2000, the record is a triumphant monolith of beauty and brutality, sort of like floating on an endless ocean while starving to death. For Atsuo, it remains a fondly remembered part of their canon; “that album opened lots of possibilities to us. We really appreciate Flood because it won’t rust and we can still play it alongside newer stuff.” Strangely, for a record that has over time become so central to how Boris is defined, the band originally intended it to be heard differently. “We wanted to put out Flood as a double album with Heavy Rocks (the orange one), or a coincident release with Heavy Rocks, since one of the Boris ‘formulas’ was defined by those two albums.” Speaking of formulas, Atsuo isn’t cynical when it comes to the concept of full album shows and the notions of nostalgia and stagnation they tend to celebrate. In a time when the phenomenon has expanded to the extent that even the Living End

could opt to hold down a bar in every capital city for a week running through their back catalogue, his approach to the whole idea is refreshingly zen-like; “sometimes a new song summons an old song”.

album, so, we always have to focus our set list on songs from each new release. We’ve been touring overseas many times since 2005, but we haven’t played much from our albums released before that time. Flood and Feedbacker are long songs, so it’s difficult to put them in a set list at shows. So, we “Each time, we escape thought it was time for us to do a show that was focused on Flood, and include material from our past from the Boris ‘character’ and our future.” The whole play-a-classic-album start or originality that we’ve to finish thing has almost become a cliché from established in the past, oversaturation recently, but Boris aren’t treating it as an exercise in repetition, let alone a victory lap. because we like to see what Flood will be reshaped and reworked, since “a new arrangement is always required because we don’t we can arrive at when we have play any of our songs like we recorded them in the no ego or particular direction studio. It’s something like a translation for us.” For a band whose music often moves at about what we’re doing. Fans a thick, glacial crawl, Boris aren’t slowing down; after their Australian jaunt, they’ll be returning to Japan and artists always want to for more shows before starting work on their 19th experience fresh things, right?” record. If you want to be among the first on the Choosing to revisit Flood in particular came planet to witness the new material, you’re in luck; “on from a desire to reconnect with the band’s long- tour, we’re going to play some new songs live that neglected epic-length material while playing live.“We we haven’t released yet, and after the tour, we’d like played Flood last year in Japan at the Leave Them All to make them into an album.” If you can guess what shape Boris are Behind 2012 festival, which was really good. When we go on big tours, it’s usually after we’ve released a new going to take next, you’re way ahead of me. X-Press – First on the street, Wednesdays


Two albums on, he and his band have a reputation for incredible hedonism to match their crackling, warped take on ‘60s freakbeat. While Unknown Mortal Orchestra’s self-titled 2011 debut masked dark themes with a sunny bounce, II is a bleary-eyed crawl through hangovers, suicidal thoughts and Christian fundamentalism, ragged from touring and excess. In the wake of those bad vibes, Nielson has made some lifestyle changes for when he’s on the road now. “I switched drugs, basically,” he says. “I stopped doing cocaine. Partly because it was wearing me out, but partly because I went to Mexico. We were into Monterey, which is just over the border, and at the hotel that we were staying in they had flak jackets and AK47s and armoured cars. We weren’t really allowed to go very far from the hotel or where we were playing, and were hearing stories about what the cartels were doing and that made me feel a little weird about that stuff as well. “To be frank, that was the main difference, we haven’t calmed down that much, but cocaine was probably the biggest issue. I’ve never said anything like this in an interview before!”

“Somehow, along the line, I got good at the guitar, but I don’t really care about that, like guitar solos. Everybody else is doing that. I was thinking for the next album I might stop playing guitar and learn the keyboards or something. I feel kind of funny about that.”


Nielson wasn’t too worried about who knew that, though - “My mother does more drugs than I do.” Overall, II and the debut are cut from the same cloth, with the former expanding on what made songs like Little Blu House and Strangers Are Strange such earworms but amping up the nebulous, Unknown Mortal Orchestra smoky fringes of the project’s aesthetic. think it was what I meant to do, to Psych pop trio Unknown Mortal Orchestra will stop by the Rosemount Hotel expand on“Iwhat I was doing before; if it ain’t broke, not much point in trying to fix anything. It’s sort of on Tuesday, July 23. ALEX GRIFFIN reports a sequel. Have you seen the movie Return To Oz? I Ruban Nielson has had a whirlwind couple of years. Having decamped to Portland from New Zealand had that movie in my head, in the sense that they after the breakup of his first band, The Mint Chicks, he found himself suddenly in the rarefied heights go back and the land isn’t the same as it was, it’s a of the blogosphere after his anonymous bedroom recordings found a receptive audience online. little twisted.

Things Go Better Without

“It’s funny to me when people say that II is different from the first, I feel like if they’re saying that they haven’t heard the album the whole way through. It’s like they’d just heard Ffunny Frends and thought ‘Oh, aren’t you meant to sound happy?’ I don’t think there is a song on II that’s as positive as that in any case, because a love song about your friends is pretty much the cheesiest song subject.” The form of album number three is already starting to take shape idea-wise, and looks to be a different kettle of fish. “It might be not exactly the same, but I think it’s good to see progress, so it feels like time has gone and people have gotten better at what they’re doing. “I guess that’s always the challenge. I hadn’t felt like I’d discovered anything mind-blowing between recording both albums, I’d just found myself returning to the same records over and over. With the first one, I had the idea of it being a lost psych album, and the second one was a darker thing. I guess I want to go towards a little bit more ‘70s influence, with progginess and humour, like, krautrock without wanting to become too self-indulgent.” The cover of II, which shows British occult author Janet Farrar in Wiccan garb holding aloft a sword, hints towards this wiggier, cultish train of thought. “I want to head a little bit spacier. When I was in the Mint Chicks, Fragile by Yes was the ultimate guilty pleasure; like I could listen to radio pop and people wouldn’t bat an eyelid, but saying that I really liked Fragile was a bit blasphemous.” One of the key things about UMO is Nielson’s guitar playing, which is febrile, elastic and strangely funky, sorta like like Syd Barrett trying to noodle along with a D’Angelo record. Yet Nielson disdains the idea of the guitar solo. “Somehow, along the line, I got good at the guitar, but I don’t really care about that, like guitar solos. Everybody else is doing that. I was thinking for the next album I might stop playing guitar and learn the keyboards or something. I feel kind of funny about that.” Whatever he’s playing, it’s unlikely to change the formula much. Like how after writing Yesterday Paul McCartney had to ask his bandmates if he’d subconsciously stolen the song from someone else, Nielson knows he’s on to something if the song feels borrowed. “I start with a melody, it’s always the melody. I start with a tune, and if I feel like I haven’t written it- if it feels like a guest- I know it’s something. If you can get a song stuck in your head that wasn’t from a record, you have a really good foundation. What I try to do then is make the guitar part inseparable from the melody, so it’s not following the whole time, which I guess is one of the strengths of the guitar. “If I work the song the whole way through, it feels kinda indestructible, like anyone can do an impression of it and it will still sound okay.”


Black Home Sun After a tour of the US that consisted of over 70 shows, Victorian up-andcomers Gold Fields have made their way back home. GEORGE GREEN speaks with vocalist Mark Fuller ahead of the band’s shows on Friday, June 21, at Metropolis Fremantle and Saturday, June 22, at Capitol. To say that Gold Fields have hit the ground running would be a massive understatement. They had been carving a name for themselves in the US long before their acclaimed debut album, Black Sun, was even released and have created quite a bit of buzz around the world. They’re a group of young guys who love what they do and have thrown everything they have into what they love, and they’ve taken some massive risks along the way to ensure that they’re happy with what they’re doing, regardless of whether that moves them one step forward or two steps back. Having just returned from a mammoth tour of the US, Gold Fields are embarking on an Australian tour which hits Perth this weekend. When X-Press catches up with down-to-earth vocalist, Mark Fuller, the band is about as deep into tourpreparation as you could get. “We’re just at a rehearsal space at the moment in South Melbourne, getting the set ready for the tour that’s about to kick off,” explains Fuller. “We’ve spent pretty much this whole year in America, well the last four months at least, and it feels like so long since we’ve actually played shows back home so we’re really excited to get this tour under way.” It’s been an unconventional journey for Gold Fields, seemingly walking abroad before they learnt to crawl in Australia, but the five-piece from Ballarat, about an hour out of Melbourne, haven’t let any of their experiences go to their head. “Touring the States has made us realise how tight-knit the Australian music scene is,” Fuller says.“Obviously America is just so big, and you almost just get lost in the enormity of it all. Doing a tour over there and touring here in Australia is completely 14

Gold Fields different, and being able to spend time in cities that we’re familiar with makes us feel much more at home. “We’ve played more shows in LA than we have in Sydney, and we’ve played bigger shows in New York than we have in Melbourne, and I think that’s purely down to the fact that we’ve had more opportunities over there to play in those cities. I don’t think it’s got anything to do with the way our music is perceived by American fans compared to Australian fans, we’ve just spent so much time there. We got to support a couple of bands that bring a lot of people to the shows, and I guess back here we’ve really had to start from the ground up.” From an outsider’s perspective it would appear that Gold Fields somehow just became overnight sensations. Sure, there’s been some hardwork behind the scenes from people working for the band (labels and A&R types) that have helped push them along, but it hasn’t just ‘happened’ for the band without the required amount of elbow grease. “The first Australian tour that we did we were getting 10 people to the shows, sometimes less, and we gradually built things from there. The same thing happened in the States, it’s just that because there’s more people there you’re able to hit the cities a lot harder. I mean, you can’t exactly tour Australia for four months straight, so it makes it difficult to get the ball rolling, so to speak.”

Having spent so much time touring arguably the world’s largest music market has obviously been beneficial for Gold Fields, but as Fuller explains, the band has taken much more than just building an international fan-base out of their experience. “We know people in Australia and have mates in most cities, so when we tour we’re able to call mates and catch up if we’ve got spare time in a city, so it takes away some of the pressures of touring. We couldn’t really do that in America because we don’t know anybody there, so we literally spend every hour in a four-month stretch together. I guess at times that can get hard, but we’ve all known each other long before we started this band, so we know how to be mates and how to argue like mates do and still all get along. We’re mates first, and bandmates second, and I think that touring aspect has strengthened that.” Hard-work and obvious musical ability aside, it’s decision-making that has proved to be one of Gold Fields’ biggest strengths as a band. After being flown to LA by an American record label to record their debut album, Gold Fields showed just how big their ‘stones’ were by doing almost the unthinkable, and possibly jeopardising it all to ensure that they were happy before anybody else was. “Astralwerks flew us to LA to record and put us into this amazing studio to record our debut album

with a producer who obviously knew far more about recording than we did, and after spending all of their time and money recording the album we reached a point at the end where we just weren’t happy with how it turned out,” says Fuller. “To get the sound that we wanted we couldn’t do it that way. We basically had to tell the record label that we weren’t happy with it and we wanted to record it ourselves, so we asked them to give us three weeks. We said, ‘You don’t need to give us any money. You don’t have to do anything, just give us three weeks and we will come up with something better than that’. “We went back home and recorded the album in three weeks in my mum and dad’s garage. We were so nervous in telling the record label that’s what we wanted to do after they’d already paid for us to fly to LA and record, but I guess we had to do it. When we got to LA and to the studio we walked down a hallway with The Rolling Stones and Dr. Dre on the walls and we were like kids in a theme park. We were just so excited at where we were that I don’t think we were in the right headspace to really capture who we were as a band on record. “Having to tell the label that we could produce a better sounding record in three weeks in my parents’ garage definitely made for tense times, but we’re all glad we did it.” X-Press – First on the street, Wednesdays


FRANKIE AND THE HEARTSTRINGS Record Store Daze UK indie rock quintet, Frankie And The Heartstrings, have just released their second album and are chomping at the bit to show off their shiny new tunes. CHLOE PAPAS has a chat to singer and band namesake, Frankie Francis.

After hearing the news that the UK’s biggest record store chain, HMV, was shutting down on the same day that they finished up their sophomore record, Frankie And The Heartstrings made the only logical decision – to open up their own record store. “We’d just spent a year-and-a-half making this record and now there’s nowhere to sell it. So we were like, ‘well, why don’t we make our own record store? Yeah, that sounds like a stupid idea, let’s do that.’ So naively we’ve gone into this, full speed ahead. In a time when record stores are closing down, we’re opening one up. Typical!” laughs vocalist, Frankie Francis. But, it seems like that’s just how the Sunderland indie rockers do things: throughout the conversation, X-Press learns that they have also booked their upcoming album tour during the opening week of the record store, and that they’ll be somehow running the store themselves – while travelling around the world.“We’re doing this properly, so we’ve only got ourselves to blame if it goes tits-up,” Francis deadpans in his Northern England accent. Frankie And The Heartstrings released their second album, The Days Run Away, at the end of last month. “I’m incredibly proud of this record,” says Francis. “It’s been a bit of a labour of love because we had a lot of time of to make it and we’ve never had that much time off before.” Listening to the record, it’s difficult not to

notice the evident frustration projected throughout. Francis confirms that aiming for perfection made creating the record a difficult process. “There’s a song on it called Nothing Our Way. It’s kind of an amalgamation of the feelings of frustration at trying to do your best, but at times feeling like you’ve got nothing left. When you’ve got so much time to do something, it’s hard not to overthink it, it’s hard not to throw the kitchen sink at it,” he explains. The group worked with esteemed producer and ex-Suede guitarist Bernard Butler on the record, a move that Francis is happy with. “Bernard’s very driven to succeed, and his professionalism is incredible. For the first time ever I was shown singing techniques, so I’m very proud of my voice on the record.” Frankie And The Heartstrings will be juggling touring and running their store over the next few months, but Francis tells X-Press that they’re likely to head our way towards the end of the year. Above all, the band are pumped to get out on the road after a year of knuckling down. “It’s what we do best, I think we’re one of the best live bands you’ll see. We put everything into it and I think that’s the way bands should be – but a lot of bands aren’t, you know? They’re too concerned about looking down to see if they’ve got the right shoes on.”

MUNICIPAL WASTE Feast Of Friends Heavy-hitting Virginia thrash metallers Municipal Waste are set to tear-up Perth again this week. Drummer Dave Witte speaks with JESSICA WILLOUGHBY about their latest album, The Fatal Feast, before their show this Friday, June 21, at the Rosemount Hotel. Municipal Waste has never been an outfit to rest on their laurels. But after a decade of constantly being on the road and writing in-between, these thrash metallers felt it was definitely time to unwind. Taking a year off from their touring commitments for the first time in their career, these Virginia locals decided to use the free time to write and record a new album. Marking their fifth release, 2012’s The Fatal Feast is a “…smarter Waste album with teeth,” – according to drummer Dave Witte. “This was the first time the band took a year off to write and record an album,” he explains.“It really let us unwind, feel like regular people at home, enjoy our home town and just write whatever came out at our own pace. Having no time limit and being able to demo the songs each time really allowed us to pinpoint what we wanted and it really shows on the album. I think it’s the perfect combo of old and new Municipal Waste; rolled into one.” The result was literally Municipal Waste’s longest album to date. Naturally, the boys had to cut back what they couldn’t fit on the release. But Witte admits the band wrote to have extra material. “From the extras came the Decibel Magazine Flexi, the Scion EP and the split with Toxic Holocaust on Tank Crime Records,” he says. “We just wrote as much stuff as we could. Tony (Foresta, vocals) was all about having some shorter, to the point songs to break things up. So Land Phil (bass) conjured a bunch of riffs and him and I went in the studio one day and busted out 10 songs on a whim. We kept a few. You’re Cut Off and Monster With 21 Faces came from that batch.” The Fatal Feast saw a few select guest appearances on the recording. Most notably, John Connelly’s - from New York thrashers, Nuclear Assault - featured vocals on the title track. “Tony brought him up in conversation one day and we’re all big fans, so we were into it,” Witte says.“It was really easy. I rang up Danny Lilker (Nuclear Assault bassist) and mentioned we were trying to get hold of John and he got us in touch. Tony worked it all out and I’m happy he’s on the record. Nuclear Assault were always special to me growing up.” Their fifth release also signalled a change in the label department. Moving from Earache Records to Nuclear Blast, Witte says the band couldn’t be happier. “Long story short, I filled in on drums for Soilwork once,” he says. “When I met their label guy from Nuclear Blast in person, I passed him our Hazardous Mutation (2005) album and asked him to check it out. He loved it and came to every show we played in LA. He would always say that he would sign us up when our contract with Earache ended. And that’s exactly what he did. He really loves the band and that’s a huge part to me of why we signed. The label really do wonders for us.” 16

X-Press – First on the street, Wednesdays

BERNARD FANNING Departures Dew Process/Universal

Following the break up of Powderfinger in 2011, Bernard Fanning was in no real rush to put out an album, though there was no doubt pressure for him to do so. Instead he resided in Madrid with his wife and young daughter, no doubt reflecting on what had been and what was to become. Titling his second solo LP, Departures, invites many ideas of change, both musically and thematically, but nothing is too absolute or obvious here. Certainly, the title track, Departures (Blue Toowong Skies) reflects on the passing of Fanning’s father (who died in January, 2011) and also touches on his brother’s 2002 death from cancer and does so in quite a beautiful, ethereal manner, almost gospel-like. Musically speaking the album’s first single, Battleships, is the most Powderfinger-like song on the LP, and while it’s not hard to hear the old band given his voice was front and centre, Fanning has followed a more electronic avenue this time around, focussing on tighter grooves (Call You Home, Limbo Stick) and funkier climes (Drake, Zero Sum Game, Here Comes The Sadist) and the more trademark moody balladry (Grow Around You). This is Bernard Fanning, however, whose name and old band have probably already made up your mind whether you’re going to buy this or not. One thing’s for sure, he’s back on the Australian musical landscape and is here for the staying.

HAILER Another Way

BIG DEAL June Gloom



GAY PARIS The Last Good Party MGM

Big Deal is London-based pair, Kacey Underwood and Another Way, from Sydney Alice Costelloe. They made band, Hailer, is a solid a name for themselves with sophomore effort of psych their lovely debut, but with rock with an indie sheen. The band have an expert hold on their their sophomore album, craft but are still not afraid to experiment within June Gloom, they have expanded their sound beyond the borders of their sound which is heavily expectation. Moving away from the simple guitar and influenced by the likes of My Morning Jacket and vocal approach of their fledgling years, June Gloom The Brian Jonestown Massacre. Richly produced in New York by Nick sees the duo in cahoots with a drummer and bass Stumpf, the record comes on strong with first player. The idea of band expanding their sound is not single Spooky Clams, settles in with Blue Star that remarkable, but when the accompanying tunes (which sounds like it would not be out place on a are as cracking as this lot it is a remarkable evolution. Big Deal draw on the golden age of indie BRMC record) and gets rousing on the anthemic rock with spectacular results. Swapping Spit sounds Don’t Let It Kill Your Love. A very slick, polished sounding record, like Mates Of State playing a Broken Social Scene Another Way should garner a few notices from tune, Call And I’ll Come is jangly pop perfection and the Australian alternative music scene and push Teradactol is fuzzy shoegaze of the highest order. If you love guitars then June Gloom will Hailer into national recognition. warm your heart quicker than your favourite tweedlined cardigan. Underwood’s laconic vocal is the _ LIAM DUNN perfect foil for the more energetically toned Costelloe as the two distinct voices intertwine to become the one instrument more often than not. Big Deal have made sure that there is not one misfire on this latest outing. June Gloom is, dare I say it, a big deal!

If you’re a fan of dirty, inappropriate, sleazy rock’n’roll then Sydney’s Gay Paris might just be your new favourite Aussie band. The Last Good Party is a record full of tunes that are sure to induce drinking, dancing and all sorts of debauchery and Gay Paris would expect no less. As the title suggests, the overwhelming vibe of this album is all about partying. You can hear through the songs that Gay Paris have set out to record an album full of tracks that are bound to ignite dance-floors and promote drinking and good-times. Vocalist, Wailin H. Monks, sounds as if he’s had one too many whiskeys, with his raspy, devilishly-deep voice commanding your attention at the forefront of every song while the guitars and drums slave away behind him to create a pretty impressive and infectious sound. The one downfall of The Last Good Party is that it comes across as a little one-dimensional. In a live setting, these songs would come to life with on-stage antics and banter to break them up, but on record they seem to flow one into the other without any real dynamic. In fairness to the band, when ballsout sleazy rock is your thing you probably don’t want to stray too far from that formula. If you’re looking for an album to get yourself pumped for the weekend then The Last Good Party is the perfect album to do it.




THE JET 65 Bloody Knuckle Blues Independent

Hailing from Jacksonville, Florida’s largest city, The Jet 65 have thrown down their debut offering, Bloody Knuckle Blues, recorded at Alabama’s legendary Muscle Shoals studio, and it’s a searing ride down to the swamp with a jug of moonshine at your feet and the blues in your heart. Guitarist/songwriter, Paul M, brings a unique edge to the Southern rock oeuvre, with riffs that are as meaty as a buffalo rib eye, married to some beautiful acoustic picking and searing solos that never fail to tap into the soul on a primal, emotional level. It’s visceral stuff, hitting you deep in the gut and engaging immediately, ably backed up by the understated, fluid drumming of D J Riddick and the rough’n’raw vocals of Shawn Jaxx. From the moving My Cup Is Empty and the slow, incendiary blues of Ride On, through to the Southern grunge riff of Wild Mary and No Peace Down In The Valley’s shards-of-light soloing, The Jet 65 take all the energy and fire of Lynyrd Skynyrd and marry it to some dark old blues and a Man In Black loner aesthetic. If there’s a weak spot, it’s that at six songs, there’s not a lot of room for diversity and stretching out, but what is on offer in Bloody Knuckle Blues is a very welcome classy opening salvo of red hot Southern blues rock from a potentially great band. _ SHANE PINNEGAR

DEMI LOVATO Demi Hollywood Records/Universal

Having confessed to having a tough few years dealing with various personal issues, all culminating in a stint in rehab, Demi Lovato appears to have put her troubles to good use with her latest album. The self-titled offering is Lovato’s fourth studio album and no doubt the most honest and personal so far. What is immediately noticeable is the gravitation toward a more grown up sound, showcasing songs which better demonstrate Lovato’s vocal ability. There is still plenty of her former ‘pop rock’ influence however, there are more electronic and club friendly tones which add extra interest. The first single, Heart Attack, is certainly a strong contender for best on the album, but truthfully it has some competition in other gems such as Something That We’re Not and Made in the USA which are great, sing out loud, pop fixes and examples of Lovato’s impressive vocals. In Case and Shouldn’t Come Back are two moving ballads which are likely inspired by recent personal demons, and Warrior likely captures in one song what the entire album has been alluding to – standing up to your past troubles and emerging from them stronger and wiser. Fans of Lovato’s previous work will likely appreciate the honesty and vulnerability which has been poured into this album. Those who enjoy catchy choruses and rousing vocals will also find something they can enjoy and relate to. Demi is a well-produced, solid pop album which will be accessible to a wide audience. _ DAISY LYTHE



X-Press – First on the street, Wednesdays


For the second year running, the Perth International Burlesque Festival arrives with a wide variety of saucy dancers and blue comedians to titillate and entertain. We speak with Melanie Bruyer (aka A’dora Derrière), the director of festival hosts Sugar Blue Burlesque, about this year’s line-up and the continuing appeal of burlesque. The festival takes place from June 24 - July 6 - head to for details and tickets


Miss Banbury Cross Photo by Ani Lang


Rottnest Island, home of Rottofest



Continuing his series of lectures and workshops designed to introduce the neophyte into the world of art collecting and appreciation, Fremantle art scene personality Robert Buratti presents The Cult of the Expert: Roles and Agendas in the International Art Market. This lecture proposes to lift the lid off the world of art consultants, dealers, critics, curators and agents. It takes place at Buratti Fine Art on Thursday, June 20. Go to for more.

It was the opportunity to increase the scope of the Perth burlesque scene that inspired Sugar Blue Burlesque’s Melanie Bruyer to begin a festival on their home turf. “Last year we began the festival because we felt that Perth needed something to bring performers from overseas and interstate,” she explains. “There are a whole bunch of burlesque festivals happening all around the world and because I’d travelled a lot and performed in these kinds of festivals I knew a lot of people wanted to come to Perth, as it is an opportunity to come and perform somewhere that is really quite beautiful, and to create a network for Perth performers to connect with interstate and overseas performers.” It has been a long road of hard work for Bruyer to get the Perth festival recognised on the national level, but that work appears to be paying off. “The first year, we were more or less on our own, and then I managed to get to know the Australian Burlesque Festival producers, who tour around the rest of Australia. Because we’re a bit too far away it’s quite expensive for them to come to Perth, so that’s why we decided to do our own. But we managed to form a bond where we really help each other out, where we both pay for the major headliners to come over from America or Europe. It’s been an amazing collaboration.” Speaking of major headliners, Bruyer outlines some of the big name acts that will be hitting Perth shores for the festival.“Miss Banbury Cross, she’s actually from the UK, from London, and she’s bringing an act over where she does whip cracking. She’s very accomplished at it. Seeing someone so beautiful and dainty, like Marilyn Monroe doing this whip cracking act and a striptease as well is quite amazing. Another act we have is Miss Indigo Blue and she is the queen of tassel-twirling, so she’s a sight to be seen for sure - she’s quite a big name in America. Also Perle Noire, she is from New Orleans, she has the most incredible dance. She does a fantastic Josephine Baker act where she’s jumping into high splits in the air; it’s the most amazing thing I’ve ever seen.” Bruyer is ecstatic that burlesque is as popular now as it has ever been, and she believes she has put her finger on the reason. “I know why people love it. It is because it’s a beautiful art form, it is risqué which makes it quite exciting to go and see. But on the other side of things, it’s an extremely creative art form and a lot of expression that goes into the performances; in the costumes, in the acts themselves, in the narrative or in the style that the performers wear.” _ LIAM DUNN

Directed by Dan Scanlon Starring Billy Crystal, John Goodman, Steve Buscemi, Helen Mirren, Nathan Fillion, Charlie Day, Aubrey Plaza At this stage of the game we should all be wary of prequels, particularly follow ups to beloved or esteemed properties. Still, this is Pixar we’re talking about, and they’ve rarely (but not never) put a foot wrong. With Monsters University, they’ve managed to recapture the warmth and humour of the original Monsters, Inc. without resorting to retracing the same narrative path. Interestingly for a family film, Monsters University takes its cues from the college caper subgenre epitomised by such films and Revenge Of The Nerds and Animal House - a patch of cinematic real estate not exactly renowned for being kid-friendly. When we met Mike (Billy Crystal) and Sulley (John Goodman) in Monsters Inc. they were the best of friends, but this new installment shows that it wasn’t always the case, with lovable, ambitious dork Mike immediately clashing with the lazy, arrogant Sulley when they meet as freshmen at the titular college. The bumbling and unassuming Mike is determined to be a scarer, one of the elite monsters who frighten children to power the city of Monstropolis, despite possessing a physiology that marks him as more teddy bear than night terror. Conversely, Sulley comes from a renowned family of scarers, and his natural talents mean he’s used to 20

Five years, Rottofest is still going strong, and once again the island comedy festival is putting out a call for entries from filmmakers who think they’ve got what vit takes to make an audience bust a gut. If you’ve got a short film or filmed sketch that you think makes One Froggy Evening look like Cries and Whispers, put your money where your mouth is and have a panel of industry experts cast a critical eye over your baby, with a chance at winning up to $1000 in prizes. The deadline is Agusut 16 - head on over to for further info.

ART BY NIGHT The Cult of the Expert


Shutterbugs of Perth, remember that entries for the 2013 Iris Award for excellence in portraiture close soon. All submissions must be in by 11am WST, June 27 2013 if you want to be in running for over $4000 in cash and prizes. Go to for more information.

The Art Gallery of Western Australia’s popular AGWA Nights program continues over the course of their Van Gogh, Dali and Beyond exhibition, giving you even more reasons to soak up some culture this winter. Kicking off on Friday, June 28, with a performance from Naik, further evening events include live music, Dr Sketchy’s Anti Art School Perth, a night of improv comedy and an art theory quiz night. for details, head to au. Tickets are available through Ticketek and the AGWA box office.

BIG BUCKS FOR THE BLUE ROOM SOUND AS A POUND Well, hopefully. One of the most vibrant performance venues in town, The Blue Room Theatre is looking to replenish their coffers with a little help from the general public. The beating heart of local theatre in Perth, every year The Blue Room helps literally hundreds of artists show their performance work to the world, and that’s something that’s always worth getting behind. Donations close June 30, and everything above two dollars is tax deductible. Head to to cough up.

An Improvised Sound Project runs at PICA from June 22 - August 18. An exhibition of sound and music captured in multiple formats, it consists of works from five different Australian artists who have each meditated on the way we apprehend sound and music in the modern idiom. The artists include Matthew Gingold, Cat Hope, Lauren Brown, Kynan Tan and Lyndon Blue. Head to for more details.


A’dora Derriere - Photo by David Woolley



The feature length documentary Hunter: For the Record, finally hits screens at The Revelation Film Festival this July. This moving and uplifting documentary about Perth hip hop icon Robert Hunter, written by Stefan Radanovich and directed by Sam Bodhi Field, the film looks at how the hard-living Hunter, who died in 2011, dealt with his cancer diagnosis. Go to revelationfilmfest,org for session times and tickets.

An Improvised Sound Project

World War Z Monsters University

succeeding without putting in much effort. Inevitably, the two wind up forming an uneasy alliance against the various standard-issue threats of the college environment: the steely Dean Hardscrabble (Helen Mirren), the obnoxious jocks of the Roar Omega Roar fraternity, led by Johnny Worthington (Nathan Fillion), the prospect of being expelled if they can’t whip their own hopeless Oozma Kappa fraternity brothers (Charlie Day, Peter Sohn, Dave Foley, et al) into shape and win the school’s annual Scare Games. It’s a delight. The world of Monster’s, Inc., with its in-jokes and idiosyncratic design choices, is one worth revisiting, and its a lot of fun viewing an archetypal American college setting through the Monsters lens. Every Pixar movie tends to push the 3D animation envelope, and this is no exception; Dean Hardscrabble alone is an amazing piece of design work, and the textural details are light years beyond what was even distantly possible when the first film came out back in 2001. The new characters are all pretty great, in particular Charlie Day’s Art, another avatar of the primal party god as previously evinced by Booger Dawson and Bluto Blutarski. The only real failing is that the film never attains the emotional resonance of the first - there’s nothing here to compare to the relationship between Sulley and Boo. Still, after being put through the emotional wringer by Up and Toy Story 3, it’s a nice change of pace to have a Pixar film on out hands that’s simply fun. Only the truly joyless wouldn’t enjoy this one, and you wouldn’t want to be stuck next to them for two hours anyway. _ TRAVIS JOHNSON

WORLD WAR Z Bloodless Coup

Directed by Marc Forster Starring Brad Pitt, Mireille Enos, Daniella Kertesz, Fana Mokoena, Peter Capaldi, David Morse The key to enjoying this sprawling romp through a world besieged by hordes of undead is to mentally sever any connection it has to Max Brooks’ excellent 2006 novel of the same name. While the film shares a few points of comparison with the source material, in tone, execution and intent it is a very different beast. After zombies start gnawing on the living in record numbers and the lights of civilisation grow dim, former UN investigator, Jerry Lane (Brad Pitt), is tasked by his old boss, Thierry (Fana Mokoena) with finding the source of the pandemic in the hopes of figuring out a cure before we’re eaten out of existence. Lane’s quest takes him across the globe, stopping in at various exotic points - Korea, Jerusalem and, er, Wales - generally just in time to see them overrun by slavering armies of corpses. This is easily the most bloodless zombie film ever made, with nary a speck of red seen on screen unless it’s there to highlight Pitt’s ruggedness - even emergency amputations are fairly sterile procedures here. That’s the cost you pay for a big budget film - as the price goes up, the gore goes down. The pay-off, however, is a truly impressive sense of scale. They didn’t put ‘world’ in the title just for the sake of alliteration; the film plays out on a huge canvas, with tens of thousands of zombies

assaulting hastily assembled fortifications while military choppers swoop overhead. This isn’t a zombie flick of the George A. Romero school - and purists will surely be mortified that these zombies run rather than shamble - but a smorgasbord of destruction ala the works of Roland Emmerich or Michael Bay. That also means that the film looks and feels more like a modern action thriller in the Bourne mould than a horror movie, and though Pitt gives a solid and engaging performance, we’re never in any doubt that he’s going to come though this relatively unscathed, and what victims we do see fall are generally nameless and hastily sketched. Still, director Marc Forster (Monster’s Ball, Quantum Of Solace) does manage to craft a few good jump-scares, and keeps things moving along at a rapid pace. That pace helps paper over the cracks in the narrative rather nicely. The film follows a very episodic structure, essentially being a series of gripping set-pieces rather than a strong and coherent narrative. Beat by beat, it works a treat; it’s only when it reaches its fairly underwhelming and awkwardly open-ended denouement that the viewer realises what a thin line has been drawn from the film’s premise to it’s closing act. Still, as a spectacle, World War Z is top notch, and sprinkled with enough clever moments and fraught encounters to make sure you’ll never check your watch while viewing it. It’s a shame we didn’t get a more faithful adaptation of Brooks’ novel but, then again, we were never going to. _ TRAVIS JOHNSON X-Press – First on the street, Wednesdays



Fairy Fail Directed by Chris Wedge Starring Colin Farrell, Amanda Seyfried, Josh Hutcherson Not since Morgan Creek slapped Kevin Costner in a pair of emerald slacks have there been so many fairies gathered in a cinematic forest - not that that’s really going to get the film’s I-want-it-and-I-want-it-now, pre-school-aged audience to pick Epic as its next subject of tantrum. Seemingly determined to explore the possibilities beyond their rather limiting Ice Age franchise (only so much you can do with an acorn, ya know?), Rupert Murdoch and director Chris Wedge (Ice Age) raid Dr. Wayne Szalinski’s lab, and combine their findings with some new computer-created toyready heroes and heroines. The result is an engagingenough, and rather good-looking (though, let’s admit it, what CGI family films aren’t these days?), film but one that definitely feels a tad stale and standard. Epic tells of a battle that’s going on in the forest - one between the forces of good and evil. Caught up in the hidden battle are fairies, snails, glow worms, and talking flowers. While chasing her dog through the forest, a grieving human girl (or ‘stomper’ as the little guys know us) named MK (Amanda Seyfried) happens upon an injured fairy Queen named Tara (Beyonce). Just before she passes, the tiny thing decides to shrink MK down to her size, so that the human will be able to assist her people (‘whether you like it or not, dawg!’)

- namely, soldiers Ronin (Colin Farrell) and Nod (Josh Hutcherson) in combatting the forces of evil that are responsible for all the gloom and doom the forest is currently encountering. The unmistakable Christoph Waltz speaks for the film’s villain, Mandrake, while Jason Sudeikis lends his voicebox to MK’s eccentric father, Chris O’Dowd and Aziz Ansari give life to a couple of spirited slugs, Aerosmith rocker Steve Tyler is a partying caterpillar and musician Pitbull is a toad. The under 10’s (that’s age, not tracksuitpant size) will have a reasonable time here; the film’s forest-friends world isn’t unenchanting, and there’s enough cuteness, adventure and laughs on screen to divert attention from whatever, well, Barbie movie-ofthe-month they’ve been playing on end. And though it’s not choc-a-bloc with messages or life lessons, there’s a harmless sugariness to the film that’ll appeal to those parents who are constantly on guard when it comes to today’s sometimes questionably inappropriate family fare. But If the rather bland and unimaginative title didn’t already tip you off, Epic needed a few more minutes in the cinematic oven before being pulled out to serve - particularly if it was ever going to appeal to the broad masses. With the time it takes to put these computer generated flicks, let alone find the money to pay folks like Colin Farrell, Josh Hutcherson (Hunger Games) and Amanda Seyfried to lend their lungs to them, Fox could easily have tinkered with this a bit longer, resulting in something that kids might actually remember post-trip back home from the cinema. _ CLINT MORRIS



“Breathless enthusiasm and an upbeat tone that even the occasional now-mandatory dips into doomy darkness can’t eclipse, winning performances from all concerned, beautiful production design and effects, and a strong sense of adventure and scale.”

The best films currently doing the rounds, from the biggest blockbusters to the farthest fringes “Mud is undoubtedly the work of a talented auteur, of cerebral arthouse fare... and the cinematic voice that Nichols has been developing over the course of his career is now the strongest and clearest it’s ever been. This one is “(Director) Lin fills the thing with some of the most definitely worth seeking out.” eye-popping, clap-deserving stunt sequences ever laid down on film. Forget whatever else is in the film, there are three or four scream-good action moments in this film that will have audiences yahooing with glee.”




Fast And Furious 6


“The acting across the board is terrific. Gosling does his blank-faced best, Ben Mendelsohn cements his reputation as the go-to guy for endearing scumbags, and the supporting cast of character actors such as Ray “(The action is) pretty impressive. The helicopter Liotta and Bruce Greenwood are great in minor roles. attack on the Stark compound that kicks the plot It is Cooper, though, who is astounding, truly coming into high gear is great, as is the finale, which sees into his own these days as a serious dramatic actor.” Stark commanding an army of remote-piloted Iron Man suits.”



“In his feature film debut, Norris has a crafted an excellent, if a little heavy-handed, story of a young “Arch-stylist Luhrmann excels at filling the screen girl’s navigation through a world which is forcing her with pomp and pageantry, and his vision of ‘20s to grow up too fast. Norris’s skill as a theatre director high society is something to behold, packed as it is shows through with superb performances from all with fops and flappers, swimming in champagne and the major players. Veterans Roth and Murphy are bathtub gin and set to a typically eclectic soundtrack great as always, but it is with the young actors that that mashes up jazz standards with modern hip hop he has truly scored high.” and R&B.”


Broken The Great Gatsby

For full reviews, interviews, competitions and more, head for 21

dim recesses of the past, he too put pen to paper for the big pink X. “Yeah,” he confirms. “In the year of our lord nineteen hundred and ninety-five. Someone’s old enough to drink now who was born then. I don’t know what’s happened with time. It’s weird.” It’s not as if the years have been unkind, though. Since then, Callan has forged an enviable Irish-Australian comedian – and former X-Press career as a standup comedian and radio DJ. It’s writer! – Dave Callan took time out of his busy the former that brings him back to Perth soon, as touring schedule to talk to us about video MC of the annual Melbourne International Comedy games, numb arses and hecklers – in other Festival Roadshow. The show aims to bring a host of top comedians to every far-flung corner of the words, the usual. “I like X-Press.” country, and Callan has spent the last couple of That’s pretty much the first thing Dave moths travelling with the likes of Ronny Chieng, Callan says to us and, let’s face it, it’s always nice to Daniel Townes, Nikki Britton and Justin Moorhouse. hear. Callan has reason to like us, though; back in the Right now, they’re in Karratha. “It’s like the alien planet Tattooine,” he ruminates. “Only the aliens have weirder faces and are wearing hi-viz. WA is totally hi-viz now - well, in the rural parts anyway. Not so much in Northbridge, although it should be, because it might be easier to avoid being stabbed. Hi-viz on all the shivs - that’s my policy.” Still, he contends that the crowd response the shows have received have been more than warm. “The audiences have been good. They’re all bang up for it because they’re all stuck out here in these rural communities. They work hard, and when people who work hard go to be entertained and they’re up for it, they pay their money and they buy their ticket and they take the ride, they’re a great audience and they’re always laughing. And there are some funny hecklers out here as well.” There is one element of the tour that Callan is not too happy with, though, and that’s the interminable distances he and the other comics have to traverse to get from gig to gig. “The challenging aspect to it is the driving. You get a numb arse pretty much every second day, because you’re just travelling. I think we did seven ours - or was it eight hours? - in the car, so having a paralysed lower body, that sucks, but everything else is amazing. I’ve got a Nintendo 3DS now, so I can pretty much keep myself occupied in the car until the little battery runs out and then it’s just playing spotto. That’s what I was doing for X-Press all those years ago, by the way, was reviewing video games, which wasn’t bad.” The Melbourne International Comedy Festival Roadshow is on at His Majesty’s Theatre from this Thursday, June 20 - Sunday, June 23. Head to for session times and bookings. Dave Callan _ TRAVIS JOHNSON

DAVE CALLAN On The Road Again


Fashion For A Good Cause It’s a new fashion season and to celebrate, Rockingham Shopping Centre has created a competition which promotes both style and a good cause. Seven local celebrities have each created an outfit using the clothing stores within Rockingham Shopping Centre. We catch up with busy fashion blogger Vicky Sofield to find out more about her involvement in the competition. With a love of fashion which reaches far back to her childhood, Vicky Sofield is the powering force behind the successful blog, The Fashion Catalyst. Stemming from what she describes as a ‘light bulb moment’ one night in 2009, Vicky took her passion and went on to create a platform which has attracted attention both home and abroad. “I really wanted to create a website with everyone in mind; from the fashion enthusiast to models, designers, stylists and retailers.” Having gained notable followers such as Alex Perry, New York fashion designer Jane Mandell and Australia’s Next Top Model, The Fashion Catalyst has successfully put Perth on the global style map. It is clear why Vicky was an obvious pick for this competition – she knows fashion. Taking that knowledge and working within the budget given, Vicky created an affordable outfit which would be wearable in all seasons, making it accessible to more women, more of the time.“I picked a ‘girl about town’ ensemble. I teamed a bouclé biker jacket with skinny leg jeans and from there I teamed it with a white pussy bow blouse, accessorised with strappy heels and a bold, statement satchel.” When it comes to outside fashion inspirations for this outfit, Vicky admits she kept it simple and close to home. “I would say probably I’ve influenced myself. It really is an outfit that I would wear and, as it’s a competition, I wanted it to catch both my age demographic and Rockingham Shopping Centre’s demographic.” The outfit she created is not the only thing that is personal to her. Due to the passing of a family friend last year from the same illness; Vicky chose for her donations to support the Avner Nahmani Pancreatic Cancer Foundation. “It’s in memory of a family friend, he was diagnosed and then within five months he had passed away. Pancreatic cancer has had no breakthroughs and very little research, it’s actually quite sad to hear that not much attention is being paid to it.” Because of this, Vicki would like to raise as much attention to the issue as she possibly can.“It is very deadly and there is no cure, so it’s really about raising awareness and funds because if you can get to it in the earlier stages you are a lot better off.” 22

Vicky Sofield As well as the obvious worthy cause it will be funding, Vicki has another reason to vote for her style choice. “It’s the best outfit! It’s certainly the most eye catching one.” For a chance to win $1000, from now until June 27, the public can vote for their favourite outfit online at rockinghamshopping. with $1 from every vote going to the corresponding charity. _ DAISY LYTHE X-Press – First on the street, Wednesdays

Deep Purple

DEEP PURPLE The Family Band

Forty-plus years on the road hasn’t dimmed Deep Purple bassist Roger Glover’s love of music at all; he and his bandmates rate their new album, Now What?!, pretty highly. Laidback and thoughtful down the phone line from Bulgaria, Glover is proud that Deep Purple have made such a good record at this stage of their career. “All of a sudden the band will talk about the album,” says Glover, “and how great it is and how we enjoy listening to it ourselves. It’s very nice to get an album like that.” Ex-bandmate Jon Lord passed away in July, 2012, while Deep Purple were in Nashville recording the new record with producer, Bob Ezrin. Lord’s death saddens Glover still, though he says that his illness did not affect the band’s approach to the new tracks. “No, actually. Yeah, of course we knew he was ill, but we thought he was doing well. He was full of optimistic talk. I called him before we went to Nashville and had a nice chat. And none of us really knew what was going on - we thought he was responding to treatment. He was full of plans, projects he wanted to work on. He wanted to get back to playing the organ in a band kind of thing. He was full of good optimism. “I think it was only Ian Paice - who is closer to him than anyone else because they married twins - I guess a couple of weeks into the sessions Paicey said to us one day, ‘Oh Jon’s not doing too well’. Two days later he died. We were expecting it, but you can never expect it.”

Purple are a band renowned for their onstage jamming. They are virtuoso players who stretch each other and that musicality shines through on Now What?! Glover pauses thoughtfully when I suggest that pushing each other musically like that might be a tightrope which they could fall off at any moment, before saying that the key is trust in his bandmates. “Gosh, that’s a good question,” he laughs. “The thing about us - I don’t know about other bands - but this band … it feeds on music. You can’t stop it. It’s pouring out. Don (Airey, keyboards) would go the gig three to four hours before everyone else just to warm up and play. You’ll always find him with headphones on, practicing the keyboards. Steve (Morse, guitar) practices all the time he can. He couldn’t let a minute go by wasting it. Paicey (drums) and I are a bit more laid-back in that respect. When we play together it all just clicks and the love of making music is really what drives everyone forward because there’s no fear.” So, 40 years on and with the band’s 19th studio album out now, life on the road seems to be inevitable for a while to come for Glover, not that he’s complaining. “It’s a strange life because on the one hand, life is extremely normal,” he explains. “I have children, and a family. And then, you get on a plane, you get off, and you have to turn into some kind of rock star. It is a bit odd, but it’s a dual life. It’s two lives in one, in fact. We have two families. We have a family on the road. It’s a wonderful thing. I highly recommend it.” _ SHANE PINNEGAR

Caro Emerald


Dedicated Follower Of Fashion Sultry Dutch songstress Caro Emerald has just released her second album, The Shocking Miss Emerald, a stunning offering of retro infused, jazzy pop songs. When X-Press gets Emerald on the phone, she has just woken up at home in Holland; a little groggy, but all too willing to chat about her new record – which went straight to number one on the UK charts during its release week. “It’s just so incredible,” she enthuses about the record’s immediate success.“I try to realise what it means when stuff like that happens, but it’s hard. You know, there’s so many great artists in the world and it’s hard to compare to them – but I’m really proud.” Emerald and her team wrote The Shocking Miss Emerald between tours and promo throughout Europe and America. “We took our time to make the second album, it was such a long, stretched process,” she says. Emerald’s first record made a huge impression and did extremely well in the charts across Europe and the UK, so undoubtedly there was a bit of pressure when creating that ever-criticised sophomore record. “Until the songs were finished, that’s when I started getting nervous,” Emerald says, explaining that there was only a month between finishing the record and releasing it.“That’s when I started to realise how many people are watching me, and are ready to criticise the second album.” But, if the chart indications so far are anything to go by, Emerald needn’t have worried.

The songs on The Shocking Miss Emerald are lush, romantic and exude style; which isn’t surprising, considering the unique way that Emerald and her team of producers and writers approached the songwriting process. “What we did is, we created a mood board,” explains Emerald. “We collected photographs, and they were all images of mainly fashion photography from the ‘20s, ‘30s, ‘40s, ‘50s – anything that had a particular ambience to it. We started writing from that, and later on we started realising that our inspiration, based on the pictures, was also revolving around Paris, and fashion, and behind the scenes of fashion photography and stuff like that. That was our main inspiration for this album.” The music from Emerald’s first studio record, Deleted Scenes From The Cutting Room Floor, also focused on the glitz and glam of the early 20th century. The songstress is known for her stunning on-stage presence, always dressed to the nines in fashion from the eras that she adores. “It’s something I like to do, to support my music with something that is visual – that’s something I believe very highly in.” All of Emerald’s records and EPs so far have been released through the record label she and her team own, Grandmono Records – which they decided to start up after label after label rejected Emerald’s initial pitches. “It’s a lot of responsibility, but I think it’s very nice to stay so close to what you do – because otherwise you just say, ‘hi I’m an artist, I’ve got this album, can you sell it for me?’ And a label just takes it and makes a run for it.” _ CHLOE PAPAS


Morphology: Emerge Art Space A solo exhibition of entrancing sculptural work by Daniel Iley. It runs from until July 5. Go to emerge-art. for details.


Now & Then: The John Curtin Gallery Presenting works from Brian Blanchflower and Test Screen: Paper Mountain Paul Caporn, two of Western Australia’s most The first solo exhibition by West Australian artist Tim acclaimed artists. The exhibition runs until July 7. Carter runs until June 22. Go to Go to for further for details. information. Restoring Hope: 192 William St, Northbridge Works by young people from refugee and migrant For the Shadows Fall: OK Gallery backgrounds presented as part of Refugee Week. It runs A solo exhibition by Trevelyan Clay. Runs until July 12. Go to for details. until June 23. head to for details. Plans: Melody Smith Art Gallery This exhibition by David Ledger explores the work and ideology of architect Bruno Taut. It runs until June 25. Go to for more.

Cirkos: Buratti Fine Art The new collection by renowned occult artist Barry William Hale is on display until July 18. Head to for details.

The Tiger in Me: Venn Gallery The Landscape of Being: Fremantle Arts Centre A solo exhibition of new pieces by Western Australian painter Ryan Nazzari. It runs until June 28. Go to venn. The first solo show in WA by Victorian painter Helen Maudsley runs until July 21. Go to for net for details. further information. A Comprehension of the Farthest Points:Venn Gallery An exhibition by Western Australian artist Clare Peake. It A Day is Longer Than a Year: Fremantle Arts Centre A site-specific installation by NSW artist Michaela runs until June 28. Go to for further info. Gleave based on the use if light. On display until July Earth + Fire + Water: Elements Gallery 21. Go to for details. This new exhibition by Adelaide based artist Maureen Hudson Nampijinpa runs until June 30. Go to Secrets of the Afterlife: The Western Australian for more. Museum This collection of over 100 Egyptian artefacts from Made to Remember: Art Gallery Of WA the British Museum collection - including two A beautifully considered display of significant Indigenous objects from the State Art Collection. Runs mummies! - explores ancient attitudes to life after death. The exhibition runs until September 22. Go to until June 30. for more. Year 12 Perspectives: Art Gallery of WA An exhibition of works from the best, brightest, and Van Gogh, Dali and Beyond - The World Reimagined: most creative graduating high school artists in the state. Art Gallery of WA The third exhibition in AGWA’s MoMA Series Runs until June 30. encompasses works from Vincent Van Gogh, Paul From War to Remembrance - A Living History of the Cezanne, Richard Long, Frida Kahlo and more. The RSL: The State Library of WA exhibition runs from June 21 - Dec 2. Go to artgallery. An exhibition on the history, goals and activities of the for further information. RSL in Western Australia. It runs until June 30. Little Paintings, Big Stories: Lawrence Wilson Art Now or Never: The Butcher Shop A solo exhibition by Perth artist, Cheeks. Runs until July Gallery Runs from June 29 - December 14. 3. Go to for more. The Floating Tree: Linton & Kay Galleries Landscape artist Jacinda Bayne’s newest collection is inspired by her sojourn in China. It runs until July 4. Go to for more.

Super Predator: Kurb Gallery A collection of acrylic works by Brenton See that evokes striking wildlife imagery. Runs from July 6 18. Go to for further information

The Floating Tree

JACINDA BAYNE Magic Faraway Tree

what I see? Why is this tree inspiring me?’ And then it became a metaphor for new growth - because I am trying to grow as an artist and keep pushing myself, I think that the reason I saw that tree and connected to it is because it was struggling to grow from something as well.” How she connected with the tree is how Jacinda hopes viewers will connect to her paintings, explaining it is less about recognising landscapes than it is reflecting on personal experiences and emotions. “People will look at it and will bring their own emotion to it, they will feel like they have been there in some way, even if not in a physical sense.” In the past, people have recognised the exact places she is painting, so it was a challenge to still take from the landscape but to add new dimensions. “It’s a lot easier to paint Western Australia because everyone connects to that immediately, they’ve been there and they’ve seen it, so I am proud of stepping away from the actual landscape and it being more of a thought or a vehicle to express my emotions.” She has not stepped away from the colour though, with her new pieces beautifully encapsulating vibrant greens, teals and blues mixed with burnt oranges. “Hopefully, people will be able to come and see it. New life and new growth, that’s what I am most proud of about this show.”

The Floating Tree, WA-based artist Jacinda Bayne’s latest solo exhibition, is inspired by her recent travels to China; new landscapes, intense colours and a strange tree formation moved her to consider exactly what she was trying to portray as an artist. Bayne has always had a fascination with colour. Since her beginnings as a young artist, colour was the main drive for her expression, closely followed by a love of landscapes. Having painted the more familiar landscapes of the Pilbara and the Kimberly for her last exhibit, Jacinda found that stepping out of her comfort zone in China was exactly what she needed to progress to her latest work. “I was most out of my comfort zone in China than I have ever been, nobody spoke at least when I drew things people understood it, everyone would come up and smile and nod, pat me on the shoulder and point to things. That was the only time you felt you were communicating, and I guess that’s when I realised that people could connect to my work no matter what.” It was this realisation that stuck with her when she came across the tree which would become the muse for her new paintings. “It was just like Alice in Wonderland, I saw this amazing tree growing out The Floating Tree runs at Linton and Kaye Galleries of another huge tree which had fallen down into the from June 18 - July 4. Head to lake, I immediately wanted to paint it, but I sat back for further information. _ DAISY LYTHE and said, ‘What am I trying to do, am I just reproducing 24

X-Press – First on the street, Wednesdays

Take 12: Fremantle Arts Centre An exhibition of video works by young people inspired by contemporary pieces from the City of Fremantle Art Collection. It runs until August 18. Go to for more.

THEATRE/DANCE/ PERFORMANCE Driving Miss Daisy: His Majesty’s Theatre Angela Lansbury is Miss Daisy, the spirited Jewish woman who develops a deep friendship with her chauffeur, Hoke, played by James Earl Jones. The season finishes tonight, Wednesday June 19. Head to for tickets and session times. Great White: The Blue Room Theatre A couple are menaced by a hungry fish in Will O’Mahony’s latest. The season runs until June 29. Go to for more.


16th Spanish Film Festival: Cinema Paradiso Over 20 films are on offer, ranging from the satirical comedy A Gun in Each Hand by Cesc Gay to Luis Perth International Burlesque Festival 2013: Bunuel’s surreal classic, Tristana. The festival runs until Various Locations June 23. Head to for tickets and Shows, parties, workshops and more, featuring session times. local and international performers, including Sugar Blue Burlesque. It runs from Jun 24 - July 6. Head to Perth Winter Arts Season: Various Locations for details. Over 200 events are planned, encompassing film, comedy, cabaret, opera, literature, dance, music and Revelation Film Festival: Luna Leederville, Cinema fine arts. The season runs until August 31. Head to Paradiso, Luna on SX for more information. A whole host of the edgiest, most experimental and downright outré films from every far-flung corner of Supanova Pop Culture Expo: Robinson Pavillion, the globe will be on offer, as well as the best local Claremont Showgrounds content and the RevCon academic program. It all Guests this year include Margot Kidder, David happens from July 4 - 14. Head to revelationfilmfest. Hasselhoff, Karl and Alan. It runs from June 28 - 30. Head org for details. to for details.

Twelfth Night: The Melville Theatre Direc tor Jeffrey Watk ins’ interpretation of Shakespeare’s dark comedy runs from June 21 - July 6. Go to for sessions and ticketing. Day One, A Hotel, Evening: The State Theatre Centre The Black Swan State Theatre Company presents an arch relationship comedy from playwright Joanna Murray-Smith. The season runs until June 30. Go to for tickets and session times. Zeitgeist: The Mount Lawley Bowling Club An evening of creepy cabaret described as a mashup of Bertold Brecht and Tom Waits. It runs from June 21 - 23. Go to for details. Pete ‘n’ Keely: Chancery Bar, Kings Perth Hotel This musical comedy centered on singing couple Pete Bartel and Keely Stevens runs from June 27 - 29. Tickets from g: The State Theatre Centre Garry Stewart choreographs the Australian Dance Theatre in a reinvention of the classic ballet, Giselle. The season runs from July 4 - 7. Go to au for bookings. Cats: The Regal Theatre Andrew Lloyd Webber’s beloved musical runs from July 11 - 20. Go to for session times and bookings.

Take 12, Fremantle Arts Centre

Swan Lake: His Majesty’s Theatre The renowned St Petersburg Ballet Theatre presents Tchaikovsky’s beautiful and moving ballet, Swan Lake. The season runs from July 31 - August 8. Tickets are available from

Sea Inside: The Blue Room Theatre A theatrical blend of visual arts, performance, dance and aerial work by solo performer Russya Connor. It runs until June 29. Go to blueroom. for more.

Sea Inside, The Blue Room Theatre



X-Press – First on the street, Wednesdays


Crisis, or Mr Swagger to his friends, has worked with Lil Flip, supported E-40, and broken new musical ground in his homeland of Zambia. Now he’s got his eyes set on conquering Australia, and speaks with NICK SWEEPAH about the path to Perth. Zambian emcee Crisis aka Mr Swagger has been working hard ever since he dropped Zambia’s first hip hop album, Office In Charge, in 2005. He’s appeared on several compilations including a mixtape by Green Lantern, has been invited to play massive events like Oxfam’s Oxjam festival, and has won several important awards including the BEFFTA (Black Entertainment Film Fashion Television Arts) award for Best

International Artist. While this was happening, he alternated living between Africa and the UK. Now, he’s based in Perth. One wonders what would inspire someone to leave all that behind and more-or-less attempt to start from scratch. “My wife happens to be Australian. So you know, I came from Zambia, went to the US because I was invited to attend the Grammys. I kind of stayed a little longer because I was waiting for my papers to come through. One day they finally came through, six months ago. Then I moved here and yeah, I’m lovin’ it!” Expanding slightly on this, he simply states “I like it, I think it’s a good place to raise a family.” As nice as that is, he needs to explain more about something else in that sentence. The Grammys? How did that happen? “I came to find out that the US has a certain system that rates artists,” he explains, “and in accordance with that rating, if your music doesn’t appear in certain places, then you can’t be accepted. So, on that note, it turns out my music showed up on their radars.”

While in the US he also visited the offices of Interscope records (label home of Eminem, amongst others). It turns out that one wasn’t so much of an invitation, as it was a gate crashing, driven by his dreams of working with Dr Dre.“At first I was actually kicked out,” he laughs. “I was passing business cards around and then security were like ‘Hey hey hey, what are you doing?’ and I was like ‘I wanna see Jimmy Iovine’ (Interscope’s cofounder and chairman) and they’re like ‘You just can’t see him like that.’” Cue more chuckling from Crisis, then “But you gotta try.” As it happens, he did end up making some connections and is waiting to see how that pans out. It makes sense. Check out any of Mr Swagger’s videos on Youtube (many of which have thousands of views), and you’ll notice a definite American flavour to his music. It’s like your Rick Ross/Lil Wayne stadium rap, with more heart, soul, and positive energy, but is there an African influence in there somewhere? “There’s a little bit of both. With the new album, I really wanna portray where I’m actually from. I want people to know about my roots because it’s a totally different environment. I think that

if you’re going to take people somewhere, you’ve got to take them on a tour to places they’ve never been.” Having achieved so much, it must be hard to pick highlights, but Crisis has one live experience that has definitely stayed with him. He opened for Akon and Sean Paul in Zimbabwe, in front of 48,000 people. These people were not impressed. “I get on the stage, and the crowd started booing. People started throwing things at me. But then suddenly like a spark, one of my songs came on, that was playing across Africa, and everyone started singing along. It felt like magic.”With his passion and dedication to his craft, Crisis is sure to capture some of that magic on our shores too.






The follow up to Empire of the Sun’s attentiongrabbing debut comes five years later, but follows in a similar mould to the duo’s renowned dreamy, synth led dance pop that earned them their fame. Everything about these guys screams dreamy, futuristic escapism with an absence of the mundane. Luke Steele’s peacock-influenced headpiece on the album’s cover illustrates his love and commitment to maintaining an otherworldly appearance and presence in the listener’s mind. The album features a strong intent to reinforce and continue with the sound people already know and love, with tracks like Alive all about feel-good, joyful lyrics and pop focused chord progressions. There is a common purpose throughout the record in bringing something memorable and distinctly ‘them’ to each track, which confirms Empire of the Sun are not going to be making music as crazy and out there as you might think, rather a more audience focused stance is taken, perhaps drawing from Steele’s global travel and work with pop musicians in the years between albums. It seems as though he is the idealistic driving force behind the band, with Nick Littlemore taking a backseat but balancing out the eccentricities of Steele’s personality. The bright lights of fame and fortune may be distracting these musicians from achieving their full artistic potential with concerns about outside perceptions having an impact on their musical direction, but tailoring your sound to an audience (particularly the US market) achieves mainstream acknowledgement, a path Steele and Littlemore are successfully pursuing.

The Boards of Canada back catalogue — both official releases and fanatically sought-after rarities and bootlets — has reached that exalted place beyond criticism. That’s why the promise of a new album, from the first tiny hints on Record Store Day and the Machiavellian treasure hunt that followed, was such a heart-in-the-mouth journey for fans. There was excitement abounding, but also that one niggling thought: what if it wasn’t good? Happily, we can dispell those concerns: Tomorrow’s Harvest is fucking brilliant. First single, Reach for the Dead, recalls the thick, textured sounds of Geogaddi tracks such as Julie and Candy and You Could Feel the Sky, but transmutes them into something much more concentrated and menacing. This is BoC with purpose. The duo’s meandering melodies — sonic rivulets wending and winding their way into deep tributaries — have always been one of their more charming aspects. There’s always been a certain kind of mysterious playfulness to BoC that sets them apart from their peers, and thankfully that quality is still present here. When we look back in a couple of years, perhaps when BoC have again retreated to their hidden burrows of genius, Tomorrow’s Harvest won’t just be seen as an excellent album in its own right. It’ll also be remembered as the underdog to the over-hyped, over-promoted and over-produced Random Access Memories — a very good piece of work that sadly found itself unable to live up to the sheer weight of expectation. The overlap of the two albums’ launch campaigns and their vast differences in intention and reception showed us something important— that marketing hype can get in the way of good music. Also, that people still love a good-old fashioned treasure hunt.






While other Dads were listening to The Eagles, Slade’s old man was tuning into Radiohead. Now 25 years old, the founding member of Bastian’s Happy Flight and local house/funk DJ says his love of early ‘80s boogie and disco was in rebellion to Slade senior’s cool rocker thing. A follow up to recent singles, RELATIONSHIPDENIAL and Come for the Early (Stay for the Late), Hooray is part of a six-track EP, Heart/ Works, due out soon. Slade’s emotive vocals are deliciously ‘80s and betray the outfit’s honest, live approach to their fun-loving version of dance music. “We love the ‘80s a lot because it’s got a really strong earnestness about it,” Slade explains. These days, everyone is trying to be cool, and blogs and how to dos on the Internet can teach you that but from what I see from the ‘80s, from the way people held themselves, it was about being yourself and not worrying about what people think of you.” This unpretentious approach can also be seen on BHF’s Soundcloud, where they’ve listed some of their new tracks as being Melodramatic Pop/ and funnily, Bromance. “That started with RELATIONSHIPDENIAL, which was a song I didn’t really know how to classify,” says Slade. “We started making boogie songs and then started off in a different direction with our latest stuff. I guess you can call it pop but I didn’t want to call it that because today’s definition of that is very different to the sort of pop we are 28


Rudimental fans who missed out on tickets to their September gig will get a second chance to see the band’s live performance of their debut album Home. Tickets for another Metro City show on Saturday, September 14 will go on sale from this Friday morning via Oztix. Their tracks Feel The Love, Not Giving In and Waiting All Night have been smashing it in the ARIA’s for the last two months and the live show will no doubt be cranking.

The Bedroom Kid



To celebrate the release of his brand new single On & On, Illy has announced a national tour that will see him performing at Villa on Saturday, September 28 and Bunbury’s Prince Of Wales on Sunday, September 29. He’s spent the better part of this year in the studio recording a new album produced by M-Phazes (Kimbra, 360, Bliss N Eso). On & On will be available digitally this Friday, June 21. Illy will be joined on tour by Tuka (Thundamentals), All Day and Elemont. Limited early bird tickets will be available from tomorrow, Thursday, June 20 via Illy’s mailing list at Tickets after that from Oztix.

DJ John Howard Sattler


The new Saturday night resident DJ at The Aviary, DJ John Howard Sattler aka Aaron Rutter, is back from this Friday, June 21. Set to once more entertain the masses with his mix of hip hop tunes and drunken, no-holds barred banter that’s hopefully not too offensive, he’ll be joined from 10pm to 1am by Paradise Paul and NDORSE. Get your hot topics ready now.



Their sound has been referred to as disco-funk that’s part Friendly Fires, part Architecture In Helsinki but local fivesome, Bastian’s Happy Flight’s new one is more in the ‘80s pop vein. Vocalist Will Slade chats with JO CAMPBELL ahead of Hooray’s launch this weekend.


The guys that brought us Hashtag at East End Bar, Disclosure Promotions, are back with Monarch Fridays launching this Friday, June 21 at Flawless Nightclub. A new monthly trap, breakbeat and drum ‘n’ bass night, Monarch will be supporting local up-and-coming DJs. This Friday, The Bedroom Kid and Búnj are on the bill. Doors open 10pm.

Bastian’s Happy Flight trying to make. The song itself (Hooray) is about big emotions and wearing you’re heart on you’re sleeve - so that explains the melodramatic.” Tom Allum (pads/ percussion) and Slade, who also plays synths and keys, both studied Sound at WAAPA while Jack Doepel (synth/ bass/saxophone) and Alex Dew (guitar/ backup vocals) studied jazz. Troy Mutton joined as drummer after meeting Slade at an undisclosed dance festival. Although Slade hails from a house/ funk DJ background, BHF’s sound is made for the dancefloor - direct and live. “All our songs were played live before they were recorded. I’m from the DJ side of things, where everything is recorded, but as a performer, I feel it would be a cop-out to record something in your bedroom then deconstruct it and make a procreation of the recording live; that has completely different empathy.” Their first EP, dropped in 2011, resulted in the 2012 WAM award for Best Electronic Song with their first single My Love and they’ve been receiving love from triple j’s Unearthed ever since. With Heart/Works out later this year and a third EP already being worked on, Perth and the larger music scene is in for a treat, but before then, lovers of live performance can see BHF in action this Friday at The Bakery. “We love performing live; it’s one of the last few creative outlets where there’s no barrier between the artist and their audience,” Slade wraps up in true heart on sleeve style.


Brothers Jeff and Jono Hansen (Ekko & Sidetrack) are wizards of fast mixing for the D’n’B dancefloor. JO CAMPBELL catches up with Jeff ahead of their appearance this weekend at Jungle Shakedown. You’ve rinsed it with some big D’n’B internationals recently (Calyx & Teebee/ Shockone/ Wilkinson/ Netsky). Were you amped to support your heroes? Playing with artists whose music you’ve grown up listening to is still such a cool thing and is constantly inspiring. It’s great to meet them too; they are always the nicest guys! We love playing with Shockone because we can remember old shows at The Nine going to see him play and being inspired to start DJing back then – also from a performance perspective, you know you can play anything if you play before him because he’s gonna take it to a whole new level after you. The four hour set you performed after Netsky (at Villa in March) was off its chops awesome. You’re pros at ramping things up with a lot of fast mixing and do well at fearlessly blending other genres in to the D’n’B. Is D’n’B your first love and what do you think of trap? Is it cool?! Fearlessly? Haha more so drunkenly I think – that set was crazy! We just found our groove and the crowd responded really well. The time flew by and we really didn’t realise til about two hours in that we’d played for so long. But with a long set like that it gives you heaps of freedom to move between genres, which helps with the ebb and flow. As far as dance music, we are definitely first into D’n’B, but our tastes are very broad. With trap, it’s the same as any ‘new’ genre that becomes popular; with the flooded market there is shit stuff and good stuff - you just gotta separate the wheat from the chaff. We like the beat/organic/ hip hop inspired stuff rather than straight up gangsta, booty shaking ‘DAAAAyyyyum Son!’ tunes. That said, the ladies seem to like the latter.

Ekko & Sidetrack Supporting ShockOne (Photo By: Firman Azman) You’re Wrong, the track you co-produced with local trio Gran Calavera featuring the talents of local vocalist, Sarah Pellicano, is currently sitting at #3 on the Unearthed Dance Charts - congrats. Can you tell us about the making of that? We got together with the Gran Cal guys and they showed us some stuff they were working on – after hearing the bones of You’re Wrong. We really liked it and asked if we could make some suggestions. A few hours later and we had changed the original up so much that it ‘accidently’ became a collab. But the guys loved it so it worked out! Then after a few weeks of tweaking and working with different ideas we all agreed it needed a vocal- Tony and Josh found Sarah and that’s what really made the tune work. She’s got a great voice and sweet glasses! You’re on the bill for Jungle Shakedown. What are your favourite fresh-ass tunes of the moment? Jungle Shakedown is gonna be rad – we were lucky enough to play the last one and it was awesome to limit ourselves to old tunes pre-1999. We don’t know that era that well so it was exciting to discover ‘old’ brand new tunes and learn how to mix them. This time I think we might go a little more modern but definitely keep it on that jungle vibe! At the moment we are liking D’n’B stuff from Wilkinson, the Critical Recordings guys, Brookes Brothers and Memtrix. Future beats and Housey vibes from Cashmere Cat, Breach, Taku and Kitpop.

» EKKO & SIDETRACK » JUNGLE SHAKEDOWN » FRIDAY, JUNE 21 @ AMBAR X-Press – First on the street, Wednesdays


UK trip hop legend, Tricky, has just released his 10th album, False Idols. BENJAMIN COOPER reports. Tricky is on the road... to somewhere. “Where am I going tonight?” he posits. “I don’t know. Maybe Stockholm? All I know is I’m playing a show somewhere in Europe tomorrow, somewhere that starts with an ‘S’, I think.” The days and the destinations are starting to blur for Adrian Nicholas Matthews Thaws. The artist known as Tricky is in his home country of England, but is a long way from home. Tricky moved to Paris a few years back, and says he enjoys it there. Does he enjoy the French capital more than Bristol, the southern English city where he grew up and began his career as a producer and performer? “Let’s just say I like visiting London,” he says, avoiding talk of his hometown. “There’s always fucked up shit going on here in London. There could be people down in the street giving flowers to each other and it’s such a big city that around the corner someone’s getting mugged. Life just goes on here. “London is the place I go to get food or buy books. I can’t read French, so I come here to stock up on books, and eat food I can’t get in France.” It’s also the place he’s been recording with Francesca Belmonte, one of the many guests who appears on the trip-hop pioneer’s 10th album, False Idols. “We’re working on some pretty incredible stuff for her album,” Tricky says.“It’s pretty scary how good the album is sounding already. I reckon I might be supporting her next year.” Other collaborators on False Idols include Igbo singer Nnenka, Fifi Rong and Peter Silberman from The Antlers. Silberman contributes vocals on the hypnotic lead single, Parenthesis, and his involvement came about purely by chance. “I met Antlers at a festival,” Tricky explains, “and the thing that impressed me was they weren’t playing the rock stars. They’re a band that is doing well, but they’re grounded. That’s enough to make me want to work with someone, much more than any talent they might have.” Tricky is renowned for his exacting standards in the studio. Does he think he is too

Tricky demanding? “Nine times out of 10 if someone is going on my album, it’s because I know that they can bring something, but it has to be done my way. I want to hear things my way, because I know what I want, and I know what I need. I work very fast, and I don’t like waiting around,” he says. The Brit might be exacting, but he admits it’s because he’s in a state of bliss when in the studio.“I love the recording process,” Tricky says.“If it becomes painful I walk away. When you start analysing too much it becomes a job. An older musician told me once that when you record something, remember the first feeling it gave you and play it like that. Otherwise you start questioning yourself, and that’s never going to help.” His latest album is the first to be released on his own label, also called False Idols. It follows a painful separation with Domino Records, who had produced his previous two albums. “When I was with them I couldn’t work quickly enough. I’d record my demos, and then the CEO of the label would have to come to Paris to tell me I was ready to mix. He’s never made a record in his life, how can he tell me if I’m ready to mix? I like the guy personally, but that was really painful business. Some artists might say being dropped is the worst, but I couldn’t be happier with where I’m at.”



ALPHA BEATMAKER Less than a year after releasing his first beats, Perth producer Sid Pattni is garnering international buzz with his new single, Mr. Alpha. He speaks with JOSHUA HAYES. Mr Alpha is the second release by Monocarpic Records, a boutique label run by Outpost Management CEO Mark Richardson – the man who discovered and manages Kimbra and recently signed Pattni. The song features local vocalist Whisky Winter, and has been remixed by fellow Perth beatmaker Ta-ku, as well as Swick and Indian Summer. “It’s surprising, because I’ve sat with that song in my room and listened to it for, I dunno, six months or something. I never want to listen to that song ever again because I’ve heard it so many times,” Pattni laughs. He’s been busy doing PR lately, speaking to numerous international blogs and magazines – but if it weren’t for a number of unfortunate incidents, this may not have happened. Pattni was born in London, but grew up in Kenyan capital Nairobi – a city with the unfortunate nickname Nairobbery – until a number of incidents, including being held at gunpoint, resulted in his family moving to Perth fifteen years ago. Living in Nairobi had an upside, though, as he was introduced to the powerful rhythms of African music. “Mum and dad used to listen to the local records … As a kid, you’ve got no idea what the stuff is but you absorb it without thinking about it,” he says. “I played drums before I got into producing, and I’d say that’s definitely the reason why, because there’s such a massive rhythmical element in African music.” After moving to Perth, Pattni played drums in local bands for ten years, until 2009 when a three-metre-high stage he was playing on collapsed, shattering his wrist. Told by doctors that he may never regain use of his arm, let alone play drums again, Pattni’s occupational therapist suggested that he take up piano as a creative outlet. After locking himself in his room for a year with a jazz theory book, Pattni auditioned for the highly competitive Western Australian Academy of Performing Arts (WAAPA), intending to

Sid Pattni get feedback that would help him prepare for the following year’s audition. Instead, he got in. “I went to the audition not wanting to get in. I thought I had no chance of getting in,” he says.“So to actually get in was a total shock. I don’t think I was prepared for it.” Working as a piano teacher, one of Pattni’s students introduced him to Los Angeles producer Knxwledge last year. “That blew me away, that was like a light bulb moment. I was totally obsessed by that guy,” Pattni says. A few weeks after he started dabbling in production, he was the runner up in Speekeasy’s Beat Down competition, and his debut EP, Le Vidé, reached Bandcamp’s top 10 bestsellers chart when it was released in October. “The fact that it’s got to this point now, so quickly, is ridiculous. I’m not sure how it’s happened,” Pattni says. Being relatively new to production, he says he is still trying to find his sound as he works on his full length debut – something he says can be a little challenging as he generates so much buzz. “In terms of an LP, I want to make sure that’s like my baby, I want to take care and make sure it’s perfect when I put it out,” he says. “Being in the spotlight and doing that is tricky man, because a lot of people are covering and listening now.”


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WEDNESDAY 19/06 Amplifier - The Academy VS Harlem 2 ft Zeke / Get More / Genga / Peter Payne / Js The Bird - Before 12 #2 ft Craig Hollywood/ Everyteen/ Bullok/ Bixler/ EC & Reece Walker Captain Stirling - Join Five-o Club Red Sea - Cheek End Exams Pt 1 Groove Bar (Crown) - 5 Shots The Good Shepherd - Dope


Gold Bar - Famous ft DJ Munch & Ben Renna Mustang Bar – Flash Nat & the Action Men with DJ James MacArthur Newport Hotel - RnB Heaven ft DJs Yo! Mafia, Tom Drummond & Angry Buda Sovereign Arms - Lokie Shaw The Village Bar – Village People Wednesdays Llama bar - Akuna Club




THURSDAY 20/06 The Avenue – Jon Ee The Beat (downstairs) - Fantasy Thursdays The Craftsman - DJ Five-o The Grand Central – Roger Smart Connections – Bingay ft Hannah Conda Club Bay View - Dj-Vi Son Eve Nightclub - Retro Thursdays Indi Bar - Crisis Mr. Swagger Leisure Inn – DJ Peta Mustang Bar - DJ James MacArthur Newport Hotel - Tiki Bar open mic night

FRIDAY 21/06

Tomás Ford



Ambar – Jungle Shakedown ft Greg Packer/ NVS/ Blend/ Devo/ Menis/ Ekko/ Sidetrack Amplifier - DJ Jamie Mac The Avenue - DJ Lokie Shaw The Aviary (Birdcage) - Tomás Ford The Aviary (Rooftop) - NDORSE, Paradise Paul The Bird - Ba-Dop Boom Bang 80’s Hip-Hop ft Da Wit/ Andre/ Leon Osborn The Beat (downstairs) - PLAY The Brass Monkey - Vicktor & Greene George Capitol - Frat House Fridays Capitol - (upstairs) - Retro Mash ft Dj’s all night The Carine - Az-T Club Red Sea - DJ Nino Brown The Craftsman – Jay MacKay The Deen - 90’s Throwback Empire Bar - Howie Morgan band/ Matt Riley/ Jordan Flawless - Monarch Flyrite - Self Help Gilkisons Dance Studio - oOoOO/ Butterclock/ Maxmillion Dunbar/ Hugo Gerani/ Galapagoose The Grand Central - Jinx Groove Bar (Crown) - DJ Crazy Craig Lakers Tavern - Grizzly & Friends Library - Sneaky ft DJS Headayke/ Adroc/ Riki/ Raji D/ Junior/ Maxwell/ Karl Blue Metro City - Flava Fridays ft DJ Samrai Metro Freo - Frat House Fridays – Neon Steve & Death Disco

oOoOO Mullaloo Beach Hotel – Flaunt ft Kenny L Mustang Bar - OZ Big Band with Swing DJ/ Cheeky Monekys/ DJ James MacArthur My Place - Karaoke Newport - Karaoke with Steve Parkin DJs Sardi & Evan Paramount - Flyte/ DJ John Jordan Rocket Room - Howlers ft DJ Frank N Bean The Saint – Jon Ee Shape - Spoonbill ft Dvise/ Armee/ Genga/ Benny P Tiger Lils - Paul Malone, Adam Kelly, Alex Koresis The Vic - Friday Funktion ft DJ DekoyFox Whale & Ale – DJ Spinback YaYa’s – ACE ft DJ Dan

Greg Packer

Beat Nightclub (Upstairs) CANVAS The Brass Monkey - DJ Peta & Jewel Capitol - Pure Pop ft Death Disco DJs Capitol (Upstairs) - Cream of the 80’s ft DJ Ryan The Cornerstone - DJ Spinback Empire Bar - James Shipstone/ Miggy Eve Nightclub - ft DJ Crazy Craig Flyrite - FΔMILY End of Exams The Grand Central - Jay Mackay Groove Bar (Crown) - DJ Dan The Library - DJ Victor / DJ Riki Metro City - Seven Deadly Sins Metro Freo - Ben Carter & DJ Wazz & DJ DTuck Metro Freo (C5) - I Love 80’s 90’s Mullaloo Beach Hotel - Oceanside 28’s ft DJ Degraff My Place - DJ Mikey/ DJ Stanley Newport - Karaoke with Steve Parkin DJs Tahli Jade & Tom Drummond SATURDAY 22/06 Paramount - Felix/ DJ John Jordan Ambar - Japan 4 ft Qwerk/ PICA Bar - Tomas Ford’s Crap Rave Dngerfld/ Mr Ed/ Micah/ Easy P Party Amplifier - Pure Pop – DJ Eddie The Queens - Kenny L Electric The Saint - Az-T The Avenue - Jon Ee Tiger Lils - DJ Bojan, Benjamin The Aviary (Birdcage/Rooftop) - Sebastian, Alex Koresis NDORSE/ Paradise Paul Shape - Big Ape (Dubstep/Hip hop, Bar 120 – Little Nicky trap) Sovereign Arms - The Jinx Project The Balmoral - Back To The 80’s

The Wembley - DJ Lokie Shaw YaYa’s (Night) - Arcadia ft DJ Pup

SUNDAY 23/06 The Aviary (Rooftop) - Aviary Rooftop Sessions ft Ben Sebastian/ Zel/ Troy Division Club Bayview - DJ Rueben Empire Bar - DJ Victor/ DJ Riki Groove Bar (Crown) - DJ Crazy Craig Mustang Bar –-Pete Busher & the Lone Rangers/ DJ Rockin’ Rhys Newport - DJ Tom Drummond Rosemount Hotel – soundz like sundayz The Saint - DJ Five-o/ Roger Smart

MONDAY 24/06 Mustang Bar – Triple Shots

TUESDAY 25/06 Mustang Bar - Danza Loca Salsa Night

X-Press – First on the street, Wednesdays

See yourself? Tag yourself! Head to






Jungle Shakedown Friday, June 21 @ Ambar

Crisis Mr. Swagger Thursday, June 20 @ Indi Bar The Upbeats ft T’Dodge vs N1/Terrence & Phillip/ Bastian’s Happy Flight Friday, June 21 @ The Bakery Rexop Friday, June 21 @ Geisha Spoonbill Hook N Sling ft DJ Kenny Friday, June 21 @ Shape L/Jus Haus/John Paul/Slick Tijuana Cartel Sunday, June 24 @ Mullaloo Thursday, June 20 @ Mojo’s Beach Hotel Bar Friday, June 21 @ White Star Obie Trice Albany Saturday, June 22 @ Mojo’s Wednesday, June 26 @ The Deen Bar Sunday, June 23 @ Indi Bar


Challenger Ready Friday, 28 June @ Ambar

Cosmo’s Midnight Friday, July 12 @ The Causeway

Kim (The Presets) and Yuksek Beni Friday, 28 June Metro Freo Saturday, July 13 @ Villa All Day Saturday, June 29 @ Amplifier Traffic Light Flirt Party! / DJ Crazy Craig Saturday, June 29 @ Eve

Far East Movement Saturday, 13 @ Metro City Onra Wednesday, July 20 @ The Bakery

REMi Wednesday, July 24 @ The Coolio Club Show Causeway Saturday, June 29 @ Metro Thursday, July 25 @ Mojo’s City Bar

Gold Fields Major Bass ft Lady Waks/ Friday, June 21 @ Metro Freo Jehst(UK) & Crnkn/ Slynk A$AP Rocky Saturday, June 22 @ M-Phazes Thursday,June 27 @ Metro City Saturday, June 29 @ Villa Amplifier Thursday, 25 July @ Civic Hotel Backroom Softwar ft Cassian/ George Air/ Troy Division Dizzy Wright, Jarren and Paradise Paul Benton with DJ Hoppa Sunday, June 30 @ Aviary Thursday, July 25 @ Rooftop Rosemount Hotel Vegas Blokhead/ Bad Company Friday, July 5 @ Geisha Bar

The Upbeats


ALT-J Saturday, July 27 @ Challenge Stadium

Arabian Prince (NWA) 2013 Australian DMC DJ Friday, July 5 @ The Manor Championships WA Heats Friday, August 2 @ Rosemount Hotel Break-A-Holics Anonymous MINISTRY OF SOUND Friday, 5 July @ Ambar SESSIONS 10 ft Timmy Trumpet & SCNDL 17th Annual Nocturnal Friday, August 2 @ Villa Ball Monday, July 8 @ Metro Shapeshifter City Saturday, August 17 @ Metro City White Party (U18) DJ Wazz/ DJ Tuck/ DJ Passion Pit Cookie Sunday, August 4 @ Villa Tuesday, July 9 Illy: On & On Tour Bliss N Eso Saturday, September 28 Wednesday, July 10 @ @ Villa Metro City Porter Robinson The Strange Geronimo Saturday, October 26 @ Thursday, July 11 Villa Newport Hotel Friday, July 12 Prince Of Stereosonic Saturday, November 30 Wales Saturday, July 13 Amplifier and Sunday, December 1 @ Claremont Showgrounds

Jeff Mills (Photo By: Adam Mazur)


TECHNO WIZARDRY Allstate and Craig Hollywood/ James A and J Dubs/ JEFF MILLS Geisha Saturday, June 15, 2013 It was a bitterly cold winter’s night, and what better way to spend it than dancing the night away in the cosy confines of Geisha, in the presence of one of the true legends of dance music, Detroit techno luminary, UR instigator, Axis founder, sonic artist, DJ, ‘The Wizard’ Jeff Mills? Shouts out to Geisha and Habitat for booking the man – the first time Mills has played a full length club set in Perth for almost 10 years, and accordingly many old school ravers were enticed out for such a monumental occasion. A couple of our own local legends, Allstate and Craig Hollywood, had the honours of kicking the night off, with a solid set of deep, dubby techno to warm up the room, including the smooth sounds of Matthew Herbert’s It’s Only (DJ Koze Remix) and Ricardo Villalobos’ Easy Lee. With the crowd now primed and filling the room, it was over to Perth veterans James A and J Dubs who lifted the level with a cracking set, perfect for the time of night, building things up with some big room, old school techno classics – Plastikman’s ’93 track Spastik made the crowd go just that, with its frenetic percussive assault. Coming on an hour later than originally scheduled at 1am, the anticipation levels were high by the time Jeff Mills stepped up behind the decks. His appearance drew warm, welcoming applause from the crowd, and he wasted no time getting stuck into it.

While not one for trite crowd-hyping, Mills is in constant motion behind the decks. Rarely looking up, he was focussed on his mixing, not surprisingly with four CDJs to monitor as well live programmed beats on his trusty 909. His long fingers dancing over the controls, tweaking knobs and flicking the faders with deft touches, all the while shaking his ass to the beat. Fairly early on the familiar sound of Mills’ definitive track The Bells revealed itself, and people went mental.This was proper, pounding techno and the up-for-it crowd were loving it. Taking his time building a tense vibe, his trademark sound features insistent, mechanical beats, elegant in its simplicity - short repetitive loops, hard bass drum, throbbing rhythms and sizzling hi-hats. Truly a unique artist, Mills has become a standard for the old school, true DJs, who learned on vinyl, honing their craft, dedicating their life to the pursuit of perfection. He earned the nickname ‘The Wizard’ for good reason. He makes most of today’s DJs look lazy. His mixing is seamless, in a constant state of flux, that ebbs and flows through various moods, constantly bringing sounds in and out of the mix, with intricate and gradual transitions, but always keeping the dancers stomping to the relentless marching beat. In his last hour he took things deeper, mixing it up with some spacey, abstract passages, that conjured up dramatic sci-fi imagery. After breaking things down to the bare rhythmic threads, he changed tack for a more melodic, housey finale, with some smooth jazzy, sax soaked sounds, before dropping the Derrick May classic, Rhythim Is Rhythim’s Strings Of Life. Winding it down just before 5am to rapturous, sincere, heartfelt applause, the calls for ‘one more!’ sadly went unanswered, but no one left feeling they didn’t get their money’s worth, with an epic set from the one and only Jeff Mills.



The Tearaways - Photo by Denis Radacic


THE TEARAWAYS Choke/Worst Possible Outcome/The Kuillotines/Grim Fandango 459 Bar Friday, June 14, 2013 For a venue that was originally designed with private functions and poetry readings in mind, the 459 Bar is an… interesting choice for a punk gig. Its intimate surrounds, whilst fitting for the up-close-and-personal punk aesthetic, unfortunately equates to a cramped and uncomfortable experience. Newcomers The Choke set the tone for the night with screaming and hollering aplenty, reminding me of ‘90s fuzz rock with their raw, DIY sound. Front lady Caitie showcased impressive pipes, made all the more impressive by the fact that she was battling with the acoustics in the joint. Five piece Worst Possible Outcome took to the stage – or rather, floor – next, tuning up with the opening chords of AC/DC’s classic, Thunderstruck, before blasting into their frenzied brand of hardcore. In spite of frontman Adzy’s nasty case of bronchitis, they were in fine form, with catchy riffing and supercharged drumming clearly reflective of influence Suicidal Tendencies. Having seen The Kuillotines before, I knew to expect great things from this foursome – and as testament to their talent, the room went from virtually empty to packed-out within minutes. In stark contrast to the rest of the bands on the bill, their sound encompassed everything from rockabilly to blues, with a pinch of Brit-pop thrown in. Even the bar staff were nodding along in appreciation as they

rocked out on sing-along tracks like Beat Rolls On and blues-ridden number Hitchhiking Man. With a contagious pop-punk sensibility, Poison City Records poster kids Grim Fandango could be pigeonholed as such, but their smart melodies and heavy guitar work saves them from the label. With a decent turnout for the popular locals, the acoustics in 459 again rendered the vocals almost inaudible – but props must be given to frontman Burgs and guitarist Tom for persevering, because what I heard of their dual vocals was sublime. As strik ing V ic torian quar tet The Tearaways took their places, their uniformity made an instant impression on me; they certainly look the part of the seasoned punk rockers that they are. However, with the show that ensued, it became sadly apparent that this was a case of style over substance. Perhaps it was the mediocrity of the venue, or maybe they were just having an off night – but whatever it was, the room slowly but surely emptied. In spite of their persistence, their heart just wasn’t in it; as frontman Bradley Matthews mumbled ‘thanks’ into the mic, remaining punters stifled yawns and clapped half-heartedly. In spite of having some solid material, like Ramones-esque track Fields and the rambling Complete Control, they played without passion or conviction, making it obvious that they just wanted out of there. With the most entertaining part of their set being the obnoxious drunk guy who stumbled on stage proffering beer, they didn’t so much burn out as fade away…a disappointing conclusion for a band who had initially shown so much promise. _ ELLIE HUTCHINSON

The Chemist - Photo by Daniel Grant The Bird Saturday, June 15, 2013 Perth-based indie swamp rock darlings The Chemist finished their nationwide album tour, Ballet in the Badlands, with a night of bluesinfused psychosis, wild improvisation and bizarre cross rhythms. The first few tracks - Silver And Gold, Heaven’s Got A Dress Code, Spray Paint Or Praise and Stripped Paint - combined interesting upbeat blues rock riffs and unusual soundscapes, with extended improvised sections from out-of-the-ordinary percussion instruments (including a chain and a bucket) and drawling vocal melodies. Each of these songs had an impressive individuality to them and although the influences of artists like Nick Cave, Tom Waits, etc, could definitely be heard, they were and are individual tracks in their own right, with a distinctive and wholly unique sound to them. At just about the time where we could take no more chain in a bucket, the band stripped it back, with frontman Ben Witt proving that he not only had a masterful blues drawl, but that knew his way around a ballad. Both December and Cold Water From A Pouring Rain (written, at Witt’s admission, four days before the gig) were stripped back and honest, with a rawness about them unheard in the bravado of the opening tracks. Amping it back up again, the set concluded in the way that it started, in a cacophony of bluesy swampy goodness. Joining the lineup for

the final few tracks – which included a cover of Young Girl by Little Willie John – was saxophonist Brett Smith, who lent a free jazz feel to the improvisations, and gave the few songs he played a much more retro vibe. The last track, Long Road Back, was probably the most conventional old school blues of the evening, with repetitive lyric structures and what can only be described as a really dirty, earthy bass riff. What is striking about The Chemist is the overall musicianship of the outfit: their music is interesting, with unusual influences and complex rhythmic and melodic structures. They break away from standard song structures of verse and chorus, creating in their place improvised soundscapes with peculiar percussion instruments. Furthermore when they do perform songs of a more conventional structure, such as the fourday-old Cold Water From A Pouring Rain, the chord structures and melodic writing is interesting – there is not a I vi IV V in sight. This refreshing take on songwriting is genuinely exciting: I really actually want to recommend The Chemist to all of my friends. Forever the bridesmaids and never the bride, for a long time now The Chemist have been a band that has constantly felt like they’re on the cusp of making it. Whether that time is coming now is hard to say, however it is a time long deserved. Do yourself a favour and go check them out. _ LEAH BLANKENDAAL

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This Saturday, June 22, multi instrumentalist Morgan Bain returns with his infectious energy and roots music. Come and see what all the fuss is about! Back by popular demand on Sunday are Tijuana Cartel, catch them before they head on tour to the US of A.


WA HOT ROD & STREET MACHINE SPECTACULAR Claremont Showgrounds Saturday-Sunday, June 15-16, 2013

The WA Hot Rod & Street Machine Spectacular moved to Claremont Showgrounds, the spiritual home of speedway racing in WA, for its 17th edition last weekend. Some 150 veicles were on display, with Mark Craine-White’s 1931 Ford Coupe and Lennard Vidot’s HQ Monaro taking pride of place upon entry, opening the door to a world of hot rods, street machines, muscle cars and motorbikes.

This Friday, June 21, from 8pm, Castle Bravo headline Punk-a-holics Anonymous, with support Ben Ottewell from punk comedians Alex the Kid, The De Niros & 34a9er. Then, from midnight upstairs, The Black Fridays take to stage again at their new home! Next Wednesday, June 26, Ben Ottewell from Gomez They’ll be tearing out all your favourite party rock Photography by Matt Jelonek plays with support from Paul Wood. Fans can expect tunes from Linkin Park, Green Day, Offspring, Pink Ottewell to play songs from his 2011 solo album and a load more! DJ London on the decks in Shapes & Shadows, classics from the Gomez catalogue between! Rear alleyway entrance. plus his favourite covers. Whether you’re a Gomez fan or would just like the chance to witness one of Britain’s finest vocalists in such intimate settings, make sure to check out Ben Ottewell when he tours Australia this winter. This show is close to selling out with presale tickets $30+bf though Very limited $35 tickets will be available at the door on the night. For oyur chance to win a double pass, email with BEN OTTEWELL in the subject heading.



This Wednesday, June 19, catch a huge night of local talent when Lillium Stargazer, Shimmergloom, The Georgians and Silence To The Left hit the stage. Doors open 8pm and entry is $8.


Let the weekend take you from rock to graphic design then straight on through to club hits! Violet Scene launching their debut EP on Friday, June 21 be there with your dancing shoes on! On Saturday it’s CIT’s Advanced Diploma of Design graduation party. Check out some rad artwork while you’re serenaded by a killer lineup of bands, led by Three Hands One Hoof! Don’t forget to hang around after the gigs for your weekly doses of ACE and Arcadia, featuring the skills of DJ Pup on the decks!


Take a trip back in time to when Bon Jovi was still cool, big hair was a must and leg warmers were fashion! This Saturday, June 22, dress in your most colourful ‘80s gear or come as your favourite ‘80s star. Live ‘80s band and DJ from 7pm with prizes and giveaways all night. 32

Brett, Sharyn

Adrian, Sharon

Adverse Reaction Juanita, Jo

Chris, Francie

Brittany, Tammy, Jordan, Steve

Julia, Mick


This Saturday, June 22, catch some rock n’ roll action with Adverse Reaction, Wicked Wench, Pokkets of Resistance and Battle Of The Planets. Doors are at 8pm and entry is free! The following Saturday sees the annual RTR-FM Fremantle Winter Music Festival take over the Railway with Apricot Rail, Gunns, Fall Electric and Mt Mountain hitting the stage. Doors open 8pm, tickets from, which also get you access to Mojos Bar, Swan Hotel and the North Fremantle Bowls Club for the event.


Flaunt is back again this Friday, June 21, and this time the theme is End Of Exams! But make sure you bring your uni cards because if you flaunt this on entry you will receive a special free drink on the house. Smashing out the tunes is DJ Kenny L, and afterward you can catch a free bus ride to Dusk so you can kick on all night long!

Tianna, Ashlea

Dean, Joseph X-Press – First on the street, Wednesdays

COW PARADE COW Pigeonhole-proof psychedelic groove merchants Cow Parade Cow introduce their new album, Before The Sharks, at The Bakery this Saturday, June 22, with support from Rokwell & Groom, Dianas, Weeks and These Shipwrecks. We sat down for a yarn with singer and guitarist, Mike Litton.

interface, writing the songs from little recorded fragments. After the bare skeleton is down, I’ll add layers and layers (the songs typically have 200-plus tracks) until someone tells me to stop or books an album launch. Luckily I’m blessed with a pool of friends who can sing, so near the end of the recording process they’ll come in and pad out the This is your third album. How would you say vocal harmonies. I’m sure the songs could be crisp your sound has developed and/or changed over and radio-friendly in a real recording studio, but the course of your career? this project has always been about enjoying the The first album back in 2011 was eager process rather than the result. and innocent and a hilariously poor recording. I guess since then the technical quality has steadily What are your favourite tracks on the album? improved and the lyrical content and mood has Really depends on what day you ask me - at sort of shifted to a bit of a darker place. It’s also the moment there’s a song called Dive nestled slowly gotten cleaner and more song-orientated. somewhere in the middle of the album which I Who would you say are the key influences on like. There’s a track near the end which is essentially an 808 driven early ‘90s R’n’B jam, and depending this one? It might not sound like it to anyone on who you ask it’s either the best thing Cow has else, but I see this one as mostly ‘80s inspired. ever made or the absolute worst. I’m not really sure I was listening religiously to Talking Head’s which camp I sit in yet. Remain In Light and Peter Gabriel’s So, so they were the big starting points. The rhythmic layers What’s up next? of the songs have always been important, so Absolutely no idea. The Cow has never really played most of the songs are directly inspired by Afro/ a huge amount of live shows, so this last year has Carribean sources - which were then distorted really only been about making this album. We’ll and twisted and engulfed by drum machines. have a ridiculous party to launch this album, after that we’re planning to do a show over in Melbourne How was the recording process? with some buddies and then take it all as it comes. Long and slow as usual. I’ve always done our There’s enough leftover songs for another album, recordings on my laptop with a cheap audio but we’ll see what happens!

Red Jezebel These Winter Nights


These Winter Nights took out the top slot at Heat #2 of The Big Splash, coming out ahead of Rich King Matthews, Jacob Wylde and Ralway Bell and earning themselves a place at the table at the Semi-final showdown at The Bakery on July 4. To see who else will battling it out alongside Heat #1 winners, Villain, get down to The Rosemount Hotel next Wednesday, June 26, where Double Rainbow, Apache, We Move Walls and Upnup will test themselves against each other for the approval of the judges and the enjoyment of the crowd.


Get down to Ya Ya’s tonight, Wednesday June 19, to catch The Shops and Midnight Boulevard and support a worthy cause. The Crisis Centre Clothing Collection Fundraiser aims to help women who have suffered sexual assault by providing clothes to replace items taken for forensic examination, so bring down a size 10-16 shirt or pants to donate. Doors open at 7.30, entry is by gold coin donation.

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It’s always a long time between drinks vis-avis seeing Perth legends Red Jezebel live, but they’ll be onstage this Saturday, June 22, at The Rosemount along with 6s & 7s, Stillwater Giants, The Fergusons and Patient Little Sister. Doors open at 8pm, entry is $10.

Drown The Faith


Brutal metal merchants Drown The Faith obliterate the stage at Mojo’s this Sunday, June 23, with support from Pending The Silence, The Moment We Fall and Defy The Leader. Doors open at 6pm, entry is $10.

Glenn Musto Scrapbook #13 (Sensitive) LP Launch @ The Paddington Bastian’s Happy Flight Hooray Single Launch @ The Bakery Violet Scene Loaded EP Launch @ Ya Ya’s Cow Parade Cow Before The Sharks LP Launch @ The Bakery Natalia If This Is Love EP Launch @ the Elephant and Wheelbarrow HYTE Where Are You Taking Me Single Launch @ Mojo’s The Devil Rides Out Ugly Creatures EP Launch @ Amplifier The Floors Built From Bones Single Launch @ The Bird White Oak and Stuyvesant Self Titled EP Launch @ The Rosemount Exanimis The Extinction EP Launch @ YMCA HQ Cal Peck & The Tramps Self Titled Album Launch @ Devilles Pad Tired Lion Desperate Single Launch @ Amplifier The Community Chest Top of the Hour Album Launch @ The Rosemount Leure Holland Sky LP Launch @ The Bird Tempest Rising Single Launch @ The Civic Sirgin One Love EP Launch @ The Rosemount



X-Press – First on the street, Wednesdays

Boris, June 24

IAN MOSS 20 Charles Hotel 27 Boulevard KORA Tavern 19 Capitol FOURTEEN NIGHTS AT SEA IN HEARTS WAKE JULY 20 Rosemount 19 Amplifier 20 YMCA HQ CLAIRY BROWNE Hotel SAINT VITUS/ & THE BANGIN’ MARK SEYMOUR RACKETTES MONARCH 20 Newport Hotel 4 ARTBAR 21 Rosemount Hotel 21 The ABBE MAY Ravenswood 5 The Astor Theatre UNKNOWN MORTAL 22 Charles Hotel TOKIMONSTA ORCHESTRA 5 The Bakery ANDREW 23 Rosemount GRACE KNIGHT STOCKDALE Hotel 5 The Ellington STEREOPHONICS POSTPONED BJORN AGAIN 5 & 6 Regal Theatre 23 Metro City TIJUANA CARTEL LA DISPUTE JAMES BLAKE 20 Mojo’s Bar 26 The Astor 6 Amplifier 21 White Star BRUCE MATHISKE 7 YMCA HQ Albany 26 July Fly By Night ESKIMO JOE 22 Mojo’s Bar 9 & 10 Moore And ALT-J 27 Challenge 23 Indi Bar Moore Stadium BLISS N ESO GOLD FIELDS BLEEDING 10 Metro City 21 Metro Freo THROUGH TOMORROW 22 Amplifier 28 Amplifier PEOPLE BABYSHAMBLES 11 Capitol MUNICIPAL 31 Metro City FEAR FACTORY WASTE 11 Metro City 21 Rosemount BALL PARK AUGUST Hotel MUSIC/EAGLE & THE WORM COLD WAR KIDS SARAH McLEOD 12 Metro Freo 2 Capitol 23 The Ellington THE STRANGE VILLAGERS GERONIMO THE SUPERJESUS 11 Newport Hotel 2 Fly By Night 21 & 22 Amplifier 12 Prince Of Wales DEEZ NUTZ 2 Prince Of Wales Hotel, Bunbury Hotel, Bunbury BORIS 13 Amplifier 3 YMCA HQ 24 Rosemount GRINSPOON 3 Rosemount Hotel Hotel 10 Pier Hotel, 4 Newport Hotel Esperance FIDLAR PINK 11 Studio 146, 3 The Bakery 25 Perth Arena Albany 12 Settlers Tavern, BARDO POND 4 Rosemount Hotel Margaret River JUNE 13 Prince Of Wales PASSION PIT 4 Villa Hotel, Bunbury PINK SENSES FAIL 14 Players Bar, 26,28 & 29 Perth 9 Amplifier Mandurah Arena KARNIVOOL ENGLEBERT BEN OTTEWELL 11 Metro City Perth HUMPERDINCK (GOMEZ) 13 Crown Theatre SARAH BLASKO 26 Mojos 12 Margaret River YOU AM I BILL ODDIE Cultural Centre 13 & 14 Astor 27 Astor Theatre THIRTY SECONDS Theatre GYPSY & THE CAT JONNY CRAIG TO MARS 28 The Bakery 16 Challenge 17 Amplifier ALLDAY Stadium A DAY TO 27 Newport Hotel REMEMBER/THE DON MCLEAN 29 Amplifier 19 Perth Concert DEVIL WEARS THE RED Hall PRADA/ DREAM PAINTINGS GEORGE BENSON ON DREAMER 28 Rosemount 24 Riverside 18 Metro City Hotel Theatre MENTAL AS PSEUDO ECHO ANDREW ANYTHING 29 Charles Hotel STRONG: THE 19 Charles Hotel COOLIO COMMITMENTS 20 Boulevard 29 Metro City 22 Metro Freo Tavern


KIM & BENI 29 Capitol A$AP Rocky 30 Metro City

Fear Factory, July 11

Grinspoon, July 10 - 14

THE SMITH STREET BAND 22 Rosemount Hotel 23 Prince Of Wales, Bunbury VANCE JOY 23 Fly By Night GRINSPOON 23 Astor Theatre BERNARD FANNING 25 Astor Theatre NORTHWEST FESTIVAL 24 Port Hedland Turf Club JAPANDROIDS 26 The Rosemount THE WHITLAMS/ WASO 30 Perth Concert Hall

SEPTEMBER MANHATTAN TRANSFER 1 Regal Theatre FAT FREDDY’S DROP 5 Astor Theatre JOSH PYKE 5 Prince Of Wales Hotel, Bunbury THE CAT EMPIRE 7 Red Hill Auditorium MIDNIGHT JUGGERNAUTS 6 Prince Of Wales Hotel, Bunbury 7 Capitol AMANDA PALMER & THE GRAND THEFT ORCHESTRA 8 Astor Theatre RUDIMENTAL 13 & 14 Metro City ANBERLIN 11 Metro Freo PARKWAY DRIVE 14 Metro Freo 15 & 16 Capitol RED DIRT ft JIMMY BARNES 19 Kalgoorlie Boulder Race Club FOALS 22 Metro City RIHANNA 24 Perth Arena LAMB OF GOD & MESHUGGAH 26 Metro City ONE DIRECTION 28 & 29 Perth Arena XAVIER RUDD/ DONAVON FRANKENREITER/

NAHKO & MEDICINE FOR THE PEOPLE 28 3 Oceans Winery, Margaret River 29 Fremantle Arts Centre

OCTOBER SWERVEDRIVER 3 Rosemount Hotel SOILWORK 6 Rosemount Hotel BRING ME THE HORIZON 12 Challenge Stadium THE DAVID LIEBE HART BAND 13 Amplifier RICKY MARTIN 12 Perth Arena AMORPHIS 16 Capitol EVERY TIME I DIE 24 Capitol CHET FAKER 31 ARTBAR THE BREEDERS 31 The Astor ENSLAVED 31 Rosemount Hotel YELLOWCARD 31 Capitol

NOVEMBER SCOTT KELLY AND THE ROAD HOME 10 Rosemount Hotel FLEETWOOD MAC 22 Perth Arena HITS & PITS 2.0 Boyssetsfire, No Fun At All, Off With Their Heads 24 Capitol STEREOSONIC 30 Claremont Showgrounds

DECEMBER JUSTIN BIEBER 8 Perth Arena TAYLOR SWIFT 11 Perth NIB Stadium BON JOVI 12 Perth Arena



Hundred Acre Wood, Thursday at Rosemount

WEDNESDAY 19.06 AMPLIFIER Academy VS Harlem Nights In Hearts Wake Counterparts Stories BAR 120 Felix BRASS MONKEY Sugar Blue Burlesque CAPITOL Kora CARINE Open Mic Night Chris O’Brien CLAREMONT HOTEL Acoustica GREENWOOD Bernardine ELLINGTON JAZZ CLUB Jamie Oehlers Quartet Night Cap Sessions GROOVE BAR (CROWN) 5 Shots INDI BAR Malachi Wehipeihana LUCKY SHAG Howie Morgan MOJOS BAR Jordan McRobbie Wayfarer Morgan Bain Joe Pule MOON CAFÉ Slums Leigh Craft Sean O’Neil MUSTANG BAR Flash Nat & the Action Men DJ James MacArthur PADDO Glenn Musto Chriss Gibbs Trojan John ROSEMOUNT Lillium Stargazer Shimmergloom The Georgians Silence To The Left

UNIVERSAL Retrofit VILLAGE BAR Village People - Open Mic YAYA’S The Shops Midnight Boulevard

THURSDAY 20.06 BEAT NIGHTCLUB (DOWNSTAIRS) Fantasy Thursdays BELGIAN BEER CAFÉ Acoustic Aly THE BIRD Dianas Braves Sacred Flower Union THE BOAT Jen De Ness BRASS MONKEY Rhythm Bound Karaoke BRIGHTON Open Mic Night Rob Walker BROOKLANDS TAVERN Celebrations Karaoke DEVILLES PAD Rock’N’Roll Karaoke DUNSBOROUGH TAVERN Open Mic Night ELLINGTON JAZZ CLUB Lauren Lucille Nina Simone Tribute THE GATE Greg Carter GROOVE BAR (CROWN) Decoy INDI BAR Bex’s Open Mic Night KARRINYUP SC FOOD COURT Dove LUCKY SHAG James Wilson MARKET CITY TAVERN Sami Moore Karla Mare Pedro Stylz Tommy Blacksmith Jimmy Rockets

Room at the Reservoir




Bayou, Friday at The Civic MOJOS BAR Tijuana Cartel MERRIWA TAVERN Neil Adams MUSTANG BAR Room at the Reservoir Apache Rag & Bone DJ James MacArthur NEWPORT HOTEL Mark Seymour ROSEMOUNT Hundred Acre Wood Race To Your Face Battle Of The Planets One Too Many Camel SETTLERS TAVERN Acoustic Open Mic Night THE SHED Mystery Men UNIVERSAL Off The Record YA YA’S King’s Justice! Lanark Three Hands One Hoof Late Night Satay YMCA HQ In Heart’s Wake Counterparts The Storm Picturesque Stories

FRIDAY 21.06 AMPLIFIER The Superjesus The Love Junkies Broken Royale BALMORAL Mike Nayar BAKERY Bastian’s Happy Flight 44th Sunset Cosmo Gets Jack Stirling BAR ORIENT The Reggae Club BEAT NIGHTCLUB (UPSTAIRS) Castle Bravo Alex The Kid The De Niros The Black Fridays (late) BEAT NIGHTCLUB (DOWNSTAIRS) PLAY BELMONT TAVERN Astrobat BEST DROP TAVERN Carbon Taxi THE BIRD Ba-Dop Boom Bang Da Wit Andre Leon Osborn BRASS MONKEY Chris Gibbs C5 FREMANTLE Residence Something With Numbers CHASE BAR & BISTRO James Wilson

Morgan Bain, Saturday at The Indi Bar

CITRO BAR Adrian Wilson CIVIC HOTEL BACKROOM Bayou Nightmare Effect Amidst the Broken Darkenium A Nameless Fear CLAREMONT HOTEL Elouise & The Infinite Squeeze CORNERSTONE First and Final DEVILLES PAD The West Australian Youth Jazz Orchestra Mondo Disc Jocks Shakin’ Sataniques DUNSBOROUGH TAVERN Kamikaze Pilots EAST 150 BAR Adam James ELEPHANT AND WHEELBARROW Daren Reid & The Soul City Groove ELLINGTON JAZZ CLUB Penny King Quintet Dd Soul ft Bindhu Holavanahalli EMPIRE BAR Howie Morgan FLY BY NIGHT Andrew Stockdale/ POSTPONED GROOVE BAR (CROWN) Tod Johnson & Peace Love GREENWOOD Greg Carter HYDE PARK HOTEL Ricky Green INDI BAR Vdelli INGLEWOOD HOTEL Neil Adams KALAMUNDA HOTEL Sophie Jane + The Chilly Bin Boys KALBARRI HOTEL MOTEL Glenn Musto KULCHA John Bennett Clint Bracknell LYNWOOD ARMS Mustangs M ON THE POINT DJ Mischieff MAHOGANNY INN Dean Anderson METRO FREO Frat House Fridays Gold Fields MOJOS BAR Private Function MUSTANG OZ Big Band Swing DJ Cheeky Monkeys DJ James MacArthur NEWPORT HOTEL Karaoke with Steve Parkin Gravity Kizzy

PADDO Easy Tigers PEEL ALE HOUSE Better Days THE PRINCIPAL Retriofit Duo QV1 Why Georgia ROCKET ROOM Big Guns ROLEYSTONE COUNTRY CLUB Dove THE ROSE AND CROWN Adam Morris ROSEMOUNT Municipal Waste ROSIE O’GRADYS FREMANTLE GrooVe SAIL AND ANCHOR Howie Morgan SAIL AND ANCHOR (UPSTAIRS) NightShift THE SHED Funhouse DJ Glenn 20 SOUTH ST ALEHOUSE Robbie King Karaoke SPRINGS TAVERN Die Hard Karaoke SWAN LOUNGE Acoustic Friday Elise Hudspith Lydia Schubert Jasmine Campos Naomi Smith SWAN BASEMENT One Of None Gone By Morning To Hell With Honour Creature SWINGING PIG Spritzer Greg Carter UNIVERSAL Nightmoves YA YA’S Violet Scene Benny Macri Tracksuit YMCA HQ Emberville

SATURDAY 22.06 AMPLIFIER The Superjesus The Love Junkies Broken Royale BAKERY Cow Parade Cow Rokwell & Groom Dianas Weeks These Shipwrecks BALMORAL Pop Candy BEAT NIGHTCLUB (UPSTAIRS) CANVAS BEAT NIGHTCLUB (DOWNSTAIRS) RUNAWAYS Here Come The Cavalry One Last Thing BELGIAN BEER CAFÉ Mike Nayar

X-Press – First on the street, Wednesdays

Deadline Monday 5pm. The Gig-Guide is a service to advertisers listing all LIVE MUSIC. All inclusions are at the discretion of X-Press. Email

Three Hands One Hoof, Saturday at Ya Ya’s THE BIRD Maurice Flavels Intensive Care The Potent Remedies Choke BOAB TAVERN James Wilson CAPITOL Gold Fields CIVIC HOTEL BACKROOM Wardaemonic Scars of Sodom Mhorgl Twisted Fate Memoria THE CHARLES HOTEL Mark Seymour CLANCY’S FREMANTLE Tourist Queens Boulevarde Rob Walker DEVILLES PAD Mondo Inferno Les Douaniers Rousseau Capitano Claudio & Wrighteous Les Sataniques DONGARA HOTEL Glenn Musto ELEPHANT & WHEELBARROW Timeout ELLINGTON JAZZ CLUB Libby Hammer Quintet Why Georgia FLY BY NIGHT Slippery When Wet Chriss Gibbs FLYING SCOTSMAN Under The Influence Andrei Maz THE GATE Dirty Scoundrels GOSNELLS HOTEL Astrobat GREENWOOD Baby Piranhas GROOVE BAR (CROWN) HiNRG HOTEL ROTTNEST Sophie Jane HYDE PARK HOTEL Howie Morgan Project INDIAN OCEAN BREW CO Shawne & Luc INDI BAR Morgan Bain Matt Cal KALAMUNDA HOTEL Full Throttle 4 Horsemen Amongst The Dead KULCHA The Spooky Men Of The West LAKERS TAVERN Celebrations Karaoke M ON THE POINT Rhythm 22 MOJOS BAR Tijuana Cartel

Friday Friday Travis Caudle The Bonekickers, Sunday at Travis Caudle FlyBy ByYa Night Ya’s Fly Night

MUSTANG The Continentals Rockabilly DJ Millhouse DJ James MacArthur NEWPORT HOTEL Karaoke with Steve Parkin Gravity Kizzy PARAMOUNT NIGHTCLUB Felix PEEL ALE HOUSE Flesh n Wood PICA BAR Tomás Ford’s Crap Music Rave Party PORT KENNEDY TAVERN Shaun Street QUARIE BAR Little Ebony RAILWAY HOTEL Adverse Reaction Wicked Wench Pokkets of Resistance Battle Of The Planets ROCKET ROOM Kickstart ROSEMOUNT Red Jezebel 6’s & 7’s Stillwater Giants Patient Little Sister The Fergusons ROSIE O’GRADYS FREMANTLE Flava SAIL & ANCHOR Tequila Mockingbirds Childs Play SWAN LOUNGE Haystack Charm Children Tuxedo Pig Flyball Gov’nor Fuzz Bucket SWAN BASEMENT The Moonwhores Black Stone From The Sun Hello Colour Red The Itch SWINGING PIG Greg Crater Rock-A-Fellas THE SHED Huge DJ Andyy UNIVERSAL Soul Corporation WHALE & ALE Surrender YAYA’S Three Hands One Hoof Ultra Mega Fauna The Potent Remedies Mei Saraswati Arcadia YMCA HQ Zekefest Vice Versa Here Come The Cavalry Calm, Collected The Take Over Mr Chance Such A Wreck

SUNDAY 23.06 BALMORAL Astrobat BELMONT TAVERN Acoustic Aly THE BIRD Ermine Coat Doctopus Puck Catbrush Mudlark Golden String Trash House Beige Higher Education Amy Church Family Band BOAB TAVERN Mark Seymour Chris Gibbs Trio BRIGHTON John Read BROKEN HILL HOTEL Adrian Wilson BROOKLANDS TAVERN Mike Nayar CARINE Adam James CHASE BAR Chasing Calee CIVIC HOTEL Mike Nayar COMO HOTEL Sophie Jane & The Chilly Bin Boys DEVILLES PAD The Joy Elevation ELEPHANT AND WHEELBARROW Daren Reid & The Soul City Groove ELLINGTON JAZZ CLUB Sarah McLeod (Superjesus) THE FLY TRAP (FLY BY NIGHT) The Laughing Dead THE GATE Greg Carter GOSNELLS HOTEL Conny The Clown GROOVE BAR (CROWN) Peace Love INDI BAR Tijuana Cartel INDIAN OCEAN BREW CO Retriofit KALAMUNDA HOTEL Bernadine LAKERS TAVERN Wesley Goodlet Jamboree Scouts LAST DROP TAVERN Jim Moore L’ATTITUDE 28 Glenn Musto MOJOS BAR Drown The Faith Pending The Silence The Moment We Fall Defy The Leader M ON THE POINT Tahnee McKay Duo

Doctopus, Sunday at The Bird

MUSTANG BAR Pete Busher & the Lone Rangers DJ Rockin’ Rhys NORTHBRIDGE PIAZZA Juliana Areias Brazilian Experience The Brenda Lee Jazz Duo NEWPORT HOTEL The Decline DJ Tom Drummond Tim Nelson PORT KENNEDY TAVERN Kizzy QUARIE BAR & BISTRO Better Days QUEENS TAVERN Velvet THE SAINT Howie Morgan Project THE SHED The Healy’s Blue Hornet SOUTH ST ALEHOUSE Anthony Nieves SWAN LOUNGE Daniel White The Deniros Ben Elliott Coronal Sky SWINGING PIG Toni E Ricky Green UNIVERSAL Retriofit WANNEROO TAVERN Jonathon Dempsey YAYA’S The Bonekickers The Irrationals The Order of the Black Werewolf Gloria Ironbox

MONDAY 24.06 BRASS MONKEY Wire Birds ELLINGTON JAZZ CLUB Chamber Jam THE FLY TRAP (FLY BY NIGHT) Voicebox Poetry Nandi Chinna

Diana Joy Christensen Splodge Roland Leach William Yeoman GROOVE BAR (CROWN) Chris & Coutney Murphy MOJO’S BAR Wide Open Mic MUSTANG BAR Triple Shots ROSEMOUNT Boris YA YA’S Big Tommo’s Open Mic Night

TUESDAY 25.06 BRASS MONKEY Open Mic Night Chris O’Brien THE CRAGIE TAVERN Open Mic Night ELLINGTON JAZZ CLUB Ben Vanderwal’s Tuesday Night Twang GROOVE BAR (CROWN) Ruby’s Groove KALAMUNDA HOTEL Open Mic Nunz Vacca LUCKY SHAG Ben Merito MERRIWA TAVERN Celebrations Karaoke MUSTANG BAR Danza Loca Salsa Night YA YA’S New Horizons Next Week’s Hero James, Mia Dan & Lyric Marek Evan Sean & Jamo Felix Jack & Marcus James Ross Erica Tyler & Chet Harry Josh

Haystack Charm




KEEPING IT KOSMIC The entire retail sector is feeling the pinch from the increasingly prevalent online shopping model, and music retail is no exception. Yet, while many other stores are downsizing, cutting costs and sometimes even succumbing to the grim meathook realities of situation, Perth’s venerable Kosmic Sound and Lighting has split from the pack, greatly expanding their Osborne Park premises into a monolithic one stop shop that contains everything a musician could want.

Photography by Daniel Grant At first glance it seems like a counterintuitive move, but Kosmic main man John Goldsmith, who was kind enough to give X-Press a personal tour of the new set up, disagrees. “As much as online sales in Australia will probably grow, as it has in America, to be 30 per cent of the market, it still means that 70 per cent of the market will be people who want to go in the store and have that experience.” Goldsmith, a boundlessly enthusiastic man with a shock of silver hair, explains. “Particularly in our industry where people want guitars and things like that, or with PAs where people want hear stuff, that experience of feeling it, touching it, listening to it is what it’s still all about.” To that end, Goldsmith and his team have turned the cavernous store into a kind of experiential musicians’ playground. Recognising that the hands-on experience is what differentiates online purchasing from the physical act of shopping, each area of the store is staffed by experts who are keen to help the prospective customer grapple with their chosen instrument, regardless of that customer’s level of skill. The keyboard section is a perfect example. “The contemporary keyboard market’s quite reasonable,” Goldsmith tells us. “And we’re expanding that into more of a family home thing - you don’t buy pianos on the internet. It’s still an area where people need advice from sales guys and they want to hear it, they want their kids to sit and be comfortable with it. We’ve gone to the trouble of setting up a marble stage there, so when you sit down at the piano, you kind of feel like you’re in your New York apartment. People buy pianos here to go in their home almost as an ornament - it’s a decoration.” Of course, the guitar is still the most popular instrument around, so it’s unsurprising that, on entering the place for the first time, you’re


confronted by rack upon rack of gleaming, polished electric axes. Off to the right, on a raised platform, sits the bass area; to the rear, in their own little nook, nestle the impressive range of acoustic guitars. Overlooking the floor is the guitar customisation and repair bay, of which Goldsmith is justifiably proud. “There’s a lot of spare parts up there,” he says. “So you can come in and, if you can’t afford three or four thousand bucks for a high-end guitar, you can buy a low end guitar and buy some pickups and various upmarket bits and pieces for that guitar and gradually build it up into something really worthwhile. We can repair the guitar or adjust the guitar to your personal requirements.” Next door, however, is something really special - a part of Perth music history that many thought gone forever, thanks to combination of a shrinking market and poor management. Kosmic has bought The Drum Shop name, and it’s under that banner that they now sell perhaps the most impressive percussion range in Perth. “We acquired the Drum Shop brand and all the staff who used to work at The Drum Shop, the staff, the customers - everyone’s really excited about not losing that brand, because it was such an institution over the years and we were very sad when it all fell over. This will ultimately be the best drum shop in Australia.” Goldsmith, himself a drummer, sounds utterly confident in his prediction - and perhaps he should be. Rather than panic at the current market situation, he and Kosmic have attacked the future with boldness and vision, and in doing have ensured that their place as one of the premiere music outlets in Western Australia is assured for the forseeable future. _ TRAVIS JOHNSON

X-Press – First on the street, Wednesdays

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Drummer Mark Schulman’s CV is nothing if not impressive; currently touring with Pink, he’s also played for Billy Idol, Sheryl Crow, Foreigner, Stevie Nicks, Destiny’s Child, Velvet Revolver and Simple Minds. Mega Music are proud to announce that they’ll be hosting a drum clinic featuring the consummate professional this Friday, June 21, at Canningvale College. Doors open at 7.30pm, and tickets are $20 from Mega Music’s Myaree store or online at

ITUNE IN Apple recently announced that they’re throwing their hat into the internet radio ring with iTunes Radio. The free service features over 200 stations. It’s integration with iTunes and the existing family of Apple products - iPhone, iPod, iPad and what have you - means that the service will be able to customise your playlist based on what you already own, download and listen to, offering up new tunes that are in synch with your personal tastes. Siri-specific features mean being able to ask your phone ‘who plays this song?’ while the iTunes Store will offer users exclusive access to early releases and exclusive tracks. The service will debut in the US in the northern autumn, with an Australian release date as yet unreleased, but surely not too far behind. Is it all too goo to be true or too monolithic and all-encompassing to be trusted? Head to apple. com to find out.

Mark Schulman

ADVANCE PIANO FAIR The Australian Piano Fair is on at the Perth Convention iTunes Radio and Exhibition Centre this weekend from Friday, June 21 - Sunday, June 23. This annual event brings together the best piano players, manufacturers and experts in the world to the delight of any dedicated keyboard king. Guests this year include Mark Gasser, Steve Lincoln-Smith and Leon Blaher. Go Millie Millgate is the Executive Producer of Sounds to for more information. Australia and alleged to be the fifth most powerful individual in the Australian music industry. Thanks to WAM and APRA, Perth musos now have the opportunity to pick Millie’s brain. Millie will be the gust at the next WAM Music Industry Sundowner at Thanks to awesome Australian headphone The Bird on Monday, June 24, from 6:30. and anyone specialists Audiofly, we have some sexy prizes is welcome to come down and get an earful of to give away to two lucky readers. The Audiofly advice on how to prepare your music and yourself AF33m in-ear headphones come with an inbuilt for international export. Those who think they need microphone, are noise isolating and are capable of more, however, can book a 45 minute one-on-one detailed sound reproduction right across the sonic session with Millie between 10.30am and 4.45pm spectrum - pretty much everything you want in a set on the same day. These sessions are free, but only of ‘phones. To win a pair, head to to WAM members or those willing to become one. and enter online Apply by emailing by noon, Audiofly AF33m Thursday, June 20.



Millie Millgate

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X-Press Magazine - Issue 1375  

Issue 1375 X-Press Magazine

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