X-Press Magazine #1228

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News Reactions/Comp Thing Flesh Music: Children Collide Music: Dying Fetus/Radiothon Music: Chris Abrahams Music: Ross Wilson/Crow Music: Napalm Death Music: Sevendust New Noise

The word ‘safe’ is too often coupled with Australia: a safe country, a safe bet for investment and a safe and stable society. Indeed, we’ve been playing it safe since Federation in 1901, when a limp union was cobbled together and Australia so courteously came into being.

We pride ourselves on being a straight shootin’ bunch, devoid of the unnecessary complexities that plague many European societies. A country where you call a bucket a bogger, and do so in the politest of manners. A country where certain things are just the way they are, and there’s no need to bloody question them – like a Sunday roast at mum’s, and orderly waiting in the queue to buy your midweek Lotto ticket. A country where you either vote Liberal or Labor, but you’re still a nice bloke or sheila either way.

Similarly, our political system has operated under a squeaky clean set of gentlemanly conventions – a system where the Prime Minister sits on top, the Governor General takes a ceremonial back seat and the house is overlorded by two parties, and two parties alone!

Well, by golly we’ve gone and shoved a firecracker up that one haven’t we!

We’ve gone and got ourselves in a right pickle and no one – not even the Governor General – knows where they stand, or how to get us out of the mess. It’s like everyone turned up for the chook raffle and the unthinkable has

_JULIAN TOMPKIN

HERE COMES THE SUN

Eye4

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Greens victor Adam Brandt gets heard

happened and two people have the same number. What to do now? You can’t exactly cut the chicken in half…

What the 2010 federal election has exposed is something most would much prefer to deny: that beneath our polished veneer, Australia is a far more complex country than we care to admit. Like the European experience, cracks are beginning to show in a system whose cogs of convention are rusty and are in need of replacement.

The rise of the Greens, the reemergence of the Nationals, the move to independents and the epic defection away from the ruling ALP are all clear signs that people are sick to death of the dull politeness that’s plagued this country for a century.

We are no longer that predictable little sun soaked island way down there. We’re much deeper and complex than that, right down to what we eat, what we think and how we vote.

It’s time to seize this momentous opportunity – we have a country to reinvent.

Cirque du Soleil - the acrobatic show that revolutionised Las Vegas entertainment – is returning to Australia. The troupe will perform Saltimbanco, one of the most company’s best known and loved shows in a nationwide tour.

The show promises to be a spectacular production, showcasing awe-inspiring agility and artistry. You can catch Cirque du Soleil in Perth at Challenge Stadium, from Thursday, April 21, 2011. Tickets go on sale nationally on Monday, October 18. For more information visit cirquedusoleil.com.

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The global rock juggernaut U2 is coming to Perth! Yes, you have read correctly – the Irish lads and rock’n’roll legends will be rolling in on Saturday, December 18, for what will surely be the biggest gig of the year at Subiaco Oval, as part of their 360° world tour. It is the first time the band has rocked Perth since the Popmart tour in 1998. As usual the band have a NASA-scale budget for their live show, which will feature a 150 feet steel structure, rotating bridges and a cylindrical video system of interlocking LED panels. That Bono – he does love building bridges. And in other big news, they’ll be accompanied by Mr Suave himself JAY-Z. Tickets for the rock’n’roll (and R&B) circus go on sale on Friday, September 3, with prices starting at $39.90 (hoorah for honest ticket prices). For full details of vendors and prices head to u2.com.

Cirque du Soleil

When you hear the word ‘twilight’ these days chances are your mind will conjure up an image of an angsty teen in a volatile relationship with a vampire. But it’s time to change your thinking patterns because One Movement For Music has just announced a special Twilight Festival. With naught a pair of vampire fangs in sight, the Twilight Festival will take over The Esplanade on Friday, October 8, from 5pm for a concert under the stars with some of music’s biggest names. And bringing the song will be Canadian songstress Sarah McLachlan, Court Yard Hounds (starring members of country superstars Dixie Chicks), Paul Kelly, Kate Miller-Heidke, Pink Martini, Lil’ Band O’ Gold, Mama Kin and Kadangyan.

To get the full rundown on all things One Movement, and to secure your tickets for the Twilight Festival, jump online to onemovementmusic.com.

HEAVY LIFTING

X-Press Cover: Children Collide play at the One Movement Music Festival on Saturday, October 9.

Salt cover: Tydi plays MOS Trance Nation on Friday, August 27 @ Rise.

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Get ready Perth because a brand new festival is about to hit our shores and it’s a doozy. The No Sleep Til Perth concert will invade Arena Joondalup on Sunday, December 12, with sets by some of heavy music’s biggest names. Headlining the festival will be thrash act Megadeth, who have promised to play Rust In Peace in its entirety.

Joining Megadeth will be punk rockers NOFX, Dropkick Murphys, Parkway Drive, Gwar, Alkaline Trio, Katatonia, Frenzal Rhomb, Me First And The Gimme Gimmes, 3 Inches Of Blood, Suicide Silence, August Burns Red, We Came As Romans, House Vs Hurricane, Break Even, Heroes For Hire, Confession, Antagonist Ad, The Outsiders, Shitripper and Leeches. Tickets for this massive festival go on sale on Thursday, September 9, from ticketmaster.com.au. Get some rest…

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HUNG OUT TO DRY Dear X-Press, Young and old alike are today looking for contemporary visionaries to lead Australia with pride, honesty and competence into the all-important 21st century. Saturday’s election amounts to a clear vote of no confidence by the public in either major Australian political party. Indeed, it is reasonable to conclude that neither of the candidates for PM in 2010 had the courage of their convictions to lead Australia in a new and positive direction.

Both leaders appeared to be highly scripted in nearly all public appearances in the five week political campaign, and were seemingly taking all advice from party room advisers whom always had their eyes focused on, media inflamed, minor political issues and public polling.

The fact that there has been a clear 5.4 per cent swing against Labor in the primary vote, may exhibit an overall willingness to unseat the current Labor government from power. The real question is; do Australians actually want Tony Abbott as their next PM? The answer is probably not.

Hopefully this historical election will prove how un-workable a hung parliament in Australia really is and over time will be the catalyst for a gradual return of visionary leaders back into Australian

Joe Cipriani

politics. I’ve heard whispers that Bob Hawke kept me ‘propped-up’, and Paul’s close mates Rowsty, Daley, Geoff, Pete and Paul T. And the may be making a return. wonderful crew at the Southern River Tavern.

Paul left strict instructions how to Kind Regards, finish his last CD, and we’ve also unearthed some Bag O Bones circa ‘76, ‘78.

Michael Many thanks also to all those in Bali Via Email and especially his favourite band there Crazy Horse.

R.I.P. PAUL Life is certainly not to be taken for granted, but the love you leave makes it a Dear X-Press, better place.

If you ever wondered if your words of With much appreciation, love and thanks, comfort, cards, flowers or thoughts made a difference let me tell you they surely do. I’d Peta Felton and Paul’s Family. like to take a moment to thank you all for so much generosity, love and support over the last few months.

All who came to Paul’s funeral and wake who made it such a memorable ‘sendoff’, truly a celebration of his life. Paul, I’m sure, loved it all, especially the motor bike escort.

Thanks to Joe and X-Press Magazine, ProCopy, Guitar Gods site, Bob Patient and the Blues Club, Charles Hotel, Wayne Curnow, Deany And The Jets and all their extended family, fans and friends for such a fantastic night at the Charles and Paul’s tribute roast night - another incredible night of music with all his fellow musos and friends.

SAY? EMAIL It’s been a very emotional time but GOT SOMETHING TO m.au we’ve also had some wonderful moments editor@xpressmag.co too. Thanks also to my close friends who’ve

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FIVE ELEMENTS

RUSSIAN RESURRECTION FILM FESTIVAL

Five Elements is a powerful, intoxicating cross cultural blend of music, percussion and dance, which includes a classic mix of South Indian Carnatic tradition, Western Jazz and Indigenous Australian Didjeridu. We have five double passes to giveaway for this truly powerful experience on Thursday, September 9, at The Perth Concert Hall. Don’t miss out on a breathtaking musical display!

Warm up with a vodka shot and a fur hat at the 7th annual Russian Resurrection Film Festival, which hits Perth on Wednesday, September 8.

We have ten double passes to giveaway for you and a friend to enjoy the many Russian films in this year’s festival. Get your entries in now!

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HOUSE OF PASTA The Other Guys

THE OTHER GUYS

We have ten double passes to giveaway to a preview screening of The Other Guys on Wednesday, September 1, at Event Cinemas Innaloo. This surprisingly hilarious action comedy stars Will Ferrell and Mark Wahlberg, who play two mismatched police detectives who have trouble getting along. Get your entries in to win a double pass!

The Disappearance Of Alice Creed

Distribution The Sorcerers Apprentice

CAB AUDITED CIRCULATION: 37,000 COPIES; OCTOBER 2009 - MARCH 2010

EDITORIAL

We have ten double passes to giveaway to a preview screening of The Sorcerer’s Apprentice on Wednesday, August 8, for lucky X-Press readers. This fabulous Walt Disney film is an epic comedy about a sorcerer and his apprentice who are swept into the centre of an ancient conflict between good and evil; to survive they must come together as one to stop the forces of darkness.This magical, fun and entertaining film is for the whole family to enjoy!

THE DISAPPEARANCE OF ALICE CREED

SMASH YOUR STEREOInto nail bitting films? The Disappearance Of ONELOVE their seat. With twist after twist, this suspenseful film is about two ex-cons who kidnap a young woman, Alice, and plan to make a large amount of money on her ransom. We have 15 double passes to giveaway to this gripping British thriller!

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THE SORCERER’S APPRENTICE

NICK SKITZ – SKITZ MIX 35 Alice Creed will keep anyone on the edge of Onelove returns to rock the disco with a We have five copies of Nick Skitz’ new album, Skitz Mix 35, to giveaway to all the dance fans out there. This is yet another promising album from the well known Australian artist, who promises that this release will blow your mind.

So get your entries in now!

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House Of Pasta are giving away the chance to win a lunch for you and five colleagues delivered to your office. House Of Pasta pride themselves on providing the healthiest choices in Italian food, with a wide selection ranging from pizza, pasta, fresh rolls, salads, risotto, deserts and many more. Available for takeaway, catering or a simple sit down meal. Get your entries in to win this fabulous prize!

REELANIME 2010

This September, Luna Cinemas and Madman present Reel Anime 2010, featuring five hand picked films of animation and visual splendour from Japan. Get your entries in to win one of five double passes for you and a friend to enjoy anime on the big screen!

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new speaker-shredding Smash Your Stereo compilation for 2010. This great three disc album includes mixes by Yolanda Be Cool, Denzal Park and Nervo, which are all waiting to be cranked. Get your entries to win one of three copies.

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TEEN SPIRIT

CHARITY ROCK

Attention all 30 somethings! If you are feeling nostalgic and hanker after a dose of ’90s grunge then head down to Come As You Are: Ultimate 90s Rock Tribute Night. The boys at The Civic Backroom are serving up a Seattle inspired extravaganza with five live bands – Hailmary, State Of Order, Gombo, Hostile Little Face, stoneF.U.L.L – playing songs by Nirvana, Pearl Jam, Faith No More, and many more ’90s legends. In-between acts, DJ Norm Vana will be serving up some pre-millennium rock from his wheels of steel. It all happens on Friday, September 10. Tickets are $10 available from the venue or on the door. Doors open 7.30 pm.

Local bands in Perth are taking to the stage next month to raise funds for those suffering from cerebral palsy. Jess LawDavis, who was born with cerebral palsy, is organising the event and has lined-up The Jade Diary, Pyramid Of The Coyote and Stone Circle to perform. The Charity Rock Fest will be held at The Newport Hotel in Fremantle on Sunday, November 14.

Pre-sale tickets are $15 and are available through heatseeker.com.au. Tickets will also be available on the door. If you cant make it along and wish to make a donation then head to wheeliebigchallenge.com.au.

SOUNDS OF THE SOUTH

If you can see yourself partying to the music of Klaxons, The Living End, Interpol, Joan Jett and The Black Hearts, Ladyhawke and many others at the 2011 Southbound Festival, then you’ll probably want to register for ticket pre-sales. Pre-sale tickets for Southbound, which is set to take over Sir Stewart Bovell Park in Busselton from Saturday, January 1, ’til Monday, January 3, become available on Monday, August 30, and to get your hands on some, all you have to do is register now at southboundfestival.com.au.

BLOOMIN’ MARVELOUS

Perth city will be given a floral makeover this September thanks to City In Bloom, a spin off of the Art In Bloom exhibition at the Art Gallery Of WA. Kicking off on Friday, September 17, and running ’til Sunday, September 19, City In Bloom will see local artists creating botanical installations around public sculptures and in retail spaces in the Perth CBD. Installations will be created in a range of locations such as the Perth Cultural Centre, the Esplanade Train Station Forecourt, Zekka, Dilettante, Myer, Lush, Pigeonhole and one40william. While you’re out and about exploring the City In Bloom creations, don’t forget to check out Art In Bloom as well, which features floral artworks created by 120 West Australians, and is on show at the Art Gallery.

For more information head to artgallery.wa.gov.au.

The Dirty Secrets

DIRTY DEEDS

The lads from The Dirty Secrets will hit the touring circuit this September to launch their brand spanking new single All Over The World. Featuring a blend of psychedelia with indie pop, All Over The World is set to go gangbusters when it’s launched at Amplifier on Saturday, September 11. To have an early listen, head to thedirtysecrets.com.

DOOM AND TUNE

OMMMMMMM

If you like wearing a kaftan or have a penchant for the spiritual and metaphysical, then head down to the Conscious Living Expo at Claremont Showgrounds Exhibition Centre. The exhibition showcases everything from Billie Dean’s The Magical Otherworld to Caiseal Mor - Magic, Inspiration And The Awesome Power Of The Imagination. The event will include seminars by best-selling metaphysical author Cassandra Eason, and all manner of other edifying shenanigans.

The Expo starts on Thursday, September 2, and runs to Sunday, September 5. Exhibition tickets start at $15 for a one-day pass. For more information visit consciousliving.net.au.

Harbingers of doom Nadja will be docking in Fremantle this October, flat-lining audiences with their dense mix of metal and doom.

The Canadian duo formed in 2005, with Leah Buckareff handling bass and vocals and Aiden Baker on guitar and piano. Canada has always been slightly left-field and Nadja don’t disappoint, talking the ghost of Boris Karloff and infusing it with droning riffs, macabre rhythms and tales of woe. Nadja are inspired by the likes of Godflesh, Swans and My Bloody Valentine. The apocalyptic Canadians will play Mojo’s Bar on Thursday, October 14, supported

by Craig Mcehlinney, Injured Ninja and Tangled Thoughts Of Leaving. Tickets are $25 on the door or $20 pre-sale from heatseeker.com.au.

Doors open 8pm.

Jebediah, past National Campus Band Competition winners

SCHOOL’S OUT

Student bands from all over Perth will lock horns at the National Campus Band Competition next month. The competition has been running for over 20 years and previous winners include Eskimo Joe, Jebediah and The Vasco Era. The WA semi finals will take place on Wednesday, September 8; Friday, September 10; and Saturday, September 11, at the Swan Basement in Fremantle. The winner of the State Final receives $500 cash, $1,500 voucher from Kosmic Sound and a spot in the National Final.

QUARRY, BE HAPPY

The folks behind Live At The Quarry have decided that their 2010 line-up, which already features Lisa Mitchell, John Williamson, Clare Bowditch, Mark Seymour and James Reyne, needs another act to top it all off, so they’ve booked Lior for a very special show on Wednesday, November 17. Taking place at the Quarry Amphitheatre in City Beach, the Live At The Quarry season will see big name acts take to the stage under the stars to enchant Perth audiences, kicking off on Wednesday, November 10, with a show by Lisa Mitchell. Since tickets for Mark Seymour and James Reyne’s concert on Thursday, January 27, have sold out, organisers have arranged for the lads to take to the stage again on Friday, January 28, with tickets on sale now from Ticketmaster. For the full rundown on what’s on and when, head to liveatthequarry.com.au.

Lior, playing Live At The Quarry

NU WAVE The Jezabels

SHE’S SO HARD

Indie popsters The Jezabels have been jangling away in Oceanic Studios in Sydney, putting the finishing touches to their latest EP Dark Storm. It is the final album in an EP trilogy (released on October 1) and follows The Man Is Dead and She’s So Hard. The east coasters will be bringing their mottled dresses and mufflers to Freo in September, playing Mojo’s Bar on Friday, September 24.

Pre-sale tickets are available from thejezabels.com or heatseeker.com.au. Doors open 8pm.

Attention all metal heads! Tickets for Perth’s Soundwave 2011 are now on-sale, with legendary head bangers Iron Maiden confirmed as the headline act. Touring off the back off their latest album The Final Frontier, the Maiden are dusting off their leather pants and burning up the road again. Supporting will be Queens Of The Stone Age, Slayer, Primus and the irrepressible Slash. The festival will include around 50 or so international acts, and with Maiden at the helm it is bound to be an adrenalin-fuelled metal extravaganza.

ONE VOICE

At last year ’s inaugural One Movement For Music Festival, organisers announced the inception of the Australian Indigenous Music Scholarship, an initiative designed to help Australian Indigenous artists reach their goals and career objectives. Focusing on career and skill development, the Scholarship provides artists with exposure and mentoring to help maximize their success in the music industry. The winner of the 2010 Scholarship will be given the opportunity to play at the One Movement Showcase Music Festival, and will receive development and mentoring sessions with music industry professionals, a recording session, plus a Sonicbids membership.

Applications for the 2010 Australian Indigenous Music Scholarship are now open, and artists are invited to apply online at sonicbids.com. To find out more about One Movement, head to onemovementmusic.com.

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Rob Schneider

ROBBED OF LAUGHS

Chico Mann

CASIO A GO GO

Dubbed as the “James Brown of the Casio”, Chico Mann is a musical time machine who merges the sounds of 1970s Afrobeat, 1980s freestyle and Afro Cuban music. Chico grew up in New York, where his father owned a Latin record label in Hell’s Kitchen. Ignoring his father’s advice to stay out of the music industry, he ploughed ahead, forging a successful career in Latin-electro fusion. And lucky us, he will play with his trio at The Bakery in Perth on Friday, September 24. Tickets are available pre-sale from heatseeker.com.au and on the door on the night.

You’ve seen him in Water Boy, Big Daddy and Deuce Bigalow, and this November, fans of Rob Schneider can catch him performing in the flesh at His Majesty’s Theatre. Known for his crazy characters that often pop up in Adam Sandler films, Schneider is an Emmynominated actor and comedian, who will embark on his first ever stand-up tour of Australia later this year. Hot on the heels of the release of his first comedy album, Registered Offender, Schneider will make his way to the land down under to tickle our funny bones Schneider style. Tickets for his Sunday, November 28, show go on sale at 9am on Thursday, September 2, from BOCS. 11

CHILDREN COLLIDE Deep Impact Melbourne-based rock outfit Children Collide has melded the scientific with the esoteric on recently released sophomore album Theory Of Everything - not that such an apparently schizoid blend is anything new for the band. As JENNIFER PETERSON-WARD learnt after catching up with frontman Johnny Mackay, ahead of their performance at the One Movement Music Festival on Saturday, October 9, with Children Collide a weird event or oddball moment is never too far-off.

J o h n n y M a c k a y i s n’t y o u r a v e r a g e 20-something Australian guy: he loves the new M.I.A album, is more likely to pick up a physics textbook than a trashy paperback when he’s after a light read, and isn’t afraid to proclaim his love for the fantastical: “I’ve never met a robot I didn’t like and I certainly wouldn’t apologise for that.”

It’s obvious that Mackay doesn’t take himself too seriously - and he doesn’t expect his listeners to either, a fine attitude to have when faced with the prospect of having to replicate the energy and success of their 2008 debut The Long Now. But as Mackay attests, success is very relative – and he simply isn’t interested in absolutes.

“Some people would say success is making their mum proud and other people would say success is making a million dollars, while other people would say success is fucking finding Jesus or some shit like that,” Mackay explains. “For some people it is and for other people it isn’t and I tend to flail around somewhere in the middle, so it wasn’t something I concerned myself with - I just wanted to make another record I liked.”

Indeed, with this confident follow-up, the talented trio effortlessly contradict all the music business’ superstitious mumbo jumbo about syndromes and slumps of the sophomore variety.

Working with producer Rob Schnapf (Beck, The Vines, Elliott Smith), and with one foot in LA and the other in Melbourne with Paul ‘Woody’ Annison (Cabins, Young Revelry), they’ve crafted an album crackling with energy and smarts, although Mackay attributes the record’s strength to simply having a solid back-catalogue of tunes rather than following a clear musical direction.

“We had 50-odd songs written, and because there wasn’t really a precise vision we had for the album or a message we were trying to force on listeners, we just culled that down to the 12 tracks we thought were right to put out

“WE HAD 50-ODD SONGS WRITTEN, AND BECAUSE THERE WASN’T REALLY A PRECISE VISION WE HAD FOR THE ALBUM OR A MESSAGE WE WERE TRYING TO FORCE ON LISTENERS, WE JUST CULLED THAT DOWN TO THE 12 TRACKS” at this point in time.”

Named after a piece of theoretical physics elucidating all the fundamental interactions of nature and the universe, the album’s title struck a chord with Mackay during a casual foray into scientific literature.

“It dawned on me that this theory really tied in everything - it suits the title of the last album and it sums up the sort of all-encompassing nature of music,” Mackay explains. “It’s a metaphor that can be applied to many different things on a global level and that’s how we feel about music – it’s a universal medium, so Theory Of Everything made sense.”

Despite their seemingly unruffled attitude, Mackay accentuates that the band were decidedly hands-on with the overall album concept and artwork, using tarot card illustrations created by Sydney-based artist Emily Hunt with each track correlating specifically to its own element of the tarot’s major arcana.

This isn’t to say listeners can expect a track-list abounding with wind chimes and laborious druid-robed harmonies, but Mackay hopes that listeners will draw their

Children Collide

own conclusions from the collection of songs, in much the same way a fortune teller ‘reads’ the cards - although the aesthetic direction did tempt the band to have their ‘cards’ read earlier this year.

“Mine warned me about taking on too many projects and burning myself out, while the other two guys basically just got told they’re going to be extremely rich and very famous,” Mackay laughs. “Not me though, I’m apparently not included on that whole rich and famous thing. I don’t know what that reveals - maybe they’re going to chuck me out of the band?”

For now, fans can be safe knowing the status of Children Collide is rock solid as they busy themselves preparing for a national tour (including a stop-over in Perth to take part in this year’s One Movement event) of epic tunes.

Speaking, of course, about careening single Jelly Legs, a run-away hit that has pushed

the band into the spotlight following extremely high rotation on triple j and community radio nationwide, Mackay describes the track as “a ‘you’re dead to me’ proclamation”, in which he envisages his former girlfriend “dying in a hunting accident with her grandfather”. (If you’re wondering how his ex feels about the song: “She’s heard it. We don’t speak anymore.”)

The tune has struck a chord with a plethora of listeners.

When queried as to what his future holds Mackay answers deftly without missing a beat: “I’m keen on working on a children’s pantomime – it would tell the tale of these little men who look like pineapples, but are actually aliens, who attack Dorothy the Dinosaur and then The Wiggles come and save her,” he concludes matter-of-factly, “The moral of the story would be: ‘Pineapples should be eaten but not trusted’.”

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DYING FETUS 13 Down

RTRFM RADIOTHON Ring Their Bell

Graeme Watson loves his job. And why shouldn’t he? He’s the general manager of RTRfm,Perth’s premier independent radio station. But the airwaves are not free, so the time has come ’round once again for RTR’s listenership to dig deep into their pockets and pony up the subscription dollars that keeps the legendary local station on the air. TRAVIS JOHNSON dials in.

Dying Fetus

Maryland’s finest tech-death metal trio, Dying Fetus, will be back in Perth again next month after making their Australian debut on the 2009 Summer Slaughter tour. Playing in support of Napalm Death on Wednesday, September 1, at Amplifier Bar, frontman Sean Beasley discusses why he believes the band have finally found their definitive line-up after 20 years.JESSICA WILLOUGHBY reports.

The number 13 holds unique significance for American death metal outfit Dying Fetus.

Although not as prolific as some of their musical contemporaries, this Maryland-based trio have become one of the cornerstones of the genre over more than two decades. Though, due to the sheer brutal regime the band prescribes itself to, these technical masterminds have not been without their casualties. Thirteen of them, in fact.

That is the figure of how many musicians these metallers spent before they reached, what they considered to be, the recent final solidification of their line-up. The irony of the unlucky number is not lost of frontman and bassist Sean Beasley.

“Yeah, we figured that out the other day,” he laughs. “It was a bit trippy, but obviously something that we didn’t plan. Though I can safely say that I think we have found our definitive lineup. It’s just taken a while to get there, that’s all.”

The rounding-off in the Dying Fetus camp Beasley is referring to is the addition of drummer Trey Williams in 2007. The sixth skinsman to join their ranks, Williams brought with him the ability for a heftier practice schedule – as a result

14

of living locally. A plus that allowed the band to venture into new and more streamlined territory on their latest, Descend Into Depravity (2009).

“We had a bit of a head start with this one,” Beasley explains. “It was made a lot easier because we did a lot of practicing too. We also laid down a click track, so we could just step up and go in the studio. Trey had been with us for a while beforehand, so that really helped. It actually feels like he’s been with us a lot longer than two years, which is a good thing.”

Recorded over a period of a month with Steve Wright from Wright Way Studios in Baltimore, their sixth studio album signalled a break from the band’s usual heavy involvement during the production process.

“God, the whole experience with Steve was completely different,” Beasley exclaims. “The biggest thing was that he did most of the mixing himself; he didn’t want us there. Every other release we’d always been there. It was actually a lot easier, because we’d come in with fresh ears to hear the product and he just knew what we wanted from the get-go.”

“Well, as always, it’s essential for our ongoing survival,” Watson begins of Radiothon. “It’s a fun 10 days where we encourage all our listeners to subscribe, to show their love for the station, to allow us to kick on, keep on doing what we’re doing, so we can put our energy into making great radio rather than constantly worrying about how we’re going to pay the bills from month to month. A big time; a big 10 days!”

That kind of connection with the audience is essential to RTR, not just financially, but creatively. Watson reflects: “I think for all radio you need a relationship with your listeners.

It’s about people. What I think RTR is particularly good at is that there’s always someone in the studio; we don’t pre-record things in the afternoon and set it on auto-pilot overnight, when the presenter’s actually gone home to bed.

There’s always someone in the studio, they’re always choosing records just as they feel; it’s real live radio.

“People always call up, and there are some real characters. People call the studio and tell us what they’re doing, and what’s happened lately in their lives. When people call up to subscribe, a lot of them, we know them! We talk to them all year long. I don’t think you can go to a commercial broadcaster and say ‘name a hundred people who listen to your station by name’.”

The strength of independent radio is in its uniqueness, something that the commercial stations can’t hope to match. “It’s becoming more important as big media become more impersonal. You know, half your radio’s coming from the eastern states half of the time. It is your community, the things you care about and the people you know. But also from a music point of view, there’s so much music out there now, and

RTRfm’s Peter Barr tunes his tonsils for Radiothon

there’s such a corporate big machine pushing certain music in the marketplace you just can’t escape. Even if you never listen to commercial radio, there are songs that get stuck in your head because they’re everywhere. And it’s not the best music in the world.

“I think what we have is a whole bunch of people who just love exploring and searching and finding the absolute cream from around the world,” Watson concludes. “People here at RTR, when they take their holidays they go to other countries to check out bands. They’re the people who are out at venues three, four nights a week at a minimum to see who’s up and coming.

To see all the bands in town, and follow them, and be waiting for that first time they record something so they can play it. It’s a great filter or aggregator of the best stuff.”

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15

CHRIS ABRAHAMS The Necks’ Big Thing mean, we book a studio for a set time and take Best-known for his work “Ia certain time to mix. There’s a definite restraint, I with The Necks, pianist guess. With this solo record - my last solo record, (2005) – I basically had unlimited time. I Chris Abrahams performs at Thrown had sessions in a recording studio, but the record Ellington in support of his was actually put together, conceived and finished a period of probably about two years. Or even new solo album, Play Scar, over longer, there’s stuff on there that dates back four There’s more time spent making my solo stuff next Wednesday, September years. with less time constraints.The Necks’ records are like 3. BOB GORDON talks up the a performance over two weeks, a solo record comes slowly and is a collection of a number of ivories with the man himself. together disparate things that fit together in much more Chris Abrahams is always a welcome presence in Perth, be it with The Necks or solo, but many may not have been aware of his last show at the Ellington, not so long ago.

“I played there in March with a trio I’m in called Roil,” he says of the outfit that also features bassist Mike Majkowsk and drummer James Waples.

“It’s a really nice place, a great room... and a beautiful piano.”

Makes all the difference, really. And it is to the Ellington that Abrahams will return in support of his new solo album, Play Scar. While The Necks may appear prolific, it’s not that hard for Abrahams to find the place where the music of the band ends and his solo music emerges.

“With The Necks we’ve always had a finite amount of time to make records,” he explains.

detail.”

Though it’s difficult for Abrahams to answer when the Play Scar era actually began, he says that some of his soundtrack work in the last five years has had an important influence in the way he made music for this album and how he will from this point on.

“I’d been doing a lot of soundtrack work and using the studio in the house I live in,” he says.“I think that informed a lot of Play Scar. Along the way I just started, for my own amusement, making tracks and experimenting with things. I’d get the piano tuned and record solo piano three or four hours a day for four or five days. Then maybe I’d pull out my Hammond and record that, three hours a day. There was no kind of real aim in sight, just to enjoy doing it. Play Scar probably started as a solo piano record, in terms of what it was going to or meant to be,

Chris Abrahams

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but I amassed a lot of stuff and Lawrence English (engineer and owner of the Room 40 label) wanted a track for a compilation and I gave him what became the last track on Play Scar. He liked it and said, ’you should do a full album’.

“That gave me some focus to turn all these hours and hours of different stuff into an album. There were some tracks I’d maybe done two years before, that I took back and just took apart and put back together in a different way, building a whole wall of percussion and guitar. It wasn’t like, ‘now I’m going to make an album’, go somewhere and record it and have a finite thing. This was ‘what can I use from what I’ve amassed over the last three or four years?’ (laughs). That’s kind of how I’d like to continue to work.”

“I THINK THERE’S AN EXPERIMENTAL EDGE TO WHAT I’M DOING BUT I ALSO THINK THERE’S QUITE AN EMOTIONAL EDGE.”

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Abrahams made 35 burns of the album, adjusting and taking notes with each one, before he felt it was complete.

“Even to get to that stage took a while,” he notes. “When it became a sort of ‘album’ I just worked on and on and on over it. Then one Saturday afternoon I got to burn #35 of the album and I listened to it and said, ‘yeah, it’s finished’. I haven’t really listened to it since. And I can’t really verbalise what it was about that last time I heard it that made me think it was finished, but I certainly knew it was enough. It wasn’t as though I was sick of it or anything, it was just that something in me went, ‘I can’t do any better than that’. It still seems mysterious, as to why I would feel so assured of that.”

Abrahams is in love with the mystery of music, which is probably why he can cast so deep and wide with every outing. Unlike many instrumentalists, he doesn’t feel music in a visual sense.

“I think there’s an experimental edge to what I’m doing but I also think there’s quite an emotional edge,” he says. “I like music to be expressive. I like to hear a human expression of something. Personally, I’m not really interested in the process of how it’s made; I’m very much interested in how it sounds.

“Whether I think visually about any of the tracks... that’s interesting. I don’t think so. I don’t really think of myself as a visual person. I’m quite narrative, I think. There’s a lot of melodic and compositional development on the album. That possibly goes against the experimental grain, but really it’s quite a synthesis of experimental noise aesthetic and a musical, melodic aesthetic on it. In the past I’ve been a bit wary of perhaps being too melodic, but I think on Play Scar I stopped being frightened.”

Abrahams has a near-lifelong relationship with the piano. Rather than becoming over familiar with his companion, or complacent. There are aspects of the instrument that still grip him like the first time he ever laid hands on one as a child.

“I’m interested in the piano for itself rather than it being some kind of portal for music,” he considers. “I’m still fascinated with the mechanism of the piano – that you press a button and through a series of leather straps a hammer hits a string. I’m interested in the mechanics of the piano and the actual look of the keyboard, the black and white patterning of it, for me, I think here was a great visual impact.

“I’m very much a person who plays the keys of the piano so that the hammers hit the strings in the way that the piano, as an instrument, has been designed. I like to treat the piano on its own terms.” www.xpressmag.com.au

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ROSS WILSON He Writes The Songs Australian music icon Ross Wilson hits WA this week in support of his new album, I Come In Peace, playing Wednesday, September 1, at Oceanus On The Beach in City Beach; Secret Harbour Golf Club on Thursday, September 2; and The Fly By Night Club on Friday, September 3. BOB GORDON reports.

While the rest of us have been stupefying by the day in a Federal Election soap opera, Ross Wilson has been in the lap of paradise.

As he picks up his phone Wilson is soaking up the serenity of Gili Trawangan, an island east of Bali and west of Lombok.

“It’s not bad,” he laughs. “I only had to think about that for a couple of minutes.

Mind you it’s hot here, I’m pretty damn sweaty.

And I was walking down the beach the other day and some local guys were having a strum.

I felt a bit of an itch to go over and join them.”

Never fear, Wilson will scratch his musical itch with shows in WA this week, touring in support of his new album, I Come In Peace. Some 40 years in the game, Wilson is still commanding attention with new material.

“Yeah I wouldn’t mind a few more reviews,” he qualifies, “but the ones we’ve had have been extremely positive. They all think it’s good and I like it... which is the main thing.

But we’ve been sharing it around and the final spot on the national tour is Perth.”

The leader of Daddy Cool and Mondo Rock has what you’d call a musical life rather than merely a music career. He writes

songs that end up on his albums rather than having to write songs for his albums.

“I write the songs so that they do reflect how I feel and what I believe,” he says, simply. “You just put them out and hope that people relate to it. And I think they are, the ones that have heard it.”

I Come In Peace was recorded in Nashville with Aussie ex-pat, Mark Moffitt, and a cool team of local sessioneers. Recording was done over two days and most songs nailed in two takes.

“One of the things about me, Ross Wilson, is that people have some kind of idea about who they think I am and what I’ve done and what I sound like,” says Wilson.

“That includes musicians, so I was finding that sometimes they were second-guessing what they thought I required. So I thought I’d go somewhere distant and a step up.

A progression. I mean, my recordings are progressions and I particularly want them to be going up, quality-wise.

“So Mark Moffitt got these guys who are touring when they aren’t in the studio and in the studio when they aren’t touring and

they didn’t have any idea who I was (laughs).

They would just get the songs and go in and play them, without any preconceived ideas about who I am or what I might want. I’m incredibly happy with the results. It’s still Ross Wilson, but it’s got a whole other kind of flavour to it. It’s untainted by preconceptions.”

It’s been a pleasure to hit the road with it to boot...

“It’s worked out great because the guys who I tour with, who are also excellent musicians – are playing really, really well because the standard of the album,” Wilson says. “Everybody’s lifting their game, including me.

“That’s the whole point, if you’re talking about careers, it’s the old ‘how do I improve?’. In music, the only way you can improve, is by playing with people who are either as good as you or better than you. You can learn something.”

It’s a salient point, given the heritage circuit that many, say, ’80s-era artists roll with in this country. Given that timeline, if Wilson had taken that approach, he would have been doing that in the ’80s.

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Ross Wilson

“Well people are under a lot of pressure, whether it’s from audiences or whoever about that,” he reflects. “I mean, I’m not silly, of course I play the songs I like from those different periods, whether it’s Daddy Cool or Mondo Rock. There’s some great songs that I will still play every night and enjoy doing that. But if you are an artist you want to keep on evolving.

“When I was young I wrote about certain things, now I’m older I want to write about different things. And you pick up stuff along the way and you want to use it. You can’t just rely on that old stuff all the time.

There’s a time and place for all of that, but I’m taking this album very seriously and I’m out there and touring it around there in every state. I want people to hear it.”

“ONE OF THE THINGS ABOUT ME, ROSS WILSON, IS THAT PEOPLE HAVE SOME KIND OF IDEA ABOUT WHO THEY THINK I AM AND WHAT I’VE DONE AND WHAT I SOUND LIKE… SO I THOUGHT I’D GO SOMEWHERE DISTANT AND A STEP UP.” As time passes though, things don’t have to be so black and white as they once were. Wilson still tours with Mondo Rock when the time and the chemistry is right.

“That’s right I do do some Mondo Rock gigs,” he says. “I love playing with that band, but I don’t want to play with them all the time. But it’s fun when we do. Mondo Rock is going to play with Roxy Music in February on the east coast and it’s gonna be a great gig.

It’ll be a fantastic double bill that kicks arse.

But on the other hand I’ve got my other life going where I keep on pushing forward. That’s where I want to be, that’s more satisfying.”

And this is why Ross Wilson’s songs stretch across time and change, whether it be Daddy Cool’s Eagle Rock or Mondo Rock’s Cool World. There’s more in them than you first thought because as he does now, he was pushing forward then.

“I’ve got a commercial ear, but it doesn’t mean that the song is trivial,” he says.

“I shape my songs so that they sound like pop songs but they actually might have extra meaning and a certain depth to them. They’re like miniatures; they don’t have a massive ending, or go on too long.

“I grew up listening to pop and rock and something like Daddy Cool was a reaction to something like the progressive rock scene, which I’d also been part of. But that was overblown and my thing was to be concise.

Have one idea in each song and get it over with pretty quick (laughs).”

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NAPALM DEATH Chemical Heart

Time Waits For No Slave, the celebrated 13th offering from UK extreme greats Napalm Death, sees the band venturing down a more personal path. JESSICA WILLOUGHBY talks to frontman Mark ‘Barney’ Greenway ahead of their first Perth date in three years on Wednesday, September 1, at Amplifier Bar, alongside Dying Fetus (US) and Death Vomit (Indonesia).

“I just think that if people can’t enjoy the simpler things in life, how are you going to deal with complex situations when they arise?” poses Napalm Death frontman Mark ‘Barney’ Greenway. “You know what I mean?”

The process of getting older and wiser for the vocalist behind the legendary Birmingham experimental grind fourpiece has ultimately been a tumultuous one. Not because the now 41-year-old has had a hard life per se. This particular man’s personal conviction and hardline course to standing by in-grained morals has led him to approach every aspect of his existence in a similar fashion. Unrelenting, unsatisfied and perpetually examining the limitations placed on him by the “sullied powers” that be, in his own words.

After spending more than half his

waking years cradled within the Napalm Death moniker, it is more than obvious the outfit has displayed the same merciless characteristics. A fact that Barney does not dispute.

“I think we led Napalm the right way,” he muses when asked to reflect on his time with the band. “We don’t allow any other person to influence what we do. Of course, there have been a couple of occasions we’ve conceded to. For example, the behaviour of Earache towards the end of our time with them. That was a mistake, in my opinion.

And I didn’t actually take part in the decision making process for that, it happened through those powers that be. I’m a realist, you know. I never run with the hype. We’ve always gotten mixed reviews; it’s just the nature of the beast.

People have pre-conceived notions about us.

That’s why it actually blows me away that, for

Napalm Death

the first time in our career, we are receiving 100 per cent positive feedback for our latest material. I can’t get my head around it.”

Time Waits For No Slave, the 14th instalment from Napalm Death, heralds a different era for the outspoken lyricist. One that sees Barney scrutinising himself, rather than the world around him.

“It’s a bit of a natural breach for me,” he explains. “Smear Campaign (2006) was about control in general and illusions of the freedom and the mind. Time Waits… is very similar, but more personalised. It’s about what you can do for yourself. Almost a selfish and conservative approach, on my behalf.

It’s about exploring yourself; a more simple concept. A lot of people don’t know how to discover themselves. Hell, I’m still learning about myself. Definitely not putting myself on a pedestal here. I’m guilty of being a hampster

and struggling to strip myself back. Life isn’t necessarily short, but it’s short in terms that I believe there is nothing after it. We go back to earth. So whilst I can, I want to make the most of life. Because there will be a time when I can’t do it anymore.”

Recorded in January last year at Parlour Studios in Kettering, UK, and Foel Studios in Wales with Russ Russell (Meathook Seed, Evile, Dimmu Borgir) sitting in the producer’s seat, Barney is the first to point out the decidedly “raw” feel their latest prescribes itself to. More to this, the release also sees the frontman analysing his skills as a songwriter.

“I know what it takes to get that organic sound,” he says. “And Russ is a man that understands that. I mean, he’ll let me run around the studio with a basic, low-level mic – screaming my vocals – instead of me standing there, all cued up. That’s just one technique we used on this album. Or we took all the mics, turned by the gain and held them up against the amps for backing ambience. I don’t want to get all cliché, but Russ is like a fifth member of the band because he just gets Napalm.

“I’M A REALIST, YOU KNOW. I NEVER RUN WITH THE HYPE. WE’VE ALWAYS GOTTEN MIXED REVIEWS; IT’S JUST THE NATURE OF THE BEAST. PEOPLE HAVE PRE-CONCEIVED NOTIONS ABOUT US. THAT’S WHY IT ACTUALLY BLOWS ME AWAY THAT, FOR THE FIRST TIME IN OUR CAREER, WE ARE RECEIVING 100 PER CENT POSITIVE FEEDBACK FOR OUR LATEST MATERIAL.” “It was actually quite hard for me to analyse what I have been doing as a writer.

Vocally, Michael Gira from the Swans has always been my biggest inspiration; I keep rattling on about him. It’s funny, because a lot of people brand us as just a metal band – but that’s the smallest description you could give Napalm. I love bands like Bloody Valentine, the Birthday Party and Sonic Youth. And I put all these influences on this album, but this time over the more chaotic parts. Which is something I’ve never done before. I had periods of self-doubt, but it came all together.”

But this has not been the only material Barney has lent himself to in recent times. Building a friendship with Perth-bred outfit Extortion after placing a show with them in 2007, he jumped at the chance to appear on their most recent offering, Loose Screws. “ They were fuck ing great, ” he exclaims. “When you play with so many bands you just become a little indifferent. But when I saw them, I was like ‘…Holy Shit, this band is savage’ (laughs). They capture a period of time in the ’80s that was really special for me, but I’m not going to call them a revisionist band. Hopefully they get the attention they deserve.”

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SATURDAY 6 NOVEMBER CHALLENGE STADIUM TICKETMASTER.COM.AU 136 100

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SEVENDUST Australia Calling One of the leaders of the early nu-metal charge at the turn of the century, Sevendust seemingly dropped off the face of the earth following their successful 2003 release Seasons. Seven years later, and Sevendust have just announced their involvement in the already massive first line-up for Soundwave 2011 on Monday, March 7, at Steel Blue Oval. GEORGE GREEN speaks with drummer Morgan Rose.

Did you ever wonder what happened to Sevendust? After making a steady rise in the nu-metal scene they seemed to vanish – simply gone. What’s weirder is that they never actually vanished at all. Following 2003’s Seasons, Sevendust released three more full-length records, only no-one seemed to care.

The band have been plagued by issues regarding their record companies, their finances and their line-up, as well as some pretty gruelling personal issues, but through adversity, have still managed to come out the other side and book themselves a tour that includes the likes of Iron Maiden and Slayer. Not bad for a band that everyone had forgotten about.

With their Australian return locked away, drummer Morgan Rose let X-Press know just how excited he is to be heading back to our country.

“You know, last time we were in Australia was with Ozzy [Osbourne],” Rose reflects. “I mean, it was great to be able to play in Australia, and obviously hang out with Ozzy, but it wasn’t a Sevendust crowd.

I know that the price of the tickets for a Sevendust crowd who might not want to see Ozzy was steep.”

Just like the last time Sevendust were in Australia, this time will again see them come as part of an already existing tour, only now Rose is confident that Sevendust fans will be more than willing to pay the hefty ticket price to see Sevendust, because there’s plenty more to see on the Soundwave line-up.

“How could anybody look at that line-up already and not be impressed,” Rose explains, with no argument from X-Press. “ That was one of the main reasons that

Sevendust

we were so eager to be a part of that tour, because not only is the line-up so strong, but it’s diverse. On a tour like Warped we wouldn’t exactly fit right in, but there’s so much diversity on Soundwave that this was the perfect reason for us to come back and see you guys.

“We’ve been out of the Australian spotlight for quite some time now, so what better way for us to reacquaint ourselves with those fans who were coming to see us all those years ago. We’re aware that if we were to come back to Australia and jump straight into headlining that we’d be pulling a hard trek. This is our chance to let our fans know that we love ’em, and we’re not going anywhere. And if you didn’t want to spend your hard earned money on coming to see us headline well we’re going to whack ourselves right in the middle of this amazing tour and

scream to our fans, ‘We’re back’.”

If this scribe had a dollar for every time a musician told him Australia was their favourite place to tour, then he’d have about $12. But there’s sincerity in Rose’s voice that solidifies his notion that he generally loves our country, and isn’t just trying to blow smoke up our collective arses.

“I’m sure I’m not in a minority when I say that Australia is my favourite place to play in the whole world,” he gushes. “I know it’s going to sound like that’s part of my interview spiel, but it’s a bold statement and it’s absolute truth. I mean, you wouldn’t fly 19 hours to play a place you didn’t love, right?

“I really hope that we can rekindle the relationship we had with the people in Australia in 2003 and 2004, because we had the times of our lives then, and we plan on spending a lot of time in Australia over the next few years.”

After reaching the highest point of their career with the release of Seasons, things came to a grinding halt for Sevendust.

Guitarist, and clearly pivotal member, Clint Lowery left the band mid-tour to pursue his other band Dark New Day, and things were just never the same.

To make matters worse, Sevendust ran into financial trouble with their newest record label, and things just weren’t going their way. Three more albums would follow Seasons, with practically none of them receiving any attention from their fans or the music industry in general. It wasn’t until the return of Lowery that things started looking up, and Sevendust could resume being, well, Sevendust.

“I REALLY HOPE THAT WE CAN REKINDLE THE RELATIONSHIP WE HAD WITH THE PEOPLE IN AUSTRALIA IN 2003 AND 2004, BECAUSE WE HAD THE TIMES OF OUR LIVES THEN, AND WE PLAN ON SPENDING A LOT OF TIME IN AUSTRALIA OVER THE NEXT FEW YEARS.” “ We did three records without Clint and we were just exhausted,” Rose explains. “We went through so many personal hardships with divorces, law-suits, arrests, people stealing from us and stuff like that, and when you add those to all of the usual industry bullshit it was just becoming a nightmare. We’re not talking about people stealing a couple of hundred bucks from us, we’re talking millions, and we just financially couldn’t do what we needed to do as a band.

“You know, we had a couple of offers to come back to Australia, but when your band is your business, you need to be able to tour, make money and pay your mortgage, and if you can’t afford to tour, then you don’t. It’s that simple. We started this band and would play anywhere for free, but when your circumstances change, and you have a house, or a wife, or kids, then playing on the other side of the world for free just isn’t a viable option.

“I am so glad we get to come back to Australia. Not just to see the country, but to make it up to our fans, and to prove ourselves yet again.”

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MUMFORD & SONS, LAURA MARLING & DHAROHAR PROJECT Self-Titled

KATIE UNDERWOOD Ain’t Nobody’s Baby Empire Records MGM

Third Roster Records

Before reality TV had hit its prime, the first series of Popstars brought together young singers together to form flash in the pan outfit Bardot. Of the five women in that group Katie Underwood appeared the most forthright and the rare member to maintain a profile post Bardot.

Previous Underwood solo efforts have targeted the dance floor but Ain’t Nobody’s Baby sees her return to her roots as a jazz artist. It’s a smart choice for the flame-haired singer to abandon recognition from the mainstream charts and focus on the more boutique genre. There are standards handled adequately in the form of I’m In The Mood For Love and Under My Skin as well as some Underwood originals, that would make for inoffensive dinner party music.

Underwood looks to turn Hallelujah into a jazz standard. Over recent years this poor song has been butchered by every man and his dog and now that Leonard Cohen is back playing shows there should be an embargo on touching his works. Underwood does the song and herself no favours.

Underwood may have a passable voice but she offers nothing remarkable to the tunes on Ain’t Nobody’s Baby. Sadly she was more believable as an artist when having the role of least glamorous member of a manufactured pop group.

Emerging from an English-Indian musical foreign exchange of superstar proportions comes the first star-studded nu-folk self-titled release from Mumford & Sons, Laura Marling and Dharohar Project.

Featuring collaborative recordings between Mumford, Marling and traditional Rajasthani folk collective Dharohar Project, the EP was laid down in Dehli following a tour through the region earlier this year.

The vocalists in question work effortlessly off each other, whilst the musicianship provided by Mumford’s ‘& Sons’ suffix is intricate and atmospheric, none more evident than on the stripped down bastard-pop of the first two songs.

Allowing his sweetheart to take centre stage, Marcus Mumford’s vocals rarely make an appearance on the EP, instead exercising his talents performing light guitar-plucked solos and his characteristic nuanced banjo-loops.

Mumford’s decision to step back proves to be wise, with Marling’s soft murmurs proving to be the perfect accompaniment to the howling Indian counterparts of Dharohar Project.

All in all, this collaboration certainly proves a worthwhile endeavour by the triad involved and, it’s safe to expect this isn’t the last we’ll hear from this distinguished new alliance.

_ CHRIS HAVERCROFT

_ JENNIFER PETERSON-WARD

UNCLE CRACKER Happy Hour Atlantic

LOSTBOY! Lostboy!

Riot Entertainment

Warner Music

Warner Music

Matthew Shafer started his foray into music playing decks for Kid Rock, but upon embarking on his solo project under the name Uncle Cracker he moved further and further away from his rap roots. The fourth Uncle Cracker album Happy Hour has Shafer mixing mainstream rock with country music.

Lead single Smile is instantly recognisable as the feel good soundtrack to TV commercials for hokey Australian melodrama Packed To The Rafters. Even when sharing a sweet little tune about love Uncle Cracker come across as too playful and smug.

The tale of losing his lover to a female friend - My Girlfriend is the kind of tune that you would expect if Katy Perry was to join forces with Fountains Of Wayne. It’s a harmless enough cheap gag that sounds like it could have been penned in his senior year of high school. On Me Again, Shafer teams up with Jesse Lee for a rare heartfelt effort but for the most part songs like I Hate California make Uncle Cracker country music’s answer to Wheatus Uncle Cracker do dumbed down country for teenagers.This Happy Hour comes with a free serving of cheese.

Jim Kerr is no stranger to the music industry with his band Simple Minds topping the charts on a regular basis in the ’80s.

Since then the band have soldiered on admirably, but are better remembered as a nostalgic night out than as a groundbreaking ongoing concern.

So after 15 albums Kerr has taken to releasing his first solo album under the name Lostboy!

The reasoning behind Kerr finally branching out on his own is said to have occurred as a result of the Scottish singer tapping into the passionate child that he used to be. It may be a new chapter for Kerr’s muse, but he is still operating from the same manuscript.

She Fell In Love With Silence and Shadowland have the shimmering guitars that were so successful for Kerr’s previous band, but they sound so outdated here. Lostboy! is stranded in an era long past and sadly it was never one that will go down as music’s better periods.

On his solo debut Kerr is shown to be a one trick pony. It may have been a good trick at the time, but a couple of decades on it doesn’t have the same drawing power. _CHRIS HAVERCROFT

_CHRIS HAVERCROFT

CLARE BOWDITCH & THE NEW SLANG Modern Day Addiction

GRETA BRADMAN Forest Of Dreams Sony Music

Capitol/EMI

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As its title suggests, Clare Bowditch’s fourth LP is an album concerned with modern preoccupations.

With a little help from her band The New Slang (a scaled-up version of previous outfit The Feeding Set), Bowditch uses the record to critique a melange of ‘21st century’ topics including body image obsession, love in the age of tech-based communication and the sexy-yet-scary fun of partying in the naughty noughties.

Unfortunately, however, there is another blaringly obvious contemporary anxiety which plagues Bowditch’s release - despite her popularity locally, so far Bowditch has yet to crack the international market, something she evidently hopes new album Modern Day Addiction will achieve.

The result is that, for the most part, these songs are too overproduced, scaled-up and precise to pass as legitimately emotional.

On Prinze Willy and Bigger Than The Money, the music and the melodies seem anaemic and undernourished compared to the full-blooded physicality of her vocals, a letdown considering both these tunes are well-crafted.

The kicker of it all is that Bowditch doesn’t need all this extravagance to cover up some hidden weakness – as she’s proven countless times throughout her 11 year career, she’s extremely good at writing heart-felt pop songs.

Disappointing.

The granddaughter of cricketing legend Sir Donald Bradman has put her psychology career on hold to focus on a singing career. The well respected soprano draws inspiration from her two children in creating a debut that is made up entirely of lullabies.

There is no doubting that Bradman can sing and that tunes like Brahm’s Weigenlied and Pan’s Labyrinth Lullaby are soothing enough, but lets face it, if you want to listen to music to put yourself to sleep, you’ll go out and buy a Thirsty Merc CD. _CHRIS HAVERCROFT

_ JENNIFER PETERSON-WARD 24

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SUPER WILD HORSES Fifteen

WORLD’S OR D’S END D PR PRESS SS www.myspace.com/ worldsendpress

Aarght! Records

While Joe Snow was standing around in the late nineties looking broody and sinister on stage in perennial Perth favourite Snowman, little sister Hayley McKee (now based in Melbourne) was taking notes, so that she could one day achieve garage band greatness.

Snowman had The Horse, The Rat & The Snow, now Hayley has the Horses (with partner/ Kalamunda High School pal Amy Franz), and they’re Super Wild. Recorded by Mikey Young (from Eddy Current Suppression Ring), SWH’s debut album is rousing, rickety and full of random, knockabout drumming.

The majority of Fifteen is comprised of short bursts of punk rock in the vein of Eddy Current, although every now and then the songs let themselves jam and jangle out a little (see: Goldentown). It’s pretty hard to go past the awesome riff in Mess Around, coupled with catchy, off kilter, semi-melodic vocals and no bullshit, Aussie-accented lyrics: ‘I’ve got a message for you/It goes ooh ooh ooh/What are ya gonna do?/When I go out at night’. These girls aren’t nasty though; Fifteen sees them mostly move on from the more shouty delivery of Enigma (You Say Go) and demonstrate a nice command of pop harmonies on tracks like Lock & Key. Just like Blondie socked some girl power to the male dominated New Wave scene back in the ‘70s, SWH have proved themselves on an equal playing field with male garage punk contemporaries Eddy Current and the UV Race.

Boasting influences as diverse as Lou Reed, Steve Reich, Underworld and Sun Ra, World’s End Press are not your average dance-pop band.

Effortlessly light on its feet, debut EP Only The Brave harks back to a time when a wellplaced bass or keyboard line was enough to get people moving.

Playing like the bastard sons of Bowie, Byrne and Eno, World’s End Press have crafted a slew of terrific buzzy dance-space jams, and, not surprisingly, have quickly developed a reputation for their thumpingly high-energy live shows, selling out all of their gigs in their hometown of Melbourne this year.

The band’s strength is based on the two essential components of any solid dance band - an excellent rhythm section and enigmatic frontman in John Parkinson, who pays homage to his ’80s disco influence through stylish delivery and witty lyrics.

A well-known secret on the East Coast, WA audiences will have to wait until Southbound ‘11 to catch the talented outfit live - in the meantime you can download a slew of their fun tunes from their MySpace page.

Key Tracks: Only The Brave and Golden Child _JENNIFER PETERSON-WARD

_DANIELLE MARSLAND

SCOTT SPARK Fail Like You Mean it

CATFISH Unlimited Address

Other Tongues

From the cover of his debut album, Fail Like You Mean It, Scott Spark looks like a cross between Brian Fallon and Jason Donovan. While that is a mouth watering prospect, it doesn’t take more than a few moments to realise that it is not a fair reflection on the type of music that he creates.

The Brisbane native who is most comfortable behind a piano (it’s one of the instruments he hasn’t been shot at while playing) has an ear for melody and a playful attitude that separates him from most artists who land themselves behind the keys. The album begins with some up tempo moments like The Truth.

When peddling this saccharine pop of the highest order Spark could be indie-pops answer to George Michael.

After the promising start, Sparks goes into his shell during some lacklustre ballads. By gathering the cream of the Queensland scene including members of Regurgitator, Washington and The Go-Betweens, Spark ensures his tunes are still above par, but it appears he is not playing to his strengths.

It is when he is at his most throw-away that he excels. Sparks may have been better served to continue down this path and heed his own warning to fail like you mean it.

donwalker.com.au

When Cold Chisel broke up in 1983 Don Walker considered chucking music in for good. In 10 short years he’d redefined Australia’s aural landscape with a batch of anthems still ubiquitous on today’s airwaves – Flame Trees, Saturday Night, Khe Sanh and Cheap Wine, amongst others. What was left to achieve? After five years wandering and pondering, Walker would finally return with a new name and sound in 1989. Catfish’s debut Unlimited Address was a bold statement; funk infused gypsy melodies tossed amongst Walker’s well worn folk rock.

Much lauded, it would quickly disappear into history. Now, in 2010 it surfaces again, along with Catfish’s straightshooter 1991’s follow-up Ruby.

CLASSIC ALBUMS LIVE PRESENTS

Key Track: Pre-War Blues _ JULIAN TOMPKIN

_ CHRIS HAVERCROFT

CLUTCH Live At The 9:30 Weathermaker/Shock

It seems like everybody’s obsessed with Clutch.

By everybody, I mean, a whole host of respectable rock fans have nothing but relentless praise for the band. For those of us who might not have received the original memo, this smart double-disk digipak is as good a place as any to start.

Featuring two full-length DVDs, this release consists of a live show and a 90- minute documentary of the band on tour in the United States and Canada. Both disks are certainly worth your time, and although the doco drags on a little, it highlights in great detail what the band’s fans appreciate about them.

On first view it’s easy to miss Clutch’s complexity.Clad in t-shirts and jeans,their focus as a live band is 100% music, zero percent bullshit.Their image as hard-workin’ men of rock’n’roll certainly appears entirely genuine, and the more one listens, the more one appreciates the deceptively understated cerebral passion that underlines their ostensibly imposing redneck groove.

Fans, of course, are going to go ballistic over this, and the live disk features a performance of the band’s self-titled album from 1995 in addition to indispensable material such as 50,000 Unstoppable Watts. Bullshit tight and endlessly complex, put this on through a big entertainment system, and listen to it again and again. _ BEN WATSON

From winsome glances over champagne flutes to a restaurant torn up by automatic gunfire. From cigarette smoke curling softly into the perfumed air to SUVs careening down the streets of Paris, narrowly missing pedestrians but sideswiping the obligatory outdoor café furniture or fruit cart.

Depending on your cinematic tastes you’ll get two very different views of France this week on DVD. Coco Chanel & Igor Stravinsky tells the story of the love affair between the iconic fashion designer and the composer of The Rite Of Spring in the early 20th century. Chanel is the only one who believes in Stravinsky’s radical take on classical music, and when they meet again seven years later she’s transformed her vision into a revolution in women’s’ fashion. With Stravinsky broke and failed, Chanel finds might be his salvation.

In From Paris With Love, diplomat and wannabe spy Reece (Jonathan Rhys Myers) gets his unlikely salvation in the form of the loud, obnoxious American government assassin (John Travolta). Charlie shoots first and asks questions later, and Reece hardly has time to ask what’s going on before they’re racing from one end of Paris to another unleashing hell at the wheel and the barrel of a gun.

Scripted and produced by Luc Besson, you know there’ll be no poncy classical music or fashion shows… unless someone drives a Bradley vehicle through the middle of one in a car chase.

From Paris With Love - Sony La Horde - Hopscotch Coco Chanel & Igor Stravinksy - Madman A Prophet - Sony _DREW TURNEY

Australia’s highest circulating Street Press

Ten of Australia’s finest and most respected musicians perform the Dire Straits classic in full LIVE ON STAGE followed by a set of their greatest hits including Sultans of Swing, Romeo & Juliet, Tunnel of Love and Going Home.

Featuring Rex Goh, Phil Emmanuel and Stuart French on guitar BURSWOOD THEATRE SATURDAY 6 NOVEMBER, 8PM

BOOK NOW 132 849 OR TICKETEK.COM.AU VIP, Dining & Hotel Packages 1300 4 SHOWS or showbiz.com.au

ClassicAlbumsLive.com.au 25

SATURDAY @ EVE

AMBA AR R @ CAPITOL DEATH DISCO SATURDAY

NEW

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past 25 years excavating record bins finding gems to pierce ears Bird – Fame - DJ Nic Elliot / DJ with. Some of the most respected Lenny Aka Wisdom names in the game, including Broken Hill Hotel – Fixed Shady Records, Diamond D, Dr. Clancy’s (Canning Bridge) - DJ Dre, Capitol Records, Pete Rock, Righteous and Lord Finesse have sought Club Bayview –Hush- Sox Draw / their record knowledge and Maxwell digging services. Catch Kon at the Club Marakesh –DJ Simon Manor tonight. Tickets $20 from Cottesloe Hotel - DJ Shots / DJ Planet Video, Mills, Highs & Lows Andy M and www.heatseeker.com.au.

Deville’s - John Madds Rock N Roll Karaoke EAST END BAR GRAZ Sydney Dolce – Maxwell/Damian John/ Superstar DJ Graz, who also Hippo Club moonlights as awesome Eve –DJ Tony Allen sunglasses designer (and was Flying Scotsman (Main Room) - voted Harpers Bazaar’s Best Pasha’s Kitchen – The Big Man Dressed Man!) will be in town for Flying Scotsman (Defectors) - one night only to play King Tito’s DJ Moogy Dirty Disco. Graz is one of the Flying Scotsman (Velvet hottest names circling the global Lounge) – Dr Preposterous / fashion and music elite. His ability Kwachala /The Dark Woods / DJ to mix and match music from Screech every genre and era and adapt to Geisha – Aperture - Dan Da Silva/ any room, has seen Graz become Nik Nak/Frankie Buttons the music talent for brands such Kulcha – Wildstyle DJs as Blackberry, Armani, Channel Liquid Nightclub – DJ Buda / Dj V, as well as being selected to Nino Brown be Music Director for Australian Manhattans – Ylem/ Hykus / Fashion Week. Catch him for one Saxon & Tifa / Kamashe night only, DJing in Perth tonight!

Mustang – DJ James MacArthur The night will also feature a live set Niche Bar – Flaunt / Johnni P / from indie darlings The Harlequin Feminem League, sax laden disco from Newport – Ren’ee The DJ / Bastians Happy Flight (Fkn Midas) Extended Play DJs plus DJs Mr Sparkles, Lightsteed, Niche - Johnni P/ Rob Blandford Friend, Joe Macc, Grubby Gorilla, Paddy Hannans – Dr Bogus / Cooker, Buda, Azwon, and of Crazy Craig course, Perthquakers Will and Swinging Pig – DJ Simon The Deen – DJ Flex/ DJ Nano/ DJ Toby. Tickets at the door, with the chance to win a double to Parklife!

Serge/ DJ Don Migi The East End - DJ Midfield MOJOS LOOPADELIA The The Queens – Kapitol P Community and Flowlab The Whistling Kite - DJ Gareth join forces again to present The Shed – DJ Andyy Toucan Club -Shut Up & Dance - Loopadelia, a night of emerging musical styles and hybrids of DJ Matty J / Darren Nixx music evolving in our hood.

Woodvale Tavern – DJ Melvin Naik is bringing his renowned live psych hop set to Mojos with FRIDAY 27/8 heavy hitter drummer, Steppa.

MANOR KON & AMIR Revered Diger Rokwell is also bringing his as two of the most extraordinary tripped out world morphsounds beat diggers in the game, Kon live set to the area with Toasted and Amir are legends of hip Manning. Mathas will be laying hop, long forgotten musicians lyrical metaphors and quasi who, only now, are getting their sacrastic political commentary proper dues with appreciative to self produced beats. Cartoon audiences being turned on to Hell, Nick Sweepah and YLEM some amazing music via their join forces to bring their unique Off Track series. Kon and Amir step hop sound. Maxy Bills will first met at Boston’s Biscuithead be returning from his Asian rock Records in 1996 while shopping climbing pilgrimage to drop for breaks, and having spent the assorted dub and instrumental

THURSDAY 26/8

beat. DJ Silence will be spinning the best in hip hop from around Planet Rock. Expect to hear the best locally produced beats in the cosmos! $10 entry from 8pm.

THE BIRD [R][H][Y][T][H][M] [A][T][I][S][M] A night of far out beats from the back of beyond, Rythmatism will showcase future music from the past and the present, with the {move} selectors determining just exactly what kind of music that means! Ben M, Ben Taaffe and Dr J on the decks, with the first 50 people through the door treated to a free mix CD from ex-Perth experimental beatmaster Wooshie. Free entry.

Ambar – Les Coombs Amplifier – Against The Tides CD Launch /Born Into Suffering /In League /Saviour /Jamie Mac / DJ Shannon Fox Bar 120 - Treat - The Fix / DJs Anton Maz / Wombat / Maz1 Bar 138 – Lokal Bar Open –Blink Night Bayswater Hotel –Beat Off! ShockOne/The Pearly Whites Bird – Move Presents Rythmatism - Ben Taaffe / Ben M Broken Hill Tavern – DJ Nick Alexander Capitol –Retro Mash – Lady Penelope Clancy’s (Canning Bridge) - DJ Boogie Como Hotel – DJ Gazz Deville’s - Barking Frank Valentine / The Jean Genies /Mondo Inferno DJs Double Lucky – DJ Adam Kelly / Cee / DJ Kid Deep / James A Eve – DJ Don Migi / Skooby Flying Scotsman (Velvet Lounge) – The Dark Woods / Kwachala / Dr Preposterous / DJ Screech Flying Scotsman (Main Room) – Time Tunnel - DJ Rok Riley/ Joe 19 Flying Scotsman (Defectors) – Micah / Sharif Galal Geisha – Plush – Frankie Button/ Tizer High Wycombe – Fill In Da Gap Hipe Club - DJ E-Funk Leederville Hotel – Funk Club Afrodisia Library –Birthday Celebrations Scott D / N. Cision (Mel) /Mickey Juice Liquid Nightclub - DJ Klar55 / DJ Jewel / DJ Stevie M

Lakers Tavern – Fresh Fridays - DJ Dooey Manor – Kon / Amir / Charlie Bucket / Ben M Manhattans – Gasoline / Demi Monde / That Velvet Echo Merrina Tavern – DJ Real McCoy Mojos – Naik / Diger Rokwel / Mathas / Cartoon Hell / Maxy Bills / DJ Silence Mint – Club Retro – Chris McPhee Mustang- Swing DJ / DJ James MacArthur Newport – Culture Clash - DJ Andrei Mazz/Jerrem Lynch Norma Jeans – DJ Darren Oxford Hotel – DJ Sequeria Paddy Hannans – Just Ace / Crazy Craig Paramount –DJ Morgan / DJ Jordan / Grand Theft Audio / Milhouse / Flyte /Hi-NRG /J Babies /Barcode /Blue Gene /The Silver Scene /Daren Reid /Village Kid / Inferno DJS Principal Micro Brewery – DJ Simon Queens Tav – DJ Rueben Rise – Ministry of Sound Trance Nation Tour - TyDi / MaRLo / Avesta / Simon Barwood / Steven Tranzor Rubix – Gene Bourne/ Kenny/ Riki Sail & Anchor - DJ Anaru Sapphire Bar – SuperFly Shape – The Cube – ShockOne/ Phetsta/Rregula/Bad Weather/ Greg Packer Swan Basement – BASSment Feat- Omikron / Switch Cutter / Aztec Presit Hood The Clink – DJ Jinx The Deen – DJs Birdie / Tony Allen / JJ / Tony Don Migi The Eastern – DJ Midfield The Saint - DJ Jordan The Queens – DJ Rueben The Shed – DJ Glenn 20 Tiger Lils – Paul Malone / Joby / Alex K The Vic - DJ Durra Toucan Club -Ladies Night - DJ Misscheif Uniting Church Hall – TGIF Dance - DJ Geoff Windsor – Dj Riki and Ray Woodvale Tavern – Dr Bogus Victoria Park Hotel – DJ Melvin

SATURDAY 28/8 BAR OPEN (UPSTAIRS) FILTHY GORGEOUS Two weeks after Melbourne Mashup Monster Dixie blew the place apart, Filthy

MANHATTANS UNSTOPPABLE GLUE is a jam for all the fellas trying to do what those ladies tell ya - so don’t just stand there, bust some glue. Playing records tonight will be FKN MIDAS, Tom Fom plus special guest Grubby from King Titos. Expect funk directions and regular good time tunes from the boys in glue. Entry is free from 7.30pm.

DEVILLES SATANIC SOUL Put on your dancing shoes and get down and funky as Deville’s Pad presents Satanic Soul, featuring the soulful funkiness of Odette Mercy and her Soul Atomics live on stage, rip roaring tunes for you all, plus Little Franco Berry and Microgroove spin soul, funk and disco all night long, plus live cabaret and go go dancing from Les Sataniques. Doors open 6pm, $10 after 8pm.

Ambar – Japan 4 – Tom Drummond / Oli / Marty McFly / Micah Amplifier – Pure Pop - Eddie Electric Bar Open (Downstairs)- Open House Bar Open (upstairs) –Filthy Gorgeous - Travis Lebrun / Nathan Francis / Sketchism /Jackness /Jay Vicente /Pascal /dMo Basement On Broadway – DJ Ricky Bird- Rex Monsoon Broken Hill Tavern – DJ Nick Alexander Capitol (Upstairs) – Cream Of The 80s – DJ Ryan Capitol (Downstairs) - Death Disco DJs Captain Stirling - DJ Dano Clancy’s (Canning Bridge) - DJ Dood Clancy’s (Freo) - The Morning Night / Ryan Webb & The Method Civic Hotel (The Den) - Screech / U-Wish /Minky G

Clink- DJ Cheese Club Bay View – VIP Saturdays – DJ Ryan Connections – Michy T / JJ / Brian Crush – Volume Deville’s - Odette Mercy & Her Soul Atomics / DJ Little Franco Berry /Microgroove Double Lucky – DJ Saxon / Dj Sardi Dusk – New Gen 3rd Birthday Bash- Fusion /Skinny /Rowdy / Duane /Dash /Motion /Wiggz Eurobar – Roger Smart/ DJ Raci Eve – Eve DJS Flying Scotsman (Defectors) – Luke P / Rohan Smith / Marko La Kucha / De|Mech Flying Scotsman (Main Room) – Transmission – Andrei Mazz Flying Scotsman (Velvet Lounge) – Greene George / DJ Gibby / Hatchet / Turnin Trix / Iller Insinct Geisha – Joie –James A / Cam Duff High Wycombe – DJ Matt Hipe Club - DJ E-Funk Indi Bar – Direct Influence Leederville - DJ Loco Ren Library – DJ Jimmy Phatz / DJ Victor /DJ Gareth Richardson Liquid Nightclub - DJ Klar55 / DJ Stevie M Llama Bar – VJ Zoo/ DJ Rueben/ DJ Tony Lopez Manhattans – Unstoppable Glue - FKN MIDAS / Tom Fom / Grubby Mint – Pop Life - Darren Briais Metro City –DJ Slick / Matty S / Angry Buda Metro City (R&B Lounge) – Ruthless / Brett Costello / Kyte Metro Freo - Lady Penelope Mullaloo Beach Hotel – DJ Danny Mustang – DJ Rockabilly / DJ James MacArthur Niche – Frankie Button / Cee / Jonny Zimber Norma Jeans – DJ Phil Onyx - DJ Kayper Oxford Hotel – DJ Sequeria Paramount –DJ Meezy / DJ Jordan Queens Tav - Gareth Richardson Rise – Resonate – ShockOne / Muller / Xsessiv / Xander / DJ Vu / Pacemaker / D.Y.P / ST-1 Rosemount - RTR Radiothon Closing PartyHarlequin League/ The Tigers /Will Stoker

SATURDAY

THURSDAY

Ghost Hotel

Marco & The Rhythm Kings, Blazing Entrails with Rockabilly DJ, The Damien Cripps Band & DJ James MacArthur

Andrew Ewing, The JaycoBrothers, & DJ James MacArthur

SUNDAY

FRIDAY

Marco & The Rhythm Kings

Adam Hall & The Velvet Playboys with Swing DJ Cheeky Monkeys with DJ James MacArthur TUESDAY

Danza Loca Salsa night

DJ and live percussionists 42

Gorgeous is back with Perth’s very own Travis Lebrun ready to make his mark on Perth’s hottest night.

Travis is known to bring the filthy beats to the dancefloor – he’ll take you on an electro journey like no other. Also bangin’ on the bill is Nathan Francis, Sketchism, Jackness, Jay Vicente, Pascal and dMo. $10 on the door with $10 cheap cocktails. Doors open 9pm.

with DJ Rockin Rhys WEDNESDAY

Just Ace

with DJ Giles STUDENT & BACKPACKER NIGHT

$5 BBQ & drink deal from 6pm www.xpressmag.com.au

BECOMING

HOCKNEY Life through the lens with Amy Vinicombe

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27

PERTH PORTRAITS

The Perth Centre For Photography will be buzzing this Friday, August 27, thanks to the opening night of the IRIS Awards, a photography competition based right here in Perth. Recognising excellence in photo-based portraiture, this year’s edition of the IRIS Awards will feature 31 finalists who will vie for three fantastic prizes. Photography fans are invited to mosey on down to PCP this Friday from 6pm to be a part of the action. The PCP is located at 91 Brisbane Street in Northbridge and works from the 2010 edition of the IRIS Awards will be on display ’til Sunday, September 19.

Unwrapped

ALL WRAPPED UP

The brains behind Unwrapped will join forces with the Perth Fashion Festival this September for a designer market to rival all others. Taking place outdoors in the Perth Cultural Centre on Sunday, September 12, the market will allow local designers and artists to showcase and sell their creations direct to the public. With over 50 stalls, the market will offer up art, fashion, jewellery, photography, home wares and much more, by designers such as David &/or Billy, Foal, PinchAndSpoon, My Girl Gwendoline and A=mc2. To get a taste for the goods that will be available at Unwrapped, shoppers can hop online to the Unwrapped EBoutique at unwrapped. com.au.

TRANSIT TRANCE

Oyster by Angela Tarlinton

Lisa Mitchell

COIN LAUNDRY AT THE QUARRY

Throughout November, December and January, some of Australia’s biggest musical acts will make their way to WA to share their craft at Live At The Quarry. Located in City Beach, the Quarry Amphitheatre is a fantastic setting in which to enjoy live music, and this year, the venue will play host to acts such as Lisa Mitchell, John Williamson, Clare Bowditch & The New Slang plus Mark Seymour and James Reyne.

Kicking off on Wednesday, November 10, with a performance by Lisa Mitchell, the Live At The Quarry 2010/2011 season is set to be a sellout, so don’t delay, get your tickets now from Ticketmaster. For info on Live At The Quarry, head to liveatthequarry.com.au.

Every day thousands of commuters pass through the Wellington Street Bus Terminal, often with headphones in ears and eyes firmly fixed on the ground.The folks from Foodchain want to rectify this state of disconnection and will do so by transforming two empty shop spaces within the terminal into installations spaces for young, West Australian artists. In Transit provides a space for emerging artists to exhibit their work, while enlivening empty stores located inside the terminal. Every two weeks video and new media works from artists aged under 35 will screen from 6am ’til 11.30pm, providing commuters with unexpected entertainment.

If you’re a video or new media artist wanting to share your work, the folks from Foodchain would love to hear from you. Visit foodchainperth.com/intransit to read more about the project and to download an expression of interest form.

THE REEL DEAL

If you love anime, chances are you’ll fall head over heels for Reel Anime 2010, a showcase of five of the latest anime films direct from Japan. From Thursday, September 16, ’til Wednesday, September 29, Reel Anime will take over Luna Leederville for screenings of Summer Wars, King Of Thorn, Redline, Evangelion: 1.0 You Are [Not} Alone and Evangelion: 2.0 You Can [Not] Advance. Anime diehards will pocket a collectable edition of the Japanese Summer Wars poster when purchasing a multipass for the festival from lunapalace.com.au.

Reel Anime

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MISINTERPROTATO Gently Does It

Misinterprotato

Misinterprotato will launch their fourth album, The Gentle War, at The Ellington Jazz Club on Sunday, August 29, at 5.30pm. Tickets are available through ellingtonjazz.com.au, or by calling (08) 9228 1088.

Pianist Sean Foren is your all round nice guy.

On the phone from Queensland, he assures me that he has all the time in the world to talk, as he launches into a description of where his band, Misinterprotato, are at after recording their fourth album, The Gentle War. “This fourth album really explores what we set up in the third [album],” Foren explains.“We had a big change when we made the third in 2007, and after a good few years of gigs we really began to clarify, or hone, our sound.”

The result of this clarification was The Gentle War, a refined take on contemporary jazz.

Although polished, the album retains a sense of honesty, leaving the bravado of showy solos and meaningless complexity at the door. It is music that is approachable to anyone, with a refreshingly open musicality and a keen sense of individuality.

This unique approach to music making challenges many of the regular conventions associated with jazz music. “We like that concept of things being tight,” says Foren. “We make [our music] something that is accessible, with a real structure and flow”. Their smooth, distinctive sound has been recognised as boldly individual, cementing their place as a band with a truly innovative approach to music making.

Misinterprotato are no strangers to the

Australian music scene. Comprising of Sean Foran (piano), John Parker (drums) and Pat Marchisella (acoustic bass) the band originally formed whilst studying at Queensland conservatorium, and have spent many years writing, gigging, and playing together. “We’ve been playing together for ten years now… it’s that situation where you know what each other is going to play, it’s very organic.”

This tight bond between the players is evident in their music: each part is crucial and individual in its own right, yet fits together with a naturally and homogenously.

This said, Foren is the first to recognise how difficult it is to break the mainstream market as a jazz artist. “It’s really hard… It’s definitely interesting, and challenging, for us. We want to make sure that the audience has a good time.”

With the release of their fourth album, Misinterprotato have certainly achieved this.

Recorded in Tallebudgera, Queensland, and then mixed in Minneapolis by Brent Sigmeth, this is a band with their finger on the pulse of what it means to be a contemporary jazz artist. Their music is innovative, approachable, and above all, something that people from all walks of life can relate to.

For Sean Foren, creating music that anyone can enjoy is what it is all about. “We aim to create an experience for people, something that they can have a real emotive reaction to.”

Misinteprotato are smooth, tight, and above all accessible to anyone with a love of music. _LEAH BLANKENDAAL

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29

TAIKA WAITITI Boy

SECRETLY SINGLE

Actor/director/writer/what-have-you Taika Waititi is in a playful mood when he takes our phone call, trying to convince us that we’re pronouncing his name wrong (for the record, it’s Tie-ka, not Teeah-ka, no matter what he tells you).He has every right to be happy; his film Boy, having smashed New Zealand box office records, is making its way to Australia, where word of mouth has already guaranteed it’ll reach a wide audience, and Waititi himself is garnering a lot of praise not only for his behind the scenes work, but also for his winning turn as Alamein, the title character’s errant father.

The film is a very personal story, and Waititi drew on his experiences growing up in rural New Zealand in the ’80s.

“Well, they say write what you know,” he muses. “And I wanted to do a film about kids growing up, particularly in the ’80s, and that happens to be my area of expertise when it comes to childhood experiences. So when I was writing it, I was like, okay I have memories of walking along this bridge, and going past this paddock, and memories of going to that school and stuff. So it was personal, but I guess it was a mix of autobiographical locations and settings mixed with fictional storylines and plot devices.

And also, my real life isn’t nearly as interesting as what was onscreen; you’ve gotta make stuff that’s entertaining as well, so what better way than to have a character like the dad, who comes in to shake up this boy’s world. And that’s where I had a lot of fun; creating characters like that, larger than life characters that do crazy stuff.”

Boy, dealing as it does with themes of poverty and abandonment, straddles the

Lisa, Baz and Sam from 92.9 held a special No Secrets Singles Party last Friday at Eve, to help their listeners find love. Over 200 singles rocked up to event and were entertained throughout the evening by pop duo Scarlett Belle.

Photographs by Matt Jelonek

Taika Waititi (far right) on the set of Boy

line between comedy and drama, a precarious position that was difficult to get right. Waititi insists it was an issue that required work right up until the final cut. “It took a long time. There was a balancing act, with getting enough comedy into the film without making it too stupid, and enough drama without making it too depressing.

I think we worked it all out mainly in the editing in the end.That’s where we found the right balance.”

Much of that balance depends wholly on the performance of James Rollestone as the eponymous character. Rollestone had never acted before, and indeed he was not Waititi’s original choice. “Before we met James we’d cast another kid about nine months before, and by

the time it came to shooting the film, he’d crossed over into adolescence and he was just too old basically to play the part. I needed an 11 year old kid and this boy started to feel like a 13 year old.

He looked like he could look after himself pretty well, and we needed a character who you felt a little bit scared for at times,‘cause he was so small.

So we met James, who happened to come in for a wardrobe fitting as an extra for a classroom scene, and everyone was pretty struck by his personality, we all took a shine to him, and three days before we started shooting we threw him in.”

Bob, Justine, Sam & Karen

_TRAVIS JOHNSON Rebecca, Lisa & Brock

Nikki, Amanda & Erin

Aimee, Eloise, Hot Ross, Kirsten

Melissa & Anthony

Mike & Kristen

Courtney, Jordan

ARTWORK ©2010 THE WEINSTEIN COMPANY. ALL RIGHTS RESERVED.

www.Piranha3DMovie.com.au

Strong violence and nudity, blood and gore

30

IN CINEMAS NOW

Paul, Jase www.xpressmag.com.au

PIRANHA 3D Water Slaughter

Piranha 3D

Directed by Alexandre Aja Starring Elisabeth Shue, Steven R. McQueen, Jerry O’Connell, Ving Rhames, Christopher Lloyd, Kelly Brook

than average The Hills Have Eyes remake and the pretty dire Mirrors, has decided to unleash a film solely dedicated to those primal drives.

That may sound a little highbrow for a movie about prehistoric killer fish, but when you Eros and Thanatos. Sex and death. Tits and gore. reduce it down to its fundamental mechanics, Call it what you want, horror auteur Aja, after Piranha 3D is one long montage of nubile, making his mark in Hollywood with the better sexy, naked teenagers getting torn into bloody

confetti. Eros and Thanatos; sex and death.

And really, why the hell not? It’s great to see a film revel in its own baseness for once, rather than tying itself up in knots trying to justify its excesses. The opening scene, where a grizzled looking Richard Dreyfuss is chewed into oblivion as he sings Show Me The Way To Go Home, clues us in to exactly what kind of film this is. Aja is in on the joke, he understands the absurdity of the premise, and he knows what we’re here for. And rather than playing it coy or ramping up the tension, he gallops through the perfunctory set-up - underwater earthquake looses a horde of prehistoric piranhas in a lake that’s about to host the mother of all Spring Break parties, if you’re interested - so he can get to the money shots.

There’s a pretty good cast here.

Children of the ’80s may have trouble seeing Shue as an adult, but she does well as the town’s beleaguered Sherriff and single mom to McQueen’s not-too-annoying teen lead.

Rhames is a little wasted as her stoic deputy, given little to do besides look tough and die well. Conversely, Lloyd makes the most of his brief and exposition-filled appearance, and his breathless, hoarse delivery makes the infodump dialogue dance. Meanwhile, O’Connell

is just jaw-droppingly crass as a sleazy porn producer, clearly modelled on Joe Francis of Girls Gone Wild infamy.

But the real stars of the show are makeup FX maestros Greg Nicotero and Howard Berger, who clearly relish the opportunity to push the envelope when it comes to splatter.

There’s a playfulness to their work here, a real maverick sense of gleeful depravity, and even jaded horror fans will be amazed at the carnage on display. Heads are crushed, limbs severed, eyes popped, faces removed, and genitalia mutilated. Perhaps that last one needs some italics: genitalia is mutilated. While the opening sequences are punctuated with spots of gore, the entire second half is a carnival of blood and viscera, easily the most violence seen in a major studio film in recent memory.

On the whole, Piranha is a quick, savage little blast of adrenaline. It’s a film that has no illusions about itself or its market, and that honest approach to cheap thrills is a refreshing change of pace. If nothing else, it’s a film in which you’ll see a mutant fish burp up a severed penis, and that alone has to be worth the price of admission. _TRAVIS JOHNSON

THE KILLER INSIDE ME All Filler, No Chiller Killer Directed by Michael Winterbottom the course in a crappy genre film (oh, of course Starring Casey Affleck, Jessica Alba, Kate the hero doesn’t die despite being riddled with Hudson, Ned Beatty, Elias Koteas and Bill bullets, he’s invincible!).

Pullman Affleck tries to be subtle and understated, throwing out a few ‘blank eyes’ A film noir take on Jim Thompson’s more pulp- every now and again and mastering the muted fiction orientated novel, Michael Winterbottom’s reaction however - knowing frustratingly little The Killer Inside Me plays out at an artful, serious about his character’s motivations - there’s not distance, in contrast to the more humorous much he can really do with the role. In most versions of pulp fiction we’ve come across in psycho-dramas, like American Psycho, the lack of the likes of, say, Raymond Chandler (excepting distinct justification for their acts that the killers the Guy Ritchie-esque opening title graphics). possess adds charisma and perverse likeability to But whilst in Thompson’s book the narrator has their characters – but The Killer Inside Me just fails sharp motivations and psychological complexities to register emotionally at all. In fact, it was just a enough to lend the story strength (and get relief to get it over with; a mutual feeling post-film Stanley Kubrick’s tick of approval) the film script in the distinctly unbuzzing foyer. (despite having a voice-over narration) struggles to relate the first-person, interior experience it _DANIELLE MARSLAND makes in its title claim, and ultimately fails to chill or thrill because of it.

Lou Ford (Casey Affleck) is the archetypal, Southern country boy – in love with the town’s sweetheart Amy Stanton (Kate Hudson), Lou is the town’s law enforcer, yet is so courteous and innocent-looking he’s referred to as a “boy scout with a badge”. Lou is sent to the outskirts of town to persuade prostitute Joyce (Jessica Alba) to leave before sundown. Joyce falls into bed with Lou immediately after he hits her in the face, and a sado-masochistic love affair begins between the two, supposedly motivated by Lou’s ‘dark past’, which a series of poorly-done flashbacks leads us to believe Lou’s childhood involved raping a five year old, pinning it on his brother and being molested by his mother.

Lou conspires to rip off a local oil tycoon by killing both him and Joyce in a double murder then making it look as if it was staged, but there’s a bunch of things that don’t make sense: despite evidence connecting Lou to the double murder, he’s not arrested, he somehow blames the murders on a kid with an airtight alibi, gets away with even more thanks to a series of farfetched conveniences, then spends a stint in a lunatic asylum before being rescued by a fasttalking Bill Pullman.

If that sounds like a muddling mess, it is – the narrative is all over the place, making it incredibly hard to get drawn in by any form of mystery or intrigue. If we believed, as an audience, that Lou could conceivably ‘get away with murder’, we’d be totally convinced. Instead, thanks to a shitty screenplay, we’re forced to judge these inconsistencies like they’re par for

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The Killer Inside Me

31

Becoming Hockney by Amy Vinicombe

by the photographic collages BECOMING HOCKNEY of David Inspired Hockney, Vinicombe’s exhibition

The Eye Of The Beholder Becoming Hockney is on display at Kurb Gallery, 214 William Street in Northbridge, from Friday, September 3, ’til Friday, September 17.

If you love music and frequent any of Perth’s live music hotspots then chances are you’ve brushed shoulders with Amy Vinicombe, one of X-Press’ intrepid music photographers. With cameras hanging from around her neck and a big grin on her face, Amy Vinicombe can be found front and center at most gigs, capturing the moment for the pages of X-Press. This September, Vinicombe will step out of the photographer’s pit and into Kurb Gallery for Becoming Hockney, her debut solo exhibition.

is a celebration of life from her perspective, featuring the people, places and bands she loves.

“In first year [at Central Institute], my lecturer came into the classroom with Camera Works by David Hockney and the whole class fell in love with his work,” she explains of how she first came to encounter Hockney’s photographic creations.

“I didn’t think much about it until third year when we all had to do research projects.

When you’re given a task where you can do anything you want, it’s like ‘where do I start?!’. It took me a while to work out that I was really into Hockney’s work and wanted to mimic his style.

“He was very influenced by the cubists, who were interested in how the eye sees, so he was trying to create photographs which weren’t

just one photograph – they showed movement and showed how the eye actually sees.”

Hockney achieved this effect by layering his photographs in a collage format, a style which Vinicombe has mastered after much experimentation.

“I’ve got quite a few collages – at the end of last year I had about 40 or 50. Becoming Hockney mimics his technique but from my perspective. He did his work in the 1980s from a male perspective, while living in Los Angeles.

So this exhibition is about my perspective as a female in WA in the 21st century. It’s my world but it continues on with his work.”

Not wanting to be a ‘copycat ’, Vinicombe has pushed her creations further than Hockney did, both in the subject matter and in the presentation of the final pieces.

“I have had issues in that I feel like I’m copying someone else’s style; it’s bugged me, so I’ve tried to push it further with how I present the works. When he exhibited his work he’d put them in frames, which is contradictory because he’s against the whole square format, so I’m going to stick the images to the wall so that they stick out. I’ve also tried to play around with three dimensions, so some pieces will be popping out so it’s a really visual experience.

“I just really want people to smile – my photos are a celebration of life,” says Vinicombe of Becoming Hockney, which is potentially her first and last exhibition in Perth. “It’s a big thing for me and I feel like I have to do it before I leave Perth [to move to New Zealand]; it’s good closure.”

The Tent

THE TENT

Welcome To Brett-Space The Tent will make its Perth debut at PICA on Thursday, September 2, and runs ’til Sunday, September 5. Bookings are available through pica.org.au.

In no way limited by the canvas walls forming their cosy self-devised set, the talents of Matt Prest and collaborators Clare Britton, Danny Egger, Eddie Sharp, Tony Osborne and Jack Prest come together to impart a tale of accidental friendship between aimless youth, Michael, and hermit bush philosopher, Brett.

After performing to sell out audiences around the country, project director and performer, Matt Prest, talks to X-Press about the animated world that is Brett’s home, and your personalised viewing area, The Tent. _EMMA BERGMEIER “We built the tent when we were at art school and always felt that it had some kind of performance in it. About a year later I started to develop this story that was loosely based on mine and Danny’s friendship, but then it just developed into this more fictional relationship between an older and younger man. I guess I was interested in two characters that were quite different in terms of lifestyle but looking to learn from one another about life and what everything is all about.”

Highlighting the surrealist elements within the production, he explains that the story begins with Michael (Matt Prest), a disillusioned and aimless 24 year old guy, who, whilst going for a walk in his pyjamas, falls down a hole in the middle of the bush.

“Brett (Tony Osborne) pulls him out of it, and they live together in Brett’s tent, basically, for a few months. There’s a paternal, mentoring relationship between them, but it all comes to an end with the appearance of a cow. We never really find out what it is that has them parting ways, but it has something to do with them killing that cow, and what happens there is a crucial part of the story.”

“We hope that the audience engage with the themes in there, like sustainability and self sufficiency, what it means to live off the land- what it is to drop out of society and live closer to nature, but also how that sort of endeavour can be a lonely one as well. Brett has basically walked away from society to live in this tent and be a hermit.”

The messages and theatricality of piece are rendered through a pastiche of art forms. Video, puppetry, music, live performance, set design, and the tent itself, all work to lure the audience into the intimate and visceral world of the characters. During the course of the show, our experience evolves from cordial, to awkwardly amusing“The audience are lulled into this nice little space by my character, Michael, who’s very welcoming. They’re served some beef stew if they want some, they get this lovely sort of visual show with puppetry, but when Brett sees these people there that he hasn’t invited, it’s a very awkward moment and very palpable. Almost without fail, people feel like they’ve been caught, and that’s really important to us- to create that feeling for people so you really feel implicated into what’s happened.

“What we really want people to take away from the show is the experience of coming into this tent- they’re in this space that is Brett’s space, and that space opens up into this magical theatre show.” _EMMA D’ORAZIO

Sexual references, comedic violence and infrequent coarse language

32

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MUSIC Gina Williams, August 26-28 DownStairs At The Maj; bookings through BOCS.

VISUAL ARTS Beyond Garment, West Australian Museum – Maritime, Victoria Quay, Fremantle.

Curated by Anne Farren, Beyond Garment s h o wc a s e s t h e wo r k o f WA j e we l l e r y, millinery and textile designers. On display as part of the Perth Fashion Festival, Beyond Garment will feature the work of 20 talented creators including Elizabeth Delfs, Alister Yiap, Antipodium, Maggie Baxter, Eunjeong Jeon, Nalda Searles and Sophie Kyron.

E x h i b i t i o n o p e n s o n F r i d a y, September 3, and runs ’til Sunday, November 28.

Ian Moss, September 3 Charles Hotel; bookings through BOCS. Keyed Up, September 5 Octagon Theatre; bookings through BOCS. Ross Wilson, September 4 Charles Hotel; bookings through BOCS. Ad a m H a l l & T h e Ve l ve t P l a y b oy s, September 5 Subiaco Arts Centre; entry is free.

The Composer Is Dead, September 5 Perth Concert Hall; bookings through BOCS. Jackson Eaton

Single, Free Range Gallery, 339 Wellington Street, Perth.

A single night, a single man, a single photographic stand. Jackson Eaton’s third solo exhibition in Perth, entitled Single, will be a photo presentation, created and exhibited within a 24 hour time frame, examining the idea of the ‘one night stand’. Eaton will spend the night in the Free Range gallery with a stranger, documenting the experience with Polaroid photographs, before opening the gallery to the public the next day, with photos taken over the course of the previous night on display.

Exhibition is on display for one day only on Tuesday, August 31, from 8am ’til 8pm.

Stitched And Bound

Stitched And Bound, Heathcote Museum And Gallery, Duncraig Road, Applecross.

Taking place every two years, Stitched And Bound is a celebration of contemporary quilts by a range of West Australian artists.

The exhibition examines the art of quilting, which is defined as a construction comprised of at least two distinct layers that are stitched together. Stitched And Bound features the work of Ginevra Bird; Marjorie Coleman; Marilyn Davis-Moore; Ruth de Vos; Michele Eastwood; Elisebeth Franklin-Messer; Margery Goodall; Cherry Johnston; Stephanie Knudsen; Trish Little; Rosie Manning; Jan Mullen; Lyn Nixon; John Parkes; Marianne Penberthy; Gail Putz; Lisa Repsevicius; Hania Roe; Margaret Ruane; and Vanessa Wallace.

Exhibition opens on Saturday, September 4, and runs ’til Sunday, October 3.

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The Graduate, His Majesty’s Theatre, Hay Street, Perth.

Twenty year old Benjamin Braddock has graduated with top marks much to the delight of his proud parents and has a fine future ahead of him. That is until he finds himself seduced by Mrs Robinson, one of his parents’ oldest and dearest friends.

Young enough to be her son and old enough to know better, it isn’t long before Benjamin is helping Mrs Robinson with her zipper… Stars Jerry Hall, Rider Strong, Luke Hewitt and Michelle Fornasier.

Season opens on Thursday, August 26, and runs ’til Sunday, September 12. Bookings can be made through BOCS. The Pride, Blue Room Theatre, 53 James Street, Northbridge.

Mapping the social patterns of a lion’s life onto human characters dressed as lions (impressively crafted by Esther Sandler), The Pride treads a fine line between comedy and tragedy. Bruce, the figurehead of the family, is renovating the Lyon household kitchen – and he’s chosen a savannah theme. Surrounded by women, Bruce is weighed down by his impressive mane. Struggling to cope with modern living, he knows his time is limited: his stronger and more handsome neighbour James has been peering through the windows admiring the family. Such is the life of a lion.

S e a s o n o p e n s o n We d n e s d ay, September 1, and runs ’til Saturday, September 18. Bookings can be made through The Blue Room on (08) 9227 7005 or blueroom.org.au.

William Tell, September 25 Perth Concert Hall; bookings via (08) 9355 1455.

Percussion Purity, September 25 Winthrop Hall; bookings through BOCS.

PICA and Mobile State present a feast of Australia’s best contemporary performance. PICA will overflow as the galleries are transformed into theatres for this special four day event.

By Fleur Elise Noble

PERFORMANCE

James Reyne, September 18 Charles Hotel; bookings through BOCS.

By Matt Prest and Collaborators

Darkrooming, Fremantle Arts Centre, 1 Finnerty Street, Fremantle.

Over 3,000 components glow and oscillate in Darkrooming, an eerie installation by Melbourne artist Vera Möller. By contrasting the real and the imagined, Möller mutates the natural and illusory in this cabinet of curiosities. Her exhibition is a collection of hypothetical life forms that seem like they ’ve been pluck ed from under the deepest of seas. Her specimens are inspired Dream Bore, Fremantle Arts Centre, 1 to blur the boundaries between natural, Finnerty Street, Fremantle. artificial and illusory life forms.

From Perth artist Mark Parfitt comes an E x h i b i t i o n r u n s ’ t i l S u n d a y, investigation into one of WA’s most humble September 19. rituals. After moving into a new home, Parfitt discovered his backyard bore was not working. His attempt at repair and eventual failure marked the beginning of a journey If I Drown I Can Swim, Yirra Yaakin Theatre that raises questions of sustainability, Space, 65 Murray Street, Perth. masculinit y, the role of the State and Written by emerging Indigenous playwright recycling. His research led him to re-design Maitland Schnaars, and directed by Spain’s Julian his ‘Dream Bore’ in the galleries of Fremantle Fuentes-Reta, If I Drown I Can Swim is based on the Arts Centre. poetry of Maitland Schnaars, who talks with subtle E x h i b i t i o n r u n s ’ t i l S u n d a y, whispers and brutal strength about identity, what it September 19. is to be a man and the meaning of heritage.

Season opens on Friday, August 27, and runs ’til Saturday, September 11. Bookings can be made online at yirrayaakin.com.au or by calling (08) 9202 1966.

Five Elements, September 9 Perth Concert Hall; bookings through BOCS.

By Rosie Dennis

A Kaleidoscope Of Colour Surrounded Me, Elements Art Gallery, 131A Waratah Avenue, Dalkeith.

Taking an enthusiastic leap into colour and design, Jane McKay’s new body of work is a celebration of joyful paintings and desktop sculptures. In the case of McKay’s Circle Sculptures, the expertise of no less than seven different craftsmen was required to create the clean beauty of these minimal sculptures.

Exhibition opens on Friday, August 27, and runs ’til Sunday, September 12.

Philip Glass Meets Beethoven; August 27-28 Perth Concert Hall; bookings through BOCS.

Devised by Paul Dwyer, Produced by version 1.0

You Just Have Your Eyes Closed, Turner Galleries, 470 William Street, Northbridge.

Kyle Hughes-Odgers is better known in Perth as Creepy, the popular street artist, renowned for his large scale murals and wall paintings. Kyle’s highly stylized, thick torsoed, big-headed and spider-limbed figures exist in a unique folk tale world. This world exists without technology, but this does not stop the inhabitants from trying to solve problems and build things using wonky mechanics and producing structures that do not heal or help. You Just Have Your Eyes Closed is Kyle’s first major exhibition of paintings and is his first entirely done with a paintbrush.

E x h i b i t i o n r u n s ’ t i l S a t u r d a y, September 11.

George Garzone, August 26 Ellington Jazz Club; bookings via ellingtonjazz. com.au.

Tickets through pica.org.au/feast or 9228 6300

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FASHION

EN GARDE

WAIT A MINUTE

Fifteen Minutes: The Rise Of The Fashion Blog is set to take over Fashion Paramount on Tuesday, September 14, promising a spectacular runway show featuring the latest looks from some of Perth’s best retailers. An ode to the humble fashion blog, Fifteen Minutes will feature interviews with bloggers and a showcase of Spring/Summer threads from Billie & Rose, Zara Bryson, Merge, Planet and Pigeonhole, with live music provided by Cut N Paste Sound System.

We have 20 double passes to Fifteen Minutes up for grabs; email win@xpressmag. com.au with Fifteen Minutes in the subject line to go into the draw. Tickets are available for purchase from Moshtix. For more info on the event, head to perthfashionfestival.com.au.

The beautiful, lofty Winthrop Hall at the University Of Western Australia will play host to some of fashion’s biggest names this September for a celebration of style the likes of which Perth has never seen before. Conceived by Dilettante, Zekka and Head Studio, Avant-Garde will feature a high-end runway presentation, showcasing the latest designs from labels such as Vivienne Westwood, Gareth Pugh and Damir Doma.

Taking place on Tuesday, September 7, from 7pm onwards, Avant-Garde will pay homage to the directional style and creative vision of some of fashion’s most respected names. Tickets for this fashion forward event are on sale now from avantgardeperth.com.

Re Style (Photo: Richard Jefferson, Stylist: Marcia Ball, Beauty: Rebekah Clark)

REDUCE, REUSE, RE STYLE

Avant-Garde (Photo: Romain Duquesne)

TIPS FROM THE TOP

Fifteen Minutes

As passionate supporters of the West Australian fashion industry, the folks at the Perth Fashion Festival are determined to do everything in their power to help local designers launch their labels, so they’ve rounded up a panel of industry experts to help budding designers on the path to success. On Thursday, September 9, PFF will present Master Class, a forum where industry experts will share their knowledge about the fashion industry and answer questions from local creatives.

This year’s edition of Master Class will feature speakers such as Liz Casella from prominent design studio Karolina York; Ethical Clothing Australia’s national coordinator Emer Diviney; Joveeba designer Alison Cotton; and Pamela Stecker, the author of The Fashion Design Manual 2”. If you’re serious about making it in the fashion industry, you won’t want to miss out on hearing these ladies’ words of wisdom, so don’t delay, get your tickets now from Moshtix.

As a special treat for readers of X-Press, we have ten double passes to giveaway to Master Class; to be in the running, all you have to do is email win@xpressmag.com.au with Master Class in the subject line. Good luck!

Now in its second year, Re Style is a Perth Fashion Festival event designed to help fashion conscious individuals reduce, reuse and Re Style.

Featuring looks from charity stores such as Anglicare, Drug Arm, Good Sammy, Red Cross, The Salvos, Save The Children and Vinnies, Re Style challenges shoppers to look beyond the price tag to discover contemporary outfits at their local op shop.

Op shopping isn’t just for those with a penchant for fashions from years gone by, most charity stores stock a huge range of modern labels and styles, perfect for everyday wear.

Head along to Re Style to discover new ways to wear old clothes, and witness makeovers of op shop volunteers who selflessly donate their time to help others.

Re Style will take place on Thursday, September 9, at Fashion Central in Forrest Place and entry is free. Doors open at 12pm. _EMMA BERGMEIER

Western Australian Academy of Performing Arts presents

A high-energy celebration of classic hits by Toto, Michael Jackson, Elton John, Robbie Williams, Alicia Keys and many more...

Thurs 9, Fri 10 and Sat 11 September, 7.30pm Subiaco Arts Centre BOCS Tel: 08 9484 1133 or bocsticketing.com.au

Australia’s highest circulating Street Press

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With the Ministry Of Sound Trance Nation showcase set to explode at the Rise this Friday, GLEN CANNING caught up with Australia’s premier DJ and producer tyDi. At just twenty three years old tyDi has already taken out Best Breakthrough DJ at the International Dance Music Awards, polled at number 52 on DJ Mag’s prestigious Top 100 DJ list as well as being voted Australia’s number one DJ (Sony ITM Poll) for the past two years running.

With universal opinion on DJ voting divided, tyDi’s view on the subject provides a telling insight into his success. “I think these DJ polls are fantastic,” shared tyDi, “it keeps everyone on their toes and stirs up interest in the dance world each year. I don’t take them too seriously though, a high ranking doesn’t mean you are ‘better’ than other DJs… it’s simply an indication of how strong your fan base is.”

Born in Queensland, tyDi was first exposed to dance music at the age of fourteen and as he explains, it was a defining moment.“I heard electronic music through some friends of my older sisters. I’m the youngest of the family so they were old enough to go out clubbing while I was still learning how to write a good essay. As soon as I heard electronic music I instantly fell in love with it, it became my passion.”

Initially playing the drums in a rock band, tyDi traded these in for some decks when he realised his future was with electronic music. “I think the problem was that a successful band requires all the members to be motivated and dedicated,” tyDi muses.

“I began to love electronic music more than anything else and I remember thinking ‘wow, I can do this on my own’,” tyDi continues, “no more chasing up the other band members to get together and write a new song. As a DJ and producer I was able to create finished and releasable music from scratch without anyone’s help.”

CONTINUED ON PAGE 40

GET YOUR

CLUB NIGHT LEE BURRIDGE COVERED! Friday 24-09-10

Email us a minimum of 5 social pics to chris@xpressmag.com.au by Monday to get your night the coverage it deserves! * subject to availability. www.xpressmag.com.au

FEATURING

LEE BURRIDGE JAMES FRANCIS, OLI, DARREN J & BACICH

INFO 104 MURRAY STREET PERTH. DOORS OPEN 10PM. TICKETS: $20 + BF. AVAILABLE FROM MOSHTIX OUTLETS (1300 GET TIX), 78’S RECORDS AND ONLINE FROM MOSHTIX.COM.AU. TICKETS AVAILABLE FROM THE 02 AUGUST 2010.

FOR MORE INFO CHECK OUT WWW.BOOMTICK.COM.AU EVENTS@BOOMTICK.COM.AU WWW.LEEBURRIDGE.COM 37

 LOOP DE LOOP

Naik

LIFE’S A BEACH

MAINROOM THURSDAY

Pasha’s Kitchen THE BIG MAN COOKING UP MEATY BEATS

FRIDAY

Time Tunnel BRINGS YOU CHAMPION TUNES FROM ROK RILEY, JOE 19 AND GUESTS

SATURDAY

TRANSMISSION Perth’s essential pre club night for discerning music lovers bringing you indie, electro, rock, punk & club classics with Andrei Mazz 8pm Free Entry

On the back of his latest release, Re-Master Of The Universe, UK disco legend Todd Terje is ready to make the trip to Perth to impress fans with his diverse selections. Expect everything from kitschy Euro sounds, to dub disco and psychedelic house when Terje hits the Manor as part of the HUMM party series, co-presented with {move}. Expect to hear a bunch of Terje’s long, disco edits of tracks like MJ’s Don’t Stop and Chic’s I Want Your Love. Friday, September 10, The Manor. Support from Ben Taaffe, Ben M and PCJ. Tickets $20 presale from HAL, Planet and heatseeker.com.au or $25 on the door.

Doors open 9.30pm-5am.

The Community and Flowlab join forces again to present Loopadelia, a night of the best locally produced beats in the cosmos. Naik will be performing his renowned live psych hop set along with his heavy hitter drummer, Steppa. Diger Rokwell is also bringing his tripped out world morphsounds live set to the area with Toasted Manning, whilst Mathas will be laying lyrical metaphors and quasi sacrastic political commentary to self produced beats. Cartoon Hell, Nick Sweepah and YLEM also bring their unique step hop sound, together with Maxy Bills and DJ Silent.

Friday, August 27, is the date to note in your diaries for Loopadelia. $10 entry from 8pm.

YOU CAN SLEEP WHEN YOU’RE DEAD A new monthly bass music party showcasing international talent through the mediums of garage, house, and dubstep, Don’t Sleep is set to take place at the newly refurbished Bakery.

The first installment of Don’t Sleep will feature UK garage underground sensation, Deadboy.

Creator of dizzy heart break anthems U Cheated and If U Want Me , Deadboy’s sound perfectly reflects the blurred crossroads between house, garage, R&B and dubstep. Deadboy will be joined by {move} DJs, Dead Weight DJs, Rekab, DYP, Kit Pop and Zeke (live) on Saturday, October 16, at the Bakery, Norhtbridge. Limited $10 early bird tickets from nowbaking.com. au or otherwise $20 on the door.

SUNDAY

$10 Pizza & Pint special special with Nathan J, Chris Wright and The Nisbit.

WEDNESDAY

UNI-QUE $10 jugs kicks off at 8.30 with Dazz K and Gemma Pike

DEFECTORS (UP-STAIRS) THURSDAY DJ Moogy presents

“Ritmo!” an intoxicating blend of Latin styles.

8PM Free Entry.

Todd Terje

Deadboy

FRIDAY Suite Beats for the end of the week!

Disco, House, Funk & Breaks with residents

SILENT DANCE

MICAH & SHARIF GALAL +

We know how much you all loved rocking out on the Silent Disco dancefloor at Big Day Out and St Jerome’s, and now a new local company is making it possible to silent disco in your homes! AudioVault Events is a brand new silent sound system hire and event management company specialising in silent disco, and silent experiences. In a first for Perth, AudioVault Events gives bars, clubs, private organisations and event companies the opportunity to hire the silent system to run their own silent experiences. The hire company will be launched at a special VIP party on Friday, September 3, at Etro Bar, Perth. For more details contact events@ audiovaultevents.com.

GUESTS. KICK OFF THE WEEKEND IN THE COMFORT OF DEFECTORS AND THE SOUNDS OF THE BEAT SUITE. FRIDAYS 9PM – 1AM

SATURDAY

Lucid Dreaming presents a night of house/ Deep House/ Disco/ Tech House “FORE” Featuring Luke P, Rohan Smith ,Marko La Kucha, De|Mech.

It’s Free Entry and all kicks off at 9pm.

SUNDAY

“Sunday Record Hop“ the wildest rockin sounds from the 50s and Beyond VS “Back to Mono” Perth’s essential Free”N”Funky Sunday Sesh. Rare Groove, Ska, Rocksteady, Dub, Funk, Soul, Reggae, 4pm Free Entry

Silent Disco dancers

OPTAMUS GET HYPER

THURSDAY

Mulatu Astatke

ISOLATION Koe’s last event before he moves to Berlin! R.I.P. FINNBARR WALSH we love you!

FRIDAY Sonic Velvet presents

The Dark Woods , Kwachala, Dr Preposterous and DJ Screech Doors Open 8pm $10 entry

SATURDAY

Open Decks Sessions presents Greene George, DJ Gibby, Hatchet, Turnin Trix, Iller Insinct. Doors Open 8pm Free Entry. For more details check out opendeckssessions.wetpaint.com

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ETHOPIAN UTOPIA The founding father of Ethio-Jazz, musician and composer Mulatu Astatke’s distinct sounds are some of the most inventive and exciting to ever come out of Africa – not bad for a 67 year old dude! After sell-out shows as the headline act of the Melbourne Jazz Festival earlier this year, the founding father of Ethio-jazz, musician and composer Mulatu Astatke, is ready to take on Perth town at the newly re-opened Artrage Bakery complex. Schooled in the club scene of mid-60s New York, Astatke was the first African to attend the Berklee School of Music in Boston, later returning to Ethiopia and shocking the then military-dominated music scene with his knowledge and influence of music genres from across the globe. He’s been in the business for over four decades and has recently reinvented himself with younger audience through his work for Strut Records. Astatke brings his live act to the Bakery on Friday, October 8, in the company of The Sunshine Brothers, The Askari Afrobeat Orchestra and DJs Charlie Bucket and Ben Taffe. Tickets $45 plus booking fee from nowbaking.com.au, heatseeker.com.au, Planet and Mills. Doors open 8pm. Get your shoes polished and resoled now for a night of Afro dancin’.

SALTLIST 10 top

Aussie three-piece Optamus are set to play at the youth arts festival Hyperfest. Catch Optamus with Pez, Art vs Science and British India at the Midland Railway Workshops on Sunday, September 5. Presale tickets are $15 including booking fee, available online at heatseeker.com.au or from Liquid Surf in Midland, Wendy’s Midland, Mills Records, 78 Records, or City of Swan libraries. Hyperfest is also putting the call-out for skaters, aspiring MCs and breakdancers to participate in competitions at the festival, as well some openings available for acoustic musicians to perform. For more information shoot an enquiry email to tiff.leake@swan.wa.gov.au.

ALBUMS PUSHING OUR WRITERS’ BUTTONS THIS WEEK… KLAXONS Surfing The Void PVT Church With No Magic MATTHEW DEAR Black City PRISMIC TOPS Dimlite VARIOUS Brownswood Electric CHASE & STATUS More Than A lot CHICANE Giants GORILLAZ Plastic Beach ANDERS ILAR Vidare MASOMENOS Balloons

Optamus

Matthew Dear, Black City www.xpressmag.com.au

Australia’s highest circulating Street Press

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TYDI CLEANING UP

DJ KON BACK ON TRACK

Entering his first DJ competition at 16, tyDi took out Brisbane’s DJ Wars and was soon getting paid to play the music he loved. With international success soon beating down his door, tyDi choose instead to enrol at the Queensland Conservatorium of Music to study a degree in Music Technology where he further nurtured his desire to understand music inside and out.

“I thought about going back and doing my masters or maybe even a PhD in the area of music technology but my career and tour schedule don’t really allow me much time for that,” tyDi explains.

“At the moment I’m working on a new artist album, touring to sometimes four different cities a week, remixing for three producers and producing a two hour weekly radio show that gets broadcasted worldwide – I don’t get much time off let alone doing any more study.

I’m very happy with what I’ve learnt from my degree so for now I’ll just put that knowledge to good use!”As one of the seemingly few Australian dance artists that have established a global fan base, tyDi offers his thoughts on why we are so under represented internationally.

“Well there are quite a few Aussie artists who are releasing music worldwide but certainly not as much as the other countries. We have some amazing talent here, I’m not sure why we don’t have a huge amount of truly ‘international’ acts – maybe it’s because we are a very isolated country from the rest of the dance world?”

The recently released Trance Nation Volume 2 marks tyDi’s second successive year with the iconic Ministry Of Sound label and as he explains, he couldn’t be happier; “it was very exciting when Ministry of Sound asked me to work on Volume Two of the Trance Nation brand.

I started with a shortlist of around 80 tracks that I wanted to include on the compilation and narrowed it down to 18.” tyDi continues; “When mixing a compilation the most important thing is track selection, after that I work out a rough order based on how nicely the songs flow together.

I mix my compilations mostly ‘in key’ which means I take the key signature of each song into consideration when compiling the mix – it gives nice transitions. This year’s compilation is a bit of a work of art for me, I love how the mix progresses.

I also included two of my own remixes and my latest single, Vanilla.”

Currently working in the studio on the follow up to his hugely successful debut album

Christian Taylor, AKA DJ Kon of legendary New York crate digging duo Kon & Amir, chats with JOSHUA HAYES before he hits our town this week to spin a set of rare funk, jazz and soul.

TYDI Look Closer, tyDi doesn’t buy in on the current trend that is seeing artists concentrate on releasing singles instead of albums.

“For me an album should be a work of art, it’s not just a collection of singles – it’s a snapshot of a producer’s sounds, ideas and inspiration over a particular period of time.

Listening to the songs individually on shuffle doesn’t portray what the whole album does.”

Continues tyDi, “My last album Look Closer tells a story, I put it together in a certain order with special transitions to create a journey. I hope that people buy my next album as a whole and listen to it from start to finish.” tyDi concludes with some advice on dealing with people jealous of his achievements; “I just ignore it. I surround myself with nice and genuine people. Who needs negativity in their life?

Not me!”

TYDI MOS TRANCE NATION, RISE, NORTHBRIDGE

‘Crate digger’ is a term used to describe someone who spends much of their time trawling through crates of records searching for rare and obscure records - Taylor is quite possibly the definitive crate digger, having spent the last 25 years uncovering buried, long forgotten musical gems to share with a new generation.

His love of music goes back to his early childhood. “I got into records and vinyl ‘cause of my parents and other family. Records and music were always around me, and my father played drums,” says Taylor, who also played drums as a child. However, at the same time he began gravitating towards the turntables as his instrument of choice, drawn by sounds as diverse as the Rolling Stones and Earth Wind & Fire, Chic and Kiss. “I was DJing at about age five without really knowing that’s what it was.”

After spending 10 years collecting records, he met his partner ‘Amir’ Abdullah in 1995 at a record store owned by a mutual friend. “Amir was a collector, and I had already been doing clubs since ‘91 and collecting and DJing since about ’85, ‘86,” says Taylor. “We decided to make a tape for ourselves, which then led to everything else.”

Th a t t a p e w a s t h e f i r s t o f s i x instalments in their independently released On Track mixtape series, on which they shared their extensive collections of rare funk, soul, jazz and world grooves. The duo then signed a five album deal with British label BBE and started a new series, Off Track. The third volume was released earlier this year.

While there are countless DJs, producers and collectors digging in the crates in search of the rarest grooves, Kon and Amir have stood out from the pack - being called on by the likes of legendary producer Dr. Dre to dig for samples, and earning the praise of music authorities such as Gilles Peterson, ?uestlove and Mark Ronson.

However, Taylor is modest about his success. “A bit of luck and timing has helped in terms of being ahead of the curve, giving us a bit more exposure. Also maybe it comes

Kon & Amir down to taste and people being on the same page,” he says, when asked what sets himself and Amir apart.

One major reason for Kon and Amir’s reputation is their acclaimed DJ sets – while Taylor is touring on his own, local punters can still expect an eclectic and energetic set. It’s a tour Taylor almost didn’t live to see, having faced serious health complications due to an undisclosed illness last year – a “very close call”, as he describes it, which left him restricted to a hospital bed for many months.

“It’s a blessing to be able to do what I do, and its allowed me to realise just how important and special it is just to be able to take a deep breath and do the simple everyday things we all take for granted,” concludes Taylor.

DJ KON FRIDAY, AUGUST 27 @ THE MANOR, LEEDERVILLE

Q-BIK STRONGER EACH SUMMER With a new EP about to released on Proximity Records and a massive international tour planned in the next couple of months, local drum ’n’ bass producer PJ (AKA Q-Bik) takes time out from his busy schedule to speak to TILMAN ROBINSON.

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Q-BIK Last year was a massive year for Q-Bik. His release My House was featured on BBC’s Radio 1 - the subsequent interest in his music lead to Q-Bik’s inclusion on a DNB Arena album and a successful European tour. While his career is certainly taking off, PJ still describes himself as an ‘up and coming’ producer.

“I still don’t think I’m where I’d like to be and there are goals that I keep resetting,” explains PJ. “The level of production is so high - especially in drum ’n’ bass, dubstep and electro - that unless you’re in that top five or ten per cent of people, it takes a long long time to make anything. I aspire to be in that top percentile production wise; to be able to walk into a studio and say, ‘I want this bass sound’ and then being able to do it. In that sense I still think I’m up and coming.”

Up and coming or not, Q-Bik has impressed many international acts and is supported by renowned drum ’n’ bass artists such as the Brookes Brothers and Danny Byrd. A recent remix for Killa Kella has drawn more attention from dancefloor and radio DJs alike.

“I got to tour with Kella in Vietnam and we connected really well,” reminisces PJ. “He’d just released an album and they were asking for remixes so I asked if I could do it and he agreed.

It was satisfying but also daunting. I questioned myself a lot because he’s a big artist and those kind of remixes usually go to more established artists.

It was daunting but I’m happy with how it turned out and so was he.”

Having lived in New Zealand prior to Perth, PJ has a great understanding of the drum ’n’ bass scenes in both nations, a knowledge that has been enriched by extensive touring across the region.

“The Perth scene is very strong,” says PJ. “I’d compare it to places like Christchurch, which is probably the biggest scene in New Zealand. The only difference would be in the genres and the sub-genres we like. Whereas here you see a lot of producers playing more jump-up and dance stuff, over there but it’s more about the deeper side, the tech-ier side and the minimal. You find that on the east coast as well of Australia as well.”

Further production work has resulted in the soon to be released Summer Soul EP on UK based Proximity Records. A departure from Proximity’s heavier roots, the release seems to be mutually beneficial for both PJ and the label, showing a more diverse, dancefloor friendly sound for the European summer. PJ’s extensive post-release tour plans include 11 dates in the USA, three in Canada and two in South America, including a trip to Colombia. Catch him this weekend at Shape before the rest of the world does!

Q-BIK SUMMER SOUL [PROXIMITY] FRIDAY, AUGUST 27 @ SHAPE, EAST PERTH www.xpressmag.com.au

UFFIE LONG WAY TO THE GLOCK VARIOUS VARIOUS Hospital presents: Drum ’N’ Bass Club Uffie

Paris-based Uffie (Anna-Catherine Hartley to her folks) is only 22, but has already collaborated with Pharrell Williams, released her first album, toured internationally and had a baby. AMELIA SCHMIDT squeezes in a few words with this busy lady before she comes our way for Parklife.

A sensation on the international dance music and hip hop scenes, full of girlish giggles and sporting a charming French-tipped American accent, when we speak to Uffie she’s all a-fluster, but it’s impossible not to like her.“Um, well my Blackberry didn’t go off this morning so I had to rush rush rush to this interview,” she tells me frantically. “It [The Blackberry] broke during the night somehow.

So I’ve got my coffee now. Quite a busy morning.”

They’re all busy mornings, it seems. This is our second attempt to have a chat after Uffie went missing at our previously scheduled time, having to rush off to care for her young daughter who had injured herself with a burnt hand.

“It was very hectic. She’s fine now but… hospital scare – it’s the first incident in eight months so it’s a bit traumatising,” Uffie sighs. Just back from Ibiza and Switzerland (for the Montreaux Jazz Festival), internationally touring a new album and having an eight-monthold girl is a pretty hectic schedule. Two births, really. “Obviously it’s not at the same level,” Uffie laughs, “but you can definitely compare the two.

Both my babies kind of came at the same time!”

With a fantastic set of names backing her up on Sex, Dreams And Denim

Australia’s highest circulating Street Press

Jeans, the final product is smooth, sexy and a great development for Uffie’s style.

“It’s exciting because it’s finally finished but at the same time it’s kind of scary because it’s out of your control now and you have to let it go…” she trails off. The biggest difference on this album is Uffie’s singing as in there is more of it, and she’s better at it. Despite being afraid of or unwilling to sing in the past – which pushed Uffie to develop her rapping – Mirwais [Ahmadzaï], who mixed Uffie’s hit Pop The Glock and composed four of the songs on the new album encouraged Uffie to take lessons.

“I was really scared and I didn’t know how [singing] worked,” she explains.“He really sat down with me and talked to me about it and showed me how it worked, the whole singing thing. It’s actually really a technical thing, a muscle control thing – it’s something you have to work at every day so once I figured that all out it’s become much easier.”

With singing lessons every day and intentions to learn piano and keys, Uffie’s new live show also features a proper backing band, not just a DJ. Although she’s been a big part of the club scene in Paris for some time now since moving there from the States, Uffie says she’s ready for a change pretty soon. Where to?

“No idea yet. I love New York, maybe I’ll move to New York,” she muses. And although she won’t tell me her wishlist of collaborators, she’s starting to work on her new album. Despite Pop The Glock being her “first musical experience”, Uffie has embraced the musical life, and is looking forward to Parklife – “especially Missy Elliott!” she says excitedly,“and barbeques.”

Anthems: London Elektricity/Agent Alvin [Hospital /Central Station] Hot on the heels of London Elektricity’s recent Australian tour comes this mix album ‘created especially for d’n’b lovers down under.’

Drum ‘N’ Bass Club Anthems is essentially a marketing grab, aimed at selling some discs and downloads while hype is high. This isn’t necessarily a bad thing, is it?

London Elektricity mixes Disc One and if you saw his set live or have listened to the Hospital Podcast in the past six months most of it will come as little surprise to you.

Having said that, this mix is great if you want to relive that heady night at Metro City when the main man got wheeled out in a wheelchair by two naughty nurses.

Disc Two definitely has more local flavour with great tracks by Shapeshifter, Shock One, Concord Dawn and Agent Alvin, who mixed the disc.

All in all there are almost 60 tracks on this double album and they are all well mixed. This may not be the most exciting album release in the history of drum ’n’ bass but it’s a solid one and gives you a nice reminder of what the ‘club anthems’ are at the moment.

TILMAN ROBINSON 3/5

Anjunabeats Volume 8: Above & Beyond [Anjunabeats / Central Station] In addition to what can only be described as an incredible 12 months for Above & Beyond, 2010 also marks the 10-year anniversary of Anjunabeats. To celebrate, the lads are about to release the eighth edition of their hugely successful compilation series.

With around 60 of the world’s best producers signed to Anjunabeats it is no surprise that both CDs feature an impressive collection of tracks sourced from the vast pool of talent at their fingertips. Disc One simply oozes class from the very beginning, laying down an intriguing kaleidoscope of sound, moving from the subtle fluctuations of Aruna & Mark Eteson’s Let Go onto the bass driven intensity of Boom Jinx & Andrew Bayer’s Keyboard Cowboys.

Opening with the ethereal melodies of Andrew Bayer’s A Farewell, Disc Two begins with a different feel but as a wave of gentle persuasion nudges one way, in drops the oscillating rhythms of Sushi by 7 Skies. As the senses are once again propelled into orbit, one is presented with another exquisite collection of exceptional tracks. From the uplifting beauty of Adam Nickey’s Altara alongside Dan Stone’s synth-laden remix of Alt+F4 and Nitrous Oxides inspirational club favourite Dreamcatcher disc two shines as brightly as its predecessor.

There is a distinct difference in the varying quality of compilations that are relentlessly bombarded upon an often saturated market but it doesn’t take long to appreciate that these guys take what they do really, really seriously. Essential listening for any dance music enthusiast.

GLEN CANNING 5 / 5

UFFIE SUNDAY, SEPTEMBER 26 @ PARKLIFE, WELLINGTON SQUARE GARDENS

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SATURDAY @ EVE

AMBA AR R @ CAPITOL DEATH DISCO SATURDAY

NEW

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past 25 years excavating record bins finding gems to pierce ears Bird – Fame - DJ Nic Elliot / DJ with. Some of the most respected Lenny Aka Wisdom names in the game, including Broken Hill Hotel – Fixed Shady Records, Diamond D, Dr. Clancy’s (Canning Bridge) - DJ Dre, Capitol Records, Pete Rock, Righteous and Lord Finesse have sought Club Bayview –Hush- Sox Draw / their record knowledge and Maxwell digging services. Catch Kon at the Club Marakesh –DJ Simon Manor tonight. Tickets $20 from Cottesloe Hotel - DJ Shots / DJ Planet Video, Mills, Highs & Lows Andy M and www.heatseeker.com.au.

Deville’s - John Madds Rock N Roll Karaoke EAST END BAR GRAZ Sydney Dolce – Maxwell/Damian John/ Superstar DJ Graz, who also Hippo Club moonlights as awesome Eve –DJ Tony Allen sunglasses designer (and was Flying Scotsman (Main Room) - voted Harpers Bazaar’s Best Pasha’s Kitchen – The Big Man Dressed Man!) will be in town for Flying Scotsman (Defectors) - one night only to play King Tito’s DJ Moogy Dirty Disco. Graz is one of the Flying Scotsman (Velvet hottest names circling the global Lounge) – Dr Preposterous / fashion and music elite. His ability Kwachala /The Dark Woods / DJ to mix and match music from Screech every genre and era and adapt to Geisha – Aperture - Dan Da Silva/ any room, has seen Graz become Nik Nak/Frankie Buttons the music talent for brands such Kulcha – Wildstyle DJs as Blackberry, Armani, Channel Liquid Nightclub – DJ Buda / Dj V, as well as being selected to Nino Brown be Music Director for Australian Manhattans – Ylem/ Hykus / Fashion Week. Catch him for one Saxon & Tifa / Kamashe night only, DJing in Perth tonight!

Mustang – DJ James MacArthur The night will also feature a live set Niche Bar – Flaunt / Johnni P / from indie darlings The Harlequin Feminem League, sax laden disco from Newport – Ren’ee The DJ / Bastians Happy Flight (Fkn Midas) Extended Play DJs plus DJs Mr Sparkles, Lightsteed, Niche - Johnni P/ Rob Blandford Friend, Joe Macc, Grubby Gorilla, Paddy Hannans – Dr Bogus / Cooker, Buda, Azwon, and of Crazy Craig course, Perthquakers Will and Swinging Pig – DJ Simon The Deen – DJ Flex/ DJ Nano/ DJ Toby. Tickets at the door, with the chance to win a double to Parklife!

Serge/ DJ Don Migi The East End - DJ Midfield MOJOS LOOPADELIA The The Queens – Kapitol P Community and Flowlab The Whistling Kite - DJ Gareth join forces again to present The Shed – DJ Andyy Toucan Club -Shut Up & Dance - Loopadelia, a night of emerging musical styles and hybrids of DJ Matty J / Darren Nixx music evolving in our hood.

Woodvale Tavern – DJ Melvin Naik is bringing his renowned live psych hop set to Mojos with FRIDAY 27/8 heavy hitter drummer, Steppa.

MANOR KON & AMIR Revered Diger Rokwell is also bringing his as two of the most extraordinary tripped out world morphsounds beat diggers in the game, Kon live set to the area with Toasted and Amir are legends of hip Manning. Mathas will be laying hop, long forgotten musicians lyrical metaphors and quasi who, only now, are getting their sacrastic political commentary proper dues with appreciative to self produced beats. Cartoon audiences being turned on to Hell, Nick Sweepah and YLEM some amazing music via their join forces to bring their unique Off Track series. Kon and Amir step hop sound. Maxy Bills will first met at Boston’s Biscuithead be returning from his Asian rock Records in 1996 while shopping climbing pilgrimage to drop for breaks, and having spent the assorted dub and instrumental

THURSDAY 26/8

beat. DJ Silence will be spinning the best in hip hop from around Planet Rock. Expect to hear the best locally produced beats in the cosmos! $10 entry from 8pm.

THE BIRD [R][H][Y][T][H][M] [A][T][I][S][M] A night of far out beats from the back of beyond, Rythmatism will showcase future music from the past and the present, with the {move} selectors determining just exactly what kind of music that means! Ben M, Ben Taaffe and Dr J on the decks, with the first 50 people through the door treated to a free mix CD from ex-Perth experimental beatmaster Wooshie. Free entry.

Ambar – Les Coombs Amplifier – Against The Tides CD Launch /Born Into Suffering /In League /Saviour /Jamie Mac / DJ Shannon Fox Bar 120 - Treat - The Fix / DJs Anton Maz / Wombat / Maz1 Bar 138 – Lokal Bar Open –Blink Night Bayswater Hotel –Beat Off! ShockOne/The Pearly Whites Bird – Move Presents Rythmatism - Ben Taaffe / Ben M Broken Hill Tavern – DJ Nick Alexander Capitol –Retro Mash – Lady Penelope Clancy’s (Canning Bridge) - DJ Boogie Como Hotel – DJ Gazz Deville’s - Barking Frank Valentine / The Jean Genies /Mondo Inferno DJs Double Lucky – DJ Adam Kelly / Cee / DJ Kid Deep / James A Eve – DJ Don Migi / Skooby Flying Scotsman (Velvet Lounge) – The Dark Woods / Kwachala / Dr Preposterous / DJ Screech Flying Scotsman (Main Room) – Time Tunnel - DJ Rok Riley/ Joe 19 Flying Scotsman (Defectors) – Micah / Sharif Galal Geisha – Plush – Frankie Button/ Tizer High Wycombe – Fill In Da Gap Hipe Club - DJ E-Funk Leederville Hotel – Funk Club Afrodisia Library –Birthday Celebrations Scott D / N. Cision (Mel) /Mickey Juice Liquid Nightclub - DJ Klar55 / DJ Jewel / DJ Stevie M

Lakers Tavern – Fresh Fridays - DJ Dooey Manor – Kon / Amir / Charlie Bucket / Ben M Manhattans – Gasoline / Demi Monde / That Velvet Echo Merrina Tavern – DJ Real McCoy Mojos – Naik / Diger Rokwel / Mathas / Cartoon Hell / Maxy Bills / DJ Silence Mint – Club Retro – Chris McPhee Mustang- Swing DJ / DJ James MacArthur Newport – Culture Clash - DJ Andrei Mazz/Jerrem Lynch Norma Jeans – DJ Darren Oxford Hotel – DJ Sequeria Paddy Hannans – Just Ace / Crazy Craig Paramount –DJ Morgan / DJ Jordan / Grand Theft Audio / Milhouse / Flyte /Hi-NRG /J Babies /Barcode /Blue Gene /The Silver Scene /Daren Reid /Village Kid / Inferno DJS Principal Micro Brewery – DJ Simon Queens Tav – DJ Rueben Rise – Ministry of Sound Trance Nation Tour - TyDi / MaRLo / Avesta / Simon Barwood / Steven Tranzor Rubix – Gene Bourne/ Kenny/ Riki Sail & Anchor - DJ Anaru Sapphire Bar – SuperFly Shape – The Cube – ShockOne/ Phetsta/Rregula/Bad Weather/ Greg Packer Swan Basement – BASSment Feat- Omikron / Switch Cutter / Aztec Presit Hood The Clink – DJ Jinx The Deen – DJs Birdie / Tony Allen / JJ / Tony Don Migi The Eastern – DJ Midfield The Saint - DJ Jordan The Queens – DJ Rueben The Shed – DJ Glenn 20 Tiger Lils – Paul Malone / Joby / Alex K The Vic - DJ Durra Toucan Club -Ladies Night - DJ Misscheif Uniting Church Hall – TGIF Dance - DJ Geoff Windsor – Dj Riki and Ray Woodvale Tavern – Dr Bogus Victoria Park Hotel – DJ Melvin

SATURDAY 28/8 BAR OPEN (UPSTAIRS) FILTHY GORGEOUS Two weeks after Melbourne Mashup Monster Dixie blew the place apart, Filthy

MANHATTANS UNSTOPPABLE GLUE is a jam for all the fellas trying to do what those ladies tell ya - so don’t just stand there, bust some glue. Playing records tonight will be FKN MIDAS, Tom Fom plus special guest Grubby from King Titos. Expect funk directions and regular good time tunes from the boys in glue. Entry is free from 7.30pm.

DEVILLES SATANIC SOUL Put on your dancing shoes and get down and funky as Deville’s Pad presents Satanic Soul, featuring the soulful funkiness of Odette Mercy and her Soul Atomics live on stage, rip roaring tunes for you all, plus Little Franco Berry and Microgroove spin soul, funk and disco all night long, plus live cabaret and go go dancing from Les Sataniques. Doors open 6pm, $10 after 8pm.

Ambar – Japan 4 – Tom Drummond / Oli / Marty McFly / Micah Amplifier – Pure Pop - Eddie Electric Bar Open (Downstairs)- Open House Bar Open (upstairs) –Filthy Gorgeous - Travis Lebrun / Nathan Francis / Sketchism /Jackness /Jay Vicente /Pascal /dMo Basement On Broadway – DJ Ricky Bird- Rex Monsoon Broken Hill Tavern – DJ Nick Alexander Capitol (Upstairs) – Cream Of The 80s – DJ Ryan Capitol (Downstairs) - Death Disco DJs Captain Stirling - DJ Dano Clancy’s (Canning Bridge) - DJ Dood Clancy’s (Freo) - The Morning Night / Ryan Webb & The Method Civic Hotel (The Den) - Screech / U-Wish /Minky G

Clink- DJ Cheese Club Bay View – VIP Saturdays – DJ Ryan Connections – Michy T / JJ / Brian Crush – Volume Deville’s - Odette Mercy & Her Soul Atomics / DJ Little Franco Berry /Microgroove Double Lucky – DJ Saxon / Dj Sardi Dusk – New Gen 3rd Birthday Bash- Fusion /Skinny /Rowdy / Duane /Dash /Motion /Wiggz Eurobar – Roger Smart/ DJ Raci Eve – Eve DJS Flying Scotsman (Defectors) – Luke P / Rohan Smith / Marko La Kucha / De|Mech Flying Scotsman (Main Room) – Transmission – Andrei Mazz Flying Scotsman (Velvet Lounge) – Greene George / DJ Gibby / Hatchet / Turnin Trix / Iller Insinct Geisha – Joie –James A / Cam Duff High Wycombe – DJ Matt Hipe Club - DJ E-Funk Indi Bar – Direct Influence Leederville - DJ Loco Ren Library – DJ Jimmy Phatz / DJ Victor /DJ Gareth Richardson Liquid Nightclub - DJ Klar55 / DJ Stevie M Llama Bar – VJ Zoo/ DJ Rueben/ DJ Tony Lopez Manhattans – Unstoppable Glue - FKN MIDAS / Tom Fom / Grubby Mint – Pop Life - Darren Briais Metro City –DJ Slick / Matty S / Angry Buda Metro City (R&B Lounge) – Ruthless / Brett Costello / Kyte Metro Freo - Lady Penelope Mullaloo Beach Hotel – DJ Danny Mustang – DJ Rockabilly / DJ James MacArthur Niche – Frankie Button / Cee / Jonny Zimber Norma Jeans – DJ Phil Onyx - DJ Kayper Oxford Hotel – DJ Sequeria Paramount –DJ Meezy / DJ Jordan Queens Tav - Gareth Richardson Rise – Resonate – ShockOne / Muller / Xsessiv / Xander / DJ Vu / Pacemaker / D.Y.P / ST-1 Rosemount - RTR Radiothon Closing PartyHarlequin League/ The Tigers /Will Stoker

SATURDAY

THURSDAY

Ghost Hotel

Marco & The Rhythm Kings, Blazing Entrails with Rockabilly DJ, The Damien Cripps Band & DJ James MacArthur

Andrew Ewing, The JaycoBrothers, & DJ James MacArthur

SUNDAY

FRIDAY

Marco & The Rhythm Kings

Adam Hall & The Velvet Playboys with Swing DJ Cheeky Monkeys with DJ James MacArthur TUESDAY

Danza Loca Salsa night

DJ and live percussionists 42

Gorgeous is back with Perth’s very own Travis Lebrun ready to make his mark on Perth’s hottest night.

Travis is known to bring the filthy beats to the dancefloor – he’ll take you on an electro journey like no other. Also bangin’ on the bill is Nathan Francis, Sketchism, Jackness, Jay Vicente, Pascal and dMo. $10 on the door with $10 cheap cocktails. Doors open 9pm.

with DJ Rockin Rhys WEDNESDAY

Just Ace

with DJ Giles STUDENT & BACKPACKER NIGHT

$5 BBQ & drink deal from 6pm www.xpressmag.com.au

KNOWLEDGE 1ST BIRTHDAY

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NEW

& The Embers / Young Revelry / Wolves At the Door / Fall Electric/ Hayley Beth / Adem K / Ghostdrums / James Teague /DJ Gemma Pike Rocket Room - Ozi Batla / Rythm Infinit /DJ Simmo T / Gasoline Inc /Kickstart /DJ Brett Rowe Rubix – Kenny L/ Delaney Sapphire Bar – Kiss & Tell – Maxwell/Paul Scott/Damian John/T-Box South St Ale House – DJ Jay Soverign – DJ Jinx Stamford Arms - DJ Anaru/ DJ Janic Tiger Lil’s –Adam Kelly/ Charlie Bucket The Brighton (Upstairs) – Micah/ Kill Dyl/ eSQue The Deen - DJ Birdie/ DJ JJ/ DJ Tony Allen The Generous Squire –Late Night Sessions - WiG Music The Saint – DJ Anaru The Shed – DJ Andyy The Whistling Kite - DJ Craig The Vic - DJ Benny Chill Toucan Nightclub (Mandurah) – DJ Samuel Spencer Villa – Knowledge First Birthday - DJ Marky / Shockone/ Qbik / Muller Victoria Park Hotel – DJ Melvin Windsor – DJ Ray Woodvale Tavern – DJ Real McCoy

SUNDAY 29/8 Captain Stirling – DJ Jay Clink – DJ Tony Allen Club Bayview – DJ Pete Bird – Able / Taku Euro Bar – DJ Flex Eve – DJ Birdie / MC Jex Flying Scotsman (Defectors) – Back To Mono – DJ Gareth Richardson / Ted Schlechte / Anton Mazz Flying Scotsman (Downstairs) Nathan J/ Chris Wright/ The Nisbit Geisha – Loft Sundays - Cyndi Jett/ Owen Heir/ Atroboy /Asciimov Manhattans - The Worms / The Fancy Brothers / James Teague / Jesse Woodward / Pins and Ladles Mojo’s - The Blue Finish / Rachel & Henry Climb A Hill / Art in Algebra Mullaloo Beach Hotel – DJ Kenny L Mustang - DJ Rockin Rhys Paddo -DJ Riki Players Bar - DJ-Udas

Queens Tav- DJ Rhys Rubix – The Rotation – Krule/ Dazz K/ Untertone/ Lyndon The Cott - Cott Sessions The Saint - DJ Anaru The Shed – DJ Andyy The Wembley – Deckeclectic

MONDAY 30/8 Eastern Hotel – Adam Morris The Deen – Plastic Max / The Token Gesture The Paddo - DJ John Paul The Shed – DJ Andyy

TUESDAY 31/8 Bar Orient - DJ Lyndon Eastern Hotel – Jon Edwards High Road Hotel - DJ Matty J High Wycombe - DJ Ricky Hipe Club – DJ Roger Smart The Cott (Upstairs) –Maxwell/ DJ Jus Haus/ Damian John The Paddo - DJ Deepad Victoria Park Hotel - DJ Melvin

WEDNESDAY 01/9 Basement On Broadway – Damien John/Angry Buda/ Maxwell/Headayke Captain Stirling – DJ Ricky Clancy’s (Applecross) – Upbeat – DJ Andy Connections - DJ’s Joby / JJ / Rueben Dusk – Blackbelt/ Aswon Double Lucky – Dirty Elegance Eurobar – Wild Wednesdays - DJ iPod/Ben Pettit Eve – DJ Don Migi / Skooby Flying Scotsman- Dazz K / Gemma Pike Gold – Slick/ Adroc Hipe Club – DJ Roger Smart Mint – Open House - DJ Chris / DJ Matt Manhattans – Kill Teen Angst / The Trigger Jackets / Paranoid Tarantula DJs Mustang – DJ Giles Newport Hotel – DJ Tony Allen / DJ Kaela Niche - DJ Frankie Button Paddo - Ben Merito Rosemount – DJ Shannon Fox Shape – Kool Keith / Selekt / Kit Pop / Ad Roc The Clink – DJ Jinx The Deen- DJ Zelimer / DJ Viper & DJ Benny T– Zone 1 The Queens – Wriggle on

Australia’s highest circulating Street Press

THIS WEEK Kon & Amir Friday, August 27 @ Manor DJ Graz Friday, August 27 @ The East End Bar Tydi /Marlo Friday, August 27 @ Rise Lee Coombs Friday, August 27 @ Ambar Rottofest feat. Funk Club Friday, August 27 @ Rottnest Shockone Saturday, August 28 @ Rise Rob Sparx Wednesday, September 1 @ Bar Open

COMING UP Richard Durand Friday, September 3 @ Rise Marten Horger Friday, September 3 @ Ambar

Jack McCord Friday, September 10 @ All Seasons, Karratha Miles Dyson Saturday, September 11 @ Villa Alix Perez Wednesday, September 15 @ Shape Samiyam / Tokimonsta / Brainfeeder / La Martyb / Iilumsphere / 3024 / LDN / AMSDM Friday, September 17 @ Villa Horrorshow / Seth Sentry Friday, September 17 @ Mojos + Friday, September 18 @ Rosemount

Deetron (Sui) Sunday , October 3 @ Geisha Bar Godskitchen feat. Andy Moor / John O’Callaghan /Marcel Woods / Wippenberg / Jon O Bir + more Friday, October 8 @ Metro City NEW

Marcel Dettmann Friday, September 17 @ Ambar Bass Kleph Saturday, September 18 @ Villa

Hardforze Friday, September 10 @ Rise

Lee Burridge Friday, September 24 @ Ambar

Deathface Friday, September 10 @ Shape

Kid Kenobi Saturday, September 25 @ Ambar

NEW

Parklife feat. Missy Elliot/ Cut Copy/ Groove Armada/Soulwax/Holy Ghost! /Busy P/ Midnight Juggernauts/Uffie/ Classixx /Mix Master Mike Brodinski/ Jesse Rose/The Swiss + more Sunday, September 26 @ Wellington Square

Timo Maas Friday, October 15 @ Ambar Sasha Votoff Saturday, October 16 @ TBA NEW

Deadboy Saturday, October 16 @ The Bakery Circo Loco Friday, October 22 @ TBA Ice Cube Friday, October 29 @ Metro City

Mayhem Saturday , October 30 @ Scarborough Beach Amphitheatre Pendulum Saturday, November 6 @ Challenge Stadium Stereosonic 2010 – Tiesto/ Carl Cox/Robyn/Major Lazer/Sebastian Ingrosso/ Benny Benassi/Wiley/ Ricardo Villalobos/ Infected Mushroom/Jeff Mills/Afrojack + more Sunday, November 28 @ Claremont Showgrounds Phife D & Ali (A Tribe Called Quest) Friday, December 3 @ The Bakery Summadayze 2011 feat.

Erol Alkan/ Chromeo/ Armin Van Buuren/ David Guetta/N.E.R.D/ Bob Sinclair/ Wolfgang Gartner/ Rivastarr/Miami Horror/Yuksek/ Aeroplane + more Saturday, January 8 @ Supreme Court Gardens Southbound 2011 feat Public Enemy/Bliss n Eso/ Peaches (DJ set)/Yacht Club DJs/A-Trak + more Saturday, January 1 – Monday, January 3, 2011 @ Busselton, venue TBA

OZI BATTLA @ VOODOO LOUNGE

43

morning. The Rocket Room would also like to introduce the new house band on Friday nights - Side FX - who will also keep the momentum of the night cranking with the DJ spinning the tunes in between sets!

NEWPORT

Pull on your leg-warmers and pull up a side ponytail for ’80s night at the Newport this Friday, August 27. The night will include killer ’80s music from Pulse8 and DJ Chad; with a Connect Four competition to be played out on a giant Connect Four set. Dress ’80s to win radical prizes.

MUSTANG BAR

Over the past 12 months Blazin’ Entrails have brought their own brand of neo-rockabilly to every corner of our fair city. Big guitar solos, Washington triple slapping double bass and swingin’ drum beats are all part of their in-your-face, energetic sound that harnesses as much from the likes of FLY BY NIGHT Iron Maiden and The Clash as it does from Rev. This Friday, August 27, Washington’s travelling musicarnival will hit the Fly with very special Horton Heat and The Stray Cats. Due to release guest Dan Kelly (unfortunately this event is already sold out). On Saturday, August 28, Close to their debut, self titled EP in November, the boys Nowhere brings together Perth’s grass-roots music scene featuring Ryan Webb, Heath Marshall, are on a do or die mission to raise the profile Pete Usher and the Global Pandemic, Pins & Ladles and more of rockabilly music in Australia. Catch them live with Marco And The Rhythm Kings this Saturday in The Den it’s one of Perth’s biggest DEATH DISCO- CAPITOL Saturday from 7pm at The Mustang Bar. hardcore bands – Extortion joined by Suffer, If you like it indie, if you like it banging, if you like Happy Families, Nahor and Lie Cycle.

Doors punk rock and hip-hop, funk, dub and rave, if MOJO’S you love itchy, fidgety bass lines, if you love the open 8pm both nights.

Monday is Wide Open Mic night at Mojo’s, where 303 and the 808 and most importantly if you a bunch of ambitious cats will simply rock love a great tune; Death Disco is a guaranteed POW @ THE PADDO up to strut their stuff. This night is hosted by Don’t miss the weekly lineup of local bands good time! playing each Wednesday at the Paddo. On Justin Walshe (0408 755 233) who’s looking for Wednesday, September 1, head to the Paddo mimes, small skits, comedians and interpretive RAILWAY HOTEL to see My Mad Flow, Aron’s Crusade, Silent dancers - as well as songwriters - as Wide Open The Railway Hotel hosts a heavy feast this Republic and Heath Marshall. Bands start at Mic is open to all manner of performers. Entry Friday, August 27, when Thirty3 Victims, Mhorgl, 8pm and as always, it’s free entry! is always free at Mojos on Monday’s... and the When All Else Fails and Spitfire Romance join pizza is always freshly made! forces to raise the roof. Doors open 8pm and entry is only $6 – bring your earplugs for this DEFECTORS (UPSTAIRS AT THE LEOPOLD HOTEL one!

THE SCOTTO) The Leopold Hotel is all about entertainment, Sunday at Defectors features Record Hop- whether it is watching live music, music clips or offering the wildest rockin’ sounds from the your favourite sporting events on two massive JB O’REILLY’S Head on down to JB O’Reilly’s on Thursdays ’50s and beyond. Also on offer is Back To Mono, projector screens. Play pool or sit back and for a curry and stay on for the Quixotics, who Perth’s essential free and funky Sunday Sess. have a punt in the pub/TAB or host a function.

Expect rare groove, ska, rocksteady, dub, funk, will cook up some hot sounds Mid week happy hours, raffles, poker and bikini soul and reggae from 4pm. Free entry. girls make having a drink at the Leopold an absolute pleasure. If you are after a quiet drink, THE CIVIC HOTEL The Beer Garden at The Leopold Hotel is a This Friday, August 27, Prisoners Of Faith bring ROCKET ROOM back the roots of old school metal as they Hard N Fast after midnight is the Rocket secluded area which allows you to watch the launch their new EP, playing with their mates Room’s new late night format. The DJs will be races or your favourite sports while listening from Crankenstein and local metal acts Pale spinning their favourite tunes that will keep to music - all in Australia’s great outdoors. It’s a As Ashes and Hellious in The Backroom. On your adrenaline going ’til the early hours of the great place for young and old to enjoy.

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Voltaire Twins

ROSEMOUNT HOTEL

Voltaire Twins hit the Rosemount this Friday, August 27, to launch their new EP along with special guests Emperors, Carl Fox and Seams. Doors open 8pm and entry is $10 or $15 with a copy of the EP.

www.xpressmag.com.au

ROCKET RE-LAUNCH The Rocket Room Saturday, August 21, 2010 The Rocket Room re-launched in top-gear last weekend, with a new and improved look, lights and sound. Bands took to the stage with gusto, and the crowd lapped up the atmosphere beat by beat.

With live bands playing every Friday and Saturday, the live music keeps kicking and screaming after midnight with SideFX on Friday night and Gasoline Inc and KickStart on Saturdays.

Last Friday, to ignite the re-launch, The Violet Flames had a return show which saw their home fans flock in for some rocking nostalgia.

Ian, Ali & Will

Photographs by Michael Howard

The Violet Flames

Erin, Alfredo & Nicki

The Violet Flames

Bro, Kel & Cat

SUN 141 SCARBOROUGH BEACH ROAD MT HAWTHORN Australia’s highest circulating Street Press

e AFL Liv Cheeky Monkeys plus

live from 9pm!!!

Astro EP launch

$15 Pizza and Peroni!! Quizmeis Free $10 STELLA JUGS Trivia!!ters !

POW!

Aug 30

MON

Gun Shy Romeos live from 9pm

Aug 31

Freo v Carlton live at 6:30pm!

Three!! live Gang Rof& T-BO NE!

Sep 1

Ben Merito LIVE

TUE

Aug 29

SAT

Aug 28

FRI

Aug 27

TONIGHT

$15

plus

CHICKEN PARMIES!

WED

UFC LIVE THIS SUNDAY FROM 9AM!!!!!!!! $20 TIGE

www.paddo.com.au

My Mad Flow,

Aron’s Crusade, Silent Republic and Heath Marshall

with The Retaining Walls, Blue Umbrella and The Bureaucrats.

Ph: 9242 3077

feat.

Home of the 141 Club

The Paddo: winner of the AHA’s T “Best Live Entertainment” award 2009 and Sports Bar” award 2008 “B “Best

45

UNLIKELY ICON DARREN HANLON Fly By Night Club Saturday August 21, 2010 We Australians, tend to resist the notion of ‘cultural icons’ and hero worship. If forced to pick an artist that sums up our national psyche, you might hear a few ‘Paul Kellys’, several Nick Caves’ and a couple of ‘Tim Rogers’, but it’s safe to say folk troubadour Darren Hanlon would be unlikely to top anyone’s list.

It’s a testament to Hanlon’s talent, therefore, that he was able to pull a huge crowd of punters to the Fly By Night on Saturday night, as post-election parties loomed elsewhere and storms raged outside.

With his plain spoken, un-affected Australian drawl, it’s almost impossible not to like Hanlon - not only is he modest, unassuming, and endearingly low-key (you won’t find lasers, synth-laced beats or strobe lighting at a Hanlon gig), but he’s also about

as talented a musician as you’ll find.

Rolling into one another, tumbling together in a blurry buzz of melody and an emotional mix of youthful enthusiasm and world-weary melancholy, Hanlon’s two-hour performance gave prominence to new tunes from recently released fourth LP I Will Love You At All, playing through the album in its entirety with a slow-growing charm and understated grace that gradually became more powerful as the evening progressed.

The most intoxicating moment of the set came toward the end of epic eightminute ballad House. As the music swelled to its dramatic climax, Hanlon crooned: “Oh where were the poor little ghosts of the footsteps we’d taken”, creating the kind of musical moment that pulled skin into gooseflesh, before promptly dropping off into its haunting ending. Hanlon has made a career out of these truncated attacks; he knows how to knock his audience over with transcendent harmonies,

but also not to linger too long.

Although it’s clear Hanlon isn’t going to start musical revolutions, send critics into a flurry or win over any listeners who aren’t already sold on his breezy folk-pop style, then again, it’s hard to imagine that is the purpose Hanlon sets himself up for – as he exclaimed tonight he has “reached a stage in his career” where he is not creating music to “impact anyone but himself”.

Like much of what he writes about, Darren Hanlon’s music is a simple pleasure. If nothing else, Hanlon has remained a consistent presence, and his live shows still outstanding - as his fans will attest - you don’t simply listen to his music out of obligation, but instead because you are compelled to return to it, again and again.

As tonight’s performance certainly proved, depending on how much time you’re willing to give him, Hanlon might just be the best Australian artist out there today. _JENNIFER PETERSON-WARD

Darren Hanlon (photo: Lisa Businovski)

RADIO GAGA RTR RADIOTHON OPENING PARTY The Astor Theatre Saturday, August 21, 2010

FRIDAY 27TH AUGUST Kim McDonald / Helen Shannahan The Fremantle Ukellele Collection Minky G / Brown Dog Saloon Michael Gabriel

J A C K

The Astor is turning into quite the hip venue these days, with its beautiful art deco interior and Beaufort Street frontage. Enough so that it was taken over by the RTR crew for the launch of the yearly Radiothon fund-raising effort. With three separate performance areas, and a surfeit of good will and good tunes, it was a fitting kick-off for RTR’s biggest week of the year.

The crowd was mostly hipsterish. There was an abundance of facial hair, a few too many ironic tee-shirts, a goodly number of Sweatless sneakers and keffiyehs adorning the crowd that thronged the Candy Bar, easily the most popular performance area, where local DJ talent like Sardi, Ben Elliot and Mama Cass worked the decks.

Cinema Two was host to a more relaxed vibe. Kynan Tan’s exotic and surreal VJ set made a perfect backdrop to the hypnotic soundscapes generated by Gilbert Fawn, Mystic Eyes, Craig McElhinney and Rabbit Island. The small theatre became a shifting tapestry of light and sound, a perfect chill-out zone away from the manic

& S A L L Y E N T E R T A I N M E N T A N N I H I L A T E M U S I C presents

The Brow Horn Orchestra

Tomás Ford (photos: Amy Vinicombe)

goings-on of the main stage.

The main stage, of course, is where electronic noise terrorist and serial violator of personal space Tomás Ford was holding court. Now, Ford can rock an intimate venue like a king, and his mastery over a crowd is widely acknowledged, but there was something off about seeing him up on the main stage, isolated from his people in the crowd. His set was excellent, which is par for the course, but after years of witnessing him molest the audience at smaller gigs, it was odd feeling the sudden distance between the performer and his fans.

The Brow Horn Orchestra, however, are made for a big stage. The WAMI champs

served up a set of compulsive beats and warm brassy horns, complete with backup dancers and crowd interaction. Easily the highlight of the night, they’re one act you should go out of your way to see live.

The evening was topped off by a typically warm and sassy performance from popster darlings Boys Boys Boys! to send us off into the chill night with smiles on our faces. It was a good capper on a killer line-up of local talent, and a more than adequate reminder of why RTR remains an important cultural touchstone. _TRAVIS JOHNSON

and

(EP Launch)

MYSPACE.COM/CHASINGTHENINTH

46

www.xpressmag.com.au

Edited by Bob Gordon Email your news and pics by 12 noon, Monday to: localmusic@xpressmag.com.au

VOLTAIRE TWINS Twins Tower There’s a certain magic about the Voltaire Twins, maybe it’s because they are actually twins. Well, possibly…

“I think part of it is that chemistry,” says Jaymes. “A lot of people find it intriguing, the idea of twins and all that. A lot of people just don’t believe it and assume we’re dating or something equally wrong. You can communicate with your twin on a level that others don’t understand. It means you can express yourself more honestly and candidly. I think the best music or performances always come from an honest or candid place.”

The twins have been at this formally for a couple years now and the band has certainly blossomed beyond their initial, singular ambitions.

“To start with, we wanted to be ‘electro’ because it was this new cool thing,” Jaymes recalls. “But pretty quickly we realised we don’t fit into the electronic scene. We don’t write that kind of music, we don’t listen to electronic music... we decided to grow it into a more organic, live band. We now use analog gear, play with a drummer, we ditched our laptop full of samples and the more we move away from that electronic sound towards something more organic, the better it all feels, and the more other

people seem to take notice. It’s grown into our own sound.”

There’s an album in the works, but right now the tip is the Voltaire Twins’ new EP, Cabin Fever.

“I think there’s a melancholy anger that runs through it,” says Jaymes. “Most of our songs are pretty narrative, just because that’s how we write, and the songs on this EP are mostly dark, angry stories. Part of it is about us trying to push away from the expectations people who haven’t seen us or don’t know us might have built up.

Part of it is just that angry or sad stories are more interesting that happy ones.”

With an album nearing readiness and the likes of Kitsune offering kudos and compilation slots, Voltaire Twins are go.

“The only philosophy we have is work hard and do it better than you’ve already been doing it,” Jaymes says. “Our number one philosophy, the thing we regularly say to each other when we’re writing, or playing shows or whatever, is ‘can we do better?’.’”

Cabin Fever is launched at the Rosemount Hotel this Friday, August 27, with special guests Emperors, Carl Fox and Seams.

Voltaire Twins

X-PRESSIONS OF INTEREST Jane Germain has wandered an intriguing track both in music and life in recent years.

All the way to China and back…

What did you want to evoke on your newest album, The Lonesome Road?

Ian (Simpson) and I wanted to release an album that is real - we have people come to our shows, they like particular songs - we wanted them to have an album to take home and play that sounds the same as when we play live. It’s very easy to spend too much time in the studio trying to get everything perfect, but we decided to play live - sitting opposite each other and getting the songs down - a lot of them were a first take. We got down 14 songs in the first day, the next day we added some percussion, Ian added double bass and dobro on some tracks, the third day we mixed.That was it - no mucking around!

Jane Germain time at the World Expo. How important has that connection become and how does it evolve?

It’s hard to describe... as soon as I land, I feel like I’m home again. It’s a very special place - incredible to walk the streets that my great grandmother walked, to find the place where my mother lived and so on. China is an incredible country - the people are beautiful, I’ve made some wonderful friends - but I’m always You recently performed again in China, this exhausted when I return to Perth. I’m sure I’ll keep

Australia’s highest circulating Street Press

STEREOFLOWER Punk-folkists, Stereoflower, have landed the suppor t for Melbourne’s Bedroom Philosopher on his tour of WA, culminating in a show at The Rocket Room this Friday, August 27. September finds them gigging at the Newport, Ellington and Manhattan’s, so it’s all happening. For more, head to www. myspace.com/stereoflower.

CITY LIGHTS Perth’s premier hard rock act Emerald City will hit the stage once again this Saturday, August 28, at the new and improved Rocket Room, with the boys promising some exiting news to come… so stay tuned. Quality support on the night comes from Hailmary and newcomers, Bashamm.

Doors open 8pm, entry $12.

HOTEL’S DESTINATION

The Ghost Hotel hit the Mustang Bar for a free show this Thursday, August 26, along with special guests The Jayco Brothers and Andrew Ewing. Following that the band heads over to the east coast for a couple of _ BOB GORDON Melbourne dates and a big Powderfinger support in Newcastle. That’s a spicy meatreturning to China - they love what we do - and a-ball!

I think that Ian is beginning to feel a connection there also. Performing at the Australian Pavilion at the World Expo was an amazing experience. It KARMA COMBO was a real honour to have been included in the Karma fx continue their string of shows Cultural Program and to have the opportunity to across the metro area by heading to showcase our music to huge audiences.

Fremantle for two very different shows.

Tonight, Thursday, August 26, they play Bar What can the audience expect from your show Orient in Fremantle city at the finals of the at Kulcha? bar’s band competition. Then, on Saturday, I am playing at Kulcha with the full August 28, Karma fx head to the Swan band line-up of Jane Germain & The Yahoos - Lounge joined by good friends Dyonysis, our band includes three former members of the Shock Octopus and 44th Sunset.

Sensitive New Age Cowpersons - they are mostly naughty boys who are also great musicians. We have a lot of fun on stage and love ‘working’ GASOLINE ALLEY together. We will play music from the Appalachian Gasoline Inc. have a new co-residency at Mountains to the Chinese grasslands - country the Rocket Room. They’ll fire up the next blues, bluegrass. I think the audience will have a four Saturdays in the late night slot, kicking off this one, August 28. They also lineup at good night. I know I will (laughs).

Player’s Bar in Mandurah tonight, Thursday, Jane German & The Yahoos perform at Kulcha August 26. Keep a look out for their new on Friday, August 27. video, Fuel The Soul.

47

PARADES Sparkle, Sparkle Although art-rock outfit Parades has been floating around in numerous projects in Sydney’s northwest for a while now – including, most notably, drummer Jonathon Boulet whose acoustic-based pop-rock self-titled solo record was released last year to critical and commercial acclaim – it’s been a long wait for debut Parades release Foreign Tapes. Vocalist incarnations (including a brief foray into postDaniel Cunningham explained apocalyptic heavy-metal) the collective’s musical the complexities of crafting meanderings, taking place weekly in Boulet’s has borne debut LP Foreign Tapes, an their unique brand of “noise garage, amazingly assured record of disarming maturity, with sparkly bits” to JENNIFER complex arrangements and gifted melodies.

Heralded by critics nationwide and a PETERSON-WARD ahead of strong contender for Australian indie release of their three WA gigs (see Tour the year, the tunes on Foreign Tapes balance bold and startling experimentation with awe-inspiring Trails for details). and genuinely heartfelt lyricism, executed with “We found one another in high school because we were quite literally the only four people kicking around in our year who enjoyed music as much as we did,” Cunningham begins, explaining how the four core members of Parades came together after bonding over a mutual love of music at their western suburbs’ Catholic high school in 2001.

“In hindsight, music just wasn’t a big thing at our school... they had all the facilities there for students to use, but the burning desire to do so during lunch breaks and after school was exclusively ours.

“The music department purchased a digital 8 track recorder one year for students to record their assessments on, and I’m almost certain we were the only students in the entire school that ever worked out how to use it. I wouldn’t be surprised if our stuff was still saved on it. Together we had a band that played around our local area after high school, but Parades is definitely the first thing we’ve ever taken seriously.”

Taking their project through various

such skill that they largely still manage to sound endearingly spontaneous, despite Cunningham’s admission to the months of crafting put in by the talented band. “[We wanted] to write a set of tunes that represented all of us together, and to make them as engrossing as possible. Every song just called for its own direction and it only seemed logical for us to help them get to where they’re going,” Cunningham explains,“We definitely don’t try and make them complex for the sake of complexity though, especially because live performances are always just another thing altogether - a huge pain in the ass, but great when everything works.”

Taking Foreign Tapes on the road in their biggest tour yet, spanning five states over a three month period, Cunningham promises Parades’ WA performances will encompass an expansive and ambitious set of electronic meanderings which will envelope audiences in a haze of pop harmonies, full of “lots of loud and sparkly noises, and some truly terrible jokes.”

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FRIDAY 27.8 AMPLIFIER Against The Tides CD Launch Born Into Suffering In League Saviour BALLY’S BAR Free Radicals BALMORAL The Bluebottles BELMONT TAVERN Good Karma BENNY’S Faces BENTLEY HOTEL Better Days BIRD Ben Taaffe Ben M BROKEN HILL Jamie Powers BURRENDAH TAVERN Keith McDonald CAPTAIN STIRLING Rhyme and Reason CARLISE HOTEL Toybox CIVIC HOTEL (The Den) The Brown Study Band Gombo Smokin Aces One Thousand Years CIVIC HOTEL (Backroom) Prisoners Of Faith CD Launch Pale As Ashes Crankenstein Hellious COTTESLOE BEACH HOTEL Open Mic CRAIGIE TAVERN The Roof Ratz DEVILLES Barking Frank Valentine The Jean Genies Mondo Inferno DJs DUSK RedStar

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Friday at Amplifier EAST END Supanova ELEPHANT & WHEELBARROW Daren Reid & The Soul City Groove ELLINGTON JAZZ CLUB Don Gomes Trio George Garzone ESS BAR Flavor FENIANS Tom Haron & The Clan FLY BY NIGHT Washington FREMANTLE ARTS CENTRE John Butler Trio FUSE BAR Groove Karaoke GLENGARRY TAVERN Crocodile Rock GREENWOOD HOTEL Baby Piranhas HALE ROAD TAVERN Glen Davies HILTON PARK BOWLING CLUB Rhythm Rockit HIGH ROAD HOTEL Airbag IMPACT BAR Skinny Lane INDI BAR Vdelli JB O’REILLYS The Healys KULCHA Jane Germain & The Yahoos LEFT BANK Bumpy Johnson MANHATTAN’S Gasoline Demi Monde That Velvet Echo MARKET CITY TAVERN Matt Burke Jessica Lee Donna Iverson MOJO’S Naik Diger Rokwel Mathas Cartoon Hell Maxy Bills DJ Silence MOON & SIXPENCE Upfront MOONDYNE JOES The Happy Cannibals MOUNT HENRY TAVERN Full Circle MUSTANG Adam Hall & The Velvet Playboys Cheeky Monkeys NEWPORT Pulse8 NORTH FREO BOWLS CLUB Kim McDonald Helen Shannahan The Fremantle Ukellele Collection Minky G & The Effects NORFOLK BASEMENT Drop Macumba Sonspilo Circus DJ’s Douche Unit Swine & Turtle NOVOTEL VINES RESORT Acoustic Nights OLD BAILEY TAVERN Rockstar

Helen Shannahan, Friday at North Fremantle Bowling Club

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Listing deadline is Monday 5pm. The Gig-Guide is a service to advertisers listing bands.

All inclusions are at the discretion of X-Press Magazine. Email reception@xpressmag.com.au or fax 9213 2882.

The Brown Study Band , Friday at The Civic JB O’REILLY’S Murder Mouse Blues Band LEFT BANK Raggi Man Mantra LEOPOLD HOTEL Greg Carter OLD BAILEY TAVERN Blue Tribute Night MANHATTAN’S Fkn Midas Tom Fom Grubby MARRI PARK TAVERN Acoustic Jam Night METRO FREO HI NRG MOJO’S The Kill Devil Hills Felicity Groom & The Black Black Smoke The Growl MOON & SIXPENCE Blaze MOONDYNE JOES The Freo Mob MOUNT HENRY Aaron Woolley MUSTANG Blazing Entrails The Damien Cripps Band Marco & The Rhythm Kings NORFOLK BASEMENT TV Nation & Ollierre The TN’s NEWPORT Gravity PADDO Cheeky Monkeys PADDY MAGUIRES Flamboyant PARAMOUNT J Babies PLAYERS BAR (Mandurah) Airbag PRINCIPAL MICRO BREWERY Billy & The Broken Lines RAILWAY HOTEL Frozen Ocean Aaagh Bats Higgs Boson The Branson Tramps ROCKET ROOM Emerald City Hail Mary Bashamm Gasoline Inc (Late) Kickstart DJ Brett Rowe ROSEMOUNT RTR Radiothon Closing Party Harlequin League The Tigers Will Stoker & The Embers Young Revelry Wolves At the Door Fall Electric Hayley Beth Adem K Ghostdrums James Teague DJ Gemma Pike ROSIE O’GRADY’S (Northbridge) Blue Gene ROSIE O’GRADY’S (Fremantle) Flavor ROYAL PALMS RESORT (Busselton) British India SAIL & ANCHOR Bluebottles

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MONDAY 30.8 BAR ORIENT James Wilson CHARLES HOTEL High Schools Big Band Concert

Emerald City, Saturday at Rocket Room ELLINGTON JAZZ Chamber Jam IMPACT BAR Groove Karaoke MOJO’S Open Mic PADDO Gang Of Three SPICE LOUNGE Courtney Murphy THE DEEN Plastic Max And The Token Gesture

TUESDAY 31.8 CHARLES HOTEL Brett Hunt Simon Coxband COTTESLOE BEACH HOTEL The Mad Agents Pounds Of Dave ELLINGTON JAZZ CLUB Libby Hammer The Graham Wood Trio ESS BAR Norbert’s Karaoke FENIANS Chris Gibbs IMPACT BAR Open Mic Night MOJO’S The Escape Artists Stoop Fresh J Deep Mr Starks MUSTANG Danza Loca Salsa SAIL & ANCHOR Adrian Wilson SPICE LOUNGE Courtney Murphy XWRAY CAFÉ Stu Orchard WANNEROO TAVERN Keith McDonald

WEDNESDAY 01.9 AMPLIFIER Napalm Death Dying Fetus Death Vomit BALLY’S BAR Steve Hepple

BLACK BETTY’S Crave ELLINGTON JAZZ CLUB Chris Abrahams FENIANS Cranky HALE ROAD HOTEL Fenton Wilde INDI BAR Tash & Rieid INGLEWOOD HOTEL Ella & Scott Bourne JB O’REILLY’S Open Mic Night LEFT BANK Benjamin Glynn LUCKY SHAG Howie Morgan MOJO’S SonPsilo Circus The Wilderness Jay Tee MOUNT HELENA TAVERN Open Mic Night MUSTANG Just Ace Flyte OLD BAILEY TAVERN Norbert’s Karaoke PADDY HANNANS Threeplay PADDO My Mad Flow Aron’s Crusade Silent Republic Heath Marshall ROSIE O’GRADY’S (Northbridge) David Fyffe ROSEMOUNT Therapist Cygnet Committee The Main Attraction SAIL & ANCHOR Songs In The Green Adrian Wilson SETTLERS TAVERN Open Mic Night THE MOON CAFÉ Danni Ammon James Teague Tim Gordon UNIVERSAL Strutt Ses Sayer

THURSDAY

Harlequin League

RTR RADIOTHON CLOSING PARTY HARLEQUIN LEAGUE / THE TIGERS WILL STOKER & THE EMBERS YOUNG REVELRY / WOLVES AT THE DOOR / FALL ELECTRIC / HAYLEY BETH / ADEM K / GHOSTDRUMS / JAMES TEAGUE / DJ GEMMA PIKE

SATURDAY AUG 28

ROSEMOUNT

BEX’S OPEN MIC NIGHT VDELLI FRIDAY

SATURDAY

KEVIN SMITH AND THE SEVEN STORY JUMPERS SUNDAY

ELECTROMEN 26th AUG

SWAMP: featuring Datura (Dom Mariani, Greg Hitchcock, Stu Loasby and Warren Hall) with Elephant and guests. Doors 8pm.

27th AUG

Awesome line up featuring Drop Macumba, Sonspilo Circus with DJs Douche Unit and Swine & Turtle. Doors 8pm.

28th AUG

Places of Indigo with special guests TV Nation and Ollierre and The TN’s. Doors 8pm.

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www.xpressmag.com.au

WA’s Music Equipment Magazine WAs Issue 13 – August 2010

Australia’s highest circulating Street Press

53

on the most desirable frequency ranges of classic THE T overdrives, while eliminating unusable extreme W WOODY settings of some of those units.

The Gain knob can dial in any amount SOUND S of overdrive from a warm, soft edge to a full-tilt After that sound, A onslaught. Working in conjunction with the Gain the one that Ron t control is the Volume knob, controlling the overall Wood got out if his volume level when the Overdrive effect is engaged.

BSM RW-F humbucker pickups h Treble Booster Stomping down on the More button kicks in a +14 and tube amps with dB volume boost that can cut through the mix in The Faces in the late ’60s? BSM has stepped any situation. forward with a special Booster so you can create Head to www.voxamps.com. this historical sound with every tube amp, offering a powerful clean or crunch character.

The RW-F has been specially designed for classical medium power pickups like the PAF The VOX/Joe or P90, also the Mini Humbucker or fat overwound Satriani Ice 9 single coils. One Gain-control is enough to enable you to blend from a slightly earthy crunch to a ICE 9 BABY creamy blues to fat modern. The booster is true VOX Amplification is now shipping the Ice 9 bypass and can be powered only by battery. Head Overdrive, the fourth effect pedal created in their to www.treblebooster.net. continuing collaboration with Joe Satriani. As with all of the previous VOX/Joe Satriani effect pedals, the Ice 9 has been created to provide a versatility of tone while meeting Satriani’s strict standards. With two distinct overdrive modes, versatile tone-shaping and the ever-popular More switch, the Ice 9 delivers a wide range of Jonathan ‘Sugarfoot’ Moffett inspiring tones, yet remains remarkably easy to use. The name is borrowed from the title of one of Satriani’s popular songs on his smash 1987 GET ON THE GOOD ‘FOOT album, Surfing With The Alien.

Jonathan ‘Sugarfoot’ Moffett played drums for The Vintage/Modern mode switch Michael Jackson and the Jackson family for 30 SAE Studio provides access to two totally different years and was set to perform with the music icon overdrive voices; each is designed to Satriani’s on the This Is It tour.

SAE THE WORD exacting specifications using carefully selected Moffett began playing drums at the The SAE Institute, already the world’s largest components. The Vintage mode employs a special early age of six and by 12 earned the nickname entertainment technology institute with more op amp and premium diodes to offer an overdrive ‘Sugarfoot’ due to his fast and articulate bass than 30 years experience as the world leaders in that is sweetly warm and classic, with just the right drum work, playing 16th and even 32nd note audio, film, multimedia and 3D animation, is now amount of sparkle and sustain. In contrast, the figures within his grooves. He has also worked an approved Higher Education provider with a Modern voice utilizes a Germanium diode to kick with some of the world’s biggest artists including campus right in the centre of Perth. up a cutting-edge overdrive that is altogether new Madonna, George Michael, Elton John and Julian SAE students have the option of Lennon and appeared on television shows such and aggressive. studying accelerated two-year,Fee Help approved The Ice 9 is voiced with both a custom as Good Morning America, Saturday Nite Live and degrees in Bachelor of Audio Production or Tone control and an extra Bass response knob. Arsenio Hall.

Bachelor of Film Production in state-of-theMoffett is currently touring his Tribute Although they both work together, each affects art facilities. The accelerated programs help the tone at a different point in the signal chain. To Michael Jackson show, quite the experience graduates to get their careers started faster.

The Bass control adds extra bottom to the sound for drummers and music buffs alike.

SAE’s Bachelor of Audio Production Catch him in Perth on Tuesday, October before it enters the drive stage, delivering dynamic gives students technical and creative skills low-end response. The Tone control shapes the 5, from 7pm, at the Lady Wardle Performing Arts involved in the recording process, as well all sound as it exits the drive stage, offering even Centre. Tickets are $29 instore at Billy Hyde or aspects of audio and studio recording, live sound, more sonic flexibility. Satriani worked with VOX online at www.billyhydemusic.com.au and www. mixing, mastering, MIDI and electronic music, engineers to contour the tone controls to focus allansmusic.com.au.

HOME OF THE TONES

Ever visited the Guitar Pickup Tone Database?

Do so! The newly expanded site showcases 227 pickups, depicting similarities in tone between different pickups. An advanced algorithm quickly searches the hundreds of pickups in the database and selects ones that sound similar to those displayed, allowing the user to easily compare brands and models of pickups to select the right ones.

This free web tool also displays frequency response plots of each pickup, and plays a reference audio clip through the pickup response to demonstrate what it sounds like under numerous cable and loading conditions.

This lets the user hear differences between pickups, aiding pickup selection.

Try before you buy! At home! Head to www.AQDI.com/cgi-bin/database.cgi.

Head to the tone database and pickup a thing or two

music business and studio acoustics.

SAE’s Bachelor of Film Production covers digital film making and production.

Students learn storyboarding, screen writing, camera operation, production management, directing, editing and sounds design. As part of the degree, students develop skills as directors, producers and editors.

SAE has produced graduates who have gone on to win Oscars, Grammys, and ARIA, AFI and WAMI awards. The 2010 WAMI Producer/ Engineer of the Year (an industry-voted award) was for the fifth straight year SAE graduate Dave Parkin of Blackbird Studios.

If you dream of a career producing music for an international act or working on a film set, SAE can make that dream become reality.

Email infoperth@sae.edu or head to www.sae.edu.

ZAKK WYLDE Empire Of The Black With the dawning of Black Label Society’s latest effort, Order Of The Black, frontman and former Ozzy Osbourne lead stringsman Zakk Wylde tells JESSICA WILLOUGHBY why he is still “bleeding black” after all these years.

Zakk Wylde

One of hard rock’s most decorated and accomplished guitarists, Zakk Wylde, has become a ‘golden god’.

Without any biblical references, Metal Hammer bestowed this title upon the burly Black Label Society brainchild earlier this year. Treading further, his near prodigious talent also earned him the mantle of Revolver’s Best Guitarist 2010. Not bad at all for a man who has suffered more than his fair share of setbacks over most recent times. ‘Setback’ being a relatively kind word to use, as the last 12 months have seen the 43-year-old New Jersey boy reassess everything he knew about his career behind the fret board.

An unexpected announcement from Ozzy Osbourne, his metal mentor that plucked him from gas-pedalling obscurity to become his right-hand man, revealed the search was on for a new guitarist to fill his shoes. Even more concerning, his health came under scrutiny, with his affection for 54

the booze seeing Wylde hospitalised in August, 2009, after doctors discovered blood clots in his leg. Forced to cancel touring at the time due to a fear his vocal duties may evoke an embolism, he had to come to terms with giving up the drink, getting his well-being into repair and, of course, not being part of the Ozzy camp – a place that had been his home for 23 years.

Being the optimist and eternal joker that he is, Wylde reflects lightly on the situation. “People were like, ‘are you on a 12-step program?’ to quit the drink and I’m like, ‘no, Black Label one-step motherfucker’,” he raucously laughs. “I just got off the blood thinners, so I’m feeling good. I could go out and drink right now but I just don’t want to. I have absolutely no hang ups about it.

Quitting hasn’t impacted on the way I write anyway, because I have always been the person to pour over riffs with a morning coffee – I was never wasted when I wrote a record.

comical. Plus, we we’re talking about opening Black Label clubs over here. We’re building a fucking empire.”

No truer a statement has come from Wylde’s lips. He has set out to rule his own selfmade dynasty, not only in the entertainment realm but with his equipment also. Holding a range of six Gibson and Epiphone guitars to his name already, with another tipped to be on the way very soon, Wylde says there no greater personal satisfaction as a musician than inspiring others through his signature series.

“Being in a position when you can come up with your own style for others to use; it’s killer, I love it,” he enthuses. “It’s like, a guitarist who may not know your band or who you are, but they like your guitar – I really dig that. And I get into the real gritty details with my designs too. With my ZV (signature Splittail-shaped Gibson model), I worked in incorporating the two styles to suit me – right down to how the neck feels when I grip it and the pickups I want. I’ve got another design in the works at the moment and I’m working with Dunlop on a new pedal too, both of which will most likely be ready next year.”

Standing by his attachment to Dunlop with the Wylde Wah and Rotovibe, he keeps the “crunch” in BLS with addition of the MXR EVH Phase 90 to his rig, the pedal attributed to Eddie Van Halen’s iconic Tone Chaser, alongside the custom MXR Wylde Overdrive and MXR Black Label Chorus split signal – both which “warm up” the Black Label Society sound, according to Wylde.

All of this sits akin to his tried-andtrue point of amplification, the Marshall JCM 800 – accompanied with twin four-by-12 cabinets and loaded with EVM12L 300W custom speakers.

“You just plug it in and it’s ready to go,” Wylde says about his exclusive amp of choice. “It’s a stock meat-and-potatoes set-up.

No fiddling with dials for half and hour, it just sounds awesome straight away – no fucking around whatsoever. And when you’re strapped to the mic all night, having something like that to stand by is definitely what you need.”

“Plus, I still love Ozzy; we’re still good friends. Someone was asking me the other day if I had any dirt on him and the truth is all we did was laugh our arses off all the time. I never fought with him once. So when I heard Gus G was taking over my role, I said, ‘slap on some diapers and get him in there’ (laughs).”

In true Wylde fashion, he grabbed the circumstances by the balls and has chosen to usher in a fresh era of Black Label Society with focus and a new album. Order Of The Black, the quartet’s eighth studio offering, sees the outfit spending more time in the purpose-built Black Label Bunker studio and the addition of Will Hunt (Static-X) on drums.

“Black Label are heading out for global domination. We want this album to bring world peace and cure cancer in babies, but apart from that we don’t expect much (laughs). I’m also working on a Black Label bible; it’s basically an instructional manual for all things Black Label. Doing a screenplay How do you get the Wylde sound? Check about us too, something a bit funny and page 6 of Volume. www.xpressmag.com.au

PENDULUM Immersed In Technology drum ‘n’ bass audience that shuns The technical limitations of applying With their album Immersion reaching #1 on the UK album underground all things mainstream have allowed Pendulum electronically produced sounds and beats to a charts, drum ‘n’ bass/electronic rock act Pendulum can do no to forge their own sound of drum ‘n’ bass- live setting have never seemed to be an issue especially when surrounded by expert wrong. Singer, Rob Swire, speaks to TILMAN ROBINSON about influenced electronic rock. While each album may either, musicians.

Their exceptional live drummer, Kevin different, the process of songwriting has the creative process,reacting to criticism and the production of sound Sawka, particularly excites Swire. remained essentially the same.

“We try not to think in terms of, ‘well their live show,which comes to Challenge Stadium on Saturday, that’s too complicated we’ll never be able to do it live, we’d better do something else’. Our drummer November 6.

Pendulum

Having just returned to his flat in London from an extensive tour of Asia, Rob Swire seems both relieved and exhausted.

It’s easy to see why. Pendulum have been on tour since late May promoting their new album, Immersion, their second since signing to Warner Brothers, at festivals around the world. With an arena tour of the UK planned for September, Swire is keen to relax while he can.

“The arena tour will be the biggest we’ve ever done in the UK,” Swire tells Volume.

“We only played Wembley Arena last time so playing arenas all over the country is certainly a step up. In the past we may not have had time to put in pre-production for any sort of tour, we just had to play it as it came along. Now we get the chance to do pre-production and make a proper show out of it.”

Australia’s highest circulating Street Press

The step up comes as no surprise, with Immersion reaching #1 in the British album charts within the first week of its release, a first for any drum ‘n’ bass act. Despite this, Pendulum has received a large amount of criticism from drum ‘n’ bass purists and popular music critics alike.

“Hold Your Colour was primarily a drum ‘n’ bass album aimed at those people in that scene,” says Swire of the band’s 2005 debut. “We got sick of that very quickly which is why (second album) In Silico sounded like it did. People were saying, ‘Well they’ve obviously changed their sound because they’re signed to Warners now and they’ve got people telling them what to do’. In reality it was us getting sick of making drum ‘n’ bass. We’re always negatively influenced by the last thing we did and want to stray away from that.”

These reactions to critics and the fickle

“WE TRY NOT TO THINK IN TERMS OF, ‘WELL THAT’S TOO COMPLICATED WE’LL NEVER BE ABLE TO DO IT LIVE, WE’D BETTER DO SOMETHING ELSE’. OUR DRUMMER CAN PLAY ALMOST ANYTHING AND THE MORE DIFFICULT STUFF IS OFTEN THE SIMPLE SHIT. YOU CAN THROW ANY COMPLICATED BEAT AT HIM AND HE’LL HAVE IT NAILED WITHIN 15 MINUTES. IT’S PRETTY FRIGHTENING.” “I’ll be in the studio coming up with a whole bunch of ideas pretty much all year,” explains Swire. “I show this to the other guys at various points and we’ll all put aside our favourites. From those we pick which ones to finish and which to leave. I think the only difference between now and then is that at first we were mainly listening to tracks in terms of what we were going to play out in clubs and release on vinyl. Now it’s a matter of what we want to play live and what we want people just to listen instead of solely for DJs.”

can play almost anything and the more difficult stuff is often the simple shit. You can throw any complicated beat at him and he’ll have it nailed within 15 minutes. It’s pretty frightening.”

Integral to Pendulum’s crossover success has been their six-piece live show which has recently toured nearly every major summer festival in Europe. The logistics of such an undertaking says much for Pendulum and their innovative use of a staggering amount of technology.

“We have 13 computers running at any given time,” explains Swire. “There are computers running Linux called Muse Research Receptors that can run plug-ins in real-time and reboot in about five seconds. We also have the DigiDesign Venue desk running ProTools Venue Assistant. This is a great help in soundcheck. We run through a soundcheck and record it into ProTools. Then we flip the operation of the desk to accept audio from ProTools as if you were playing on stage and we can mix it ourselves.”

With such a reliance on technology you would expect some fairly major technical issues. But with multiple backups and consistent upgrades to the most tested technologies, Pendulum has managed to steer clear of any major problems.

“We have an automated system so if one computer does go down it automatically switches to the backup and we don’t get cutouts,” Swire says.“If something catastrophic does happen we can usually fix it very quickly. We find that the only errors come from us doing the wrong thing, editing the wrong patch or messing something up if we’re tired.”

Immersion is a powerhouse record, with collaborations from artists as varied as The Prodigy’s Liam Howlett and Swedish melodic death-metal band, In Flames. Despite having such renowned artists on their album and such high production values, Immersion was recorded exclusively in Swire’s home studio in Camden a definite boon for proponents of home recording.

55

PRODUCT REVIEWS COLE CLARK HOLLOW BABY

Fender Time Machine Series Classic HBS1 Stratocaster

Australian guitar company Cole Clark, best known for high-quality and very popular acoustic instruments, have recently released the Hollow Baby for the eletctric guitar market.

Not known for taking the path of least resistance style-wise, Cole Clark have produced a guitar that is an interesting hybrid of styles. As the name would suggest, it’s hollow-bodied. But it is a strat-style guitar, with an f-hole. And although several pickup configurations are available, the model reviewed features P90 pickups with a three-way switch, and single volume and tone pots. The guitar is also available in a choice of colours; the model reviewed sported fire-engine red.

Being primarily a solid-body player, the weight of the Hollow Baby is the first thing that struck me. Looking at the guitar, there’s a natural tendency to expect it to be heavier. Obviously, hollow-body guitar players would feel differently, but at first I couldn’t get past the idea that I was holding a prop or a model. Then I strummed a chord. The guitar has a tight string tension with plenty of spank, reminiscent of some of the ’60s Tiesco-style guitars, which some players may take a while getting used to. The guitar has gorgeous tonality. The frequencies are incredibly even and the balance between open-string notes and fretted notes is perfect. The sustain is impressive, as is the intonation. All this before plugging in!

Electrically, the Hollow Baby delivers a punchy, mid-range tonality which would do very well cutting through the rest of the band frequencies in a live setting. Gained up, the guitar has plenty of growl and bite, but is not over the top. Put it this way, rockers, bluesmen and country pickers will be suitably impressed, metalheads will be after more. On a clean sound, this guitar positively sparkles, after some experimentation with levels both on the guitar and the amp.

Overall, this is a guitar that will benefit greatly from re-assessing the tried and true in terms of settings. The tone pot makes a massive difference to the overall sound, as does rolling off the volume for some styles. So the best results on a guitar of this type will probably be achieved by players who are willing to mould a sound, rather than expecting it to all come together by itself.

In recent years, the Fender Custom Shop has released numerous ‘relic’ guitars that have been pre-worn to approximate the feel and playability of guitars from other eras.

Guitarists can now purchase an ‘old’ beat-up, cool-looking guitar right off the rack, with the safety of a new guitar’s technology (and warranty). That is not to say that purchasing a relic series guitar is just a fashion statement, and a reasonably expensive one at that. Initially, while this may seem to some purists as a strange idea, the fact is that not everyone has 20 or 30 years to tour and record with a guitar until it feels - and sounds - just right.

The Time Machine Series Classic HBS-1 Stratocaster is a fine example of the advantages in choosing a relic or road-worn guitar. Firstly, there’s no denying that this guitar looks fantastic, from the paint scratches and ‘rusted’ bridge saddles to the worn lacquer and faded colours. There is nothing about the design which suggests anything lacking in authenticity; in fact it is really hard to believe that it is a brand new guitar. In terms of art alone it is a triumph.

The body construction is two-piece lightweight premium ash, and the neck is a ’57 soft V-shaped one-piece with maple fingerboard and 22 medium jumbo frets, which are beautifully worn to perfection. This guitar is a joy to play, and the worn feel of the neck makes the fretboard feel like home. The guitar is exceptionally well-balanced and takes very little getting used to. There is a deceptive feel of history to the neck and body, and you’d swear you were playing a well-loved second hand instrument.

The guitar is loaded with two custom ’69 single-coil Stratocaster pickups in the neck and middle positions and a Seymour Duncan SH-4 humbucker in the bridge. A five-way toggle switch and inconspicuous built-in S-1 switching in the volume pot (which splits the humbucker into a single coil pickup) provide an impressive array of sounds. Rock, blues, and country guitarists will adore the sounds on offer, and the inclusion of the humbucker will expand the application of this guitar out to hard rock and even some metal players. The guitar sings when using gain, with brilliant sustain

LUKE DUX Hear Me Raw

Fans of guitar-based music in Western Australia would have to be living under a rock not to have at least heard of Luke Dux, twotime WAMi Award-winning axeman for The Floors, Will Stoker & The Embers, Tim Nelson & The Infidels, and a seemingly endless array of other projects. BEN WATSON speaks to Dux about gear, influences, and his formative years.

Luke Dux 56

Cole Clark Hollow Baby Photo: J-Ffoto

The Hollow Baby is a guitar that will tend to polarise guitarists. It’s undoubtedly a ‘love-it-or-leave-it’ type of instrument, but with a seemingly endless supply of generic products cluttering music stores everywhere, a guitar that gets that type of reaction just may have the makings of a classic.

The Cole Clark Hollow Baby retails for $2299. Cole Clark hard cases are available for an additional $159. _ CHRIS GIBBS Thanks to the good people at Cole Clark for providing the Hollow Baby for review.

Luke Dux is a real musician’s musician. Whereas many of his contemporaries in the original music scene appear to confine themselves to lengthy periods of inactivity, particularly with regard to live performance, barely a week goes by without Dux’s name popping up in the street press in some capacity—usually multiple times.

This man has fingers in many pies and, fortunately, all the pies are delicacies.

“I like to improvise a lot, and I find I get more out of being on a stage with different bands than sitting in my room practicing scales,” Dux says.

“If I feel my playing isn’t progressing enough, I’ll jump up and jam with a band like Kevin Smith & The Seven Story Jumpers and learn something new. I love playing with musos that are light years better then me, scare the shit out of me, and pull me out of my comfort zone.”

Born to a musical family, Dux reveals that he got the bug for playing guitar very early on.

“The first time I saw my uncle play guitar, I thought, ‘I want to do that’. He has a 12-string Hummingbird which I use from time to time. I remember sitting around as a kid listening to him play it. Whatever mood he was in he would play it out on his guitar.

When I was eight my mum taught me how to play Heart Of Gold and said, ‘if you can play this by tomorrow we’ll get you guitar lessons’.”

“At the moment I’m using a Fender Deville, which has been modded and dropped too many times. I have a couple of SG’s. I love those guitars. You can shake them and bend them. I also use a Strat. I make love to my Strat, but I make war with my SGs. Depending on what mood and vibe I’m going for I’ll use either guitar. A Gibson guitar through a Fender amp is all I need and I’m happy.”

When talking of his favourite guitar, it’s clear that Dux loves a challenge. “I have a ‘73 SG with a Bigsby,” he explains.“I bought it from a guy up in the hills a few years ago. It’s beaten up and I love its imperfections. You have to fight with it to make it work.”

As far as influences go, Dux’s education is steeped in the tradition of the blues, however he reveals that he has a wide range of artists from which he draws inspiration. “At the moment I’m listening to a lot of Link Wray,” he says. “I prefer guitarists like Link Wray or Ron Asheton than your Steve Vais, etc. I’m not really into guitar acrobatics, I prefer raw emotion.”

As for future plans, we asked Dux for his ultimate rig. He said he’s chasing an “…Epiphone Crestwood Deluxe or a 56’ Gibson Gold Top. I really want a crazy Japanese guitar like the ones Hound Dog Taylor used to play. I had one when I was 13, then I sold it to a friend who set it on fire.”

and resonance. On clean sounds, the guitar has that authenticity which only a Stratocaster can deliver. This is truly a guitar that musicians will get lost in, as the feel and sound are utterly inspiring.

At a recommended retail price of $5999, this guitar is well-priced for serious players who are after a brand new instrument with well-worn feel and classic tone. Ultimately it is an instrument that can be purchased as a newcomer, but feels and plays like a hardworking old-timer. _ CHRIS GIBBS The Fender Time Machine Series Classic HBS1 Stratocaster was reviewed at Kosmic Sound Cannington.

HOW DO I GET THAT SOUND? – Zakk Wylde

Epiphone ZV Custom Zakk Wylde

two individual volume pots, a master tone control, and a three-way selector switch.

There’s plenty of gain to be had, yet the tone cleans up nicely, especially in the middle position.

The neck has that SG snap to it, which can feel a bit tight to some players, but considering that this type of guitar is most likely going to be played in a low tuning, there’s plenty to work with in terms of string tension. On that note, Wylde has been known to use very thick gauge strings (one of his GHS signature string sets is a whopping 11-70!) in low tunings, and players who aren’t experienced with guitar maintenance should consult a professional at a local music store to get the best results on low-tuned set-ups.

Overall, the ZV is a well-made guitar.

It does the job tonally, and certainly provides a unique look for players who are after something non-traditional. The guitar is reasonably affordable, at a recommended price of $1599.

But what about technique? It is very difficult to encapsulate a musician’s abilities in such a small space, but if you’re looking to emulate Wylde’s style, you’ll need to work on squealing pinch harmonics, howling doublestop bends, and rapid-fire pentatonic licks as a start. To capture the tone, the best advice (despite all this talk of signature products) is to keep it simple. A down-tuned Les Paul-style guitar, a high-gain amp, and an overdrive pedal should do the trick. Wylde used to cite the Boss SD-1 Super overdrive as his first choice in a gain-boost. He also has been known to use a chorus pedal to ‘widen’ his tone when playing through two amps.

Until next time, practice, practice, practice!

Highly-respected in guitar circles, Zakk Wylde first made name for himself as lead guitarist for Ozzy Osbourne, a position held previously by players such as Randy Rhoads and Jake E. Lee. Wylde also fronts his own act, Black Label Society, whose latest album, Order Of The Black, showcases not only his unique guitarplaying, but also his vocal and piano abilities.

Wylde’s reputation and popularity as a guitarist has led to numerous signature products over the years, including, amplifiers (Marshall), effects pedals (Dunlop), strings (GHS), and of course, guitars (Gibson/Epiphone). One of the more recent releases is the Epiphone ZV Custom, aimed at the more affordable end of the market.

Essentially, the ZV is the headstock, neck and body of an SG with the back end of a flying V. So the first question is one of physical balance. Surprisingly, the ZV is very comfortable to sit with, and doesn’t have the uneven weight distribution that some Flying V models suffer from. Standing up, the overall feel will be one of personal taste and playing posture _ CHRIS GIBBS requirements.

Tonally, the ZV sounds like a slightly The Epiphone ZV Custom Zakk Wylde was heavier SG. The guitar is loaded with two reviewed at Kosmic Sound, Cannington.

EMG HZ pickups, which are adjusted utilising

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THE LEGEND CONTINUES. In tradition of the legendary NS10M monitor speaker, the Yamaha HS-series powered reference speaker provides an exceptionally flat frequency response that you can trust. Whether you are mixing stereo or 5.1 surround, mixes that sound good on Yamaha HS-series monitor speakers will translate accurately to the widest possible range of reproduction systems.

“These monitors deliver a really true, clear sound which brings peace of mind when tracking - you know what you hear is what you get!”

Katie Noonan

HS 50M

HS80M

HS10W

Product information: www.yamahaproaudio.com Find a dealer: www.yamahamusic.com.au For promotional offers: www.yamahabackstage.com.au

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ROGER QUESTED A Search For Sound Roger Quested may have cut his teeth as an assistant engineer on Led Zeppelin’s iconic debut album, but it is a distinguished career in speaker design that has ensured his name and products, have remained in studios right around the world, including Abbey Road. Quested recently spoke to DAVID CRADDOCK while in Perth as part of a whirlwind Australian demonstration tour.

Roger Quested

On their first day at a new job most workers are met with mountains of paperwork and a surly HR manager. But in 1968, on his first day at London’s Olympic Studios, fledgling recording engineer Roger Quested was greeted at the door by Jimi Hendrix, who offered a handshake on his way home from a session.

Quested’s first day also included assisting in the recording of a T V performance of Jumping Jack Flash by a little-known group called the Rolling Stones.

Between recording jingles and session musicians at Olympic, Quested would also find time to assist in capturing one of the most influential rock albums of all time, Led Zeppelin’s self-titled debut.

And so began a love affair with recorded sound and recording equipment, a passion that led the young engineer to a position as the manager of one of the UK’s most prolific recording studios, Morgan, a facility that at one point had four albums releases by The Kinks, Cat Stevens, Jethro Tull and John Denver - in the US Top 20 at the same time.

However, despite such a solid background as an engineer and mixer in major studios, the name Quested is now most closely aligned with a range of highend monitoring speakers that the audio-lover began developing in the early ’80s.

Frustrated by the durability and poorperformance of the studio monitors available to him, Quested began developing his own high-performance products, soon finding his first buyer in Kinks’ frontman, Ray Davies, who was looking for a set of speakers for his new studio, Konk. Nearly three decades on, highly regarded Quested-designed speakers are now used in many of the top recording studios

“YOU KNOW JOHN PAUL JONES IS DOING THIS JINGLE FOR APPLE JUICE OR SOMETHING AND THEN A MONTH LATER YOU’RE WORKING WITH HIM AND YOU’RE DOING GOOD TIMES BAD TIMES” around the world, including famous St John’s Wood locale, Abbey Road.

“At that time, when I was mixing a lot, Tannoy was the industry standard in the UK – 15 inch dual concentric,” Quested, a softly spoken Englishman, explains why he shifted from an engineering career towards speakers manufacturing.

“But as control rooms got bigger and as music changed and bands used to sit in the control room rather than stay in the studio, they just didn’t have the power handling to cope with it. I was managing a studio for Dick James, Elton John and The Beatles’ publisher, and they had some Eastlake monitors which are like two 15 inch speakers and a compression driver and they used to give you ear ache. Then they changed to some UREI, again dual concentric. They used to break all the time. I looked around to buy something and nobody made a powerful studio monitor.”

While the company now produces a range of smaller speakers, Quested is perhaps most famously known for their soffit-mounted range, a unit designed to be built into the

walls of large studios.

“Ac o u s t i c a l l y yo u g e t a m o r e extended low end because the wall is acting as part of the cabinet,” Quested explains of the benefits of soffit-mounted systems. “Generally they’re bigger speakers, so if you want things to go louder, generally it’s soffit-mounted.”

Given that he spent much of his early life in the control room, tweaking, mixing and perfecting the sound of iconic acts, it’s no surprise to hear that Quested retains a passion for clarity and precision in audio.

“I never used to be able to listen to things that were obviously badly recorded because they’d start irritating me and take away from the music,” he explains. “Something that sounds good on an AM radio – you think, ‘that’s a great song’, then I’ve bought it on CD or something and you think, ‘God it’s awful’ – and I can’t listen to it anymore. It’s a bit of an irritation.”

While Quested may now focus his energy and ears on his speaker company, he still has fond memories of his days working with bands like Led Zeppelin, experiences which no doubt still inform his understanding of the needs of rock bands and the studios in which they record. The fact that his company produces a range of smaller monitors ideal for home or small-scale studios, suggests that Quested recognises the budget restraints now facing musicians and studios in an everchanging recording industry.

“It was very professional and done quick,” Quested reminisces when asked of his memories of Led Zeppelin’s 1 sessions at Olympic. “They had no money. Two of them, John Paul Jones and Jimmy Page I’d worked with before. They were doing sessions, especially John Paul Jones, he’d do a lot of bass for jingles and stuff. As a band it was a change of personality completely, from these session players to what became a momentous rock band. You know, John Paul Jones is doing this jingle for apple juice or something and then a month later your working with him and you’re doing Good Times Bad Times.”

QUESTED GUESTED Kosmic Sound Centre Thursday, July 22, 2010 Roger Quested has the reputation of having worked with some of the greatest acts on some of the greatest albums ever, so music production enthusiasts couldn’t wait to see the man in the flesh as he took his roadshow to Kosmic Sound Centre.

From designing his first monitor in the early ‘80s to producing a whole range, Quested was more than happy to showcase his latest range of monitoring systems as well as share a few inspiring stories with the audience.

Gary, Roger Quested, Jason

Kosmic audience

Jason and friends

Les, Steve, Ric

Roger and S-Series Speakers

Jands Soundcraft Vi1

Sam, Jeff

The Knowledge

Scott, Jon, Kade

Jerry, John

HANDS FOR JANDS Jands@Home WAAPA Tuesday-Wednesday, July 6-7, 2010 Jands recently held two Open Days showcasing the best in audio, lighting and staging products in a working theatre environment at WAAPA’s Geoff Gibbs Theatre. Three Jands@Home training sessions were held, plus a special JBL VerTec/VRack demonstration, in an event that attracted all manner of recording musicians, lighting technicians and venue personnel.

Photographs by Matt Jelonek

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Cubase AI4

WHERE’S THE CUBASE?

Introducing… the Cubase AI4, a special, compact version of Steinberg’s famed music production system that is exclusive to customers of selected Yamaha audio hardware.

Cubase AI4 harnesses the power of the Steinberg Cubase 4 digital audio workstation for use with Yamaha ‘USB’ mixers, providing a

powerful set of advanced software tolls that are easy to use while significantly expanding the mixers’ recording and production capabilities.

The ‘AI’ in Cubase AI4 stands for Advanced Integration, and this new software delivers sophisticated functions and a level of hardware/software integration that other programs can’t match. Thanks to the built-in Studio Connections system, Cubase AI4 lets you use compatible hardware instruments (such as Yamaha’s Motif XS synthesiser) directly and seamlessly within your computer-based environment. The full Plug-and-Play support means that settings for connected hardware such as driver selection, input and output routing setup as well as remote configuration are all completely automated.

Cubase AI4 is included in the Yamaha Motif XS Music Production Synthesizer, n-series Digital Mixing Studios, MG-USB mixers and MW mixers.

For further information about Cubase please visit www.steinberg.net.

PIONEER PARTIES

Pioneer have announced two brand new products that will make up the perfect party set-up. The DJM-350 and CDJ-350 bring features found on Pioneer’s ultimate club products, such as powerful creative effects, remix-style looping and rekordbox compatibility.

Offering something completely new and unique at this price point, the DJM-350 enables the DJ to capture every last nuance of their performance to high quality recording on USB. There’s no need for extra kit or wires, it all works inside the box. Simply plug in a USB memory device into the mixer and you’re able to record professional uncompressed audio into WAV format.

This could be anything from a carefully crafted mix, or for recording vinyl, ready to be played back digitally on the CDJ-350. And the coolest feature has got to be the ability to split the recording as you mix by hitting the ‘Track Mark’ button providing beautifully indexed mixes ready for burning to CD without needing to make a single edit.

Drag and drop the files into Pioneer’s new rekordbox music management software and all your music will be automatically primed with beatgrids to take advantage of the CDJ-350’s beatkeeping tools.

Being a top performer is often down to serious preparation and the new CDJ-350 comes to life when a DJ plugs in their carefully prepared rekordbox digitial music library. In fact, the CDJ350 is the perfect stepping stone for DJs looking to break the club circuit as all the work put into preparing a killer music library and playlists will all work on the industry standard CDJ-900 and CDJ2000 digital decks. If you’re ready to rock the party on the CDJ-350s, you’ll be one step ahead of the rest when it comes to playing in the clubs.

Music enthusiasts and DJs making their way to the top will be glad to find a USB connection on the CDJ-350 allowing MIDI controller functionality with compatible DJ software or for use as an audio interface.

Pioneer manage to push the boundaries on the DJM-350 which features four subtle yet powerful effects that help the DJ build energy into the music without overpowering the mix. All of this accessed from a single two-directional dial.

Twist the Gate effect to the left to tighten up the high frequency of the track, and to the right to tighten up the bass. You’ll also find filters combined with Bitcrushers, and a manual Jet effect that puts the DJ in direct control of this well loved effect for the first time. And to top it all off it has a gorgeous sounding high and low-pass filter.

GET IN THE VAN In the last edition of Volume, the team posed the question: “What is the one piece of musical equipment that you just can’t do without?” Here are some more great responses that we just couldn’t fit in last time...

PRITA GREALY – Solo artist “The one piece of musical equipment I can’t do without when I play solo is my DigiTech JamMan loop pedal. It allows me to layer so many harmonies and jam with myself using crazy beats and stuff!”

DAVE HARRISON – Black Steel “If you do lots of gigs and are a physically active player then having your guitar fall off its strap is a variable that you don’t want to have to worry about. So for me that would have to be guitar strap locks. I prefer the Jim Dunlop brand that use the c-clamp, not the screw-on type as these can sometimes work loose and always need re-tightening. Once installed, your guitar will never go crashing to the floor so you don’t want to be without them.”

GARETH HUGHES – The Siren Tower, Uti “Without a doubt, I can’t live without my 50th Anniversary Fender Jazz Bass. The versatility and sound of this instrument both live and in the studio never ceases to amaze me. I have used it playing styles ranging from jazz and funk to rock and thrash metal. I don’t know what I would do without this bass - I love it.”

barks like a rock guitar is supposed to and it does what I tell it to do. I have it set up with heavy strings and a fairly high action so that it fights me a bit, but I like that in a guitar. It was made the year I began to play the guitar, and I like that about it as well. I would never, ever go to a gig or recording session without it.”

MORGAN – Solo artist “My love affair with my DigiTech JamMan loop pedal began a few years ago when I started banging out rhythms and layering vocal harmonies at small acoustic shows. This has now evolved into a full band show which also includes MP3 loops, guitar and keyboard parts.

The JamMan also likes it when I experiment on stage and always has my back. My live show wouldn’t be the same without it!”

JULIUS LUTERO – Solo artist “The one piece of equipment I cannot do without is my RC50 Boss Roland Loop Station.

I do a multi-instrumental show. I perform with guitar, bass, percussion and vocals, all of which I run through the loop station. I often begin by laying one instrument down, recording it and then adding others as I build the song, then singing or playing lead guitar over the top of it. I do all of the recording live as I play, so none of this would possible without the loop station. I love it!”

OUMI KAPILA – My So-Called Life “The Ibanez TS-10 Tube Screamer. Running a single channel amp, this is totally necessary for a good quality gain boost when soloing.

The EQ feel is crisp and light, reminiscent of the early Richie Kotzen days. I believe they just NICK ROSSETTI – Emerald City stopped making ‘em, so if you can get hold if “My Les Paul, it’s a cherry sunburst custom shop ’58 reissue. The thing I love about it, one, hang on to it!” besides of course that it sound’s phat, is that I’ve made it my own cosmetically, naturally, PHIL BRADLEY – Brutus “The one piece of gear I can’t do without it’s had its fair share of use and abuse. I love is my black 1973 Gibson Les Paul Custom. I the fact that players like SRV and EVH are have and enjoy playing other guitars, even so recognisable just by seeing their guitars, another Custom from 1971, but the ‘73 just they’re so unique. Now the in thing is to buy works for me. This particular guitar used to these guys’ replicas all hacked up for an arm belong to local legend John Meyer. It was and a leg.” my first ever Les Paul, I have owned it for _ CHRIS GIBBS 20 plus years, it has a big fat chunky neck, it

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Classifieds and Music Services

Hotline: 9213 2888 Display ads: musicservices@xpressmag.com.au Deadline: 4pm Tuesday Credit cards welcome

GUITARIST WANTED To form commercial cover SHORT FUSE SPEAKER REPAIRS Put new life band.Various styles from 60s - 2000s.View to casual into old speakers. General repairs on all makes.

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Ph 9417 4774 gigs. Ph Gary - 0410 696 491 au Learn to Belly Dance for fitness and hip shaking GUITARIST WANTED To join serious Metal RECORDING STUDIOS fun. Free classes Fri 8 October. Info on website Band.Must have good gear, own transport and Ph: 93429460. Shaheena@iinet.net.au ALAN DAWSON’s WITZEND RECORDING STUDIO be dedicated.Influences Metallica, Meshuggah, Professional quality albums or demos, large live FOR SALE Parkway and Gojira. Contact Andrew - 0432096511 room, experienced engineer, analog to digital DJ BUSINESS - MOBILE Well est. Website top MUSICIANS WANTED Enthuiastic and talented transfers, mastering.Ph: 0407 989 128 ranking. Two DJ’s. All training, equip & support trumpet, trombones, guitar, tenor sax and piano ANDY’S STUDIO International multi award provided. $40-$50k. 0402 845 206 players for big band..Phone Chris 9302 5423. winning songwriter / producer. No band required.

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BASSPLAYER AND LEAD GUITARIST WANTED au or contact Daren Reid on 9451 5415 P is for Pumpernickel has just recorded its 1st EP. PRODUCTION SERVICES Will be launching this in November. Looking for competent people to fill these positions. Check CD & DVD MANUFACTURE Check out our latest out myspace, P is for Pumpernickel. If interested CD & DVD specials online at www.procopy.com. call Paul - 94445237 au 9375 3902 E X P E R I E N C E D B A S S P L AY E R N E E D E D MATRIX PRODUCTIONS AUSTRALIA Lighting, For corporate Show Band. Ph- 0410 612 815 staging, sound systems, smoke machines, night FEMALE VOCALIST REQUIRED For original Rock / club FX, intelligent lighting, strobes & mirror balls, crowd barriers, video projectors. 9371 1551 Pop all girl band. Please call - 0404 211 546 GUITARIST & BASSPLAYER WANTED For original Hard Rock Band. Influences, The Datsuns , Shihad.

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