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NEWS FROM THE FRONT
IN BRIEF One of WA’s biggest opportunities for bands wanting a sweet launch pad, AmpFest 2012 applications open on April 23, head to ampfest.com. au for an application or check out the next edition of this here mag. THE BLACK KEYS
KEYS TO ROCK-IT CITY After selling out arenas all around the world, plus rocking in at #2 in the 2011 triple j Hottest 100 with their track Lonely Boy (from latest album El Camino), The Black Keys make their long-awaited return to the country, which coincides with the Rock-It, back at Arena Joondalup Sunday 28 October after a threeyear absence of its own. Also joining the line-up in an early announcement will be Sydney garage soulsters Royal Headache. With the rest of the line-up TBA, we’ll just have to get excited for now about The Black Keys’ new show, featuring huge visuals, giant mirror balls, and all their hits, with the solid side of Headache action. Tickets for the ALL-AGES show via Heatseeker from Friday 4 May.
Bookmaker Tom Waterhouse is taking bets on how long One Direction mania will last, with odds on how far their album Up All Night will last as number one on the ARIA Chart, ranging from $3 to $51 (fourteen-plus weeks). Speaking of which, Aussie legends Cold Chisel have been denied the number one spot on the ARIA Album Charts in the first week of their new album No Plans being in stores, beaten by One D’. Matt Corby’s Winter Tour has completely soldout in just over a week, including both Astor Theatre shows (June 8 and 9).
KATE MILLER-HEIDKE
TAKING NIGHTFLIGHT In stores now is the highly anticipated third studio album from Kate Miller-Heidke, Nightflight. Fans will be given the chance to see Kate perform tracks from her new album when she takes her full band around the country in August on the Nightflight Tour with special guests The Beards. The last three years have taken the Australian artist across the world, mesmerising and transforming all via her live shows. Saturday 11 August she brings it to The Astor Theatre. Tickets via venue.
Melbourne rockers Trial Kennedy have announced their imminent break up. The band will embark on one final tour this June, sans WA. Moshcam, creators of the world’s largest online catalogue of originally recorded live music videos, has announced the Moshcam App, allowing users to watch hundreds of concerts on their iOS device.
THE BAMBOOS
MEDICINE MANBOOS On the eve of releasing their fifth and biggest album yet, The Bamboos will hit the road for the first time since 2010 to support Medicine Man. On the road the band will heavily feature the new LP, including latest single I Got Burned, as well as dipping in to past faves from 4, Step It Up, Rawville and The Side Stepper. Special guests will appear on stage with The Bamboos when they play The Bakery Friday 6 July, with details TBA. Tickets via Now Baking from next Wednesday. DAMIEN LEITH
BEAUTIFUL LEITH Tomorrow sees the release of Damien Leith’s new album, Now & Then, spearheaded by a new version of old single Beautiful and his sixth album following last year’s Roy - A Tribute To Roy Orbison. Since being crowned Australian Idol in 2006, Damien has enjoyed a remarkable career, becoming one of the best-selling Australian artists of the modern era. Friday 7 September he plays Mandurah Performing Arts Centre and Saturday 8 The Astor Theatre, tickets via manpac.com.au and BOCs from tomorrow. DJ CRAZE
Vevo, the music video streaming giant run by Sony and Universal, has officially launched in Australia.
PARIAH AND BLAWAN
NEW HYPE From those who brought Perth DMZ, Darksky, Jon Convex, Marcus Intalex and Jackmaster comes Next Hype – a night committed to delivering the most forwardthinking artists in the electronic music scene with a focus on post-dubstep, garage, techno and house. The first show features UK bright stars Pariah and Blawan, the hotly hyped forward-thinking beatsters who recently co-launched label Works The Long Nights, doing some late night deep thinking at Geisha Thursday 10 May. Supported by Boy Prince, Midnight Mike and Craig Hollywood. $20 via Moshtix. TIM FERGUSON
WA’s only ‘overseas’ festival that you don’t need a passport for, Rottofest has announced comedian, writer and producer Tim Ferguson (Don’t Forget Your Toothbrush) as host of the film screenings and award ceremony for this year’s festival on Rottnest Island, Saturday 8-Sunday 9 September. The fourth annual Rottofest will be a weekend of film, comedy and music, tickets go on sale in June with line-ups TBA. Head to rottofest.com.au to enter the stand-up/short film competitions before next Friday.
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CRAZY CODES Two of the world’s most skilled turntablists, the main man Craze and New Yorker Codes are dropping into Villa as part of their Slow Roast Records Tour, Saturday 2 June. The former is regarded internationally (and unquestionably) as the best scratch DJ in the world, not to mention he’s a hell of a DJ and a renowned producer, while Codes is a beat-maker reachin’ back to the golden days of hip hop and house music. Buda and Ekko & Sidetrack support. $35 plus BF via Moshtix.
Axl Rose has declined his invitation to attend the Rock’n’Roll Hall Of Fame ceremony where his band Guns N’ Roses will be inducted. The forthcoming Kanye West and DJ Khalid collaboration, which was supposed to be called Theraflu, has been renamed as Way Too Cold. There are no reasons given for the change, though the Theraflu company issued a statement last week separating themselves from its lead track. M.I.A. has teamed with WikiLeaks founder Julian Assange to compose original music for his new television show, The World Tomorrow.
TAKE A TOOTHBRUSH
6 • THE DRUM MEDIA
The Gotye and Kimbra megahit Somebody That I Used To Know has made the number one spot on the Canadian Single Charts (knocking Justin Bieber off the top slot) and is at number two on the American Billboard Hot 100 Singles Chart.
The National Film & Sound Archive of Australia has awarded Jeff Lang the 12th annual National Folk Recording Award for his latest album, Carried In Mind.
SKY’HIGH
REACHING SKY’HIGH Saturday 12 May sees influential hip hop label Elefant Traks’ newest signing Sky’High party into Mojo’s ahead of her album drop and celebrating her first official single Let’s Just from her Your Highness EP, available now for free at skyhighforever.com. Voted Best Female MC in the 2011 Ozhiphop Awards, Sky’High cites Bobbi Sykes, Betty Davis and The Last Kinection as influences, and live Sky’High takes performance to a whole new level. $15 plus BF via Heatseeker.
RETURN OF THE GASOLINE To coincide with the release of the second single Shock, former Perth-now-Melbourne-based rockers Gasoline Inc are tackling a national tour which sees them return to their old haunt Friday 15 June, playing the Rocket Room. Shock is taken from the band’s new five-track EP The Wanted One, and again demonstrates the band’s ability to write straight-up, driving, feel-good rock songs. Tickets via the venue for this SPA-presented show.
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NEWS FROM THE FRONT
LOCAL LOVIN’
POND
Now also presented by Street Press Australia, the Flight Of The Conchords show scheduled for Wednesday 18 July at Challenge Stadium has already sold-out, and a second one has been announced for the following day at the same venue, presented by Street Press Australia. Ticketmaster.com.au for tickets, best hurry!
There’s some mighty fine happenings going down right now in WA, and we don’t just mean this Sunday’s local love-in…
House of punk, and punk-organised parties, 208 is under threat from local noise complaints, so a fundraiser is going down Saturday 5 May with Pond, Hootenanny, Crooks and Dianas to rally up some much-needed soundproofing moneys with the kind assistance of Dada Records’ Garage. $10 donations expected.
CHARGED UP The long-awaited second album from Sydney cinematic art-rock antiheroes Charge Group has received an abundance of dashing reviews and support, and now even has a brand-new video for the single from self-titled LP Broken Sunlight, the follow-up to cult hit Run. They’re hitting the road with former frontman of the now-defunct Snowman Joe McKee, and play Mojo’s Friday 22 June (Oztix for tickets) and Dada’s Carpark Saturday 23 (entry by donation).
A monthly UK bass and future beat club running from ‘midnight ‘til daylight, Syrup launches Friday 18 May at 45 Murray Street (Gilkisons) with a stacked line-up featuring Kit Pop, Ben M, Boy Prince, Mr Starks, Clunk and Dirk Chops, $10 from 12am. Rock’n’folk outfit The Siren Tower launch their debut album A History Of Houses Friday 15 June at Amplifier, with support from The Ghost Hotel, Husband, Boom! Bap! Pow! in acoustic mode and The Loved Dead. Dirt Farmer is the debut single from Michael Strong’s quintet The Disappointed, and they launch it Friday 11 May at the White Star Hotel with FAIM and Honeywheeler; Saturday 12 Hyde Park Hotel with Zeks, Heytesburg and Geronimo; Sunday 13 the Newport Hotel with The Autumn Isles and Sidewalk Diamonds; Saturday 19 Ya Ya’s with Russian Winters and Mezzanine (official launch); and Saturday 25 Prince Of Wales with The Spitfires and The Silent World.
30 April each year is UNESCO International Jazz Day, and the Perth Jazz Society is celebrating with a huge line-up at The Ellington Jazz Club, Monday 30 April, featuring Allira Wilson, Jamie Oehlers, Carl Mackey, Ricki Malet, Jeremy Greig, Graham Wood, Karl Florrison, Jacob Evans and a third year WAAPA Jazz ensemble. Book at ellingtonjazz.com.au. The Spitfires are ready to release their debut album this July, but need to raise some funds for a launch party and new video. They do so with a Bikini Car Wash, quiz night and Perth Music Scene Bachelor Auction Sunday 29 April at the Rosemount Hotel, all kicking off from midday.
CHEERS TO THAT 2011 was action-packed for singer/songwriter and extraordinary guitarist Daniel Champagne. The release of his debut album Pint Of Mystery, accompanied with hundreds of shows internationally, including in North America, the United Kingdom, Europe and here in his homeland kept Daniel on the road almost all year. It continues in 2012 with Real Live, a six-track EP recorded at his live shows, and he launches it here Wednesday 16 May at Mojo’s, and Friday 19 at Ya Ya’s.
M A R L E Y
FESTIVAL NEWS www.houseofmarley.com.au
TRUMPET THIS A virtuoso in the true sense of the word, James Morrison is adored for his skills with a trumpet, trombone, euphonium, flugelhorn, tuba, saxophones and more. After some cracking Live At The Quarry shows with Deni Hines last year, he returns with the 40-piece entertainment ensemble that is the Australia Army Band, playing Perth Concert Hall Saturday 18 August. Tickets from $75 from BOCs for a concert that will no doubt have it all.
TOM TROUBLETON It’s been a massive 12 months for Thomas Calder (aka The Trouble With Templeton). He has toured with some of the best bands in the country, played festival shows in packed out tents, had fantastic radio support, rave reviews from many reputable blogs and publications, and now he’ll be joining Husky on their national tour, which reaches The Bakery Friday 4 May, tickets via Oztix, celebrating the final single from his current album Bleeders, Someday Soon.
LAYING DOWN Before their appearance alongside Rufus at Speakeasy (Villa, Friday 27 April), Sydney soulblues four-piece The Rubens will Lay It Down (#57 in triple j’s Hottest 100 2011) at Mojo’s Thursday 26. It also marks the first instalment of continuing Speakeasy sideshows at Mojo’s, and they’ll be supported by Stillwater Giants and Crooked Colours. $15 from 8pm.
SONPSILO SURES The national support slot for Wavves upcoming Aus’ tour will be Sydney lo-fi surf-pop duo Sures. Winners of the triple j Sydney Laneway competition, in their short existence Sures have released two killer singles in The Sun and Poseidon. Local psych-rockers Sonpsilo Circus open the show at Rosemount Hotel, Friday 18 May, before Wavves appear at Groovin’ The Moo the following day. 8 • THE DRUM MEDIA
Award-winning singer/songwriter Jonny Taylor is set to launch his highly anticipated new single titled Young Man with another massive tour, including M On The Point, Mandurah, this Friday 20 April. Jonnytaylormusic.com for a full tour wrap-up. Pop-grunge groovers Honeywheeler launch their debut single Another Friday 27 April at the Rosemount Hotel, supported by The Disappointed, The Cabarets and The Dark Woods, $10. Ex-Streetlight frontman Leigh Craft’s Flower Drums release new single Outside The Province Saturday 5 May at The Bird with Wolves At The Door and Amanda Merdzan, $10 from 8pm.
BASS DISTRICT Ambar’s bangin’ bass night District is back Friday 4 May from 10pm with a special XXX-Large edition. Heavyweight Phetsta is headlining the night, and Melbourne’s Smile On Impact makes his west side debut with a brand of mosh-pit bass perfect for District. Rounding out the night will be PDMA Award-winning DJ Kill Dyl, DYP - celebrating the recent release of his The Mystic EP, up-n-comers Tapeheads, and Ol Wright with MC Deus hosting.
FAST FLIGHT
Orchestra; Tuesday 29 RTRFM curate the first ever Experimental showcase, featuring Heytesburg, Race To Your Face and Usurper Of Modern Medicine; Wednesday 30 the Fairbridge Festival brings Ensemble Formidable, Rhys Wood and Rachel & Henry Climb A Hill; and Thursday 31 the JumpClimb Party features The Empty Cup, Sunshine Brothers, Bastian’s Happy Flight and Sam Perry. Friday 1 June there’s four different showcases: The Bakery features Split Seconds, Emperors, Ruby Boots and Warning Birds all launching releases for The Wire; Soundworks take over Rocket Room with Nails Of Imposition, Reflections Of Ruin and Malignant Monster; Ya Ya’s holds The Community with James Ireland, Diger Rokwell, Assembly Line, The Boost Hero Man, Lowaski and Mostark; and finally The Beat brings the punk-rock with Kill Teen Angst, Coveleski, Ex-Nuns, Dead Owls and Grim Fanbanjo. Head to wam.asn.au/festival for a full list of WAMi Festival events, or nowbaking. com.au for tickets, and to grab your three-CD/ DVD Kiss My WAMi compilation out now!
GARDEN HABITAT Habitat present a new series of ‘Garden Parties’ in the outdoor area of The Court Hotel. The concept: enjoy an afternoon with friends and industry in the serenity of The Court Hotel garden, with extended sets from some of the world’s finest artists. They’re kicking things off with a bang, hosting the envelope-pushing James Zabiela, Alex Niggeman and George Fitzgerald from 2 ‘til 10pm Sunday 6 May. Industry entry $15, otherwise $20 before 5pm, $25 after.
HYPE MACHINE London/Berlin-based electronic duo Hype Williams is Inga Copeland and Dean Blunt. However, her name isn’t actually Inga, he might not really be called Dean, and they might not even be a twopiece. So who are Hype Williams? You can find out when they bring their music – early dubstep and grime peppered with elements of pop and R’n’B – to The Bakery Saturday 16 June. Underground Sound Solution System, Travis Doom, Clunk and Rok Riley support. $26 plus BF via Life Is Noise.
POLTZING MATILDA Southern California’s Steve Poltz, one of the most beloved songwriters of his generation, is on tour in Australia. His music as both a solo artist and with cult legends The Rugburns has enjoyed long stretches in the chart top tens, gobbled up hours of mainstream radio and appeared in scores of television shows, commercials and movies. He’s celebrating the release of Noineen Noiny Noin, recorded right here in Perth, and plays The Fly Trap Thursday 10 May.
CLARK
GO FIGURE
SPLIT SECONDS
WAM’S AWAY The 2012 WAMi Festival returns Saturday 26 May to Saturday 2 June 2012 for a week-long celebration of local, original contemporary music, and details of the WAMi Live Showcase Series have been announced, with all shows at The Bakery unless otherwise stated: Monday 28 May JazzWA hosts 25 musicians including Victoria Newton, The Glyn MacDonald Quartet and Horizon Art
CREDITS
Indiana-bred DJ/Producer Figure and Aussie smasher Nick Thayer have been added to the Creamfields line-up, hitting Supreme Court Gardens Saturday 5 May. Having scored numerous Beatport Top 10s, Figure is celebrating the release of Drumstep Vol 2 and the success of his track Dominate. Joining him and the likes of David Guetta and Above & Beyond will be huge local line-up, featuring FTW, Hykus, Get More, Black & Blunt, Killafoe, Phetsta, Illuminor, GeRmAn, Zelimir, Mind Electric, Halo Effect and many more in the three-channel Silent Disco. Tickets via Moshtix.
Best, Mike Bowring, Tom Bragg, Tristan Broomhall, Rob Browne, Rick Bryant, Michael Caves, Travis Collins, Cyclone, Marcia Czerniak, Sebastian DíAlonzo, Kitt Di Camillo, Daniel Cribb, Naomi Dollery, Cameron Duff, Cam Findlay, Tomas Ford, Chantelle Gabriel, Olivia Gardiner, Baron Gutter, Rueben Hale, Simon Holland, Craig Hollywood, Christopher H. James, Jason Kenny, Angela King, Mac McNaughton, Tom O’Donovan, Nic Owen, Gabriel Pavane, Katie Rolston, Ted Schlechte, Michael Smith, Andy Snelling, Aimee Somerville, Anthony Williams, Mitchell Withers
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Managing Editor Andrew Mast Editor Aarom Wilson Editor’s Assistant Troy Mutton Front Row Editor Daniel Crichton-Rouse
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The opinions expressed in this publication are not necessarily those of the publishers. No part may be reproduced without the consent of the copyright holder. ©
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GIVEAWAYS
Clark’s ability to create music that appeals to your head, heart, soul and feet confirms his place as an electro-virtuoso – and one of the best producers on the planet. He’s back at The Bakery with a full audio/visual show next Friday 27 April to celebrate his outstanding new album Iradelphic. Supported by Ben Taaffe, Declan, Zeke, Massiv Trav and Jo Lettenmaier, tickets are $26 plus BF via Life Is Noise, Heatseeker, Oztix, Now Baking and the usuals. Skip the line though, as we’ve got TWO DOUBLE PASSES to giveaway. For your chance to win, hit the Drum Perth Facebook and enter via the Giveaway section.
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Saturday April 21st Doors open 8:00pm
GENOCIDal AL Genocid The Lungs Arbitrage Facegrinder
ON SO NG MI CO April - D at Sea w/ The Main Attraction - The Den
27th 5th May - OMAC Album Launch - The Civic Back Room 11th May – Hard Ons w/ Guests – The Civic Back Room
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IT’S ABOUT PINE
CLOCKWISE FROM TOP LEFT: MICKY LARKINS (SUFFER), NATALIE PAVLOVIC (THE BIG OLD BEARS), SEAN O’NEILL (HANG ON ST CHRISTOPHER), PAT MCLAUGHLIN (SUGAR ARMY), AND BEN MCDONALD (SONPSILO CIRCUS)
EVERY YEAR, LIKE BEES TO HONEY, RTRFM’S ICONIC IN THE PINES ATTRACTS A ONE OF A KIND ATMOSPHERE AND SOME OF PERTH’S FINEST MUSICIANS. IN-BETWEEN PLAYING WITH SHARP TOOLS AND SMILING FOR DRUM MEDIA’S ANNUAL COVER SHOOT, THE BUSY BEES ON THE FRONT COVER CAUGHT UP WITH DANIEL CRIBB. COVER AND STORY PHOTOS BY ELLE BORGWARD.
I
t’s been 26 years since The Triffids released their seminal In The Pines record. In 1986 their tune In The Pines described the love between two people; today those three words have a whole new meaning and in some ways can sum up a large portion of the WA music industry in a nutshell. For those who live and breathe local music, RTRFM has become an essential staple in their daily routine. All year ‘round the team running the community station works like crazy to provide listeners with high quality music, and musicians a platform to be heard – that’s why being selected to play the momentous day-long In The Pines at the UWA Somerville Auditorium is an honor, and why punters mark the occasion on their calendars in big bold writing.
Circus). Looking at these five acts alone you can see the diversity that this year’s show contains.
Drum Media pulled a select few In The Pines musicians away from various Easter activities to snap some photos, find out what they’ve been up to, why they love In The Pines and how RTRFM has helped them over the years. Rummaging through shrubbery and working together to create weird, wonderful and mostly useless structures out of timber was Sean O’Neill (Hang On St Christopher), Pat Mclaughlin (Sugar Army), Micky Larkins (Suffer), Natalie Pavlovic (The Big Old Bears) and Ben McDonald (Sonpsilo
Managing those two roles as well as being an announcer on Posted, Out To Lunch and Ambient Zone, Trainer’s a prime example of the talent keeping RTRFM not only running, but producing high quality radio. “He pretty much organizes everything and he’s got a lot on his plate,” O’Neill, who’s also juggling a few things, says – so much so that he is yet to experience the magic of In The Pines. “I said I hadn’t been before, on-air at RTR, and I felt so bad,” he laughs. “Adam Trainer was pretty devastated... The only reason I didn’t go last year was
Hang On St Christopher frontman Sean O’Neill, who is currently recording his debut solo album, rocked up in not only a flannelette shirt, but a lumberjack’s coat – ready to get down to business. The band played the RTRFM Radiothon closing party at Rosemount Hotel in November last year and their performance warranted an invitation to the 19th installment of In The Pines. During the closing party, O’Neill got to witness firsthand what goes on behind the scenes of an RTRFM fundraising gig. He’s not alone when he says that music director and events manager Adam Trainer works damn hard to ensure that everybody’s happy.
FRI APR 20
Sat APR 21
Tonight! Thurs day November 3rd
because it was on Easter Sunday!” Natalie Pavlovic of The Big Old Bears, who is sitting next to him, laughs and ensures that he is in for a treat. “The first time I went, David, who is in The Big Old Bears, was playing with his other band, The Lazy Railway, so I got to go behind the scenes for that. It was pretty relaxed,” Pavlovic recalls. “It’s just really nice how, at the beginning, it’s sort of a picnic everyone is sitting down and watching the bands and then towards the evening everyone gets up and really gets into the music and dances along.”
PINES TIMES
THE GATES TO THE IN THE PINES FOREST OPEN AT 11.30AM, SO PLAN YOUR FROLICKING AROUND: 9.30-10pm
Sugar Army
9-9.30pm
Split Seconds
8.30-9pm
Kill Devil Hills
Although The Big Old Bears have been busy with other projects, and thus have only had one EP over the past two years, RTRFM has still rallied behind them and cranks the release on a regular basis. “We’re always going in there to have a chat with different presenters,” Pavlovic enthuses. “David and I played [in the RTR studio] on Good Friday at like eight in the morning. Usually it’s quite busy and happy and friendly, but because it was Good Friday there was no one there, so we just kind of let ourselves in and it was completely empty, which was interesting,” she adds, as everyone begins selecting their weapon of choice for the shoot. With a five track EP set for release in June, you can expect to hear a lot more of The Big Old Bears on RTRFM over the next couple of months.
8-8.30pm
The Ghost Hotel
7.30-8pm
San Cisco
Sugar Army also has a new release ready to go, but as frontman Pat Mclaughlin explains, they’ve had a few hiccups along the way. “[The release date] just changed. It was going to be May, but now it looks like it’s going to be August, so it’s driving me a little bit insane,” Mclaughlin tells. After losing their bass player to Birds Of Tokyo, adding Ben Pooley on keys/guitar and Chris Simmons on bass, and dealing with a label restructure, they’ve had a rough couple of months. “[RTRFM’s] the one kind of thing you can count on and that’s a great thing,” he says. “They’ve always been very supportive of Sugar Army from day one and they continue to do that. Even when we’re in a quiet moment, when we’re writing or not doing anything, they’ll still get us in occasionally and they still play our music. They’ve always been supportive and we can’t speak highly enough.” Having played twice before, Mclaughlin can be classed as an In The Pines veteran. “It just feels like a big party. It’s the one day of the year that you can catch up with everyone that you haven’t seen in ages. I always see bands that I haven’t seen, which is always a good thing - seeing new stuff that I maybe wouldn’t go out of my way to see,” he says, while going through the line-up in his head and picking out bands he wants to check out on the day. “I really want to see some of the heavier stuff, like Suffer and Drowning Horse.” Trash masters Suffer, who are working on a new 7” and, taking time off shows, decided to come out of hibernation when asked to play In The Pines. “When we heard the In The Pines offer was there we thought it could be cool because we might be able to fuck with the audience a bit or something,” frontman Micky Larkins jokes. “We’ll try not to go too over the top,” he adds. With such a raw and heavy sound it can be hard to get airplay, but RTRFM don’t discriminate, which is something Larkins isn’t accustomed to. “We’re more of an underground sort of cult band – I don’t think we really have aspirations of getting played on some of the more major stations. We’ve been lucky with RTR and they’ve played our music and invited us to a few other gigs, like the Burn The Airwaves fundraiser and things like that.” On the other side from trash you have classical psychrockers Sonpsilo Circus. It’s hard to miss bassist Ben McDonald with his wild hair and interesting choice of sunglasses. Kicking off the year with performances
sun apr 22
LOU BARLOW
7-7:30pm
Boys Boys Boys
6.30-7pm
Sunshine Brothers
6-6.30pm
Apricot Rail
5.30-6pm
The Leap Year
5-5.30pm
SMRTS
4.30-5pm
Drowning Horse
4-4.30pm
Sonpsilo Circus
3.30-4pm
Benedict Moletta Band
3-3.30pm
Hang On St. Christopher
2.30-3pm
Runner
2-2.30pm
Suffer
1.30-2pm
Frozen Ocean
1-1.30pm
The Big Old Bears
12.30-1pm
The Love Junkies
12-12.30pm
Tusk
at the Big Day Out and Southbound, they’ve just started work on their debut album. He’s in the thick of it when it comes to music, but during the shoot you could have easily mistaken him for an actual woodsman – sawing into a piece of lumber like there was no tomorrow. Being sucked up in the moment may have had something to do with the location. “I like being in and around trees,” McDonald says. “I really like the cover of trees because I like Lord Of The Rings and that sort of thing,” he confesses. “The fact that it’s all local music is really cool as well. “[RTR] have always been really helpful – whenever we’ve had a release coming up they’ve given us interviews. They gave our EP a feature when it came out and they really got people listening. For local bands that are just getting there first recordings together, they’re a great station to give your stuff to because they usually give it a spin. Whereas, triple j don’t play as much local stuff and with stations like 96fm there’s just no hope,” he laughs. All five of them agreed that RTRFM offers listeners something that other stations often don’t: “Good music,” O’Neill laughs. “Good music and it’s more personal,” Pavlovic adds. “And the announcers actually care about what they’re playing,” O’Neill emphasizes. After an hour or so reminiscing and chatting about RTRFM, the end result of another successful Drum cover shoot was a heap of laughs, some weird and wonderful photos, and a sense that this year’s line-up is going to have one of the best atmospheres yet. WHAT: RTRFM’s In The Pines WHEN & WHERE: Sunday 22 April, Somerville Auditorium, UWA
TUES APR 24
wed apr 25
AN HORSE
Something Humble Bears and Dolls Blind Highway & Ichora ENTTRY RY $8. $8.. DOORS $8 DO D ORS RRSS 7: 7 30 30PM DJ Sean Pollard (Split Seconds) free in the beer garden Presented byy
$ Selected Cocktails $10
$12TEDD jugs
$13Schnitzel
www. spacesh ip news. com.au
with Doors 8pm. Tickets from www.rosemounthotel.com.au
with Adam James with The Shallows, The Osiris (Emperors) Corporation + The Ron Pollard Doors 6pm. Tickets from Quintet. 8pm. $12 or $15 w/ EP
www.rosemounthotel.com.au
with Kill Teen Angst and The Leap Year Doors 8pm, tickets from www.rosemounthotel.com.au
Cowboys & Indie Kids DJ Set in the beer garden Wednesdays from 7:30pm www.rosemounthotel.com.au cnr angove & fitzgerald , north perth 10 • THE DRUM MEDIA
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THE DRUM MEDIA • 11
NU TRANCE TIMES KEEP AN EAR OUT THERE’S A BUNCH OF SIZZLING ACTS ON THIS YEAR’S CREAMFIELDS LINE-UP AND, IF TRITONAL ALREADY HASN’T, HERE ARE A FEW TO HELP GET YOU MORE PUMPED TO RAISE THOSE HANDS. ABOVE & BEYOND British trio Jono Grant, Tony McGuinness, and Paavo Siljamäki run one of the genre’s most influential labels in Anjunabeats, and consistently rate well high in DJ Magazine’s annual Top 100 poll, including #5 last year. Their list of productions, remixes and compilations goes on seemingly forever, and last year they released just their second artist album in Group Therapy. ALESSO
RISING FROM RELATIVE OBSCURITY FIVE YEARS AGO, TRITONAL HAS BECOME ONE OF THE BIGGEST NAMES IN MODERN TRANCE TODAY. ONE HALF OF THE PARTNERSHIP, CHAD CISNEROS, TELLS RUEBEN HALE IT’S NOW A DIFFERENT MUSICAL WORLD.
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had Cisneros and Dave Reed formed Tritonal in 2007 coming from different musical spectrums and opposite geographical locations in the US, after meeting online. Both soon realised their meeting was to form one of the most prolific partnerships in the EDM scene today, thanks largely to their willingness to embrace the new. Cisneros reckons many in the trance industry are due a reality check when it comes to staying relevant. “Today’s trance artists have gotta understand that you can’t just sit there and pop out the same record each week,” he lays down the law. “If you wanna be current and you wanna be effective and you wanna tour, you’ve gotta do new shit. So we’re trying to do new stuff but at the same time we will never forget about the old records. We’ll never forget about the Above & Beyond classics like Sirens Of The Sea or Good For Me or On A Good Day. We’re actually doing some remixes for Above & Beyond this year too and we’re really excited about those, but at the same time, out of that same breath, we’ve gotta stay current and we’re doing just that.” Cisneros counts The Chemical Brothers and The Prodigy as his main influences growing up, whereas his younger musical partner Dave Reed grew his passion for EDM and trance elsewhere. He says his world was a different place back then. “Artists like Fatboy Slim were coming out at the time and this sort of underground rock meets electronica sound was going ‘round. That’s what got me into the party. It was a very drug-driven underground thing back then. That’s where I discovered the music, but Dave came from a completely different musical background. He didn’t really go to the same places and he just listened to FM radio and online. That’s where he found trance. “I went to college and it was there that I became infatuated with trance music. When I graduated I did audio engineering, electronic composition and synthesis choruses, while I was studying business and economics at the University Of Texas at the same time. By the time I finished studying I was already busy doing remixes for Andy Moor and Armada. That’s when I met Dave online and instead of choosing a corporate America career, I wanted to go for EDM because it was what I loved, and thank God it’s been successful for us. However, even back then we both could see the genre was heading for some big changes.” 12 • THE DRUM MEDIA
But even after Ferry Corsten recently copped some serious criticism from fans over his perceived move in a more commercial direction, Cisneros still maintains that trance music needs to change. “People need to accept that things will not stay the same,” he says. “Artists like Corsten have always been prepared to be the first to innovate and change, and don’t deserve the bad press. Ferry is the guy that has always flipped it on its head and come up with a completely different sound. “He’s never stayed in the same place because I think he’s an artist, and as an artist he does not want to be bored and he wants to always be unique. From that perspective I want to be 500 per cent with Ferry. I think it is very easy to alienate your fan base when you completely flip your sound around. I’ve listened to his new tracks and I think they’re awesome. On Aint No Stoppin’ for example, the chords are frickin’ totally wicked. It’s the vocal on it that’s housey to me. Everything else on that track is completely slammin’. You’re going to have people that will hate on it ‘cause they want trance to stay in this little place where it’s been in the past. And then you’re going to have people that really love it.”
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Apart from Corsten, Cisneros says Tritonal really enjoys the mutual respect they now receive from other institutional artists like Gareth Emery, Armin van Buuren and Above & Beyond. He says they regard all these guys as innovators, but the pair holds a special mantle for Oceanlab, and hold working with Jono Grant and Jaytech on a new compilation in the series as one of their biggest aspirations of the moment. “Oceanlab for us is where it’s at,” Cisneros enthuses. “We hope that as we try to evolve and be weird in the studio and come up with new things, we can continue to be part of that.” So with that modus operandi in mind, Tritonal have got a huge year of taking their innovation to the masses in Australia and abroad with an unbelievable tour schedule, as well as hoping to manage a few new releases as well. “We’ve always wanted to play Creamfields,” admits Cisneros. “But apart from that, we’re also playing A State Of Trance 550, Ultra Music Festival, Electric Daisy Festival. We’re playing tomorrow night in Belgium; we’ve got dates in New York City, Toronto, Chicago, Washington DC and Houston. We’re
TODAY’S TRANCE ARTISTS HAVE GOTTA UNDERSTAND THAT YOU CAN’T JUST SIT THERE AND POP OUT THE SAME RECORD EACH WEEK.”
Cisneros likes to think Tritonal is somewhere in the middle, and embracing the crossover direction the genre seems to be taking at the moment. “To us it doesn’t really matter as long as it’s a good frickin’ track. I don’t really care what you call it as long as it’s an awesome song. Take Swedish House Mafia, Save The World Tonight for example. I don’t care that it’s a house track or a progressive track, I love that vocal. That’s the kind of vocal you buy Coldplay for and U2 for and Adele for. At the end of the day we try to produce records that are catchy and hooky and that people will remember. And when you have a vocal like that which captures so many people, there is a reason for it. We want to write catchy tracks that people wanna hit repeat to. So what is Corsten about? I think he’s an artist with his ear to the ground to what’s happening globally, and he’s just trying to get in on some of that.”
just about to book in a three-week tour of Serbia, Jakarta and India. We’re playing St Petersburg and Moscow in Russia. We’ve got more Ministry Of Sound dates in the UK and where we’ll also be playing with Gareth [Emery] at Digital Society while we’re there. “We’ve got so many things going on at them moment. We’re releasing the remixes and club mixes album and the new originals. So things are at an all-time high for the touring at the minute, and we feel so happy and blessed that things seem to be really taking off for us at the moment from a touring perspective.” WHO: Tritonal WHEN & WHERE: Saturday 5 May, Creamfields, Supreme Court Gardens, Perth
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Relatively new to the scene, Swedish progressive house Mafioso Alesso smashed into the DJ Mag poll at #70 last year, and he gets much love from heavy hitters like Avicii, Swedish House Mafia and Tiësto. MTV even named him am EDM artist to watch in 2012, and those guys know music. GIUSEPPE OTTAVIANI Nu-disco, nu-metal, nu-jazz… How about Nu NRG? That was Giuseppe Ottaviani’s team-up with Andrea Ribeca that produced two albums in 2004 and 2007, before Ottaviani re-branched back out on his own to become one of trance’s top men. His live shows have won him Best Live Act in the Trance Awards in ’04, ’05 and ’07, with the Italian opting for a midi-controller over CDJs when peforming. W&W Former rising stars, now just bonafide stars of trance music globally, Willem van Hanegem and Wardt van der Harst solidified their status as a trance force with last year’s debut album Impact. Armin van Buuren loves them, and Creamfields marks their debut festival set in Australia. VITALIC A bit of an outlier compared to the rest of this list, but no less worthy, Vitalic is a lord of the underground dance music scene. Mainly rocks into this list because his set at Stereosonic a couple of years back blew this office away, and his 2009 album Flashmob is as fresh now as it was upon release.
THE BANDS THE INDUSTRY THE LOCALS THE ENCORES THE DJS THE GIGS THE PRODUCERS THE CLUBS THE REMIXES THE ARTISTS THE FESTIVALS THE GROUPIES THE ALBUMS THE TOURS THE FANS
LIVE NOW! THE DRUM MEDIA • 13
AN HAPPY ACCIDENT IN THE LEAD UP TO AN HORSE’S SHOW AT THE ROSEMOUNT HOTEL, VOCALIST/ GUITARIST KATE COOPER TALKS TO DANIEL CRIBB ABOUT COMING OUT OF HER SHELL, WRITING MUSIC ACROSS OCEANS AND FRIENDLY PLAGIARISM.
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n Horse vocalist/guitarist Kate Cooper seems to be stuck in her own rendition of Doctor Dolittle as of late. From angry, bite-your-face-off canines to deafening parrots, Coopers has had all kinds of trouble thrown her way from the animal kingdom. “Right now I’m sitting next to my friend’s dog Bat, and he’s bat-shit crazy,” Cooper says with a soft voice, hoping not to set Bat on a rampage. “He’s staring at the door waiting for me to open it so he can go crazy.” Normally a friend’s energetic dog wouldn’t have Cooper treading so lightly, but after their producer Howard Redekopp’s dog Fanny bit one of their assisting engineers on the face during the production of their last record and almost took a chunk out of hers, she has good reason.
I THINK I RIP A LOT OF THINGS OFF.”
“Uncle Peter, the bird that lived with my friend in Montreal, was also a problem. He was a noisy, noisy bird. I had to get rid of him. I was sending demos to our A&R people and it was like, ‘Turn down at 2.45 – 2.47’, because the tweet was so loud it was going to deafen them, so I had to get rid of him. We’re still friends though,” she says, discussing the writing process of their last album Walls. “I moved to Montreal because I needed a change... I wrote a lot of it [Walls] in Montreal and it was really nice to write somewhere different. We’re signed to a label in the States and have really cool A&R people, one who signed pretty much every amazing band in the ‘90s, bands like Pearl Jam. It was the first time writing when I didn’t have to get up at 6am and go to a day job. It was also the first time that I was able to bounce my music off people at a demo stage. In the past I haven’t been comfortable enough to do that. I felt really nervous sending music to people who have signed really awesome bands, but they were saying ‘this is what we’re here for’.” Having friends scattered across Canada doesn’t just give Cooper a place to party and crash during her weeks off, it also supplies her with a rich source of inspiration for songwriting. “I think I rip a lot of things off,” she laughs. “My friends are very wise, intelligent people so I steal a lot of stuff they write to me in emails. I read a lot of books. That’s a big thing for me, books. Inspiration from reading – that’s always been the case. “My sister is an editor of books and she always argues about correct grammar,” Cooper adds, explaining how taking inspiration from friends and family has been a theme from the start. “She gave me a jumper with An Horse written on it as a joke because we used to argue about the grammar of it. People used to see the jumper and ask if it was a band, so when we needed a band name it just made sense.” A year after the release of their second album Walls, An Horse is still riding the waves of success it created for them, and while the duo haven’t been doing much in Australia lately, it doesn’t mean they haven’t been working their arses off elsewhere. Cooper living in Montreal has given them more opportunities to tour the US, as she explains touring outside Australia fresh off a nine-week US tour. “Touring in the US is awesome. It’s very different to touring at home in Australia. I find touring at home quite difficult because you have to catch a plane every day. It’s exhausting. In North America you get in a van and you get into a rhythm that can’t be stopped. Our shows in the US are great. We have people turning up to shows who have driven six hours to see us. I would say our following is fairly similar all over the world. It’s pretty awesome,” Cooper explains, showing a part of her still calls Australia home. And while having each member in a different country may seem like a hard factor to work around, the internet and the fact there are only the two of them means they are able to make it work to their advantage. “There’s less cooks in the kitchen and it means I can live wherever I want. It means we can do a lot more touring. It means when we tour in a good sized van, I get two seats to myself,” she laughs. “I don’t think that this situation would work with more people in the band. But because there are only two of us we do have a lot more luxury than a band with three or four or five people in it... We’re at the point where we play 280 or something shows a year, so we’re so good at playing with each other now and it’s not a challenge to keep our performance tight. It’s not like I’m walking into a room with someone I’ve never played with before. It’s someone I know how to read musically.
Celebrating 30 years of Hoodoo Gurus and the release of their ‘Best of’ Album “Gold Watch”
Tickets $55+bf @ heatseeker.com.au and the venue
Special ferry deals @ rottnestexpress.com.au
“Me and Damon still write like we did when we lived five minutes from each other. Basically I spend a lot of time over here working on demos by myself, getting them to a point where I’m happy to let other people hear them and then I send them to Damon and he listens to them and then we meet somewhere and finish them. That’s pretty much how we did it when we worked in a record store together.” The dynamics of a duo has helped to keep their professional relationship and friendship intact whilst living so far away from one another. But while it has numerous pros, it also has some cons that may eventually see Cooper and Cox expand. “Live, it’s definitely a challenge just having the two of us. Maybe one day we’ll have someone else in the band, someone hired on to tour with us. I don’t want to ever say we wouldn’t, because we might. I mean, there are two of us and we can drive each other crazy, but that’s no different to a band with five members.
08 9292 5011
“When we started the band we were expecting something to do after work,” she says. “And then the rest is all an accident – a happy, happy accident. We didn’t expect anything. I certainly didn’t expect to be living in Montreal. I wished that I could. We just got really lucky. Anything that happens at this point, we feel blown away that we’re able to do what we do.” bluering creative 13091c
functions@hotelrottnest.com.au
14 • THE DRUM MEDIA
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WHO: An Horse WHERE & WHEN: Wednesday 25 April, Rosemount Hotel, North Perth
THINK OUTSIDE THE SQUARE AUGUST BURNS RED MOVE OUT OF THEIR BOX AND BE AS MAD AND AS CRAZY AS THEY PLEASE, IN A MUSICAL SENSE AT LEAST, AS VOCALIST JAKE LUHRS TELLS STUART EVANS.
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hey are no longer the new boys of metal. Back in 2003, Pennsylvania’s metal scene was blossoming and the boys of August Burns Red were still in school. As they worked and studied, they found that music got in the way. It was not a bad interruption from hitting the books. “I’m from South Carolina so I can’t speak for the rest of the band, but I did quit college to focus on music, which is probably a similar story for the rest,� laughs August Burns Red vocalist Jake Luhrs. Since the release of their 2009 breakthrough album, Constellations, a record that earned them a number 24 placement on the Billboard 200, the band has found itself in strange territory. Guitarist JB Brubaker previously said it was time to break some rules. “You’ll have to ask JB exactly what he meant by that,� Luhrs admits. “I think he was referring to us in general and breaking the rules regarding metalcore as we really wanted to step outside of the metalcore sound. It’s really us thinking outside of the square and showing how much we’ve grown as a band.� Doing the unexpected and thinking outside the proverbial is their norm. After numerous tours, the band recorded two covers of popular songs: an instrumental version of the Christmas classic, Carol Of The Bells and, of all things, a cover of Britney Spears’ Baby One More Time, for the Punk Goes Pop 2 compilation. The band’s musical memorandum contains copious riffs and breakdowns and, in true metal/thrash metal/metalcore style, it is all nicely rounded with frank, thunderous vocals. So when it came to record their fourth album, Leveler, they decided to break some more rules. “We could have played it safe and just made another record like Constellations, but we all felt it was time to move out of the metalcore box. We made Leveler as mad and as crazy as we wanted. We wanted to try different things and take the band and sound in different directions.� Luhrs makes a salient point. After around eight years and a quarter of a million albums sold, it would have been easy to retain the status quo. But that’s not how August Burns Red move. Leveler was not a game-changer, just a leap forward and a tiny stride backwards. “We have a dedicated and supportive group of listeners who are generally supportive of us trying new things. Our music is progressive and our lyrics are positive. We deliver a message of hope.�
talk about what we like and what we don’t like. It’s all very open and transparent.� Over the past eight years, they have also had three different vocalists – each one’s name coincidentally started with the initial J. Luhrs promises it is not a prerequisite to join the band. Regardless of the band’s recruitment policy, it’s been a big few years for the American rockers. Success, praise and goodwill have followed, seemingly wherever they’ve toured. “We’ve toured with a variety of bands and never thought that I’d get to travel the world. It’s all been such a blessing.� WHO: August Burns Red WHEN & WHERE: Wednesday 25 April, Amplifier, Perth
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Positivity and messages of hope? Is this a metalcore band? He laughs, “We’re not scary and don’t wear dark or black makeup. We’re just normal-looking dudes who love music.� Luhrs speaks of the band’s different direction, or point of difference, particularly on Leveler. In theory anyway, the points of difference are thus – the drums patterns are faster, the heavy parts are heavier. Of course, shifting direction – albeit slightly – carries risk. Alienating the fanbase is one. “We wanted to keep the characteristics that made the band a success. None of us are really inspired by other metal bands as we just like different things and different sounds. I’m certainly not inspired by metal,� reveals a candid Luhrs. Like many bands, there are hidden stories of triumph and adversity whereby personal addiction and demon-fighting are prevalent. Luhrs has battled his own inner monsters, including substance abuse, to take the reins and deliver poignant and emotive performances: “In the past I’ve had problems with alcohol and even with porn. Being on the road and on tour does not help as it exposes you to everything. As a band, we’re one big family which is one big support network.� Luhrs is honest in what keeps him strong. “I put a lot of things down to my relationship with God. If I’m struggling or not right with a situation, I seek His guidance. I also surround myself with good people and a good support network.� Christianity runs deep throughout. They may thrash, pound and belt out ear-exploding lyrics delivered with maximum penetration, yet listen attentively and the lyrics are indeed heartening and optimistic. They do not preach but persuade. Not that everyone has endorsed the band’s lyrics. “I’ve had a few Christians come up to me and tell me that they don’t like my vocals and that God would not approve of a metal band because of the way it sounds. I normally reply by saying that music is a way to express and some people should really listen to the lyrics.� For a proclaimed Christian band, the name August Burns Red has roots in anger. He laughs, “Yeah, apparently the name came from an encounter that our first lead singer [Jon Hershey] had with his ex-girlfriend. Her name was August and after he broke up with her, she went over to his house one night and burned down his doghouse. Inside the doghouse was his dog, Red. The dog died in the fire and the newspaper headline said ‘August Burns Red’. When the band first started, they all went with the name.� It hasn’t all been brotherly love between band members either. “Yeah, we have our tiffs now and again. We just work through the issues by talking things through. We have a system where we discuss things and everybody can say what’s on their mind.�
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Luhrs adds that collaboration is also evident during the songwriting process. “JB is our main songwriter. He’ll write lyrics and a basic drum pattern and will then email it to everyone so they can familiarise themselves with the track and prepare comments and feedback when we meet. We
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THE DRUM MEDIA • 15
DAWN PATROL FROM THE ASHES OF ADVERSITY THE PHOENIX RISES TO BATHE THE WORLD IN LIGHT. IT’S FROM THOSE DARK DAYS THAT A GALVANISED TUOMAS SAUKKONEN STRIDES INTO THE LIGHT ARMED WITH A BRAND NEW ALBUM AND A BRIGHT FUTURE FOR BEFORE THE DAWN. SIMON HOLLAND REPORTS.
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rom all indications, Before The Dawn frontman Tuomas Saukkonen is a consummate perfectionist. His hardline approach to music and a slew of ex-members speak of a working intensity that few are willing to match. That, combined with a look that makes a Kerry King cuddle seem warm and appealing, would result in one of the most fearsome and uncompromising images in metal. Instead, the warm and friendly Scandinavian speaks passionately for over an hour simply to provide the best possible explanation for each step of the story up until this point. “There have been way too many struggles, too many obstacles in the history of Before The Dawn that will hopefully not be in the future,” Saukkonen reflects. The new album, titled Rise Of The Phoenix, is an apt description of the band’s career up until this point. “We have never known any other way. Maybe this was the way it was supposed to be, y’know? I’m not one of those guys that takes a lot of time to think about what has happened. A lot of things we really had no control over. It’s got nothing to do with the music you are making. There is a hundred other obstacles that stand in your way. It’s always about the timing.” For years, Before The Dawn laid somewhere underneath the rubble of a collapsing melodic death genre. Saukkonen was not your average corpse, however; his was a bright and beating pulse of the survivor simply trapped in a shitty situation and biding his time. So what took so long? “Well, every time we introduce a new member there is a lot of work that goes into getting the member in and the line-up working,” Saukkonen explains. “It takes a long time. I believe the best possible line-up makes you the best possible band. The last two albums, Deadlight and Soundscape Of Silence were a good example of that. We used session members to get the job done or I just did it myself; ‘Do your own job, play your own instrument, rehearse on your own. You are a musician.’ It’s a lot of responsibility but if you are a musician and you play in a band that has an album coming out I would expect that you do the work required to be the best kind of musician in the studio. That’s your only job,” he details, before highlighting his most important component. “I’m pretty demanding when it comes to drummers. “They are so critical to the music,” adds Saukkonen. “They are the backbone of the music. You can’t have awesome music if you don’t have a brilliant drummer. Either you can play or you can’t. What I mean is, you can use samples and can cheat that way but you can’t create that groove which something that is immediately apparent. It really is a big part of your sound and very important for Before The Dawn.” Saukkonen’s professional approach has begun to pay dividends, scooping Musician Of The Year at the Finnish Metal Awards two years running. A particularly impressive feat considering the illustrious metal landscape. “It’s really cool, especially considering Before The Dawn is not the biggest or best band around... well, yet at least,” he laughs. “There are some massive bands here! I feel unbelievably privileged to be recognised in that way. Even when it comes to the actual musicianship I have no way of competing with the Alexi Laihos [Children Of Bodom] or that. They’d get all the awards for being the fastest or the best, but I think I got the award for simply my songwriting with the different bands, and it’s that songwriting that I consider to be my craft. “The music and the instruments are simply the tools that serve that purpose. I really didn’t think it was going to happen and definitely not two years in a row. I was top five for three years and I thought that was cool. To win back-to-back for writing good songs, yeah, that’s amazing.” WHO: Before The Dawn WHAT: Rise Of The Phoenix (Nuclear Blast) 16 • THE DRUM MEDIA
BEATBOXER BOXING WHEN TROY MUTTON CALLS BENJAMIN STANFORD, AKA DUB FX, HE FINDS A GUY WHO FOR THE FIRST TIME IN FIVE YEARS IS GIVING HIMSELF A BREAK – AFTER A FIVE MONTH TOUR FIRST OF COURSE.
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enjamin Stanford is in a pretty good place when Drum reaches him in Melbourne, sounding very upbeat at the prospect of enabling his fiancée Shoshana Sadia – otherwise known as Flower Fairy – to live in Australia with him. “Just with my lady. We just handed in my partner’s visa application for permanent residency, so we’re a little bit excited about that.” And he’s also got good cause to be excited about his own career which, after a hectic past five years that originated in London (where he met Sadia, who now accompanies him on tour selling CDs and joining him live on stage), is finally slowing down a little to give him more time to focus on aspects outside of touring. “Basically for the past five years me and my partner have just been around manically doing shows, living day by day. It started off performing in bands and travelling around and street performing, and now it’s kind of arrived to a point where for the first time in my career as Dub FX I’ve been able to buy a house, and I’m building a studio. And I’ve not had to do any shows for a few months for the first time in so long. Man, I can’t remember the last time I had a month off,” he tells, in a very relaxed manner that suggests he’s looking forward to the time off.
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“It’s really exciting for me just being able to chill for a bit and work on other things that have been going on in my life that I’ve had to put on hold. The main thing really has been organising myself a recording studio, because I’ve always had to do it on the fly with bands or set up somewhere in a house… That’s been my thing really. I’ve not been doing any shows, just organising new material and trying to record it and set it all up.” Stanford began playing in bands from the early age of 15 around St Kilda, until a move to the UK led to him dabbling in the art of loop stations and beatboxing to create entire songs from scratch. Meeting Sadia introduced
him to the sounds of drum’n’bass, jungle and dubstep, which became his primary focus, busking on the streets with just a loop pedal station and his own voice. And after playing bigger and bigger club and festival shows for the past couple of years, Stanford has definitely hit the point where it’s no longer just about tripping people out on the street with crazy vocal work and loopy song structures. “I’ve kind of hit a landmark, if you know what I’m saying,” explains Stanford. “I’ve arrived at a point where I’m not struggling so much. Well, I am in a way, because I have to pay off my house, but I’ve got to the point where if I was to lose an arm or a leg or my voice or something, and I couldn’t go on tour, I’d at least be happy with what I’ve got now and I could stop and work on other things. Now that I’ve got this I’m able to do better shows and better tours and better albums because I’ve got somewhere that I can totally work on creating something. I’ve always been working but I’ve always been on the road, I’ve never had a chance to set myself up to pull out some quality tunes.” All of this will of course come once he’s completed his next tour, which sees him in Perth next week for some pre-Anzac Day festivities, and then onto the rest of the world. He’s also doing it under a new, much tighter schedule. “Obviously I’ve got a fair few shows coming up in May, and then June I’m going over to Europe, and August/September is America. It’s kinda gonna be like a year’s worth of work. What I’ve normally done is this over a year, but now I’m cramming it into five months. We always used to do maybe two, three nights a week, and that’s over a whole year on average. But this time it’s gonna be five nights a week for five months; it’s gonna be intense, but then I can just come back and chill again.” It’s a new touring ethic that he’s trying not to worry about too much just yet. “I’m not nervous nor am I excited about it, I’m more just trying not to think about it because the idea of it just exhausts me. I’m trying as hard as I can to not, because I really have over-worked myself these last five years, to the point where I burnt out quite badly. I was unable to do many shows by the end, so it’s been good to build up my energy a bit. I’m trying not to think about the touring too much though. Obviously once I get into the swing of it, it’ll be fine. I don’t really get nervous or excited about playing shows, I just do what’s required. Obviously putting on an awesome show, that’s what’s required of me, so I’m gonna do it.”
that come with making your own beats with just your voice. “Definitely it’s very limited, and I hate beatboxing to be honest. I hate beatboxers, I hate beatboxing, I think it’s stupid. The only reason I started doing it was because I needed a way to make a beat on the street. At first I was using backing tracks, but I saw someone else using a loop station and beatboxing so I incorporated that into my sets. I’d used backing tracks and play guitar and sing, and I’d also have a loop station, and then I sort of realised people were more interested in the looping thing, so I went down that road. “And I definitely enjoy doing it but there’s only so far you can really take it. You get to a point where you hit a wall,” he continues, detailing how he’s overcoming these limitations. “You can only do certain things with it. That’s why I’m now using a drum machine as well. I find, especially for drum’n’bass and jungle, I’m not even that good a beatboxer… The thing is that I’m more of a singer/songwriter than I am a beatboxer, I don’t really call myself a beatboxer at all. It’s all about making decent basslines and making people dance at the end of the day, not really so much about showing people my skills.” And it’s this last point that reveals what truly gets people excited about Dub FX; it’s not about a wacky gimmick, but about the music. “I respect the song structure more than the gimmick, you know what I mean? And people come to my shows not because I’m a beat boxer or looper but because they’re interested in the tunes that I make or the songs that I’ve written. Whether it’s with a full band or with beatboxing or whatever, I think people are more interested in the music anyway.” WHO: Dub FX WHEN & WHERE: Tuesday 24 April, Rosemount Hotel, North Perth
His frankness is a feature of the entire interview, coming to a head with some very interesting revelations on what he feels about his own craft, and the limitations
WHITE MEN CAN DRUM MUTEMATH DRUMMER DARREN KING TELLS BRYGET CHRISFIELD THAT FAILED ASPIRATIONS TO FOLLOW IN MICHAEL JORDAN’S FOOTSTEPS MADE HIM THE STICKMAN HE IS TODAY.
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am in my bunk on the tour bus getting sick in Boston, Massachusetts,” Mutemath’s drummer Darren King replies when asked to reveal his exact location. “I feel my throat getting sore and my eyes getting dry and – well, that’s what happens when you’re on the road. I think it’s all these meet and greets after the show. We’ve been doing this thing where we shake a lot of hands and meet a lot of people and whatnot.” It’s the tail end of Mutemath’s American tour at the time of our chat (“We only have about nine more [shows] to go, we’ve done 21”) and King is in a reflective mode. “It’s been the best tour of my life, actually, hands down. It’s really been special for me.” There’s a video on Mutemath’s website, ‘Making Of 2012 Spring Odd Soul Tour’, which reveals an incredible video wall structure. The band are planning on lugging the full production over to our shores for their upcoming tour, yes? “Well,” King hesitates, “sadly, because every city is so far apart, we’re having to fly from one city to the next so we won’t be able to bring the big video walls. We are bringing a lotta lights and we’re bringing a lighting guy with us so the lights’ll be special and specific to our show. And I have to be honest with you, some of our most special shows are the ones where either we don’t have all that fancy video stuff or where that fancy video stuff breaks,” he laughs. There has only been one gig “so far” where gremlins invaded the system. The band were playing in Minneapolis “and the entire stage just lost all electricity during the song Blood Pressure,” the drummer tells. “The amps were still on for some reason, but the PA shut down – it was just the drums and the amps. And we kept playing, we didn’t stop and the crowd filled in – they sang as loud as they possibly could – and to be honest with you it became this really magical moment: one of the more memorable moments of the tour.” While we’re on Blood Pressure, what an amazing song! Lyrically, it’s pretty much a collage of nagging questions to get your blood boiling. So what situations tend to get a rise out of King? ”Sports. I get really – I don’t take it too far, it
doesn’t ruin my day if a team I like loses. I find I draw deep and emotional analogies for everyday life in sports and so I can get pretty fired up over great performances, but just great performances in general. I’m pretty emotional; I get it from my mom. I cried watching a spelling bee one time.” A spelling bee? “I did! Yeah, it was the national spelling bee,” he stresses. “The little kid, he won and there was this – the look on his face when he won, I just got really amped up on it, you know? And I’m that way. “I get that way about sports because I’m not good at it. I dreamed to be Michael Jordan as a kid and I tried so hard. And I was horrible; I was horrible at basketball. So I took my basketballs, and I took the air out of them until they had five different pitches and I started playing drums on ‘em. And I would drum on basketballs for hours. My mum was very patient with me and then they eventually bought me a drum set.” Mutemath frontman Paul Meany reverted to a childhood hobby while working out the ideal 3D structure on which to project video mapping for this Odd Soul Tour. “I was over in the corner saying, ‘Paul, maybe we should do this,’ I was trying to download programs like Google SketchUp and stuff to try and draw it,” King recalls. “I tend to prefer the old piece of paper but, you know, Legos are great too. Paul just stopped it for a moment and said, ‘Gosh, this is what I used to do when I was a kid. I used to make Lego stage set-ups and pretend like I was performing on ‘em. And I’m still doing it!’”
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On the experience of hearing one of their songs performed on American Idol (contestant Chris Sligh performed Typical), King confesses, “That was weird. But I got to meet the drummer who played it afterwards, we talked about it and that was really – I mean, I met him years later ‘cause he plays for Jay Leno now so we talked about that and, yeah! That was funny. The irony of it is that that guy was playing the song for millions of people while at the same time we were playing it in England for about 200.” Odd Soul is Mutemath’s third studio release and their first self-produced effort. King agrees that not having to share acclaim for the success of this album is “real special”, but adds: “Really the main joy in it is [that] every night I get to play the part that I wanted to play, the drum part
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that I thought would be the most fun for me to play, and [I] didn’t have anyone else dumb it down or adjust it and change it. It was just the three of us, you know, and there’s this different thing that happens whenever Paul, Roy [Mitchell-Cárdenas, bass] and I work together, just the three of us, ‘cause if we criticise each other or have a suggestion it always comes along with the understanding that we’ve been through thick and thin together already, so they’re on my side. So that was the delightful thing about working without a producer, I think. The bad thing was just the extra work: all of the engineering and setting everything up and all that. And also the fact that we didn’t have any budget to do it – we did it on our own money, no borrowed money from the label or anything and at Paul’s house.” An air mattress contraption, complete with LED lights, allows Meany to play Jesus and walk on water, or rather on a sea of punters’ heads. Surely this could be stowed away in the overhead locker for air travel? “Well we might be able to bring that, that could probably fly pretty easily,” King muses. “Yeah, I think you’re right. We’ll bring that, we’ll bring that.”
WHO: Mutemath WHAT: Odd Soul (Teleprompt/Warner) WHEN & WHERE: Saturday 19 May, Groovin’ The Moo, Hay Park, Bunbury; Sunday 20, Amplifier, Perth
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GOING SCARY BIG
ALL BANDS REMEMBER THEIR FIRST BIG DAY OUT TOUR, RIGHT? DANIELLE O’DONOHUE FINDS OUT WHY CALLING ALL CARS’ HAYDN ING DRAWS A BLANK.
WITH THEIR NATIONAL TOUR SCREAMING INTO WA THIS WEEKEND, CALLUM TWIGGER TALKS THROUGH SOUNDS AND SEASONS WITH TOM IANSEK’S HALF OF MELBOURNE TWO-PIECE BIG SCARY.
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“I
realized I wasn’t seeing my friends as much as I used to, and that was when I realized there was a cost to what I was doing, and there was a price to all the adventures,” Tom Iansek admits belatedly. Ironically, in Big Scary’s debut LP Vacation, Bad Friends is lead singer/guitarist Iansek’s triumph. With a painfully suppressed murmur, the delicate Melbournian ambles through the decay of old friendships, and the story behind the song that shares that pathos. “I had a gig in Hobart, and was meant to fly back to Melbourne the next morning and play at one of my best friend’s weddings. We missed our flight, which meant we missed the wedding. It was a tough day,” he confirms, before adding, “it’s [a song] about outgrowing people in a way, and whether that’s being professional or not.” Iansek’s confession resonates in the track’s lyrics: “I watch the planes fly overhead/I will say nothing at all/I’ll sing the song of silence/I’ll sing no song at all”. Bad friends might make for compelling songwriting, but working in a duo can put pressure on the best of artists. Yet it’s a dynamic Iansek and bandmate Jo Symes have taken in their stride. “Jo and I were hanging out this morning, and she said I’ll see you after Easter, and we realized we’d been hanging out every day for the last month. We’re great mates, and it helps,” Iansek explains. “Originally, I was just looking to put some new project together, and I met Jo through a friend of a friend,” he confesses, half-laughing. Something sparked, because there’s undeniably vital creative chemistry between the two of them: Vacation was paraded as a triple J feature album last year, snagging a place in big cheese Richard Kingsmill’s top ten albums of 2011. Lined up against a wall, Autumn, Winter, Summer and Spring are the core of Big Scary’s EP catalogue. The graduated shift between each season is a suitable metaphor for the Melbourne two-piece’s steadfast refusal to adopt one musical style over another. “Nature and the elements were a recurring theme to me,” Iansek explains. “Lyrically, more than musically, perhaps.
Originally, it wasn’t going to be about seasons. We were just reliving songs every couple of months, and then we were like, ‘Why not just release songs as seasons?’, and then it kind of formed that way,” he adds tacitly. “We’re varied stylistically, and we had a pile of songs that sounded like they could be winter or summer anyways, and the rest we made up as we went along.” Sure, Big Scary’s debut LP Vacation is an album that takes mug-shots of Australian alt-rock kingpins like Nick Cave and Steve Kilby, but it’s not a record that can be rationalized into some simple narrative of genre. Leaving Home and Gladiator are contemplative, downtempo tracks that explore the minimalistics of Big Scary’s White Stripes guy-plus-girl guitar-anddrum fundamentalism, while Tuesday Is Rent Day goes nonchalant garage-punk. Iansek is keen to evade the media’s genre-trap, and sees tropes as more constricting than constructive. “Absolutely, there is a pressure to conform to one style. People want to sum Vacation up simply. It’s easier to market that way. And there is an argument out there that people will get it better if it’s all similar. There’s some truth to that, but you know, that’s not how we work. If we tried to adopt homogeneity, it would be like putting a square peg in a round hole,” he concludes. “Sometimes I wish I could ask people what we’re like, and then just use that for the press releases.” WHO: Big Scary WHEN & WHERE: Friday 20 April, Amplifier, Perth; Saturday 19 May, Groovin’ The Moo, Hay Park, Bunbury
Mentored by his Belleville High School alumnus Juan Atkins, the ‘Godfather’ of techno, May founded Transmat Records in the ‘80s. He’d introduce a romantically futuristic ‘high tech soul’ with tracks like Nude Photo (its laugh snatched from a Yazoo song!), Strings Of Life and The Beginning. Later May, disillusioned with the record biz, virtually ceased producing – although he memorably remixed Rolando’s Jaguar. He’d focus on, not only DJing, but also building Transmat’s roster – nurturing everyone from Carl Craig to Stacey Pullen and Aril Brikha. ‘EDM’ has exploded Stateside with Frenchman David Guetta producing urban names, but its African-American pioneers haven’t benefited – just as they didn’t during the ‘90s ‘electronica’ epoch. May is restrategising. In 2010 he issued a hit mix-compilation, Heartbeat. “My mix-CD sold something like 17,000 copies in Japan – that’s un-fucking-heard of! That’s like a platinum record these days.” The Japanese label, Lastrum, “really cared” about its promotion. Today few companies in Europe, or the US, properly market comps. Consumers don’t have the attention spans. Media interest in touring DJs, too, has declined, says May, last here for Creamfields 2011 with his homeboy Kevin Saunderson. The Australian press still covers tours, but elsewhere promoters don’t even arrange interviews. Greater importance is placed on DJs circulating tracks – offering “this so-called package”. As such, dance music’s narrative is being lost. 18 • THE DRUM MEDIA
May – his music inspiring Björk, Burial and Azari & III – has often been critical of DJs who act as “wannabe rock stars.” Some behave “ridiculously” – to the detriment of dance culture. “Dance music is a group of individuals who are like these outcasts of the whole music industry. Nobody really cares about dance music artists. We’ve never really been a part of the legitimate music scene.” And, here, May admonishes himself. “Let’s be honest – I used to give attitude to the media, too,” he admits. But the techno rebel was “on a mission” to defend a black music from co-option – and he impressed journalists with his conviction. He’s no longer “mad” at new gen DJs who neglect their platforms. “They don’t know any better.” In fact, May is upbeat about underground techno. Aside from his most famous protégé, Craig, he rates Ricardo Villalobos and Luciano for their artistry – and admires Ben Sims’ longevity. “You’ve got a fair amount of guys who are showing other guys the way – but are the other guys willing to hear or be interested in knowing the way?” In 2009 May relaunched Transmat with Canadian Greg Gow’s The Pilgrimage EP. He’s presently A&Ring a label comp with tracks from Gow, Zak “DVS1” Khutoretsky, and John Beltran – plus surprises. Excitingly, May will include previously unreleased material of his own – notably his equivalent of that Depeche Mode number, the now mythic Hand Over Hand. Its airing is, he realises, “a big, big deal”. “I played it at a Red Bull Academy in Norway when I was talking and there were a few people who said, ‘Can we have that? That’s beautiful!’ So there’s still a response to the song in its current state – without me even having to update it. I’m really happy that it’s held on and it’s had an opportunity to still touch people some 20 years later – and [it’s] never been released. It’s nice. It’s a good feeling.” WHO: Derrick May WHEN & WHERE: Friday 27 May, The Likes Of You, Ambar, Perth
“I was completely out. I woke up on the stretcher in the ambulance. It was pretty full on. Tom [Larkin, Calling All Cars’ manager] was freaking out. He was down the front. But as soon as he knew I was okay he was like, ‘Sweet, publicity’.” Like the rock’n’roll trooper he is, Ing was back onstage a couple of days later in Melbourne – although his feet were firmly planted in front of the mic for the entire set. It’s been a pretty big summer for the Melbourne threepiece. Fresh from the release of their second album, Dancing With A Dead Man in August, the band were one of four young local acts picked to support the Foo Fighters on their December stadium tour. Calling All Cars are no strangers to big stadium rock shows, having toured Australia with AC/DC and Queens Of The Stone Age, but Ing says the notoriously nice Foo Fighters certainly know how to make a support band feel welcome. “All the crew took us aside and were like, ‘Here’s a pass. You can go anywhere you want. You’re allowed in the Foo Fighters band room, just don’t be a dickhead.’ It was rad. We were hanging out with them afterwards. Just being there and standing side of stage and watching Dave [Grohl] do things was crazy.”
starring their famous tour-mates. The YouTube video features appearances by Foo Fighters Dave Grohl and Nate Mendel, Fucked Up’s Damian ‘Pink Eyes’ Abraham and Tenacious D’s Kyle Gass and Jack Black. “We got to meet Jack Black and everyone backstage at the Perth show and we said, ‘Is it cool if you do this video?’ and explained it to them. And he goes, ‘Yeah, that’ll be sweet, but before I do that I actually want to see what I’m endorsing’. “So at one point in Adelaide there was Jack Black and Dave Grohl standing side of stage while we were playing. I was like, ‘Holy shit’. Then afterward we were having a drink and Jack was like, ‘So are we going to make this video?’ The quote he said to us was, ‘You called the cars, and they came’.” After such an eventful summer, Calling All Cars have taken a step back out of the limelight to begin the process of writing album number three. For Dancing With A Dead Man the band wrote about 40 tracks that they whittled down to the album’s final 12 songs. The plan this time is to again write a lot more songs than are needed, so the three band members have decamped to a tiny little town on the New South Wales southern coast for a little inspiration and a lot of peace and quiet. The town has a population of just a couple of hundred people. “When we walk into the town you can tell we’re not from around there. We get those typical comments like, ‘You’re wearing your sister’s jeans, mate’. Yeah, good one.” WHO: Calling All Cars WHEN & WHERE: Thursday 19 April, Indi Bar, Scarborough; Friday 20, Prince Of Wales, Bunbury; Saturday 21, 78 Records (early), Rosemount Hotel, North Perth (late)
LUCKY NUMBERS
DETROIT INNOVATOR DERRICK MAY TALKS DEPECHE MODE, TRANSMAT RECORDS AND “WANNABE ROCKSTARS” WITH CYCLONE.
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The Melbourne singer says his memory of the day isn’t great, but he’s seen the YouTube footage and was able to fill in a few blanks. “I was crowd surfing and saw one of those circle pits, so I thought I’d get in the middle of that and as I was running into towards it he didn’t see me and I didn’t see him and we just collided,” Ing says with a wry chuckle.
While on tour, the band couldn’t resist the opportunity to film a clip to announce their upcoming BDO appearance
MAY ON A MISSION echno innovator Derrick May once hung with Depeche Mode in his Detroit hometown, the New Wavers a seminal influence. Now Depeche Mode’s Martin Gore has cut a ‘techno’ album, Ssss, with ex-member Vince Clarke, the pair showing the ‘kids’ a thing or two. “I can totally relate!” May laughs quietly. “I think it’s a good thing if they can do it – and if they can do it well.” The DJ/producer has described Depeche Mode as “the Radiohead of their day”. “I’ve been in the studio next to them – they were working once and they made a track. I had a copy of it for years. It was only on a cassette. They never released it. It was absolutely fantastic! They just didn’t release it, for whatever reason.” The Brits were, he reasons, merely exercising their talents.
ouring with the Big Day Out is a significant milestone for upcoming Australian bands. But Calling All Cars frontman Haydn Ing is a bit hazy on some of the details of his band’s run on this year’s festival. Ing’s Sydney Big Day Out appearance ended in the back of an ambulance after being knocked out cold by a flailing arm as he jumped into the audience only a couple of songs in.
MEET NEW ZEALAND FIVE-PIECE SIX60. YOU HAVEN’T HEARD THEM ON RADIO, THEY’RE NOT SIGNED TO A LABEL, THEY DIDN’T EVEN HAVE A PUBLICIST UNTIL RECENTLY, YET THEY CAN BOAST TWO PLATINUM SINGLES BACK HOME. MICHAEL SMITH INVESTIGATES THANKS TO VOCALIST/ GUITARIST MATIU WALTERS.
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heck out the clip for the latest single, Forever, from kiwi rockers Six60 and you’ll see some 15,000 fans going ballistic at a festival called Homegrown in Wellington that, like our Homebake, exclusively celebrates local acts. While you might assume it’s been staged, it turns out the band just decided to get some live footage to better represent their performance rather than come up with some storyboard job, so those kids singing along genuinely know all the words. Considering they’ve had no airplay and no label backing, it’s testament to the power of social media that Six60 hit the NZ commercial singles charts with two double platinum-selling singles, Rise Up 2.0 and Don’t Forget Your Roots, one platinum-selling single, Only To Be, plus a triple-platinum #1 self-titled debut album. Not bad for a band that had met as students at University in Dunedin in 2008 and hadn’t actually thought to record in the first place. “We’re five completely different people,” Six60’s singer and guitarist Matiu Walters admits, “with different upbringings and tastes in music, so it’s a miracle that we met each other and that all our influences turned into songs and it didn’t sound crap [laughs] – you know what I mean? When we first set off, we were pretty much a cover band to be honest and it moved from small gigs in our room, into the living room [laughs], into flat parties, twenty-firsts and later into the smaller bars around Dunedin. And we pretty much played for a beer contra or something like that. “The songwriting probably came like a year after we got together, when we decided we really wanted to put a memento together for the time we had at university, with no intention of going anywhere. But we made a Facebook page because everyone was doing that at the time and word got around and the
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word got around enough that it encouraged us that this was something we wanted to do. It’s pretty crazy the way things have gone the last couple of years.” As the online buzz built, so did the size of the stages Six60 were invited to play, moving from local bars to festival stages not only across New Zealand but also here, playing the Big Day Out. “It’s incredible how important timing is in your career. I wouldn’t call it luck, but we happened to be in the right time and play a good show while the right people were there, so we were very fortunate in that respect.” The debut album, which, in physical form, is a beautifully crafted gatefold black-lined gold card artefact with no information about what’s on the two discs inside – “I had the privilege of working with a local new Zealand artist,” Walters explains, “to create something different since this generation, no one’s buying CDs so we wanted to make something pretty special and entice people into buying the physical” – is a pretty diverse collection of tunes. It’s a reflection, again, of the diverse musical tastes within the band. “By no means was it an intention of ours to make something so diverse. It would seem to be just a natural progression for us. But in saying that, when I listen to my iPod, or when anyone listens to their iPod or their music, they don’t really listen to one genre in particular. Or maybe they do, but they’re probably really boring people [laughs]. As much as people told us that we should have, we didn’t want to be a band that just wrote the same shit over and over again and perform the same stuff – and for some reason it seemed to work for us.” WHO: Six60 WHAT: Six60 (MGM) WHEN & WHERE: Saturday 28 April, Capitol, Perth
THE DRUM MEDIA • 19
SINGLED OUT WITH TOMAS FORD
ON THE RECORD
MAYOR DADI Mayor Dadi Dada Records
BLACK FOX Day In Lieu Independent
You know that feeling you get when you can tell a band is obsessing over production at the expense of their songwriting? That’s all over this new Black Fox record. Possessed of the kind of swagger that puts one in mind of a Levi’s ad and mistaking repetition for hookiness, they are obviously angling for triple j or a licensing gig here. Unfortunately, the pristine production is in aid of a song that is forgotten before it is even over.
Interscope/Universal
Black Radio
Kate Miller-Heidke is one of those rare musicians who possess the ability to transcend with ease between the realm of commercial and independent music. In the past five years, she has become renowned for her wind-chime voice, thoughtprovoking lyrics and fearless melodies, thus raising anticipation for her latest work Nightflight.
The Material Girl has reinvented herself as many times as she has been loved and loathed over 12 studio albums. Still cavorting in her undies, is Madonna growing old disgracefully in a pop world that’s overtaken her own ability to shock? Well, yes and no. On MDNA, her sexuality is still thrust in your face, but she’s now more burlesque than XTube. That’s not the problem though.
Blue Note/EMI
D
VD
The album begins on a high, with the upbeat pop track Ride This Feeling, but it doesn’t take long to change direction. The second song Sarah is adeptly divided, the verses calm and haunting, and the chorus powerful with hysterical wails. For the next three tracks, the album bites into the meat of the poignant love ballad for which she is known, each song pleasant but not quite fulfilling. However, once I’ll Change Your Mind is upon us, we are all jerked from the solemn place Miller-Heidke has created in our minds and lifted back into happiness with one of those catchy “oh oh ohhh” melodies. The drums sound like an excited heartbeat and the layered feminine vocals sound like the deluded optimism of love – ironic, considering the song’s title. It is possible with distinctive vocalists, however, for their sound to lose impact if heard in large doses, and unfortunately Miller-Heidke does fall into this trap somewhat; she does not fully explore the extent of her vocal ability, her range inhibited by the predictability of pop. While she does indeed create a healthy dichotomy between happy and sad, the acme of each emotion is never quite reached. Indeed, Nightflight does adequately capture the essence of her style – while littered with a few stark gems – but it does not completely flaunt the talent we know her for. SARAH SCAIFE
Most of the first nine songs on MDNA suffer from too many cooks in the production booth. Old mate William Orbit jostles alongside a carousel of Euro-DJ’s who masque Madge’s vocals in too many electrohouse and slut-pop grooves. In I’m Addicted and Girl Gone Wild, she’s lost in her own bloody record! Gang Bang blatantly copies CSS’s moves (whom she once signed to her Maverick label). Give Me All Your Luvin’ features M.I.A and conjures images of a lite Go Team with it’s cheerleading hook. As a lead single, it’s not bad and probably the freshest thing on offer.
Composer and pianist Robert Glasper would have been LIVE just 12 years old when Guru and Premier dropped Jazz Thing back in 1990. Jazz, hip hop and soul have always intertwined, now so to a point where the genres are such easy bedfellows that jazz label Blue Note releasing an album heavy in hip hop and soul is no longer unusual. There are no surprises on the roster here either, the calibre of artists on Black Radio top notch. Erykah D feline vocal on Glasper’s pulsing arrangement VBadu’s of Afro Blue ensures one of the stronger tracks. Yasiin Bey (aka Mos Def) is on form, spitting staccato raps over a military snare on the title track, and Why Do We Try sees Chris Dave’s urgent percussion and crystalline cymbal shimmer stealing the show from a syncopated piano and the underused vocals of Stockley Williams. But for every sweet moment there is treacle to wade through – the mournful reworking of Smells Like Teen Spirit overwrought, the plaintive vocoder mewling of the last robot in the junkyard making for a dull listen.
When Orbit takes the helm at the end, she finally starts to shine. Masterpiece and Falling Free form a classy finish that deserve much better bedfellows than most of what preceded them. The five-track bonus disc is frustrating as it includes more gold and more shit. I Fucked Up and the swingin’ B-Day Song would have buoyed the main album with more quality, but the LMFAO remix is horrid and Beautiful Killer just rips off Madonna’s own Die Another Day. Maybe it’s time Madge stopped hiring one night stands to help make her sound bankable and just wrote a ‘true’ album. There’s hints here that it’d be her best ever. MAC MCNAUGHTON
D
Never lacking in personality, Mystery Jets imbue this downtempo slow-burner with plenty of hooks and memorable musical moments. While the lyric is unlikely to challenge The National for pathos or poetry, they’ve grafted some of that band’s widescreen indie dirge onto one of their most ecstatic choruses yet. The self-doubting verses explode into a bouncing hook consisting entirely of the word “woahoh-ooah”’; it’s possibly the most effective release of tension I’ve heard on the radio for a long time. It’s easily their best moment yet, sliding effortlessly between moods in the course of its four minutes.
Sony
D
Rough Trade
ROBERT GLASPER EXPERIMENT
MDNA
VD
Someone Purer
MADONNA
Nightflight
VD
MYSTERY JETS
LIVE
KATE MILLER-HEIDKE
D
Operating in a similarly reverb-drenched guitar universe to locals French Rockets, Perth locals Mayor Dadi sound enormous. While Blood Orange comes on a little too much of their contemporaries 1x1 in its straight-ahead throb, the band find their own path on Average Or Below’s hypnotic digital dub, taking it to a soaring psychedelic conclusion. From here on in, it’s hard not to be captivated by the band’s brain-melting wavelength. They’ve got a solid understanding of the mental effects that the best psychedelia, kraut and dub are capable of, and they demonstrate them eloquently on this EP. A must-buy for lovers of trippy shit.
Glasper’s talent as a musician is undeniable, but on this record he’s not breaking new ground. Taken as a whole, it sounds curiously dated, and for an album that aims to be experimental it plays things very safely. It’s pertinent that the standout tracks, on both ends of the spectrum, are cover versions – the new ground that Robert Glasper is searching for on Black Radio remains unbroken. That said, there are some truly great moments, and again the quality of contributors (Bilal, Lupe Fiasco, Musiq Soulchild) keeps things interesting. Black Radio has soul – it’s just nothing ‘neo’. TOM BIRTS
SHOCK OCTOPUS Shock Octopus Independent
Shock Octopus have always chased their own style, and here they’ve found it: an enjoyably idiosyncratic mix of OK Go-style pop-rock, brainy time signatures and plenty of Devo. This EP finds them with a sonic identity of their own; early afternoon festival-friendly rock imbued with absurd lyricism. This EP is full of addictive pop songs that locate the sweet spot between jokey silliness and some kind of soul. With strong playing and fantastic writing, this release bodes very well for an album.
OLLO
Transistor Resistor/Full Stop Blue Metal Postcard
Taking the indie-rock-with-synthesisers idea of The Presets to its logical conclusion, Ollo take analogue synths and Kraftwerk-style late-‘70s dry reverb production and add Alex Crowfoot’s triple j friendly indie-rock vocals. While Transistor Resistor is a pleasantly upbeat slice of alt-pop that wouldn’t be out of place on B(if)tek’s 2020 LP, the downtempo Full Stop Blue is majestic; coasting along on an icy chill that puts me in mind of the Underground Lovers but with a texture all its own.
GRAVEYARD TRAIN I’m Gone
Independent This first taste of Graveyard Train’s third album shows a band with their heart set on radio play. I’m Gone is the kind of simple rocker that you could imagine anyone from The Black Keys to Gary Glitter hammering out. Luckily this band are so hopped up on their own juice that even a song this obvious is full of beguiling touches. Lead guitar that nails the feel of Western soundtracks, barbershop harmonies and a bassline that threatens to break out into full on disco at any moment; this is an addictive proposition that just might see them cross over to triple j. 20 • THE DRUM MEDIA
SAY ANYTHING
SIMONE FELICE
THE USED
We Are Unified/Warner
Warner
Hopeless Records/We Are Unified
The intention of this album, as frontman Max Bemis describes in a slightly wanky way, is to convey the band’s love for anarchy via thought-provoking, idiosyncratic lyrics. Anarchy, My Dear sounds great, but in no way does it comes across as Bemis hoped. The 11 tracks on this record don’t have any upfront or obvious connections with one another, which kind of defeats the purpose of a concept album. Slightly gritty vocals and the odd mention of corporations on one or two songs is as close to anarchy as it gets – if nothing else, the idea made for some decent artwork.
So the tale goes that one-time member of The Felice Brothers and half of The Duke & The King undergoes open-heart surgery when his childhood congenital defect catches up to him. Then he strikes out to make this, his self-titled debut. And it’s a surprising gem. It starts sombre and stripped back, going a long way to capture the rooms it was recorded in. The arrangements are sparse and stark, capturing an understated beauty. Though it was largely self-produced, Ben Lovett from Mumford & Sons had some helping hands in there and that group pop up to supply harmonies a few times.
The other problem Say Anything’s fourth studio album has, and this is a fault on the side of the engineers, is the dynamics between quiet and heavy sections aren’t distinct enough. A quiet verse that builds up into a powerful chorus isn’t as effective when Bemis’ softer singing is the same level as his yelling. With that said, both of these problems aren’t too detrimental to the overall feel and flow of the album.
The songs use imagery as sparse as the arrangement but capture whole tales in their verses. And you’d except as much from a songwriter with a literary career like Felice’s. The songs turn from the personal to wider social commentary with a deft touch. The balance of lyrics and music echoes a key element on the record – space. Too often all sense of space is squashed out of a record but here Felice allows it to sit nicely amongst the guitars, pianos and harmonies.
The Used’s last two studio albums Lies For The Liar and Artwork gave the impression that their best days were behind them. Their latest record – and a solid contester for best to date – Vulnerable has come out of nowhere to smash those notions and show the world that they’re not even close to finished. Maybe frontman Bert McCracken spent more time writing this album than previous. Spending four months recovering from broken bones suffered as a result of falling off stage in California would have given him plenty of time to knuckle down with pen and paper. Apparently the band had 60 song ideas floating around at one point. If there wasn’t a decent 12 in that bunch, they would have been in trouble.
Anarchy, My Dear
Simone Felice
On a more positive note, the songwriting and instrumentation on this record is carefully thought out which results in very few moments of boredom. Say Anything have taken conventional pop-punk and fine-tuned it into something unique by drawing from a wide range of other genres. It may be early days, but as far as pop-punk records go, Anarchy, My Dear has strong potential to end up the best in its genre for 2012. Just don’t expect a flawless flow. DANIEL CRIBB
At times it feels as though the song might snap in two as it’s carried only by Felice’s delicate and vulnerable breathy voice. At others, the backing vocals come in and propel the song to an ecstatic Elbow-esque climax, albeit notably more stripped back and lo-fi. A fairly accurate comparison would be to Perth’s own Benedict Moleta; stark, understated and fine threads of narrative through the lyrics. It’s not too polished, and it’s not too self-reflective, making it a worthwhile solo debut. JASON KENNY
themusic.com.au
Vulnerable
Wasting no time, they introduce their trademark sound with I Come Alive, the first single off the album, and it’s a tune that sets the pace for the rest of the record. The video for the single features a kid taking revenge on those who have bullied him, and confirms that the band is still encompassing the emo aesthetic they became known for. Luckily that vibe doesn’t force its way into the music too much – in the past it almost felt overdone. The Used are a band that learn and grow from previous mistakes and experiences. While they had a bit of a dry spell, as far as quality goes, Vulnerable feeds off preceding works and is all the stronger for it. DANIEL CRIBB
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waso.com.au THE DRUM MEDIA • 21
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THIS WEEK IN
ARTS TITANIC
THURSDAY 19 The Lost Boys – After moving to a new town, two brothers are convinced that the area is frequented by vampires.Directed by Joel Schumacher. Rooftop Movies at City of Perth Roe Street Carpark, 6pm.
FRIDAY 20 Pretty In Pink/The Breakfast Club – a Molly Ringwald double screening. In Pretty In Pink a poor girl must choose between the affections of her doting childhood sweetheart and a rich but sensitive playboy. In The Breakfast Club, five high school students, all different stereotypes, meet in detention, where they pour their hearts out to each other, and discover how they have a lot more in common than they thought. Rooftop Movies at City of Perth Roe Street Carpark, 6pm.
SATURDAY 21 Grease/Rocky Horror Picture Show – “Summer loving had me a blast / Summer loving happened so fast”. Sing your way through Grease followed by a screening of Rocky Horror Picture Show, a strange journey. Rooftop Movies at City of Perth Roe Street Carpark, 6pm.
MONDAY 23 Luna Monday Doubles: Any Questions For Ben?/Extremely Loud And Incredibly Close – first up, Rob Sitch’s comedy; then a drama based on a book by Jonathan Safran Foer from director Stephen Daldry. Luna Leederville, 7.30pm. The Wizard Of Oz – Dorothy is swept away to a magical land in a tornado and embarks on a quest to see the Wizard who can help her return home. Don’t forget your sparkly red shoes. Rooftop Movies at City of Perth Roe Street Carpark, 8pm.
TUESDAY 24 Mad Bastards – Australian film about TJ, who is on a quest to find the son he’s never known. He
embarks on a journey across the remote and stunning Kimberley landscape. Directed by Brendan Fletcher. Rooftop Movies at City of Perth Roe Street Carpark, 8pm.
WEDNESDAY 25 Anchorman – it’s just been announced that Ron Burgundy will be back for a sequel of Anchorman, but this is the original about San Diego’s top rated newsman in the male-dominated broadcasting of the 1970s. That’s all about to change when a new female employee with ambition to burn arrives in the office. Rooftop Movies at City of Perth Roe Street Carpark, 8pm.
ONGOING John Gavin – in the early hours of Easter Saturday 1844, 15-yearold John Gavin became the first European to be executed in our Swan River Colony. He was tried, convicted and hanged within three days and buried without ceremony in an unmarked grave. Highly skilled aerial theatre, dramatic reconstruction and physical performance will re-animate John Gavin twisted adolescent dreams. Created and performed by Nick Candy, Dawn Pascoe and Steven Finnegan. The Blue Room Theatre until 5 May.
GERMANY ON SCREEN ANTHONY CAREW PREVIEWS THE 2012 AUDI FESTIVAL OF GERMAN FILMS. The 11th Festival of German Films kicks off this week, and amidst the obligatory commercial dross (see: Men In The City 2) there’s moments of cinematic interest. Tom Tykwer is the programme’s biggest auteur, and his oddball drama Three – made in between Hollywood duties on Perfume and his forthcoming Wachowskis collaboration with the can’t-believethey’re-attempting-it adaptation of David Mitchell’s Cloud Atlas – feels, perhaps more than any of his films, like a work of auteurdom. Relishing an opportunity to shed genre’s straitjacket, his oddball, elusive, mathematically-effected drama is a study in temporality, mortality, and bisexuality that never submits to stereotype. Sleeping Sickness is Ulrich Köhler’s dramatically-fierce depiction of the conflicted relationship between Africa and Europe and the traffic to-and-fro, in which aid and exploitation neatly dovetail. The spectre of pharmaceutical companies hovers over a Cameroonian hospital, and two doctors weigh up the flexibility of their morals. Colour Of The Ocean is a more message-movie take on human traffic, with the Canary Islands a cross-cultural, multilingual collision between African boat-people, German tourists, and Spanish authorities told in Iñarritú-esque shades of melodrama and coincidence. Promising The Moon is a superfruity soap-opera, a twin-generation study in the ghosts of the Soviet Baltic occupation being stirred up
by the 1991 revolution. It builds towards a grand revelation pulled from a telenovela with misplaced social-crusade seriousness. If Not Us, Who is another ’60s-lovin’, newsreel-hatcheting barney with a boner for Baader-Meinhof sedition, though it dodges the rockstar clichés usually reserved for Baby Boomer radicals and paints a sad portrait of lost souls and selfdestruction. Taboo plumbs the depths of the perverse period-piece, telling the tawdry tale of a sexy incestuous tryst between a stoned poet and obsessive pianist in an early-20th-Century Vienna rendered so dank, dark, and underexposed that syphilis seems to be somehow seeping through the celluloid. Cracks In The Shell is a tawdry entrant into the charmless impressionable-young-actressgoes-crazy-whilst-methoding-outon-a-role-playing-a-crazy-character sub-genre, replete with sleazy and manipulative theatre director and bitch-faced mother; let’s call it an F-grade Black Swan. Combat Girls tells a tale of teenaged skinhead molls in utterly adolescent shades; its a big, dumb, violent soap-opera dragging me back to the painful message-movie days of the ’90s. Hell is a dirty near-future-thriller taking place in post-environmentalcollapse wastelands, a survivalhorror piece as a rag-tag ‘family’ attempt to claw out of hell and find salvation in the hills. It’s a fierce enough genre-work but the twin spectres of The Road and End Of Animal hover eternal, making Hell feel mighty minor.
Hans Weingartner’s Hut In The Woods is a crappy tale of a crazy mathematician dropping out of society that actually plays the who’s-really-crazy card. Weingartner kickstarted the Jeff-Buckleysings-Leonard-Cohen revival with The Edukators, and now we have something else to hate him for. One of the best films to ever randomly turn up at the GFF was Robert Thalheim’s study of itinerate service-industry workers in modernday Auschwitz, And Along Came Tourists; five years on, he returns with Westwind, a nostalgia-kissed tale of twin East German sisters on a summer camp for athletes in rural Hungary in ’88, who engage
in teenaged flirtations with West German tourists that carry colossal social repercussions back ‘home’. And Summer Window may be the highlight of this year’s fest, a superlow-key, domestic-sci-fi think-piece in which a woman’s life suddenly ‘skips back’ six months, and she’s confronted by the minutia of chance, coincidence, and fate; paralysed by whether to attempt to change what’s happened or fastidiously re-enact every decision so as to return her life to where it once was.
Home Entertainment we’ve five copies of The Inbetweeners Movie on Blu-ray/digital Double Play to giveaway. For your chance to win one, head to facebook.com/ drumperth.
and looking for love; the sexuallyadventurous, muffin-baking Andy; Rae, the moral centre and unofficial head of the group; the high-camp, highmaintenance Fab; and the wealthy but socially-inept Toby. It’s an odd and often precarious combination of personalities. Thanks to ABC DVD and Roadshow Home Entertainment we’ve five copies of Outland: Series One to giveaway. For your chance to win one, head to facebook.com/drumperth.
WHAT: Audi Festival of German Films WHERE & WHEN: Cinema Paradiso Thursday 3 May to Sunday 6
GIVEAWAYS
MILK – the first solo exhibition for Perth artist Mow Skwoz, consisting of creatures, skin demons, and costumed musicians. Bivouac Canteen & Bar, Northbridge until 2 June. Selected Works: Petrina Hicks – the first solo exhibition from Australian artist Petrina Hicks in Perth, it includes photographic prints and videos from Hick’s series Beautiful Creatures, Every Rose Has Its Thorn, The Descendants, and Untitled 2005. Each of the works continues to explore the artists’ fascination with utilising the seductive and glossy language of commercial photography to create artworks that probe the false promise of perfection. Venn Gallery until 28 April.
SHERLOCK DVD BOX SETS The multi award-winning super series is back with three gripping feature-length adaptations of Arthur Conan Doyle’s thrilling stories. Co-created by Steven Moffat (Doctor Who, Jekyll) and Mark Gatiss (Doctor Who, The League Of Gentlemen), Sherlock:
Complete Series Two stars Benedict Cumberbatch and Martin Freeman as the detective duo Sherlock Holmes and Doctor John Watson, facing the ultimate test in three of their most famous cases; A Scandal in Belgravia, The Hounds of Baskerville, and The Reichenbach Fall. Thanks to BBC and Roadshow Home Entertainment we’ve three copies of the Sherlock: Complete Series One & Two DVD box set to giveaway. For your chance to win one, head to facebook.com/ drumperth.
INBETWEENERS MOVIE BLU-RAY/DIGITAL DOUBLE PLAYS Bringing The Inbetweeners back together in their first feature film, Will, Simon, Neil, and Jay set off for two weeks in Malia with no parents and no teachers, armed with impossibly high hopes for the “clunge-fest” and not much else! From holiday accommodation resembling a Soviet prison block, to Jay falling asleep, face-first, in an ants nest and Simon’s run-ins with a love rival and island bully; this is one holiday to remember... Or quickly forget. The Blu-ray edition features the writer’s cut of the film, deemed too rude for cinemas, and both DVD and Blu-ray formats boast extensive bonus content that ensure the laughs keep going long after the final credits roll! Thanks to Roadshow 22 • THE DRUM MEDIA
THREE
SLIDE DVDS SLiDE tells the outrageous and explosive story of five Brisbane teenagers smashing their way from school to adulthood. Tammy and Ed have been friends since they were five, Ed knows Luke from scouts and school, but he moves in a different crowd, and Eva is at school with them but she keeps to herself. When Scarlett arrives from Melbourne, she is the catalyst that brings them all together in an unlikely friendship, as they spend their weekends at gigs in the Valley, going to parties and stealing experiences they’re not yet entitled to. Thanks to Roadshow Home Entertainment we’ve five copies of SLiDE on DVD to giveaway. For your chance to win one, head to facebook.com/ drumperth.
OUTLAND: SERIES ONE DVDS Outland is a six-part comedy series about a gay science fiction fan club and the lives, loves and neverending dramas of its five members. There’s Max, insecure
RESTLESS BLU-RAYS & DVDS A powerful and emotional comingof-age story, told with honesty and originality that will leave audiences moved. In Restless, two outsiders, both shaped by the circumstances that have brought them together, forge a deep and lasting love. From director Gus van Sant, one of the most astute observers of people living life on the edge, comes a take on friendship and young love as engaging and true as it is provocative and stirring. Stars Mia Wasikowska and Henry Hooper. Thanks to Sony Pictures Home Entertainment we’ve five copies of Restless on DVD and five copies on Blu-ray to giveaway. For your chance to win one, head to facebook.com/drumperth.
FRONTROW@DRUMPERTH.COM.AU
THE SKIN HE LIVES IN
C U LT U R A L
AHEAD OF HIS UPCOMING PRODUCTION SKIN AT THE BLUE ROOM THEATRE, HUMPHREY BOWER GIVES TROY MUTTON SOME BACKGROUND ON WHAT WENT INTO THE SHOW. Chances are if you haven’t seen Humphrey Bower in a theatre production in the past, audio book fans may have had him read one of Bryce Courtenay’s sweeping epics to them. And while Bower is as well-known – and awarded – for his audio book abilities, he returns to a favourite haunt of his in the Blue Room Theatre, with the new production Skin. “It’s based on two stories about travel, identity, and transformation,” Bower begins. “The first story, Long Tan, is based on a story my hairdresser told me about a trip he took to Vietnam and getting a fake tan. The second story, The Serpent’s Children, is based on a trip I took to a ghost town in the WA goldfields, and a painting of a snake I bought there from an old Aboriginal man. But I’ve taken both stories into more surreal territory, so that The Serpent’s Children becomes a ghost story, and Long Tan more of a grotesque comedy.” Bower, as he so often does, will be playing all the roles in the play, and it ties in with his love of telling a good yarn. “I play all the roles in both stories, but primarily I’m the storyteller, sitting in Tony’s bathroom getting my haircut, listening to his story, retelling it, and remembering my own story in the process. So the two stories weave in and out of each other. I love the act of storytelling, and transforming
into the characters, vocally and physically.” Another highlight for Bower is bringing the show to Perth and getting to work again with his local posse, including local muso Leon Ewing. “I wanted to remount the show in Perth, because part of the action is set in WA, and also to take the opportunity to rework it with my Perth team of collaborators: Andrew Lake as lighting designer, Leon Ewing as live musician [he plays electric guitar throughout the show], and Sue Peacock as choreographer – because I really wanted to extend the movement aspect of the show, even though I’m no dancer!” Another highlight for him has been researching the roles, in particular The Serpent’s Children side. “I’ve also had the privilege of collaborating with Gary Cooper, who’s a Wangai man from the goldfields area. He’s helped me to incorporate some Wangai language into the storytelling, and also helped to tease out some of the cultural and spiritual aspects of the story.” Performing all the roles is a challenge Bower obviously relishes, although to say he’ll be onstage alone the whole time is a misnomer, as this scribe discovers. “Actually, it’s not a solo show, strictly speaking; Leon is performing the music live onstage with me… It’s a very collaborative process:
CRINGE
WITH MARCIA CZERNIAK
everyone has some directorial and dramaturgical input into the show,” he tells. And while Bower consistently works in this form, he doesn’t particularly prefer it over more traditional productions. “I wouldn’t say I prefer this to working on a more ‘conventional’ show or in a more conventional way as an actor, writer or director. Artistically and
personally, I feel like there’s room for both ways of working, and they feed each other. Both have their challenges, and their pleasures. The work I do with [his production company] Night Train feels more personal, and more terrifying.” WHAT: Skin WHERE & WHEN: Blue Room Theatre Tuesday 24 April to Saturday 12 May
Don’t you just love a commemorative anniversary or celebration? Especially when they start to get to the good numbers, because let’s face it, anything under ten usually doesn’t usually warrant any big recognition. But a 21st birthday or a 100-year anniversary is kind of a big deal – and this week we have two of them. When most people think of the sinking of the RMS Titanic, it is likely Celine Dion’s My Heart Will Go On springs to mind, or the film from which the song came from, James Cameron’s 1997 hit, Titanic. Right? Needless to say, with this week’s 100-year anniversary of the actual Titanic’s sinking, both are getting a good run. But while Jack and Rose’s relationship didn’t survive the freezing waters of the North Atlantic Ocean, the fictional story of their love carries on and somewhat signifies the tragic nature of the Titanic story to so many people. So many so, that it was reported that some go searching for the grave of Jack Dawson at the Fairview Cemetery in Halifax where many of the Titanic victims are buried. For those that make the pilgrimage, when they find the grave of a ‘J Dawson’, they lay flowers there. Nice to know so many people care about Joseph Dawson, a coal trimmer from Canada who worked and died on board the ship along with more than 1,500 other crew and passengers on its maiden voyage. So on a completely different note (and not at all sad like all those people
dying because a really big boat hit a really big iceberg) we have a birthday celebration, and the party is right here on our doorstep! And not just any birthday, a 21st birthday, which are always a reason to celebrate because even though turning 18 means you can do a heap more things legally, turning 21 is when most people finally see you as a proper grown up. So by now you are probably thinking, who/ what/where is going to be a proper grown up? It is Hatched, the national graduate exhibition that is presented by PICA that opens this week. This annual exhibition features the best art school graduates from across Australia and is one of the highlights of PICA’s calendar. Every year this exhibition has been a stepping stone for some of Australia’s best emerging talent and as we see in another year, it only solidifies it’s spot in Australian arts culture as being an exhibition that guarantees talent. Heck, when you look back on past artists and see that Hatched has featured David Noonan, Julie Dowling, and Artrage’s director Marcus Canning, you know you are in for some excellent work. So what can we expect in the year in which Hatched becomes a proper adult? Well they tell us there will be animation mashed with performance, video with glass sculptures and clashes of collages and stencils as it all examines the four Ms – masculinity, mythology, mapping, and materiality in today’s world. The work is set to challenge both us and our sense of reality… what a way to kick off adulthood proper!
Thhe We West ster e n Au er Aust stra st ralililian ra an Aca Aca cade demy de myy ooff Pe Perf rfor o mi ming ing A Art rtss p essen pr ents ts.....
Short Film Competition REC
04 : 38 : 05 : 23
30 SECS
HD F4.5 ODB
closing date
All entries m ust be received by 19 October 20 12 and be accom panied by an entr y fo rm
ALC
The National Cannabis Prevention and Information Centre (NCPIC) Short Film Competition gives young people between the ages of 15 and 25 years the opportunity to showcase their creative talent and express their thoughts and ideas around cannabis issues. BRIEF The film can be in any style or genre (i.e. drama, comedy, documentary, science-fiction, etc) but must be a 30 second TVC (i.e. in the style of a TV commercial) and creatively explore the benefits of deciding not to use cannabis.
nstock s, Jack Wei Abe Burrow ert Book by ilb G and Willie ser Frank Loes by s ric Ly ley ng La Music and n so Director Ja vid King Da or ct Music Dire k Bond ctor Dere d Music Dire Associate Jenny Lynn er Students ph ra og ic Theatre Chore WAAPA Mus by ts ed en Perform ic Stud WAAPA Mus rmed by lan No Music Perfo e ev St r Set Designe y Dalgleish igner Trud Lighting Des
PRIZE MONEY There will be one national winner selected, with prize money offered of $5,000 for the producer of the winning entry. There will be two runnerup prizes of $2,000 each. To download the entry form and for more information, please go to: http://ncpic.org.au/ go/film2012 or call (02) 9385 0208 Based upon the book by SHEPHERD MEAD. Originally presented by CY FEUER and ERNEST H. MARTIN in Association with FRANK PRODUCTIONS. By arrangement with Hal Leonard Australia Pty Ltd Exclusive agent for Music Theatre International (NY)
THE DRUM MEDIA • 23
ENSEMBLE FORMIDABLE ALL PICS BY CLARE DAVIDSON
TOUR GUIDE GIG OF THE WEEK SPOOKY MEN FANCY BROTHERS
SMRTS
RACHEL & HENRY
RTRFM IN THE PINES @ SOMERVILLE AUDITORIUM, UWA
FAIRBRIDGE FESTIVAL FAIRBRIDGE VILLAGE 13-15/04/12
FRIDAY: It was festival number 20 for Fairbridge this year, commemorated with great big green two-zeros at the Mandja stage and a frock-up party for those who had read the emails and came prepared, which in turn meant a lot of wandering polyester frills among the already well-populated streets on Friday evening. Things started slowly and it wasn’t really until 10pm rolled around that things picked up. This was done mainly by the monsterous, chicken-themed, 10-piece supergroup Ensemble Formidable who confused everyone in the best way possible with their bizarre mixture of gypsy/ folk/electro/funk – or whatever it was – at the Hoopla stage. With this, the tempo was set and ruthlessly sustained by similarly-themed gyspy rock group Woohoo Revue at Youthopia and Edinburgh’s celtic-rock six-piece Shoolglenifty back at Hoopla, both groups keeping everyone dancing frantically until their muscles mutinied. SATURDAY: By Saturday fiddles and acoustic guitars were rife, while the per capita index of double bass and cello was certainly significantly inflated. Crowd participation was endemic, with barely a set allowed to go by without at least hand-clapping of some persuasion being involved. The 20th anniversary festival saw more of a focus on smaller, folkier bands – a lot of locals, and fewer big names. But Fairbridge isn’t there for headliners, and the smaller bands held court admirably. The Stiff Gins told stories at Mandja while the Ballpoint Penguins were busy being silly at Ruby’s, albeit a little predictably. Rachel & Henry Climb A Hill played beautifully to a cross-legged audience in the loft, and at the Chapel, Mal Webb did things with his mouth that no one should be able to do. Judging by the sounds coming out, I’m sure he has another one hidden in there somewhere. At 4pm The Fancy Brothers took charge of the dining hall, playing hillbilly for a thoroughly entertained crowd and one toddler who seemed extremely determined not to wear clothes, despite her mother’s best efforts at
tying them back onto her. The Samba Parade took over the festival then, with pirate boat and all, Sambanistas drumming their way right down the middle of the festival. To prevent interference with the quieter Loft and Clubhouse venues, the big, loud River Stage was prudently removed this year, with the bigger, louder bands being relegated over to Hoopla and Youthopia. The Seals hit the latter just after dinner, to play incredibly quick bluegrass to a stomping, barn-dancing audience. Ensemble Formidable had obviously garnered a bit of a reputation after their Friday night set, judging by the size and energy levels on Saturday. At one point the entire crowd was jumping in time, one great big bouncy mass. SUNDAY: Sunday was lazy, as a Sunday should be. By this time, most punters had picked who they liked and were sticking to them, and the line-up was showing a bit of strain in its repetition. Some bands combated this by joining forces, like Fred Smith, Liz Frenchman and The Spooky Men, who together were refreshingly playful and very, very funny. Others embraced the repetition: the Loop Fest brought some of best musicians of the festival on stage to showcase all the amazing things they could do with a loop pedal. Meanwhile, Dave Mann packed out the loft again, Rachel & Henry Climb a Hill brought friends up on stage and Totally Gourdgeous played a lovely last set at Ruby’s, singing the chorus to their song Pack Rack in German, Maori, an indigenous language from somewhere near Alice Springs, in sign language, and backwards. To close things out, there was a very confused lantern parade and a festival finale band and choir, who played songs specifically composed for the festival. It was pretty cheesy, but the accompaniment of 1,800 pan pipes made from reticulation piping that had been handed out to audience members throughout the course of the festival seemed to sum up the festival in one word; fun. ZOE BARRON
FRONTLASH
BACKLASH
Whilst WA seems to have been a little slow on getting involved in National Record Store Day, this Saturday has turned into a riot of righteous reasons for you to go buy a physical release from a physical store. Get involved!
Costing an estimated 100,000-400,000 large, Snoop Dogg and Dr Dre’s hologrammin’ Tupac was, well, kinda odd. It’s bad enough there were so many average posthumous releases from Tupac (aka cash-ins), but now him and other dead artists ‘touring’ is looking possible. This age of technology is just getting plain weird.
RECORD NUMBERS
VOICING DISAPPOVAL
How lame has The Voice been? Thankfully ADALITA lame enough that we don’t have to worry about wasting any more time watching this ball of talent-less, misguided cuddles.
RAPPING O
Props to Barack Obama for serving it up to Kanye and pointing out that he’s still “a jackass”, and that he much prefers to listen to Jay Z. Dude’s got class.
24 • THE DRUM MEDIA
TU WEIRD
RTRFM’s biggest day on the local music calendar is back this weekend, and In The Pines will bring two stages and 20 rad local bands together for a huge day of music in the event’s spiritual home, Somerville Auditorium in UWA, on Sunday 22 April from 11.30am til 10pm. The lads and lasses who’ll be rocking out for your enjoyment goes as follows: Apricot Rail; Benedict Moleta Band; The Big Old Bears; Boys Boys Boys; Drowning Horse; Frozen Ocean; The Ghost Hotel; Hang On St. Christopher; The Kill Devil Hills; The Leap Year; The Love Junkies; Runner; San Cisco; Smrts (who will be coming off fresh from launching their CD this Friday night at The Bakery); Sonpsilo Circus; Split Seconds; Suffer; Sugar Army; The Sunshine Brothers; and Tusk. RTRiggle on to rtrfm.com.au for your tickets, $15 for subscribers, $20-non, or pick them up from Planet, 78’s, Mills and the RTRFM office. Under-18’s admitted with a guardian.
DRUM MEDIA IS PROUD TO PRESENTS SHOWS INCLUDING: BLUEJUICE, LOON LAKE, THE CAIROS: APR 19 Settlers Tavern; APR 20 Capitol BIG SCARY: APR 20 Amplifier RTRFM’S IN THE PINES: APRICOT RAIL, BENEDICT MOLETA BAND, THE BIG OLD BEARS, BOYS BOYS BOYS, DROWNING HORSE, FROZEN OCEAN, THE GHOST HOTEL, HANG ON ST. CHRISTOPHER, THE KILL DEVIL HILLS, THE LEAP YEAR, THE LOVE JUNKIES, RUNNER, SAN CISCO, SMRTS, SONPSILO CIRCUS, SPLIT SECONDS, SUFFER, SUGAR ARMY, THE SUNSHINE BROTHERS, TUSK: APR 22 Somerville Auditorium, UWA DUB FX & FLOWER FAIRY: APR 24 Rosemount Hotel BLEEDING KNEES CLUB, DUNE RATS: APR 25 Indi Bar; APR 26 Prince Of Wales; APR 27 Amplifier; APR 28 Mojo’s HOODOO GURUS, REDD KROSS, THE FLESHTONES: APR 28 Astor Theatre GOSSLING: MAY 2 Little Creatures Loft; MAY 3 The Bird FU MANCHU, BLACK COBRA, MATT SONIC & THE HIGH TIMES: MAY 5 Rosemount Hotel BOY & BEAR, JUNGLE GIANTS, TIN SPARROW: MAY 10 Albany Entertainment Centre; MAY 11 Bunbury Entertainment Centre; MAY 12 Fremantle Arts Centre DEAD LETTER CIRCUS, FAIR TO MIDLAND, TWELVE FOOT NINJA: MAY 11 Metropolis Fremantle; MAY 12 Capitol KIM CHURCHILL, MICROWAVE JENNY: MAY 16 Settlers Tavern; MAY 17 Dunsborough Tavern; MAY 18 Prince Of Wales; MAY 19 Norfolk Basement; MAY 20 Indi Bar ANDREW WK, ALEISTER X: MAY 17 The Bakery GROOVIN’ THE MOO: ANDREW WK, BIG SCARY, BLUEJUICE, CITY & COLOUR, THE GETAWAY PLAN, GOLD FIELDS, KAISER CHIEFS, MATT CORBY, PARKWAY DRIVE, SAN SISCO, WAVVES, 360, ADRIAN LUX, BENI, BALL PARK MUSIC, DIGITALISM, HERMITUDE, HILLTOP HOODS,
PRINCE OF DISAPPOINTMENT Radiohead not coming to Perth was a cruel blow. And now the purple one is kyboshing us too. Why You Wanna Treat Me So Bad? Huh?!
BEN COUSINS
Who cares about a little grass being found on Cousins when what the authorities should really be worried about is what could possibly possess someone to wear black leather pants and a tan jacket around 7am on a Tuesday, or at all for that matter. LANIE LANE PIC BY CC HUA
GASOLINE INC
themusic.com.au
MUSCLES, MUTEMATH, NAYSAYER & GILSUN, PUBLIC ENEMY, PURPLE SNEAKERS DJS, STILLWATER GIANTS, BROW HORN ORCHESTRA, RAINY DAY WOMEN, NEEDING CHERIE: MAY 19 Hay Park, Bunbury KINGS OF SOUND FESTIVAL: MAY 19 Rosemount Hotel WAMI FESTIVAL: MAY 26-JUN 2 The Bakery/Various Venues + JAZZ WA WAMI SHOWCASE: VICTORIA NEWTON, THE GLYN MACDONAL QUARTET, HORIZON ART ORCHESTRA: MAY 28 The Bakery + EXPERIMENTAL WAMI SHOWCASE: HEYTESBURG, RACE TO YOUR FACE, USURPER OF MODERN MEDICINE: MAY 29 The Bakery + FAIRBRIDGE WAMI SHOWCASE: ENSEMBLE FORMIDABLE, RHYS WOOD, RACHEL & HENRY CLIMB A HILL: MAY 30 The Bakery + JUMPCLIMB WAMI SHOWCASE: THE EMPTY CUP, SUNSHINE BROTHERS, BASTIAN’S HAPPY FLIGHT, SAM PERRY: MAY 31 The Bakery + THE WIRE WAMI SHOWCASE: SPLIT SECONDS, EMPERORS, RUBY BOOTS, WARNING BIRDS: JUN 1 The Bakery + SOUNDWORKS WAMI SHOWCASE: NAILS OF IMPOSITION, REFLECTIONS OF RUIN, MALIGNANT MONSTER: JUN 1 Rocket Room + THE COMMUNITY WAMI SHOWCASE: JAMES IRELAND, DIGER ROKWELL, ASSEMBLY LINE, THE BOOST HERO MAN, LOWASKI, MOSTARK: JUN 1 Ya Ya’s + THE BEAT WAMI SHOWCASE: KILL TEEN ANGST, COVELESKI, EX-NUNS, DEAD OWLS, GRIM FANBANJO: JUN 1 The Beat + GASOLINE INC: JUN 15 Rocket Room + FLIGHT OF THE CONCHORDS: JUL 18 & JUL 19 Challenge Stadium
ONGOING:
GIGNITION: Upcoming band showcases 5-9pm fortnightly on Sundays at Swan Basement CULTURE CLASH & BASS CULTURE: Rotating Thursdays at The Newport Hotel
VISITING FRIENDS
BARLOW SAYS GO
Returning from a successful east coast tour, Smrts launch their new LP Have Friends & Visit Them At Night at The Bakery Friday 20 April with a full band show, supported by Craig McElhinney, Pallas Athena, Andrew Sinclair Ritual Band and Water Temple. $10 plus BF via Now Baking. The group also play In The Pines Sunday 22.
One of the most prolific and influential songwriters of his generation, Lou Barlow is in town in solo mode, playing at the Rosemount Hotel Sunday 22 April. Kicking off proceedings will be Adam James, frontman for Emperors, riding high on current high rotation of latest single Be Ready When I Say Go.
AXE MURDERERS
Featuring British singer Addison Axe, Jebediah rhythm section Ness Thornton and Brett Mitchell and local lass Nat Ripepi on electric guitar, Axe Girl were nominated for Best Music Act at the recent Fringe World Festival, and they return ahead of recording their debut single, playing Mojo’s Sunday 22 April.
WARNING SIGNS
FOLK & WALSHE
Unveiling their most ambitious project to date, Justin Walshe Folk Machine rock a collection of songs tracking the epic journey and tragic end of Burke & Wills. See and hear it Saturday 21 April with Rachel & Henry Climb A Hill, Mister’s Lucky Dip and Cass & Al supporting from 8pm. From triumph to tragedy, determination to despair, The Folk Machine take you on a 3000-mile musical odyssey.
Sam Carmody & The Warning Birds, now just going by the second half, will support Our Man In Berlin Sunday 22 April at the Newport Hotel, before releasing their single Sally at the WAMi conference, Friday 1 June at The Bakery with Ruby Boots, Split Seconds and Emperors all launching releases on the same night.
BLUESING CHARISMA
John Bannister and The Charisma Brothers continue their popular Sunday residency at the X-Wray Café April 22. Wind down the weekend with some cool jazz and blues from 4 ‘til 6pm. They also play Gypsy Tapas in Fremantle the day before at 1pm.
BEES KNEES
Hot on the heels of new single Nothing To Do, Gold Coast’s garage-pop bombshells Bleeding Knees Club hit the road with fellow Queensland slackers Dune Rats. Catch them Wednesday 25 April at the Indi Bar; Thursday 26 at Prince Of Wales, Bunbury; Friday 27 at Amplifier; and Saturday 28 at Mojo’s as part of their SPA-supported album tour. Tickets at bleedingkneesclub.com.
DARWIN DEEZ NUTS
Celebrating their new CD/DVD package F#*k The World, Deez Nuts tour the country with Sydney’s Phantoms. It’s their last before they write and record their third studio album. Saturday 21 April they play Amplifier; and Sunday 22 YMCA HQ in a special ALL-AGES affair. Tickets via the usual. Saviour, Fallfromglory and Common Band also support.
JEFF MARTIN
PUT THE NEEDLE ON THE 78
FLOWER POWER
Head down to the Norfolk Basement Friday 20 April and gambol in musical ecstasy provided by FOAM, The Ron Pollard Quintet, Husband and The Flower Drums. Having just signed to Fat Shan Music, and with a hotly anticipated debut release waiting in the wings to be launch May 5, The Flower Drums promise to serenade you into a state of eternal bliss, $10 from 8pm.
TOBY RETURNS
After another massive international tour, Toby is back playing to WA crowds Saturday 21 April at Indi Bar and Saturday 28 at Clancy’s Fremantle. May sees Toby and band in Kalbarri, Geraldton, Paddos in Mt Hawthorn, Broome, Albany, Esperance, Dunsbrourgh and at the Perth Blues Club in North Perth. More info at tobymusic.com.au.
themusic.com.au
Saturday 21 April is Record Store Day and, never ones to miss out on the fun, 78 Records has a massive day lined up. Not only will there be around 250 exclusive RSD items available and discounts galore, but you can catch in store performances/signings from Jeff Martin (The Tea Party), Calling All Cars, Dom Mariani (The Stems/Datura), Adam James (Emperors), Scott Tomlinson (Kill Teen Angst), Benedict Moleta and Hayley Beth. Support physical releases and have a rockin’ day while doing it!
THE DRUM MEDIA • 25
HOT LOCAL GIG SPOTLIGHT
HOT LOCAL GIG SPOTLIGHT
TOUR TALES THE LADS FROM BLUEJUICE TAKE US THROUGH THE FLUORESCENT HIGHS AND KWS-COVER-COVERING LOWS OF LIFE ON THE ROAD ON THEIR COMPANY TOUR.
LUCY PEACH
RECORD STORE DAY AT FAT SHANS Who’s playing your event and who should punters be most excited about seeing? We have a heap of local music from the likes of Amanda Merdzan, The Big Old Bears, Fall Electric, The Flower Drums, Lucy Peach, Our Man In Berlin, Todd Pickett and many more. What gave you the idea for this show? Record Store Day has been going from strength to strength over the past few years with the resurgence of vinyl records. It’s our sort of Christmas Day where we get to celebrate what we love most! What does your gig offer that others don’t? We’ve got 50 per cent off all second-hand records and 20 percent off all new vinyl as well as live music all day. We’ll also have lots of record-themed treats and giveaways to everyone that visits us on the day! What made you pick this venue? We live under the stairs. What’s next for you guys? Fat Shans Carpet Cleaning or something. WHEN & WHERE: Saturday 21 April, Fat Shan Records, Perth
THE TUMBLERS
AMP IT UP! Who’s playing your event and who should punters be most excited about seeing? The Tumblers will be our headline act, with Custom Royal and Sam Perry supporting, and we’re very excited to have these three bands play for us. We also have Tim Gordon (solo), Blue Monday, Hey Hurricane and local kids Splinta. What gave you the idea for this show? Music is important in any community and we encourage all ages to get involved with the arts, as it’s a productive and amazing way to spend their time. The 22nd of April is also the end of Youth Week, so it’s a giant celebration for the end of an amazing, and important, week. What does your gig offer that others don’t? It’s a free, community and all-ages event. It’s not held in the CBD or in Fremantle, like most events or festivals are. It’s held in The City Of Armadale, so it gives a lot of families, and younger kids, a chance to see live acts that they wouldn’t normally get the chance to see. What made you pick this venue? We are part of a team at Armadale Youth Resources, and Armadale has recently had an amazing amphitheatre built, which is situated in The Armadale memorial park. What’s next for your band/promo company? The wonderful team that have come together to create AMP IT UP! will be working together again, in the near future, to run more community events. You can keep up to date with such events on their Facebook page under ‘emrge’. WHEN & WHERE: Sunday 22 April, Memorial Park, Armadale
GESTURE GOOD WILL GANGA GIRING UP
Rhythmic didgeridoo virtuosos/world electronic fusion band Ganga Giri return west to launch a new visual projection show. The show features footage captured during travels deep into the heart of Australia and around the world, Saturday 21 April at Fly By Night; Sunday 22 at Redcliffe On The Murray, Pinjarra; and Tuesday 24 at the Indi Bar.
ANZAC SPIRIT The Perth Blues Club at The Charles Hotel dips its collective hat to the ANZACs with a pride and a passion that only the blues can deliver, Tuesday 24 April. Lining up for this special night will be Rick Steele, Wayne Freer, Marc Gordon, Richie Pavledis, Bob Patient, Pete Stone, Elliot Smith, Annie Neal, Junior Bowles and more.
After a 2011 spent mostly on the big band Stoops/ Gestures’ gigs and the launch of their debut LP, The Accumulated Gestures return for the first time in a year to the Ellington Late Night Groove Sessions, Friday 20 April from 11.30pm. Playing material from their debut album, plus debuting a new two keyboards/two guitars sound, they’re joined by guests Coin Banks, Bonita Alley and Rae.
FLYNN HIGH
Acclaimed jazz vocalist James Flynn will be hitting the stage at the Northbridge Piazza from 1 ‘til 3.30pm on Sunday 22 April to perform tunes from jazz greats including Frank Sinatra, Nat King Cole and Bobby Darin. He’s joined by a stellar line-up of top Perth musos, plus the Mitch Becker Trio will open the show, bringing a unique guitar sound and stomping band.
26 • THE DRUM MEDIA
It’s the first show, and Paul picks everyone up from their respective houses. Everyone except for Jerry and our lighting guy Eamon, who both lug all our gear and drive it to Wollongong in the second van. Jerry maintains an admirable yet baffling desire to lug gear. He loves to lug. Place a heavy object in front of Jerry and he will move it somewhere useful, a quality he shares with the penguin from 1985’s Doki Doki Penguin Land. The drive to Wollongong is uneventful, punctuated only by a phone interview of Jake’s, which seems to focus, as usual, on the topic of Why We Aren’t As Good As The Jezabels. We unpack and try on our brand new costumes. This tour we’re sporting neon capes, breastplates, headpieces and novelty spectacles. It sounds ludicrous, but for a band who have dressed in Yeti suits (which offered unflattering views of our balls), as well as bright yellow jumpsuits (which offered unflattering views of our balls), it’s not such a stretch. Indeed, you can barely see our balls at all in these things, which is refreshing for everyone. We mooch about until showtime, and as showtime is about six hours later, we get through quite a lot of mooching. We run through the pre-show ritual of taping our bodies with fluro tape – a process that is as therapeutic as it is environmentally unfriendly. We also give our usual awkward hellos to our support
Please Don’t Go Crowd Reception Rating: 2/10.
THE METRO, SYDNEY It is genuinely exciting playing a show in our home city, which is a bit weird given we’ve played in Sydney about 5000 times. Maybe it’s because we get to show our parents that we actually do have jobs, albeit juvenile sorts of ones. Set-up and soundcheck takes about five hours, and is almost as thrilling as you’d expect. The show sells out, and despite it being an allages event and there being loads of kids in the room, Jake makes a joke about rape after the first song. We also accidentally play our background projection for I’ll Put You On, which is full of porno. Hopefully what people took home from that show was a sense of how classy and professional we are. Please Don’t Go Crowd Reception Rating: 6/10.
HI-FI, BRISBANE We arrive at Brisbane airport around midday, and Queensland dutifully rubs some oppressive heat into our hangovers. While Paul is off trying to find his suitcase that we forgot, it’s decided we need to borrow some expensive airport trolleys for tomorrow’s flight, so Jake and Stav throw a couple in the van. Paul returns with his suitcase and is commendably nonplussed about the idiot-grade illegal thriftiness taking place. As usual in Brisbane, the show ends up being great fun, and we avail ourselves of the rider with enthusiasm. Please Don’t Go Crowd Reception Rating: 6/10. The next morning we save $8 with our borrowed airport trolleys. Jake explains he has a “weird taste in his mind”, and it seems to be the most appropriate thing anyone’s said all weekend. WHO: Bluejuice WHEN & WHERE: Thursday 19 April, Settlers Tavern, Margaret River; Friday 20, Capitol, Perth; Saturday 19 May, Groovin’ The Moo, Hay Park, Bunbury
With a back catalogue full of sing-a-longs and nostalgia, 28 Days is returning to WA to perform at Oh Snap! at Villa Thursday 19 April. The Decline, Vanity and Know Your Knot support. Plus it’s a Deez Nuts tour party that night, which means you can score tickets to their WA shows. $20 entry, $15 if you know the right peeps.
Now experiencing a massive YouTube explosion for new vid Never Sleep Again, Chainsaw Hookers launch their debut self-titled album Friday 20 April, filled with the infectious lyrical hooks laced with the horror movie themes they are known for. Blazin’ Entrails, Silver Lizard, Wizard Sleeve, The Decline and Leeches! support. After this they head east as main support for The Exploited’s Aus’ tour.
Vacant retail stores on the streets of Subiaco are set to come alive on Saturdays during the month of April, with pop-up musical performances. Featuring Libby Hammer (Saturday 21 April, 439 Hay Street, 11am-2pm) and Harry Deluxe (Saturday 28, 50 Square Road, 11am-2pm), these sassy ladies, their finely tuned bands and some dancers will bring swing, jazz and retro rockabilly to the streets of Subiaco.
WAVES, WOLLONGONG
bands: The Cairos and Loon Lake. They all seem like nice young men, whilst we no doubt appear like the anti-social grumps that we are, coveting the rider with murderousness in our eyes. No matter how often we rehearse before a tour, the first show of that tour tends to be something of a cobweb-cleaning exercise. Whilst enjoyable, it was still the case in Wollongong. Not yet road-hardened, we make a few mistakes here and there – the main one being our decision to cover KWS’s 1992 cover of KC & The Sunshine Band’s Please Don’t Go. We resolve to banish it to the encore for tomorrow’s show.
RIP IT UP
SELF-HOOKERS
POP-UP BOOGIE
It has been conclusively proven, time and time again, that band tour diaries are the most relentlessly dull things to read in the history of all written language on the planet. Like most jobs in the music industry, touring in a band mostly involves sleeping in chairs, playing phone puzzle games and pretending to look useful, and an in-depth exposé of these activities isn’t usually that interesting. So here’s a hopefully brief attempt at collating some otherwise-useless drunken anecdotes about Bluejuice’s 2012 Company Tour. Perhaps this tour diary will be best experienced as our music is best experienced: when you are completely hammered and dribbling down your shirt. Go and pour yourself a glass of cognac. Go on now... We have a new tour manager for this run of shows. This isn’t especially remarkable, except for the fact that we have gone through a lot of tour managers in our career. We don’t treat our tour managers badly. In fact, more than ever before we need them to both discipline and soothe us, to treat us like the petulant babies we have become, and as a result we are respectful and polite to our tour managers. Nevertheless, they tend to quit after a few tours and move on to work with female folk singers, or quit the music business entirely. Perhaps we have unpleasant natures. Anyway. Our new tour manager is Paul. He’s a good guy, and I hope we don’t piss him off too much, because we’re all out of tour managers.
PERFECT MATCH RICH WIDOW
ROCK SPIRIT
Anzac Day (Wednesday 25 April) at Mojo’s bar Fremantle hosts a massive Peruvian fundraiser show, with $10 getting you Our Man In Berlin, The Empty Cup, Rachel & Henry Climb A Hill, Mulder, Rich Widow, The Flower Drums, Mike Podmore, Sean O’Neill, Matty & Dave, Turin Robinson and Ebony Talia from midday, with courtyard market stalls, vintage clothing, a sausage sizzle and more.
Elvis-sonic electric boogaloo combo The Burger Kings will serve up three sets of delicious Presley-meetsMotown at The Mustang Bar, Saturday 21 April. This may be your last chance to see them for a while as they will enter the studio to begin work on an EP of classic King and Burger tunes. The show kicks off at 7pm.
HOMECOMING
Fresh from their east coast tour, The Ghost Hotel continue their album tour back in WA. Catch them with special guest Polly Medlen at the Commercial Hotel in Merredin, Friday 20 April, the Grass Valley Tavern, Saturday 21, Quindanning Inne, Sunday 22 April (11am-3pm). They also play RTRFM’s In The Pines at Somerville Auditorium, UWA Sunday 22 April.
themusic.com.au
BAIN GAME
After recently supporting Aus’ legends Cold Chisel, Morgan Bain re-launches his Another Day EP at Mojo’s Friday 20 April, supported by Ricky Green, Boston & Chevy and Spoonful of Sugar. $10/$15 with EP. Thanks to the EP requiring a re-press due to selling out, a re-launch is definitely in order for the young gun, so get along before this one sells out too.
FEEDBACK GIGNITION
SWAN BASEMENT, NORTH FREMANTLE 15/04/12
LAST DINOSAURS @ AMPLIFIER BY ELLE BORGWARD
LAST DINOSAURS AMPLIFIER, PERTH 14/04/12
Last Sunday evening a relatively quiet Swan Basement came alive with the sounds of four completely different local acts at Gignition. The night kicked off early with Zak Fleisher from The Plugs playing an acoustic set. Zak is a talented musician and vocalist, however you could tell that his songs, which were mostly from his band, would have benefitted greatly from the support of a rhythm section. Highlights from his set, which started and finished with a Black Keys cover, included a whistling solo and some slide guitar. Next up was the highlight of the night, local rapper Glenn Bowman aka I Of Ra. Armed with a laptop full of beats he made himself, Bowman wowed the crowd with a performance that could only be described as highly original. His songs were bizarre but greatly written, and the crowd was enthralled by his performance. This scribe’s not usually a fan of Aussie hip hop, but this set was fantastic. After a little break, third act Hello Colour Red performed. The young indie band, who sounded highly influenced by Silent Alarm-era Bloc Party, gave a commendable performance with a tight set, however they could benefit on developing their style a bit more to find more of an original sound. The final act, Jackie Treehorn, certainly had their own sound. The four-piece played music which sounded to me like a mix between The Doors and Rage Against The Machine – a mix that surprisingly worked very well. They played a great set of mostly instrumental music, with some lyrical flourishes to finish off the songs – definitely a band to look out for in the future. Overall it was a great night, a great illustration of the depth of style and talent Perth’s original music scene has. SIMON RUNDIN
JUSTIN TOWNES EARLE
SUBLIME WITH ROME
FLY BY NIGHT, FREMANTLE 14/04/12
There’s nothing like requited love between punters and performers to make a first national tour pretty darn special. It’s something most bands relish to achieve; queue Last Dinosaurs. The euphoric cohesion of all the music played on Saturday night was of the indie and the pop variety, main destination toe-tap town. Stillwater Giants were the perfect, local ease-in with their band of loyal troopers (which seems to grow gig by gig) squabbling up to the grills of the stage in support. Should Be Fine and Underwater were just great samples of the surf-indie rock to follow in their well-known track Give Into Me, with loveable drums and lead vocals that have a teenage quiver of uncertainty.Quintet Split Seconds seem to get better every time they play and were definitely the most experienced performers that night. A proven track record in the Perth music scene with the WAMi awards to prove it, festival performances including Pyramid Rock and Southbound have helped to garner these guys quite the following. All You Gotta Do had most singing along with satisfied harmony cravings while Bed Down and What A Week were amongst the highlights. Last Dinosaurs popped their Perth cherry by playing the experimental soundscape Satellites while they slowly walked onto stage in darkness, the sound of its synthy whale calls, skateboards on bitumen and ebbing of waves bridging transient and ominous. Disturbing the tranquillity created by their intro track, they launched into I Can’t Help You with crazy kid Lachlan absolutely shredding on guitar and hence bagging him some serious street cred. A funky cover of Modjo’s Lady (Hear Me Tonight) was used to break-up the set, moving from heavier tunes into the more riffy indie-pop of Time And Place. The majority, it seemed, were there to sing-along to favourites like Weekend, which the band claimed as one of their faves too. They finished with the distinctive guitar picking lick of Honolulu, which sounds almost like a wooden xylophone, and finally Zoom in all its new indie-punk glory, the basis for the sold-out debut album tour. Last Dinosaurs were stoked with the turn out and undoubtedly, it was all two-way love with these satisfying, shaggadelic dinos.
As the Fly By filled fast, Ruby Boots kicked off what would prove to be an entertaining evening. With tasty harmonies and quality musicianship, you can see why they are making waves nationally. Likewise, you can always expect a quality show from The Kill Devil Hills. Putting their electric axes on ice for the night, they revisited their older acoustic-flavored tunes with Changin’ The Weather, The Heathen Song and newer track The Bends all featuring. Tight as a swamp duck’s arse, they display a genuine passion for their art. Stepping out to rapturous applause, a towering Tennessean by the name of Justin Townes Earle opened with his octopus-like fret board navigation of They Killed John Henry and the country-tinged Wanderin’. As a guitarist and double bassist joined, he broke into Memphis In The Rain, then One More Night In Brooklyn, as he spoke of his dislike of Brooklyn and the level of crime the area attracts. Earle’s between-song banter was very entertaining and highlighted his down-to-Earth yet very quirky take on the world. Harlem River Blues was met with cheers after he dedicated it to the exploits of a local footballer: “You know, the guy who ran from the cops and then jumped in the river?” Poor Benny. A frequent visitor to our shores and having traversed these very floorboards previously, you get the feeling this man enjoys visiting our secluded island, even if he doesn’t approve of our country’s cocaine quality, as he famously declared last visit. Nothing’s Gonna Change The Way You Feel About Me Now, Christchurch Woman and Mama’s Eyes were all beautifully played; the latter causing this reviewer to shed a tear as he sang of his deep respect for his mother and difficult relationship with his father, before leaving the stage. Back for an encore that concluded with the incomparable drive of Halfway To Jackson, Earle replied to a heckler’s request with “I like doing what I want, that’s why I do this for a living”. And boy does he do it well.
INÈS VELOUR
TOM O’DONOVAN
METROPOLIS FREMANTLE 11/04/12 Sydney’s Mat McHugh had the challenging task of taming a sold-out Metropolis Fremantle with no less than an acoustic guitar, three harmonicas, two microphones, three pedal boards, a sample pad and laptop. It’s impressive that one man can actually incorporate every one of those things into a song, frantically stepping on numerous pedals and looping sounds to create a digital backing band. Suffice to say, he didn’t struggle for applause. It wasn’t long after McHugh vacated the stage that Sublime With Rome’s roadies began setting up for a performance that many punters had been waiting their entire lives to see. They took their sweet time, ensuring every last detail was perfect, but it made the band’s entrance more epic. Perth was the last stop on the tour and it was clear that they were ready to party the night away, as vocalist/guitarist Rome Ramirez wasted no time before shredding on his Fender and jumping around. It’s surprising that Ramirez is only 23-years-old. His songwriting and voice is a match made in heaven. Even when belting out tunes that original vocalist Brad Nowell wrote, he still pulled his weight. Ploughing through new hits, old classics, and even a cover of the Descendents tune My Age, the rest of the band was in fine form too. Iconic session drummer Josh Freese was on fire – watching him weave his magical rhythm was the icing on the cake. It’s no surprise they saved the best until last, their set ending with a spotlight shining down on Ramirez as he kicked into Santeria. The new Sublime line-up was never going to please everyone, but those who attended their sold-out show at Metropolis Fremantle and were still left questioning Rome’s talent or position in the band must be crazy.
PASSENGER @ FLY BY NIGHT BY EBONY FROST Fremantle for a sell-out show at the Fly By Night on Friday. Loyal fans queued down the street – keen beans, the lot of them – and for good reason. Kate Gilbertson won a Facebook competition for a spot on this line-up, and she did a great job. The room was full from the getgo, and while any other folk-indie soloist might’ve gotten lost in the chatter, Gilbertson’s strong vocals pervaded. Obvious comparisons are Laura Marling et al, but vocally Gilbertson even calls to mind Deborah Conway in her more folky incarnations. Daniel Lee Kendall was the meat in the proverbial line-up sandwich, loosening up the audience with his chatty, relaxed approach. His charmingly naïve lyrics are awfully endearing, and he comes across like a self-aware goofball who is entirely at ease with himself. Simple keyboard loops and the two notes he played on the harmonica added to the musical experience of his songs, but were also quite funny and sweet in their simplicity. His semi-robotic-breakdance moves were a must-see highlight, and his lovely tune Lost In The Moment encouraged audience participation with a good old-fashioned whistle-along. Passenger took the stage solo, opening with heart-breaker The Last Unicorn. Hanging behind him was a large mural of the desert, surrounded by hundreds of blinking lights (or little stars), and the effect of his breaking voice, the inky star-filled ‘sky’ and the silence of the audience was special. From poignancy to pub jokes, Rosenberg bantered away (he owned some drunk enthusiasts), encouraging everyone to get in on the good vibes with a bit of a wiggle (his term for dancing). If there’s one thing Rosenberg does better than most, it’s creating dynamics. Each song is a journey with its own highs and lows, and within his set itself, the audience laughed and sang with the diatribe I Hate, ‘wiggled’ some, and hushed for his interpretation of Simon & Garfunkle’s The Sound Of Silence. Rosenberg often plays solo, so it was a treat to see him joined by a full band for most of the night, complete with electric double bass and four part harmonies. Hats off to band members for doing exactly what a backing band ought to; blend wonderfully, creating beautiful dynamics, and basically let the guy on the mic be the star of the show. Warm, funny, and superbly talented, Rosenberg rewarded his audience with a wonderful show. An encore was demanded, and was delivered, in the form of a medley of favourite Passenger tunes. On that high note, Rosenberg exited the stage and the little lights blinked out. REBEKAH BARNETT
DANIEL CRIBB
PASSENGER
FLY BY NIGHT, FREMANTLE 13/04/12 Touring in support of his third album All The Little Lights, Passenger (aka Michael Rosenberg) set up camp in
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THE DRUM MEDIA • 27
STEP RIGHT UP
HOT LOCAL GIG SPOTLIGHT
THE NOMINATIONS ARE IN FOR THE 2012 WAMI AWARDS, AND IN CASE YOU HAD A FEW TOO MANY BEVERAGES AT THE LAUNCH PARTY LAST THURSDAY AND CAN’T REMEMBER, HERE THEY BE: Pop Act Of The Year: Split Seconds; San Cisco; Felicity Groom; Bastian’s Happy Flight
SHY PANTHER
Experimental Act Of The Year: Injured Ninja; Tangled Thoughts Of Leaving; Usurper Of Modern Medicine; Andrew Sinclair
CLAIM THE THRONE
CRAFT AWARDS Live Sound Engineer Of The Year: Luke Gray; Kelvin Flanders; Stu McLaughlin; Luke Willott Recording Engineer Of The Year: Sam Ford; Matthew Giovannangelo; Dave Parkin; Rob Grant Guitarist Of The Year: Doug May (Abbe May, The Fags); Rhys Davies (Split Seconds); Alex Dew (Bastian’s Happy Flight); Ben Witt (The Chemist) Bassist Of The Year: Vaughan Davies (Split Seconds); Nick Gardener (San Cisco); Ian Berney (Birds of Tokyo); Sam Ford (The Silents) Drummer/Percussionist Of The Year: James Trewenack (Split Seconds); Matthew Giovannangelo (Voltaire Twins); Scarlett Stevens (San Cisco); John Lekias (Runner, Cow Parade Cow) Keys/Synth Artist Of The Year: Benjamin Golby (Split Seconds); Alwyn Nixon-Lloyd (Boys Boys Boys!); Jack Doepel (Voltaire Twins, Bastian’s Happy Flight, MmHmMm); James Ireland Multi Instrumentalist Of The Year: Lyndon Blue (Seams, Heathcote Blue, Solar Barge); Todd Pickett (Davey Craddock & The Spectacles, Kill Devil Hills); Jack Doepel (Voltaire Twins, Bastian’s Happy Flight, MmHmMm); Andrew Sinclair Male Vocalist Of The Year: Cameron Avery (The Growl, Allbrook/Avery); Nick Allbrook (The Growl, Allbrook/Avery); Sean Pollard (Split Seconds); Lyndon Blue (Seams, Heathcote Blue, Solar Barge) Female Vocalist Of The Year: Grace Woodroofe; Felicity Groom; Abbe May; Rachel Dease Electronic Producer Of The Year: ShockOne; James Ireland; Diger Rokwell; Ylem DJ Of The Year: Craig Hollywood; Micah; Rok Riley; Charlie Bucket
INDUSTRY VOTED AWARDS Most Promising New Act: MmHmMm; Sonpsilo Circus; Rainy Day Women; Allbrook/Avery Rock Act Of The Year: Abbe May; Sonpsilo Circus; The Growl; Emperors
Hardcore Punk Act Of The Year; Grim Fandango; Project Mayhem; Surrender; Suffer
Who’s playing your event and who should punters be most excited about seeing? Shy Panther, kučka, Dianas and Viv G. Kučka’s alluring and hypnotic sounds have been attracting the attention of the local music scene since the launch of her self-titled EP, with Alex Griffin from Life is Noise stating “… the debut EP by kučka might well be one of the most intriguing and ambitious releases by a Perth artist I’ve encountered.” After kučka, we have the beautifully gripping sounds from young cats Shy Panther, who will be delivering a not-to-be missed experimental/trip-hop set.
Metal Act Of The Year: Drowning Horse; Chaos Divine; Voyager; Claim The Throne Blues Act Of The Year: The Growl; Abbe May; The Floors; Dux and Downtown Folk Act Of The Year: The Lammas Tide; Ruby Boots; Big Old Bears; Justin Walshe Folk Machine Acoustic Roots Act Of The Year: The Seals; Big Old Bears; Ruby Boots; Heathcoate Blue Funk Act Of The Year: Odette Mercy & Her Soul Atomics; The Brow Horn Orchestra; Boom! Bap! Pow!; Rander & The Soul Kingdom
What gave you the idea/theme for this show? The Photocopy Club based in Brighton was the major inspiration for us to host an exhibition of photocopies. However, we wanted to push this idea further by calling for open submissions from all types of photographers, amateur to professional. The exhibitions in Brighton are somewhat more of an underground artist collective whereas we have tried to keep it really accessible and will literally be covering the walls of the Bird with everyone’s work.
Jazz Act Of The Year: Rick Webster; Mace Francis Orchestra; Jack Doepel Quartet; Daramad Hip Hop Act Of The Year: The Empty Cup; Mathas; Drapht; Hunter Dance/Electronic Act Of The Year: Naik; Voltaire Twins; Bastian’s Happy Flight; Kit Pop Country Music Act Of The Year: Stoney Joe; The Ghost Hotel; Ruby Boots; The Seals
What does your gig offer that others don’t? The DIY element of the exhibition is very appealing as we have work from people all over Perth. We have enhanced The Photocopy Club’s unique concept for an exhibition with live music from local acts to create a really different and Perth-related event.
World Music Act Of The Year: Ensemble Formidable; Shangara Jive; Grace Barbé; Kurbist Gong Band Indigenous Artist Of The Year: Black Poet; Jake & The Cowboys; John Bennett; Yabu Band WA Record Label Of The Year: Spinning Top Records; Jarrah Records; Heartless Robot; Walking Horse 2012 Media Award (Individual): Bob Gordon (Music Writer); Adam Trainer (RTRfm); Aarom Wilson (Drum Media); Simon Collins (The West Australian) 2012 Media Award (Organisation): The Wire; RTRFM; Drum Media; Six Thousand 2012 Management Award: Jake Snell; Jodie Regan; Phil Stevens; Mark ‘Sparkles’ Spillane
WHEN & WHERE: Saturday 26 May til Saturday 2 June, WAMi Festival, The Bakery/Various Venues
WHEN & WHERE: Saturday 21 April, The Bird, Northbridge
NO REST
Fresh off Fairbridge Festival, Ensemble Formidable now has Fremantle in its sights, lining up a massive free show at Clancy’s Friday 20 April. Come down early to check out Chris Ravat from Saint Ravine playing frothing surf-soul tunes, plus Charlie Mgee singing songs about permaculture. Free entry.
BY THE SEA
28 • THE DRUM MEDIA
Wind up your weekend with some free entertainment as Sydney jazz vocalist Cathrine Summers plays your favourite jazz tunes as you watch the sunset over a sensational meal. She plays South Fremantle’s The Pickled Fig, Friday 20 April from 6.30pm and Scarborough’s Wild Fig, Sunday 22. Call the restaurants to make a booking.
COOKIN’ WITH GAS
What made you pick this venue? We hosted the first YOUTHLESS event, a curated photography exhibition with a line-up of local bands, at The Bird last year and could not have pictured it being anywhere else. It actually proves for a really interesting, unconventional space for an exhibition. Throughout our experiences with The Bird we have found them really supportive of emerging artists and promoters and it is always a pleasure working with them. The exhibition opens at 2pm, with live music kicking off at 8pm. What’s next for your band/promo company? We would love to continue the “do-it-yourself” theme and hold a DIY dance party later in the year, but you will have to stay tuned for details on that one…
Golden WAMi: Dave Cutbush; Jodie Regan; Aarom Wilson; Jake Snell
To celebrate their second birthday Joe Black Trio will play a celebratory show at Ya Ya’s Saturday 21 April. The band will be providing cake to all the early punters, plus after their set The Empty Cup will be providing noshing tunes to wrap your teeth around. Head down for one hell of a party. $10 entry.
Emerging into the Perth music scene in 2010, The Reductors deliver a kitchen-sink analysis of modern life through their ‘60s inspired original tunes. Influenced by the melodic guitar-pop tones of The Kinks, The Beatles, The Smiths and The Move, the band launch their debut single Down Under The Ground at The Beat Nightclub, Friday 20 April, with The Community Chest and Echo Kid supporting, $10 from 8pm.
EXPLORING THE LATEST AND GREATEST IN POST-ROCKISH, EXPERIMENTAL AND OTHERWISE DIFFICULT TO CLASSIFY SONIC REALMS, WITH ANTHONY WILLIAMS.
YOUTHLESS [DIY] LAUNCH PARTY
FREE CAKE!
UNDERGROUND SOUNDS
BEYOND THE GENRE
Friday 20 April Devilles Pad hosts Hammondsville, a huge night of organ freakouts featuring Melbourne’s Cookin’ On 3 Burners – Australia’s hardest hitting Hammond Organ trio, joining the dots between deep
funk, raw soul, organ jazz and boogaloo. Supported by Johnny Nandez Hammond Explosion and DJs The Seventh Son and Little Franco Berry from 6pm.
SITAR MAESTRO Saturday 21 April take a journey into the heart of Indian music with one of the world’s greatest sitarists, Samuel Dass and his trio, when they play at Kulcha. Dass is also a multi-award winning musician and composer, including first place in seven categories at the World Performing Arts Championships.
EMILY’S ALMANAC Opportunities aplenty have opened up for Emily Barker since she decided to rediscover her homeland of Australia after a seven-year hiatus in the UK, especially following her third album with band The Red Clay Halo, Almanac. She plays Transmission Lounge, Denmark Thursday 19 April; Bridgetown’s Emporium Friday 20; and Fat Shan Records Saturday 21 – her official WA launch.
HORSING AROUND Following a successful run at Falls/Southbound, An Horse continue the support for their acclaimed 2011 full-length, Walls. The Aussie duo is also celebrating the release of a third video from Walls in Airport Death. Wednesday 25 April they play Rosemount Hotel, tickets $15 plus BF via Moshtix, Heatseeker and Oztix, supported by Kill Teen Angst and The Leap Year.
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TRAPIST With 2012 now three-and-a-half months old, we’ve already had a bundle of impressive album releases from the likes of Earth, Oren Ambarchi, Dirty Three, Locrian & Mammifer and Black To Comm. The year’s release schedule is just gathering steam, though, so join us as we gaze into the future and preview a selection of yet-to-be-heard highlights from the vast sonic territories that are Beyond The Genre’s home turf. Still a couple of months away but highly anticipated at BTG HQ is the third album from Viennese processedimprov maestros Trapist. News is suitably minimal at this point, but the long-player – entitled The Golden Years – will be released through the Staubgold label on June 15 and apparently “displays a newly gained maturity which is breathtaking… bring[ing] the attack and release game to a climax never heard before”. The trio’s previous full-length, 2004’s Ballroom, was this writer’s best of 2004, with drummer-percussionist Martin Brandlmayr and guitarist Martin Siewert – who are also both members of the mighty Radian – being integral players in Vienna’s remarkable electro-acoustic improv scene. Greatness is practically guaranteed. Speaking of which, Sydney-based sound artist Cameron Webb – aka Seaworthy – continues his magical, minimal, field-recorded love affair with the natural environment on Bellows & Breath; set for imminent release on Sydney’s always reliable Preservation label. For this fourth album, Webb has pared back his trademark guitar to foreground the harmonium, with the “rhythmic hiss and crackle of the harmonium’s bellows… becoming an unforced undertow to a set of bowing chords that invoke an open spirit in their composition and measure”. We’re not entirely sure what that means either, but one thing’s for sure: Is Seaworthy, Is Good. Also Good – in a Good, Bad and Ugly kinda way – are the Death Valley expanses of Morricone-esque Americana to be found on the second full-length release from Barn Owl’s Jon Porras. Entitled Black Mesa, the album features “seven composed tracks of meditative electric guitar, embellished with improvised atmospherics and white light feedback”; thematically following “an outlaw wanderer who ventures deep into the desert only to discover the Black Mesa, a bridge between worlds”. This brand-spanking set is just out via the iconic Thrill Jockey label, and will certainly keep Barn Owl fans happy in the saddle. For this cowboy, more Jockey Thrills await in May when the Chicago label releases a sort-of-new recording from the dynamic duo of David Daniell & Douglas McCombs. The pair’s collaborative album of 2009, Sycamore, was edited, arranged and recomposed from seven hours of recorded improvisation and sounded just right to these ears; and that same material has now been used – by engineer and producer Ken Brown – to create Versions. Brown (a one-time member of Tortoise, alongside McCombs) was given free rein and has apparently “chosen to highlight moments in the music that… Daniell and McCombs probably would not have chosen [resulting in] a wider dynamic range… from brutally raw to delicate to practically inaudible”. Stephen O’Malley and Peter Rehberg are another duo reportedly demonstrating wider range with their forthcoming fifth album as KTL, simply entitled V. According to the Editions Mego website, O’Malley and Rehberg worked in “legendary electronic music studios such as EMS in Stockholm and GRM in Paris” to create “a rich set of sound experiments far removed from harsh metal/noise blizzards of their early albums”. Working with Icelandic composer Jóhann Jóhannsson and the City Of Prague Philharmonic to produce what’s described as “a towering storm [of] monumental classicism” also speaks to the sense of ambition KTL have brought to this must-hear, May 8 release. Lastly, a few other releases BTG is keeping an eye out for: Sparkling Wide Pressure’s Grandfather Harmonic (Preservation); Fenn O’berg’s In Hell (Editions Mego); Machinefabriek’s Colour Tones (Fang Bomb); and Strings Of Consciousness’ From Beyond Love (Staubgold).
WAM UPDATE CONTEMPORARY MUSIC INDUSTRY NEWS WITH JUSTINE THORNLEY. WAM AGM WAM’s Annual General Meeting will be held Monday 30 April, 6pm at The Brass Monkey Hotel, Northbridge. WAM members are invited to the presentation of our 2011 Annual Report, to hear about our future plans, and vote for newly nominated or continuing Board Members. No RSVP is required, and membership is available for purchase or renewal on the night. Financial members current and aged 18 or over on the AGM date are able to vote. If you’re unable to attend, you can still exercise your voting right by returning a Proxy Form before 5pm, Friday 27 April. Head to wam.asn.au/agm for details.
FACE OFF THE MARK HALF OF THE SNARSKI BROTHERS GIVES DRUM A BIT OF FAMILY HISTORY. come to the fore between you and Rob? It has. In the days of Snarski versus Snarski shows with The Jackson Code and The Blackeyed Susans we used to chant “Whitewash Whitewash” before they went on stage. It was reminiscent of Sunday’s game between the West Coast Eagles and GWS or Michael Atherton facing Shane Warne. At one stage Rob became so nervous that he started drinking at 10am in the morning and at the end of the show cut his own hair, which I may add he did a pretty good job of.
WAMi AWARDS PUBLIC VOTING With the nominees announced at last week’s exciting WAMi Festival and Kiss My WAMi launch, iiNet 2012 WAMi Award Public Voting is now open. Here’s your chance to vote upon an independent industry selected list of nominees – including emerging and established WA acts and industry! Each person can vote once, and voting closes midday Friday 4 May. Hop to it now at wam.asn.au/awards. WHAT CAN WAM DO FOR YOU? Supporting local live and recorded music is WAM – your not for profit, membership based music association, existing to develop the WA contemporary music industry. Annual subscriptions stay in WA to help your local industry grow with programs throughout the year, while entitling you to exclusive offers, competitions, events and the annual Kiss My WAMi compilation. Visit wam. asn.au or call 9227 7962 to join today!
SNARSK VS SNARSKI How has your brother shaped you as a musician? It has always concerned me that Rob chose to abandon the electric guitar in favour of the acoustic as he was once as great as Richard Lloyd from Television. On the other hand, his singing is greater than ever, something we should’ve taken more advantage of in the Chad’s Tree years. But what impresses me most is his songwriting. He has written some pearls. The Gallaghers, the Wachowskis, The Jacksons… performing families often have their differences. Has sibling rivalry ever
Living in Madrid, how often do you get time to come back to Perth? Does the west coast still play a part in your music? Since 1996, as my parents moved to Victoria in 1993, this will be my third visit to Perth. Not due to not wanting to but due to time constraints. As for the West Coast being part of my music, Perth as such has never had a great influence on my songwriting, though What’s That Burning is certainly set in a flat that I lived in in the centre of Perth in the early ‘80s. My childhood and adoloscence in Karragullen certainly has crept in on occasions. How has the musical landscape of Madrid and Europe affected you as a musician and a person? Madrid is by no means a great city to develop a career in music. The only rock music that is worse than Spanish rock music is Italian. In terms of where you choose to live I’ve always believed that you are who you are, no matter where you are. The building blocks that consist of me were put together a long time ago. Living far away from Rob must make family reunions pretty crazy. What do you
themusic.com.au
guys usually get up to when reunited? Well, I drink beer and Rob tells me off for drinking beer. We usually laugh a lot. I’ve got two cats, Mr Bones who is grumpy and Mrusha who is cuddly and loving. Rob reminds me of Mr Bones. With a big musical background behind both you and your brother, how do you go about settling on a setlist for your shows? Well, we interpret each other’s songs and then do some Chad’s Tree stuff and move around the pieces. With Chad’s Tree being such a unique band in that time and place, do you still feel like you’re pushing boundaries with your music? Pushing the boundaries? I’ve always considered that a songwriter deals with a handful of issues, well a good one anyway. I just try to reshape the big brown paper bag that I’m trapped in. You’re most recent project, The Nearly Brothers, hosts your friends Mick Harvey, Martyn P. Casey, T.B. Allen and “Bongo” Fury. How would you describe your working relationship with such eminent names as your own? Well it’s called The Nearly Brothers for a reason. We’ve just finished doing some shows in Sydney and Melbourne and our relationship is that of brotherhood. Unfortunately Marty wasn’t available as he had better things to do. He’s been really busy as is Mick. Old and dear friends. What kind of sibling banter can audiences expect at your shows? Well it really depends on the night. One night Ron described me as looking like William Shatner from Star Trek and I thought that was a bit rich coming from Mr Spock. WHO: The Snarksi Brothers WHEN & WHERE: Friday 20 April, Velvet Lounge, Mt Lawley; Saturday 21, Norfolk Basement, Fremantle
THE DRUM MEDIA • 29
19 APRIL
2012
FLOORED
TOUR TALES
PAUL MASTER
PEDRO
THE WHOLE GANG FROM ADELAIDE HIP HOPPERS THE FUNKOARS GIVE US THE DOWN AND DIRTY ON THEIR CURRENT BEING VINCENT D’ONOFRIO TOUR. BREATH OF LIFE FESTIVAL TASMANIA
PEDRO’S ROOFTOP PARTY/AFTERPARTY
USURPER OF MODERN MEDICINE
SNEAKY SOUND SYSTEM
Rooftop Movies, Northbridge/ Shape Bar, East Perth 13/04/12
The Bakery, Northbridge 14/04/12
Villa, Perth 14/04/12
Blown across the Nullarbor by solar winds, Melbourne’s Absolute Boys are a mutagenic act. It’s hard to empirically split heads over what did and what did not get a play through, but the droning sound-beast that rumbled on-stage had the defining characteristics of their Soundcloud genome. Throw Haze into Google with their act and see what happens. Perth’s standing drone-rock regiment French Rockets carried the stage through the next slice of evening; warping in with eye-melting visuals courtesy of the sorcerous Usurper Steven Aaron Hughes. Sonic Youth/The Church crossover Mandy Summers was given a playthrough, as was perennial winner Scoping The Radar. Word out is that these lads have another LP a-cooking. Be alert, not alarmed. The Community’s inscrutable DJ/director Nature And Its Killers (hey, that’s NAIK) was the next offering upon the altar. One of Perth’s best producers, NAIK hammered the familiar prog tropes of his aweinspiring Shadow Of Thunder Mountain into an oscillating live performance. RTRFM’s Jo Lettenmaier put the ritual seal on the openers with her fusion of urban-electro-anythingtronica, and the night then passed to Usurper Of Modern Medicine. Since their smashing Prince Rama performance, it’s been clear these lads are an act to follow, and their Bakery showcase of nascent EP Turbo Handshake was bam on target. ...Handshake takes the Usurpers in similar directions as The Horrors; it’s thick, guitaranchored sound augmented by an occasional electronic diversion, and distant shoutedfrom-the-other-side-of-the-canyon vocals. Pigeon Religion remains Usurper’s standout. Quadruple Dragon (a seven-minute feature from Handshake) is a little shrill live, but the force of the audiovisual onslaught overcomes any apprehension. Is I Am The Panopticon a rather clever pun? Regardless, it’s a finely calibrated mid-tempo track that leaves an imprint. Steak Rainbow polished off the evening, and in spite of it’s fleshy, corporeal title, it’s an effervescent number live.
On the last stop of their From Here To Anywhere tour, Sneaky Sound System aka Connie Mitchell and Black Angus certainly took their time to grace the eager audience with their presence. After a long warm up set by local DJ/producer Shazam, which incorporated a lot of ‘80s and post-disco tracks, patrons were keen for the show to start. However, all was forgiven as the room faded to black, the stage lit up and Black Angus walked out to a crowd of screaming fans. Dressed in a black and white triangular tuxedo shirt, which truly had to be seen to be believed, the eclectic DJ looked like he meant business. The music dropped and the crowd knew what was to come… Miss Connie Mitchell herself adorned the stage, completing the Sneaky Sound System live experience. Dressed in an astonishing skintight gold jumpsuit and sky-high heels, the dynamic singer truly brought new meaning to the term ‘stage presence’. Followed closely by two male back-up dancers who looked like they were mostly there to cater to the same-sex oriented members of the crowd, Connie kicked off what was to be a spectacular show with their hit Kansas City. The duo performed an array of past as well as current tracks throughout their one hour set with highlights including future hit See You Again, the massive party anthem Pictures, as well as I Need You So and We Love. The show ended with an energetic rendition of current club smash Big… Or so the disappointed audience was lead to believe. After a crowd chant of “UFO, UFO, UFO” for what seemed like forever, Black Angus followed closely by Miss Mitchell and their dancers once again took the stage, costume changes to boot. An encore performance of Friends left the crowd as putty in the duo’s hands, and ending the show with UFO was just the icing on the cake. This was one show that certainly took the audience From Here To Anywhere, and back again. CHANTELLE GABRIEL
“I’m an actor first and a DJ second” says Efren Ramirez, better known as gauche sidekick Pedro Sanchez in 2004’s bizarre and endearing comedy Napoleon Dynamite. Growing up in east LA in the ‘80s with the emerging house and techno scene, a young Efren quickly realised that a career allowing him to build on DJing skills first developed on the college and house party circuit would be just fine with him. Whereas some ‘celebrities’ are happy to take the cash for putting their name to a half-arsed DJ set, Ramirez stepped out of the elevator with a backpack of wax and a determination to rock the two-deck, two-CD and laptop set-up that was waiting for him. Ramirez’s support act was the very movie that launched him to fame, and the promoters were so confident in Pedro’s pulling power that the capacity had been almost doubled to 450. As the clock struck 10, gone were the Hammond organ stylings of the Idaho badlands, and on was the four-to-the-floor electro house of DJ Efren Ramirez. After posing for pictures and attempting to make it through one, just one, sentence as Pedro (“Eeets a leetle cold tonight!”) without collapsing in laughter, he wowed the crowd with a longer-than-planned set during which our hero downed beers and posed for pictures. The legions of Pedrophiles that crowded the car park-cumcinema-cum-dancefloor were notable by their absence from the after party at Shape Bar; the Vote For Pedro t-shirts and Italian lager replaced by the swaggering post-pub crowd. A good DJ gives the punters what they want, and it was electro and dubstep all the way – with a couple of questionable mixes no-doubt brought on by an epic night of partying, until the two-part, five hour set was brought to close. Ramirez is the polar opposite of Pedro – irrepressible, confident, and never more animated than when talking music. He is justifiably proud of rubbing shoulders with the stars on the covers of housewive’s rags at the supermarket checkout, but his eyes light up when he’s taking you through the soundtrack of his life. From ditching school to mixing Joey Beltram records, to his first visit to Ministry Of Sound (“So many different rooms! Drum’n’bass, speed garage, dubstep – even jungle!”), to who’s most played on his iPod (“Chase & Status – I love those guys!”), his passion for music and entertaining is infectious. Viva Pedro! TOM BIRTS 30 • THE DRUM MEDIA
GABRIEL PAVANE
LAUNCESTON – BREATH OF LIFE FESTIVAL WITH HONS
The trip to Breath Of Life festival started with the hard decision of whether to wear the newly purchased GoPro camera into the shower. Deciding not to bless the world yet again with full frontal nudity of myself, I strapped the camera to my head post shower and started my journey to Launceston, filming POV from my bedroom all the way to Tassie. After six hours of transit, two flights, numerous awkward stares and assuring the Virgin Blue staff that the flashing light meant the camera was on standby mode, I finally arrived at Launceston airport. I thought I’d treat myself to a mini holiday with my better half and her friends by camping for a few days before the festival. Two days of relaxing beers and fishing in the beautiful but freezing rivers of Tasmania was exactly what I needed before my body was reintroduced to jumping around like a dickhead on stage for an hour, after the group’s few months rest from touring. Before I knew it it was Sunday morning and once again I strapped the GoPro onto my head and jumped into a cab towards the festival. With only just enough time to watch Fanboy Slim destroy the main stage and have a shoe pelted directly into my face at close range in the crowd during Illy’s set, it was time to meet up with the rest of the guys backstage for a sneaky last minute rehersal in the tour van. The crowd was nuts, throwing every piece of footwear onto the stage during the set, and I had the sudden thought that we should have been selling shoes in the merch tent; we would have cleaned up. Wore the GoPro throughout the set and got some amazing footage of the crowd and a thong catch that would make my Sapsasa cricket coach proud. After the set we were privileged to share the main stage with our friend Drapht for a track and then watch the ‘Hoods set the bar just that little bit higher for every other hip hop act in the country!
TRIALS SNACK ON THE PLANE
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CANBERRA – TRADIES CLUB WITH SESTA
A crisp gentle breeze, a distinct lack of smog for a capital city, an unusually large force of customs officers and high tech security equipment for a domestic arrival area… We must be in Canberra. Coupled with a vibrant enthusiasm we only wield on the first night of the weekend, we happily made our way to the sound check. After ensuring our microphones were intrusive enough to disturb all of Canberra, we indulged in the several packets of Twisties the venue provided us for sustenance while we killed time over a quiet cup of tea and a game of Pazaak. The show itself could not have gone better; the venue sold out, the sound was great, the vibe, even greater. This was the Canberra we have come to know and love. After the show consisted of us hanging and chatting with what seemed like everyone who came to the show and having to politely refuse countless offers of personal house parties consisting of “anything we want”, Canberra’s hospitality was in full effect. We posed in the obligatory photo with the venue owner and briskly made our way back to the hotel as we had an early start the next day to make our way to Bateau Bay. Upon returning to the hotel, Trials and I, as usual, realised we had none of the on-the-road supplies that demanding and flustered divas such as ourselves need at 4AM, so we took some sort of miraculous moving infinity tunnel to the ground floor in search of the 24-hour servo the man at the bottle shop made reference to earlier that day. Canberra is a cold and eerie place at 4am; it’s a place that will get the conspiracy juices of even the most hardened sceptic such as myself flowing all over the place. But that being said, looking the way we do, nobody bothered us. After gathering the necessary supplies and taking unnecessary but hilarious “selfies” in a public toilet we made our way back to the hotel. A short cut we had made on the way to the servo was now blocked by a shadowy figure gently repeating the word “Hello” outside of what looked like a derelict business front. The long way home was looking rather attractive.
BATEAU BAY – LEAGUES CLUB WITH TRIALS
On the way to beautiful Bateau Bay, the only sustenance I had managed to scrounge was courtesy of our favourite airline; Virgin. Although they had repeatedly made it clear to me that although I hadn’t ’achieved’ enough points to use the most convenient bathrooms (although I did, quickly) there was no warning that today’s snack would be something conjured up by literally throwing food scraps in the air and seeing what stuck together. Piece of almost genuine shit in my belly later and we had arrived. We had never played here before so fingers were crossed all night between taking turns in the pokie syndicate between me, X and Hons waiting for tonight’s proceedings to jump off. Our good friends from Sydney Drakezilla & Swarmy came down to give us a hand and absolutely belted the guts out of it. Swarm had a new set with a nuts vocalist and DJ-dropping body tricks while Drizake and his mate Vince drove the scandal bus, getting some ladies on stage to serenade them. The set was classic, we hung around and got half in the bag with the locals, ruined some t-shirts and retired back to the backpackers. In the three-four hours we had gone, the local network seemed to switch from regular viewing to what really goes down around here. The channel had turned into a seedy chat room costing about $5 a message but free for girls. I quickly noticed there were other people that rode performance horses and liked big butts so I charged my telephone and settled in for the night. WHO: The Funkoars WHEN & WHERE: Friday 27 April, Bar120, Hillarys; Saturday 28, Rosemount Hotel, North Perth TRIALS ON FLIGHT TO BATEAU BAY
ALBUM FOCUS THE FREAKZ OF THE NATURE WITH MC KRAZIE KRAZE (MC/PRODUCER)
History in brief? Optimystic and Krazie Kraze formed The Freakz Of The Nature back in 1996, and now in 2012 we’re still here, which seems like an achievement in itself. Illuminousity joined the group in 2002. We released our debut EP Artistic Integrity in 2004 that featured the single Futuristic Mystics, which got short-listed in the old skool version of the triple j Unearthed comp. Our biggest support slot was supporting Arrested Development in Perth. Our best live performance was either our last shows at Funkshui at Mojo’s with and without a live band, or our recent Sydney album launch. Your sound? Our roots are in hip hop, lyrically we are conscious rap, musically a mix of hip hop and electronic styles such as trip hop, dubstep and various dance music influences. We just call it hybrid hip hop or electro hip hop. I’ve heard the term rave rap used as well. Whatever you want to call it, it’s the lyrics we are most concerned about, which mostly cover local and global issues and politics. Tell us about the album. The 2000Zen album title started out as a play on words of ‘2010’ but now represents this decade as a whole. It also drove it into being a concept album, if ya wanna call it that. There are two chapters to the album, both with five songs. The first half, 2000, is a more up-tempo positive side that probably better reflects our live
GALAPABEATS
THE FREAKZ OF NATURE
shows. The other chapter, Zen, is the downtempo side that goes deeper and darker lyrically. It’s a really diverse album with tracks like the current synth-heavy single People People, to the opera chorus-driven first single Thoughts In My Head (both can be downloaded for free from thefreakz.com). Recording process: The writing and recording process was tricky, having people involved from different sides of the country. Writing began via the Internet around mid-2009. I then took a portable studio over from Perth to Sydney during 2009 and 2010 for two recording weeks all up. I mixed the album in WA in my studio, with the occasional additional short recording sessions when Op or Ill were in town for a few days. Scratches were recorded in Perth and Melbourne with DJ LXD. Then the album was mastered in December 2011 by one of Australia’s greatest mastering engineers, Jack The Bear in Melbourne. Collaborations? We have Speech from Arrested Development on one track as well as other guest vocals from Drastik, Lee Pike and Nicole Austin. Perth producer Loftee Beats
has produced the beats for the 2000 side, and Sydney producer Max Taylor created the music for Zen. What’s on the horizon? Now we are all based in WA again, no doubt our main focus will be live shows, which is what we excel at, and getting back on the scene again. After the launch we will probably start working on a music video and launch a new single. There’s talk of a remix album in the second half of the year, and then the next album in 2013. Your launch? Well, first thing punters can expect is a free copy of the album when they pay entry, followed by an open mic session at 8.30pm for any MCs out there that wanna rock it. DJ LXD will be spinning some classics, and two of our favourite Perth MCs, Trooth and Wisdom 2th will both be doing solo sets. As for The Freakz? Well, it’s our album launch. It’s our homecoming show. Our last WA show was a year ago. Our live set at our Sydney launch earlier this year slammed. It will also be the first time we’ve performed the album in full in WA. WHEN & WHERE: Friday 20 April, Railway Hotel, North Fremantle
PURVEYOR OF SOUL SOULDRENCHED BEATS TRENT GILL AKA GALAPAGOOSE TALKS ANDY SNELLING THROUGH HIS DEBUT ALBUM, COLLABORATIONS AND HIS VERY BRIGHT LOOKING FUTURE. How does your background in more traditional instrumentation affect your writing process when you come to producing electronically? One of the greatest things I’ve learnt from studying traditional instruments and band orientations is the way in which the sonic spectrum is filled out and balanced between the different elements. I always try and make certain my compositions have this balance and a delicate push and pull between the sound sources. When using samples, getting the balance right and finding the holes that need to be filled is probably the hardest
part. More generally though I tend to consider the computer as just another instrument that can be played traditionally or manipulated. Tell us about the process for the creation of your debut album Commitments. Almost everything on the record started out life as a live improvisation either on guitar, keyboard or manipulating a sample. I would spend hours just playing around with an idea until a melody/ progression/motif fit and then grab that little bit of audio and start laying it out into a song. From there everything was just about layers and finding the right bits and pieces that complimented each other. Often this original element would be drastically altered or removed entirely by the end of the process, but I think the intention of the initial recording remains. The album has a pretty interesting cover – is there a story behind it? The artwork was made by an incredible Brazilian artist, Yusk Imai, and features him drawing with his non-preferred hand. We spoke at length about the lack of pretension that happens when you stick a notebook in front of someone and tell them to draw this way. There is a sense of ambiguity in the process of creating a fine-art piece but also having the fine-motor skills of a primary school student. It’s this ambiguity that we tried to have come through in the album cover with the dualities of philosophical or sexual, inviting or unreceptive. You’ve stated that in recent times you’ve moved away from sampling and focused more on recording and producing your
own sounds. What’s motivated this transition? This transition was not so much focussed on removing samples from my workflow, but is more an acknowledgment of how and where I’ve been inspired of late. When putting a song together it’s been incredibly enjoyable to start with a recording I’ve made myself and build from there. I still deal with sound recordings just as if they were samples off a record, but there is an emotional honesty that I’ve found far easier to dig into when the original recordings are my own. My music is always about describing/expanding/ conveying an emotion or feeling and my process will continue to develop in this light – whatever allows me to express this in the most clear manner. What do you find most rewarding about working with others, and what’s the usual process? Collaboration has always been an important part of my creative process but even more so a part of my personal life. I find working with other people is one of the greatest ways to get to know someone and understand things about one another that is often difficult to put into words. Every person has a certain character that comes across in their approach and there is so much that can be learnt by simply observing this. I’m really excited to be working with [ex-Perth artist] Wooshie on a full-length collaborative project at the moment which should be out second half of this year. WHAT: Commitments (Two Bright Lakes) WHEN & WHERE: Thursday 26 April, The Bird, Northbridge
DEATH DISCO & SATURDAY @ AMPLIFIER/CAPITOL
DOCTOR WEREWOLF @ AMBAR
I LOVE ‘90S @ CAPITOL (UPSTAIRS)
JAPAN 4 @ AMBAR
WEEKEND @ DEVILLES
WEEKEND @ THE NEWPORT
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THE DRUM MEDIA • 31
18 APR - 25 APR
2012
THURSDAY 19/4
DANCEFLOOR OF THE WEEK
NAIK
MKT @ THE LIBRARY All kinds of party beats to keep you funkin’, with DJ Vicktor, DJ Richie G, DJ Riki and more.
TIGER LILS DJs Bojan and Ben Sebastian drop house, funk, soul, breaks and beyond, with Alex K on the bongos. Free entry.
JAPAN 4 @ AMBAR Fdel, Oli, Philly Blunt, Micah and Underbeat Trust bring the right tunes and the right ‘tude to the home of the underground, $12 til midnight, $15 after.
BASSMENT @ NORFOLK Third Thursday of every month party in the basement with live acts and DJs, this week featuring Naik and Sam Perry live, with DJs Joe Macc and Troy Division from 8pm.
URBAN SWAGGA @ NEWPORT Angry Buda launches a monthly urban hip hop/R’n’B night with the man himself plus special guest DJ Skooby rocking old and new school fullflavoured drops, free from 8pm. Funk‘n’beats, hip hop, breaks and d’n’b styles with T-Mac Vs Cobs, Freddy T, Aday and a Battle Royale to finish.
LAST MINUTE 3 @ THE BIRD Speekinainteasy presents Speekeasy, Adam Crook & Rob Shaker, Joshua Charles & Rae and L-Street, $5.
R’N’R KARAOKE @ DEVILLES A hell of a night for your vocal cords with host Magnus Danger Magnus.
CLAREMONT HOTEL DJ DD brings the bangin’ party tunes all night with Matt & Millie.
ROSEMOUNT HOTEL Sons Of Rico DJs takes over the decks outside while bands play inside.
THE AVENUE Jon Ee gets you ready for the weekend.
BINGAY @ CONNECTIONS Bingo with drag queens, free from 7 ‘til 9.30pm, with Lovers Adult Gift Store giveaways and more, plus free entry to POP! afterwards.
FRIDAY 20/4 GREG PACKER
The shakedown reloads with Greg Packer, Rewind, Devo, Krank, Dazz K and Leroy bringing the finest selection of ruffneck jungle bizniss. $15 door. METRIK
Shannon Fox and Jamie Mac spin indie/alt classics from midnight at Amps, while Caps serves up a Retro Mash from 10pm.
Perth fave ShockOne returns, accompanied by the UK’s Metrik and buddy Phetsta, plus Ekko & Sidetrack, Illusiv & Dvise and MCs Xsessiv, Stylee and Bear. $30 plus BF via Moshtix and the usuals. ROGER SANCHEZ
32 • THE DRUM MEDIA
THE AVENUE Jon Ee brings the funk, hip hop, house, breaks and everything in between.
THE WEMBLEY Fiveo spins the best of the best right across the board in full on good times party style.
THE CRAFTSMAN
Official Supa’ Afterparty featuring DJ Slick, DJ Titus (Singapore), DJ Lstreet and more to keep the supa vibes going, $20 from 9pm.
BACKYARD DISCO @ AVIARY PINEAPPLE LOUNGE @ VELVET After two years of pushing local producers into the live setting Pineapple Lounge is taking a break but going out in style with Lo Key Fu, Dirty Symbiot (Harvey Fresh & Yarhkob) and B3N1, free (as always) from 8pm. MICAH
The Death Disco DJs bring the bangin’ indie-dance, plus red cups, cheerleaders and college-themed craziness. The reggae Club has a stellar line-up featuring DJ Killian from Ireland, Mumma Trees, Sista Che, The Empressions, H-Mut Crew and DJ Skooby. Free from 7pm ‘til 1am.
PLUSH @ GEISHA From 11pm ‘til late, broken down dirty underground beats for $5 before 12.30am, more after.
SNEAKY @ THE LIBRARY
Paul Malone spins electro beats, plus Adam Kelly, with Alex K on the bongos. Free entry.
EXTREME AGGRESSION @ ROCKET ROOM Malignant Monster frontman DJ Cain Cressall plays nothing but high-voltage
Chilled disco beats to ease out the weekend with The Backyard Project DJs and more, free from 2pm.
THE LOFT @ GEISHA The best mix of indie, alternative, Britpop and j-classics, $5 before 9pm, $10 after. This week sees a focus on some obscure B-side action.
CLUB BAYVIEW Wind up your weekend with Fiveo for the ultimate Sunday summer soundtrack session.
TUESDAY 24/4
FRAT HOUSE FRIDAYS @ METRO FREO
TIGER LILS
One of history’s foremost house DJs, Roger Sanchez knows how to make people feel good, and he’ll be doing just that tonight, supported by by Kastel, Oli and Ace Basik, tickets $37.50 plus BF via Moshtix and Boomtick.
Aidan Wallis bangs out the pub and club Anthems for the peak of the weekend.
SUPAFEST AFTERS @ EVE
Satisfy your ‘90s desires with DJ DTuck from 11pm.
DJs Angry Buda, Adroc, Headayke, Junior, Karl Blue, Kyte Kutter, Raji D, Maxwell and guests bring the tunes in this big night out.
ROGER SANCHEZ @ VILLA
CORNERSTONE
Dylan Hammond delivers the music for the masses in Cannington’s fave night spot.
I LOVE ‘90S @ CAPITOL (UP)
HIGHER FYAH @ BAR ORIENT VIPER RECORDS @ VILLA
NORTHERN LIGHTS @ BOULEVARD TAVERN
SATURDAY 21/4 SUNDAY 22/4
AMPLIFIER/CAPITOL JUNGLE SHAKEDOWN @ AMBAR
THE GENEROUS SQUIRE
Spankers and spankees, get ready for the return of Spank, featuring everything you’d expect the alternative night and more, plus DJs Stu V, Jessica Kill and Jono keeping the dark beats rolling. $20, no costume, no entry.
After years being based on different sides of the country, electro hip hoppers The Freakz Of The Nature officially return to WA, kicking off with a launch for new album 2000Zen, with Trooth, Wisdom 2th and DJ LXD supporting.
SILENT DISCO @ COURT HOTEL ABOUT THE BEAT @ ON A BOAT A boat party aboard the AHS Classique featuring Micah, Elkymbo, Underbeat Trust and Menace. Email aboutthebeat@westnet.com.au for tickets, $60.
DEATH DISCO/PURE POP @ CAPITOL/AMPLIFIER Indie-dance and disco bangers from Death Disco DJs, The Great RV spinning ‘80s classics upstairs and Eddie Electric indie/at classics from midnight in Amps.
METRO FREO DJs Dtuck, Wazz and Darren Briais keep the party tunes rolling in the big house.
DEVILLES PAD Agent Double-O Soul and special guests drop the needle on the groove for an all night dance party, doors 6pm, $10 after 8.
ELEMENT @ GEISHA JMC, James Smith and Tom Drummond bump out some deep house till dawn. $6 before 12.30am, $12 after.
PARTY @ THE BIRD
Weekly bass music at the Velvet Lounge, free entry from 8pm.
rock and metal from midnight.
FREAKZ OF THE NATURE @ RAILWAY HOTEL
Cowboys & Indie Kids brings you post-punk, indie-pop and rock goodies outside in the beer garden for free.
ROULETTE @ VELVET LOUNGE
SPANK @ SHAPE
LO KEY FU
STUDENT NIGHT @ ROSEMOUNT
Kickstart play live cover tunes and DJ Brett Rowe spins rock, metal and punk between the sets.
It’s a Rewind hosted by Rockwell, taking you back in time with retro hits from the ‘80s and ‘90s.
Mega? Ultra? Supacalifragilistic? Whatever your thoughts, Supafest 2012 is going down at Arena Joondalup Sunday 22 April, and while it’s now missing a pissed off P.Diddy and mad Missy Elliott, it’s still a killer line-up of hip hop badmen and R’n’B babes. Featuring N.W.A rap music icon Ice Cube; festival favourite T-Pain; Grammy Award-winning femme fatale Kelly Rowland; Rick “everyday I’m hustlin’” Ross; Chicago-born MC and kick-pusher Lupe Fiasco; R’n’B slow jammer Trey Songz; urban big ‘hitter’ Chris Brown – check footage of his Supafest appearances so far for a taste; old school superstars Naughty By Nature; and one of the US’ hottest young artists Big Sean; ‘twill no doubt be a day of mass bootie boogie. Ticketmaster for tickets, $199 for Bling Ring and $149 GA.
From 9pm ‘til late, DJs Wasteland and Jackness hit the decks with a cool blend of house, electro, commercial dance and hard house.
ROCKET ROOM
SOVEREIGN ARMS
SUPAFEST @ ARENA JOONDALUP
RAPTURE @ METRO FREO
Hip hop, funk and soul dancefloor action courtesy of Sleepyhead free from 8pm.
Defanutley brings ‘On Tap’ house music all night long.
CULTURE CLASH @ NEWPORT
WEDNESDAY 25/4
Your wireless headphones will feature two channels and two DJs battling it out for the bigger dancefloor: Ruthless vs Sir Clancelot and Timbee vs Danny Boi. $10 via courtsilentdisco. eventbrite.com, $15 door.
DUB FX @ ROSEMOUNT HOTEL Worldwide street performer Dub FX returns our way alongside fiancée Flower Fairy for ANZAC Day eve, creating live music using live looping and effect pedals combined with his voice. $25 plus BF from the usuals.
RHYTHMATISM @ THE BIRD Free entry, mind-massaging rhythms and house party vibes ahead of the public holiday from 8pm.
VAISAKHI BHANGRA @ SHAPE 2012’s VB features BBC UK award winning DJ/MC duo Panjabi Hit Squad, supported by Mixtabishi & J-Sky with Dholi dancers; Xclusive Sounds; Denny; DJ Modi; DJ Don Migi; Brown Majik; ElectroSim; B-Star; and Rajit. $25 via Moshtix.
DANCEFLOOR BOMBS @ AIR It’s an Anzac Day Eve Dancefloor Bombs party with DJs Frankie Button and Jonny Zimber. Airclub.com.au for guest list, $5 before 10pm, $10 after. Costumes encouraged.
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Northern suburbs party night with DJs mixing up the best electro, rock, pop, indie and dubstep.
LMW @ CONNECTIONS Lesbian Mud Wrestling with tunes from Connections DJs all night. Free entry from 10pm.
UPCOMINGS IT’S A LONDON THING: UK GARAGE REUNION @ SHAPE (DOWN)
After a massive first edition last year, ringing you once again some of the key players who shaped the UK Garage Scene in Perth: Duane A, Trent C, Rhys D, Rufkut and Mc J Rippa with guests Ru-Kasu and Eyan. $5 before 11pm, $10 after, Friday 27 April.
CLARK @ THE BAKERY Clark’s ability to create music that appeals to your head, heart, soul and feet confirms his place as an electro-virtuoso – and one of the best producers on the planet. He’s back at The Bakery with a full audio/visual show Friday 27 April, supported by Ben Taaffe, Declan, Zeke, Massiv Trav and Jo Lettenmaier. $26 plus BF via Life Is Noise, Heatseeker, Oztix, Now Baking and the usuals.
MAKE THE FACE @ VILLA Make The Face is back for the first facial tissue-twisting time in 2012, and two acts who know how to do just that to the area above your neck will be rocking Villa Saturday 28 April in Kid Kenobi and Surecut Kids. Supported by DNGRFLD, Black & Blunt and Marko Paulo. $20 plus BF via Moshtix.
SUB ZERO, MC EKSMAN @ VILLA Embarking on their first tour of Australia, Inhibit are proud to present Sub Zero – one of the hottest jump-up artists blowing up the scene today, Saturday 5 May at Villa, joined by MC Eksman, making the show one of the most anticipated and overdue tours in Australian drum’n’bass history. Illusiv, Dvise b2b Frantik, Invictus, Blanko and MCs Bear, Webbz and Seeka support. Tickets $35 plus BF via Moshtix and the usuals.
ATMOSPHERE, EVIDENCE @ VILLA Rhymesayers label mates and two of the world’s favourite indie-hip hop acts, Atmosphere (with live band) and Evidence (Dilated Peoples) join forces for a massive tour that hits Villa Friday 11 May. Tickets via Moshtix and Oztix from Monday.
UPCOMINGS
ROGER SANCHEZ: APR 20 Villa VIPER: SHOCKONE, METRIK: APR 21 Villa SUPAFEST: T-PAIN, CHRIS BROWN, BIG SEAN, NAUGHTY BY NATURE, ICE CUBE, KELLY ROWLAND, RICK ROSS, LUPE FIASCO, TREY SONGZ: APR 22 Arena Joondalup DUB FX & FLOWER FAIRY: APR 24 Rosemount Hotel PANJABI HIT SQUAD: APR 24 Shape GALAPAGOOSE: APR 26 The Bird DERRICK MAY: APR 27 Ambar CLARK: APR 27 The Bakery RUFUS: APR 27 Villa THE FUNKOARS: APR 27 Bar 120; APR 28 Rosemount Hotel SIX60, THE ROOSTER POLICE: APR 28 Capitol BEN UFO: APR 28 Secret Warehouse KID KENOBI, SURECUT KIDS: APR 28 Villa + SMILE ON IMPACT: MAY 4 Ambar SUB ZERO, MC EKSMAN: MAY 5 Villa CREAMFIELDS: DAVID GUETTA, ABOVE & BEYOND, DIRTY SOUTH, ALESSO, GIUSEPPE OTTAVIANI, W&W, SIED VAN RIEL, TRITONAL, MARLO, CONGOROCK, EXCISION, DOWNLINK, BOMBS AWAY, DOWNLINK, FIGURE, NICK THAYER and locals: MAY 5 Supreme Court Gardens + HABITAT GARDEN PARTY: JAMES ZABIELA, ALEX NIGGEMAN, GEORGE FITZGERALD: MAY 6 Court Hotel + NEXT HYPE: PARIAH & BLAWAN: MAY 10 Geisha MORD FUSTANG: MAY 11 Ambar ATMOSPHERE, EVIDENCE: MAY 11 Villa + SKY’HIGH: MAY 12 Mojo’s ALISON WONDERLAND: MAY 12 Eve Nightclub KRAFTY KUTS: MAY 12 Villa + ERIC LAU: MAY 18 The Bird SHOWTEK: MAY 18 Shape KINGS OF SOUND FESTIVAL: MAY 19 Rosemount Hotel LAPALUX, OOOOO: MAY 19 The Bakery DIGITALISM, ADRIAN LUXE: MAY 19 Villa GROOVIN’ THE MOO: 360, ADRIAN LUX, BENI, BALL PARK MUSIC, DIGITALISM, HERMITUDE, HILLTOP HOODS, MUSCLES, MUTEMATH, NAYSAYER & GILSUN, PUBLIC ENEMY, PURPLE SNEAKERS DJS and more: MAY 19 Hay Park, Bunbury S CLUB, BIG BROVAZ: MAY 25 Metro City MICKEY AVALON, KID MAC: MAY 26 Rosemount Hotel NEW KIDS ON THE BLOCK, BACKSTREET BOYS: MAY 29 Burswood Dome TIJUANA CARTEL: MAY 31 Prince Of Wales; JUN 1 Settlers Tavern; JUN 2 White Star; JUN 8 Divers Tavern; JUN 9 Hotel Kununurra; JUN 15 The Bakery BAD TASTE RECORDS: BLOKHE4D, PROLIX, AEPH, NEONLIGHT: JUN 1 Metro City + DJ CRAZE, CODES: JUN 2 Villa + HYPE WILLIAMS: JUN 16 The Bakery 360, GOSSLING, HERMITUDE, BAM BAM: JUN 22 & 23 Villa; JUN 23 & 24 The Astor Theatre LADY GAGA: JUL 7 & 8 Burswood Dome BELL BIV DEVOE, GINUWINE: AUG 9 Astor Theatre EIFFEL 65, N-TRANCE, MR.95: SEP 28
BASSMENT naik SAM PERRY joe macc troy division THURS APRIL 19
NORFOLK BASEMENT doors 8pm
KID KENOBI FEATURING
FIND US ON
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TICKETS: $20+BF FROM MOSHTIX LIMITED VIP TICKETS: $20 FROM THE BOOMTICK SHOP BOOMTICK.COM.AU SURECUTKIDS.COM KLUBKIDS.TV FACEBOOK.COM/KIDKENOBIOFFICIAL FACEBOOK.COM/SURECUTKIDSFANPAGE
SURECUT KIDS DNGRFLD, BLACK & BLUNT, MARKO PAULO VILLA NIGHTCLUB SATURDAY 28 APRIL DOORS OPEN 10PM
THE DRUM MEDIA • 33
THU 19 Stu Harcourt Belgian Beer Cafe Amon Amarth Capitol The Other Guys Como Htl Liam Burrows Ellington Jazz Club Greg Carter FUSE Bar Calling all Cars Indi Bar Kavisha Mazzella Kulcha James Wilson Lucky Shag Stunning In Red, The Gypsy Howls, The Prevues, World A Fuzzy Mojo’s Jay Hoad, Rose Parker Mustang Bar New Erotic, Burning Fiction, Midnight Boulevard, Blindspot Rosemount Htl Clayton Bolger Rosie O’Gradys Fremantle Bill Chidgzey Rosie O’Gradys Northbridge Bluejuice Settlers Tavern Margaret River Fenton Wilde Sovereign Arms Astro Lix, Ben Wilson, Miranda & Gordo Swan Lounge Better Days The Gate Dirty Scoundrels The Shed Between The Seconds, Priority One, One Armed Scissor, Battle Of The Planets Ya Ya’s
FRI 20 Big Scary Amplifier Bar Mod Squad Bailey Smrts Bakery Northbridge Christian Thompson Bally’s Bar The Other Guys Balmoral Feisty Burlesque Belgian Beer Cafe Karin Page Bentley Hotel Everlong Black Bettys Bluejuice Capitol
34 • THE DRUM MEDIA
Bluebottles Captain Stirling Ensemble Formidible Clancys Fremantle Nick Sheppard, Aires Linares Claremont Hotel The Johnny Nandez Hammond Explosion, Lance Ferguson, Jake Mason, Ivan Khatchoyan Devilles Pad Victoria Newton, Graham Wood Quintet, Accumulated Gesture Ellington Jazz Club Halo Empire Ben Salter, Joe McKee Fly By Night Fremantle The Damien Cripps Band High Road Htl Riverton Nathan Gaunt, Ragdoll Hyde Park Htl Adrian Wilson Indian Ocean Brewing Company Kavisha Mazzella Kulcha Bibby (Arvo), Morgan Bain, Boston & Chevy, Spoonful Of Sugar, Ricky Green Mojo’s Oz Big Band, Cheeky Monkeys Mustang Bar Party Rockers Newport Htl Husband, Foam, Flower Drums, The Ron Pollard Quartet Norfolk Basement Nathan Gaunt Osborne Park Htl Stu Harcourt Paddingtion Ale House Flyte Paramount Nightclub Chainsaw Hookers, The Decline, Silver Lizard, The Blazing Entrails, Leeches!, Wizard Sleeve Rocket Room Vespers Descent, Devour The Martyr, Empires Laid Waste, Meridian Rosemount Htl Neil Colliss Rosie O’Gradys Northbridge Howie Morgan (duo) Sail & Anchor Dirty Scoundrels Springs Tavern Kate Gilbertson Stirling Arms Guildford
The Fix, The Vans Swan Basement Greg Carter (Arvo), Better Days Swinging Pig The Floors, Will Stoker & The Embers The Bird Smoking Section The Gate, Success Kickstart The Shed James Wilson Tradewinds Lush Two Rocks Tavern Nightmoves Universal Bar Snarski VS Snarski Velvet Lounge Ivan Ribic Vic Park Htl Dr Bogus Woodvale Tav Davey Craddock & The Spectacles, Stereo Flower, David Craft Ya Ya’s
SAT 21 Deez Nuts Amplifier Bar Losing Julia Bailey Bar & Bistro Stu Harcourt Bally’s Bar Retriofit Balmoral Chris Murphy Belgian Beer Cafe J Babies Black Bettys Better Days Brook Hi-NRG Burswood Casino Pop Candy Burswood Lobby Lounge Howie Morgan (duo) Captain Stirling Genocidal, The Lungs, Arbitrage, Facegrinder Civic Htl Backroom The Limelights Clancys Canning Bridge Grace Barbe Clancy’s Fremantle The Zydecats Claremont Allira Wilson, Jamie Oehlers Quartet, John Mayer Trio Ellington Jazz Club Ben Salter, The Morning Light, Emily Barker, Joel Barker Fat Shan Records Ganga Giri Fly By Night Fremantle Baby Piranhas Greenwood Hotel The Charisma Brothers Gypsy Tapas Fremantle Hostile Little Face, Stone Bleeder, Agenda XXII Hyde Park Htl The Other Guys Indian Ocean Brewing Company Samuel J Dass Kulcha The Damien Cripps Band Lakers Tavern Rhythm 22 M On The Point Justin Walshe Folk Machine, Cas & Al, Rachel & Henry Climb A Hill Mojo’s The Burger Kings, 10 Cent Billionaire Mustang Bar Kizzy Newport Htl Snarski VS Snarski Norfolk Basement Bernadine Port Kennedy Tavern Electrophobia Quarie Bar & Bistro
Die Gestalt, The Delaines, The PCM, Lantana Railway Htl Kickstart Rocket Room Calling all Cars, Arts Martial Rosemount Htl Blue Gene Rosie O’Gradys Northbridge The Mojos Sail & Anchor Luke Dewing Steve’s Bar Off tThe Record Subiaco Htl Seasta Chani, Pauly, Wisdom 2th Swan Basement Rotaxus, Empty Pocket, Idle Front, Alanna Eileen Swan Lounge Shy Panther, Kucka, Viv G The Bird Thomas Crane The Corner Stone Alehouse Genocidal, The Lungs, Arbitrage, Facegrinder The Den Huge The Shed Soul Corporation Universal Bar Greg Carter Wanneroo Tavern Chris Murphy & The Holy Rollers Whale & Ale Courtney Murphy & Murphy’s Lore Woodvale Tavern Empty Cup Ya Ya’s
SUN 22 Greg Carter Bally’s Bar Cranky Balmoral Karin Page Brook Greg Carter Brooklands Ali Towers Captain Stirling Bluebottles Carine Glades The Shinkickers Carlisle Htl James Wilson Chase Bar & Bistro Dave Brewer Clancys Dunsborough The Zydecats Clancy’s Fremantle Sunday Driver Claremont Stu Harcourt East 150 Bar Liam Burrows, Jazz Voyces Ellington Jazz Club CB3 Empire Mike Nayar High Road Tavern Simon Kelly (Arvo), Sophie Jane Hyde Park Htl Retriofit (Arvo), Dove Indian Ocean Brewing Company Christian Thompson Kalamunda Htl Jamie Powers Lakers Tavern Electrophobia M On The Point Axe Girl, Lucy Peach, The Crooked Cats, No Deadlines, Sirens Of Sound, Raging Lincolns, Julz Danni Mojo’s Peter Busher & The Lone Rangers Mustang Bar Tim Nelson, Our Man In Berlin, Warning Birds, The Espeys Newport Htl
The Mojos Pig & Whistle Jack & Jill Quarie Bar & Bistro Mister & Sunbird Queens Tavern, Highgate The Ghost Hotel, Polly Medlen, Alex Watt Quindanning Tavern Justice For All Rocket Room Lou Barlow, Adam James Rosemount Htl Shawne & Luc Sail & Anchor Threeplay, Mike Nayar Saint In The Pines UWA Sean Scott South st Ale House Billie Rodgers, Tom Fisher, Jay Grafton, Luke Kordyl Swan Lounge Ben Salter, Joe McKee The Bird Stella Donnelly The Principle Micro Brewery The Healys, Renegade The Shed Retriofit Universal Bar The Charisma Brothers X-Wray Café
MON 23 Chris Murphy Burswood Lobby Lounge Song Lounge Ellington Jazz Club Marco & The Ally Cats Mustang Bar The Organ Grinders The Brass Monkey Plastic Max & the Token Gestures The Deen
TUE 24 Courtney Murphy Burswood Lobby Lounge Trent White Ellington Jazz Club 2che Inglewood Hotel Leighton Keepa Lucky Shag Raging Lincolns, The Corner, Hyte, The Trigger Jackets, Mantl Mojo’s Stu Harcourt Paddingtion Ale House 5 Shots Paddy Hannans Burswood Retriofit Universal Bar
WED 25 August Burns Red, blessthefall Amplifier Bar Bloozology Ellington Jazz Club Junior Bowles, Mitch Becker, Cas & Al Fremantle Blues & Roots Club Bleeding Knees Club Indi Bar Our Man In Berlin, The Empty Cup, Rachel & Henry Climb A Hill, Mulder, Rich Widow, The Flower Drums, Mike Podmore, Sean O’Neill, Turin Robinson Mojo’s
themusic.com.au
TOUR GUIDE BEN SALTER AMON AMARTH: APR 19 Capitol BLUEJUICE, LOON LAKE, THE CAIROS: APR 19 Settlers Tavern; APR 20 Capitol
BURT BACHARACH THE BOOTLEG BEATLES: APR 27 Astor Theatre; APR 28 Bunbury Regional Entertainment Centre
THE HARD-ONS: MAY 11 Civic Hotel; MAY 12 Prince Of Wales, Bunbury; MAY 13 Indi Bar
THE LAURELS: APR 28 The Bakery
LANIE LANE: MAY 12 Fly By Night; MAY 13 Amplifier
EMILY BARKER: APR 19 Transmission Lounge, Denmark; APR 20 Emporium, Bridgetown; APR 21 Fat Shan Records
SIX60, THE ROOSTER POLICE: APR 28 Capitol
CALLING ALL CARS: APR 19 Indi Bar; APR 20 Prince Of Wales; APR 21 Rosemount Hotel
HOODOO GURUS, REDD KROSS, THE FLESHTONES: APR 28 Astor Theatre
JAY HOAD: APR 19 Mustang Bar; APR 26 Gypsya Tapas; APR 27 Velvet Lounge; APR 29 Indi Bar COOKIN’ ON 3 BURNERS: APR 20 Devilles Pad BIG SCARY: APR 20 Amplifier THE SNARSKI BROTHERS: APR 20 Velvet Lounge; APR 21 Norfolk Basement BEN SALTER, JOE MCKEE (SNOWMAN): APR 20 The Fly Trap; APR 22 The Bird SAMUEL DASS: APR 21 Kulcha DEEZ NUTS, PHANTOMS: APR 21 Amplifier; APR 22 YMCA HQ GANGA GIRI: APR 21 Fly By Night; APR 22 Redcliffe On The Murray; APR 24 Indi Bar CAS & AL: APR 21 Mojo’s; APR 22 Indi Bar; APR 25 Mojo’s; APR 29 Clancy’s Dunsborough LOU BARLOW: APR 22 Rosemount Hotel BURT BACHARACH: APR 23 Riverside Theatre BLEEDING KNEES CLUB, DUNE RATS: APR 25 Indi Bar; APR 26 Prince Of Wales; APR 27 Amplifier; APR 28 Mojo’s AN HORSE: APR 25 Rosemount Hotel AUGUST BURNS RED, BLESSTHEFALL, NORTHLANE: APR 25 Amplifier + THE RUBENS: APR 26 Mojo’s 1897 SESSIONS: WHITLEY: APR 26 Newport Hotel RUFUS, THE RUBENS: APR 27 Villa SAN CISCO: APR 27 Mojo’s
CATHRINE SUMMERS: APR 28 The Naked Fig, Swanbourne
HOODOO GURUS: APR 29 Hotel Rottnest THE MOUNTAIN GOATS, CATHERINE TRAICOS: MAY 1 The Bakery GOSSLING: MAY 2 Little Creatures Loft; MAY 3 The Bird TIJUANA CARTEL: MAY 2 & 3 Mojo’s; MAY 10 Liddell Reserve, Girrawheen DZ DEATHRAYS: MAY 3 Prince Of Wales; MAY 4 Amplifier; MAY 5 Mojo’s HUSKY, THE TROUBLE WITH TEMPLETON: MAY 4 The Bakery PJ OBRIEN: MAY 5 Hyde Park Hotel FU MANCHU, BLACK COBRA, MATT SONIC & THE HIGH TIMES: MAY 5 Rosemount Hotel DEVILDRIVER, DARKEST HOUR, SIX FEET UNDER: MAY 9 Capitol FRANK TURNER & THE SLEEPING SOULS, WILLIAM ELLIOT WHITMORE, THE SMITH STREET BAND: MAY 9 Amplifier + STEVE POLTZ: MAY 10 The Fly Trap BOY & BEAR, JUNGLE GIANTS, TIN SPARROW: MAY 10 Albany Entertainment Centre; MAY 11 Bunbury Entertainment Centre; MAY 12 Fremantle Arts Centre; MAY 13 Mandurah Performing Arts Centre CLAIRY BROWNE & THE BANGIN’ RACKETTES: MAY 11 Fly By Night SICK OF IT ALL, AGNOSTIC FRONT, TOE TO TOE: MAY 11 Amplifier DEAD LETTER CIRCUS, FAIR TO MIDLAND, TWELVE FOOT NINJA: MAY 10 Prince Of Wales; MAY 11 Metropolis Fremantle; MAY 12 Capitol
RALPH MCTELL: MAY 13 Fly By Night + DANIEL CHAMPAGNE: MAY 16 Mojo’s’ MAY 19 Ya Ya’s DAVID CAMPBELL: MAY 16 Mandurah Performing Arts Centre; MAY 17 Queen Park Theatre, Geraldton; MAY 18 Perth Concert Hall; MAY 19 Bunbury Regional Entertainment Centre JOHN WILLIAMSON: MAY 16 Albany Ent. Centre; MAY 17 Bunbury Regional Ent. Centre; MAY 18 Mandurah Performing Arts Centre; MAY 19 Queens Park Theatre, Geraldton KIM CHURCHILL, MICROWAVE JENNY: MAY 16 Settlers Tavern, Margaret River; MAY 17 Dunsborough Tavern; MAY 18 Prince Of Wales; MAY 19 Norfolk Basement; MAY 20 Indi Bar ANDREW WK, ALEISTER X: MAY 17 The Bakery FLORENCE + THE MACHINE, BLOOD ORANGE: MAY 17 Burswood Dome + ATCHA!: MAY 18 Fly By Night THE GETAWAY PLAN: MAY 18 Amplifier KAISER CHIEFS, DEEP SEA ARCADE, LOON LAKE: MAY 18 Metro City WAVVES, SURES: MAY 18 Rosemount Hotel THE MACCABEES: MAY 18 Capitol DREAM ON DREAMER: MAY 18 C5, Fremantle; MAY 19 Amplifier; MAY 20 YMCA HQ MANHATTAN JINX: MAY 18 Civic Den; MAY 19 Railway Hotel NATURALLY 7: MAY 19 Perth Concert Hall GROOVIN’ THE MOO: ANDREW WK, BIG SCARY, CITY & COLOUR, KAISER CHIEFS, WAVVES, BALL PARK MUSIC, MUTEMATH and more: MAY 19 Hay Park, Bunbury THE POOR: MAY 20 Newport Hotel
THE DRUM MEDIA • 35
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FOR SALE CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com web-site on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au
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OTHER
RemmosK live in acoustic mode @ The Town & Country Hotel, St Peters - 26-04-12 with special guests Aunty Hu Hu and the Big Lazy
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36 • THE DRUM MEDIA
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A C CE S S O R I E S
E DI TI O N
BLUEJUICE’S JERRY CRAIB ACCESSORISES
A
ccessory ak’ses(ə)rē (also accessary)noun (pl.-ries) 1. a thing that can be added to something else in order to make it more useful, versatile or attractive. Bluejuice released their third album, Company, late last year, but it’s taken them until April this year to officially launch the disc with a national tour. Bluejuice’s musical director Jerry Craib was kind enough to take some time out from their tour schedule to fill us in on the incidental items that help to make a Bluejuice show come together. It’s time to discuss the glamourous side of music-making and touring... accessories. We’ve all got our favourites. Maybe yours is a mic stand that your older brother’s friend left in your garage in 1998. Maybe it’s a little ‘50s suitcase with brass latches that you keep your cables and spare 9-volt power supply in. Here are three of mine. Wooden keyboard case - Firstly a wooden keyboard case, painted black, covered in stickers and held together by gaff. It’s the only rock and roll thing I own. It’s lined on the inside with red velvet. It has brass latches. It’s falling apart. In fact it has always been falling apart. It will continue to fall apart, slowly. That is its beauty. It will outlive me. Why so? Gaff! More on gaff later. Guitarists and bassists carry ‘axes’. Drummers hit the skins. Frontmen belt out the hits. Keyboard players … play the keyboards… just not that cool. However, for those solitary few moments when I’m unpacking my keys from its case, I’m Eddie Van Halen playing Jump, kinda cool. Keith Richards would be proud to be buried in my keys case. Modern digital keyboards, unlike guitars and
PICKS, CABLES, STANDS, TOOLS, ROAD CASES, CAPOS, GAFFA TAPE … COLLECTIVELY KNOWN IN A MUSICIAN’S WORLD AS ACCESSORIES… WHICH HAPPENS TO BE THE THEME OF THIS MONTH’S AUSTRALIAN MUSICIAN FEATURE. WE’RE TALKING THE SMALL BUT ESSENTIAL ITEMS A GIG JUST COULDN’T DO WITHOUT. WHO BETTER TO TELL US ABOUT THE IMPORTANCE OF ACCESSORIES THAN A WORKING MUSICIAN.
Jake could not put on a show. Gaff has held his microphone to the cable for many years now. Frontman cable swinging wouldn’t be possible without you, gaff. From the bottom of my cold cold pop music heart, I salute you, gaff. www.bluejuice.com.au/
basses are not really customisable. My keyboard is identical to thousands of others. No one has my case though. Not one other stinking muso. I should also mention that the handle on the case is now a wee three-cable-tie gaffpadded jobbie, thanks to the elite handle-breaking skills of our bass player, Jamie. Don’t touch my stuff man. Instrument cable - Second on my accessory super list, is whatever instrument cable I’m currently calling my favourite. You may know what I’m talking about. When you get a cable that rolls perfectly, clicks into the input jack with a reliable clack, never crackles, never fails you. And most importantly, a cable that you can brag (lie) to your mates about and say that you’ve had since Year 10 band practice. With such a cable, inner peace on the stage is reached. A great cable is a badge of honour that you hold dear to your heart. Knowing that you have taken care of something longer than the last seven relationships you’ve had. My current “15 year old” favourite cable I got custom made by Richard from Sydney Sound Cables, a couple of years ago. The cable is Canare, imported from Japan. The connectors are Neutrik, imported from Liechtenstein. Can one tell the difference in sound quality? Not me. Why do I bother buying it? Reliability… maybe. Keeping up with the Jones’… probably. Having something to talk about on the road… most definitely. Us musicians are proud of our custom gear. Each of us wants the best thing, and for no one else (except the bass player on that 1972 Miles Davis album) to own the same thing. It’s the little (ludicrous) things. Finally the king of music industry accessories: Gaff - Gaff is stronger than love and more resilient than custom aluminium road cases. Gaff will laugh in the face of airport baggage handlers. Gaff will bandage your wounds and hold up your banner. Gaff doesn’t require careful handling. Gaff won’t hit on your girlfriend back at the hotel. Gaff is solid. Everything I use has gaff on it. Bluejuice’s current stage show uses fluorescent gaff to decorate all the instruments, stands, amps and hardware. We then get our friend and lighting guru, Eamon, to shine UV light on all of it. Gaff can get pretty when you need it to be. I have an expensive keyboard stand that looks like a Star Trek vessel, but is made like a cheap pair of shoes. Great concept, terrible execution in construction. I’d love a new one as the job it does is irreplaceable. However I just can’t afford a new one every three months. Enter Gaff. Gaff has held this rubbish contraption together way too many times than I care to admit. Thank you gaff. Gaff will tear us apart. Without gaff, our singer
themusic.com.au
Jerry’s Gear • Symphony Upright Piano • Nord Electro 2 • Nord Electro 3 • MicroKorg • Korg R3 • Korg MS2000 • Hohner Pianet T • Casio SA-20 • HG Palmer Chord Organ • Fender Telecaster 72 Thinline Guitar • Martin Traveller acoustic guitar • Yamaha classical guitar • Tobias Growler bass • Mac with Reason • Akai MPK 49
THE DRUM MEDIA • 37
STRUNG OUT!
What have you used in the past? Elixir strings on my acoustic (13 gauge on the 6, and 10 gauge on the 12 string) because they’ve kept their tone the longest. I learned a trick from a Romanian gypsy of repairing broken strings if they break at the saddle. I got quite good at it, so I could change a string in under a minute on a good night. It kind of became part of the show. Sometimes recycling four or five times each string, I’d see just how many gigs I could do on one set. I think my record was 17 in a row.
STUART FRENCH What kind of strings do you use and why? Fender electric guitar strings because I like the tension and they seem to last me well. String gauge? 10/46 on a Tele and 11/49 on a Gretsch. Worst string stage nightmare? I’ve rarely broken a string but with the odd guitar, if I pick too hard on my high E string, it goes down and gets caught under a fret or the front pickup without my knowing until I go to play that string. And it’s usually in the middle of a solo. Camille and Stuart French’s new album, Big Days & Little Years, available now. www.camilleandstuie.com
are my favorites and open to suggestions. I tend to go for heavy strings, as it’s all about the tone for me. But electric is a whole new world. I keep a Taylor acoustic with old strings on it in the studio. It has a beautiful rich dull tone... You never know when the perfect musical moment will arise. I also have an old Gibson L50 with a P90 in it - it needs a wound ‘G’ which you don’t find in mum and dad music shops in rural Australia. Worth the hunt though - it has a stage presence all its own.
again by recommendation. However, I just found the Slinky strings not to be as vibrant as the Elixir Worst string stage nightmare? I was performing on a very cold night at the Canberra Country Music Festival 2009 and trying to keep my strings in tune in below zero weather proved to be absolutely disastrous. I don’t think we had a single string on stage in tune.
STEPHANIE JANSEN What strings do you use and why? Elixir Custom Light strings, mainly because they last so much longer than regular ones. They have a deep and bright tonal quality I really like and they tend to break much less frequently.
Craig Morrison’s self-titled debut album out now.
Any on stage string nightmare stories? I was playing a gig at the Nambour Entertainment Centre and broke 4 strings at once on my 12-string, having already broken two on my 6. So I finished off the set with harmonica and a stomp box. Luckily I’ve a few written for this format. Paul’s new album, Behind The Stars, out now. www.paul-greene.com
What used in the past? I’ve used Elixir strings since I was about 11 years old. My dad, who taught me to play guitar, has always used them and swears by them. I’ve used other brands on rare occasions out of necessity, but feel they’ve never stacked up to Elixirs, so now I always make sure I carry spare sets.
www.craigmorrisonmusic.com
Worst string stage nightmare? I once broke a string during the first song of a major gig, with no spare guitar. Terrible! Fortunately a stage tech came to the rescue whilst I engaged the crowd with some light-hearted banter. Stephanie’s EP, risky, out now. www.stephaniejansen.com.au
LUKE YEOWARD (King Cannons) What strings do you use and why? Fender Super Bullet strings on my Fender Esquires and Telecasters. I hit my guitar pretty hard as a rhythm guitarist, but I also do some lead work from time to time, so the heavy bottom, light top .010.052 gauge works best for me. These strings have a bullet end, nickel-plated steel for a brighter tone and longer sustain. Pretty simple, I love the tone and the feel of them. I have used other strings in the past, but these ones are the best for me. King Cannons new album due mid year. www.kingcannons.com
CRAIG MORRISON What strings do you use and why? I use Elixir. A good musician friend put me onto them a while ago and I’ve never looked back. They have a beautiful sound and Elixir strings seem to really last. I used Slinkys by Ernie Ball in the past,
38 • THE DRUM MEDIA
TRISTAN GOODALL (The Audreys) Type of strings he uses and why? It’s a little pedestrian but for my main electric guitar on stage I use good old D’Addarios. I play a Gibson ES-135 that has a trapeze tailpiece and some other brands just aren’t long enough. I favour the light top/ heavy bottom custom gauge for a thick, warm sound.
BLACK FOX
What have you used in the past? As a youngster in the ‘80s I favoured the Dean Markley Blue Steel cryogenically-frozen strings but soon grew out of that little gimmick! Any on stage string nightmare stories? Oh yeah, way too many to recount here and mostly involving my ‘60s banjo or Taasha’s delightful but temperamental ukulele. The Audreys new album, Collected, out now. www.theaudreys.com.au
PAUL GREENE What strings do you use and why? I’ve recently changed from being an acoustic player to electric on my new album (6 and 12 string - separately obviously). So I’m back to the drawing board on what
themusic.com.au
As a band, we’ve always used D’Addario XL Nickel Wound strings. Initially, it wasn’t a conscious decision. The studio we rehearse at only sold those strings, so that’s what we played. They were always super cheap too. I must say, however, the D’Addarios have served us well over the years. We all have really different playing styles too. Leigh likes to play really hard, so needs a guitar string that’s willing to cop a flogging in the name of a good time. Daniel, Andrei and I are quite lazy when it comes to changing strings so if we can slap on a set and still have them sounding good in six months, we’re happy. www.weareblackfox.com
“N
ow roll them cases out and lift them amps/ Haul them trusses down and get’em up them ramps/ ‘Cause when it comes to moving me/ You guys are the champs,” wrote Jackson Browne in his song dedication to his road crew The Load Out from his 1977 album, Running On Empty. Anyone who has witnessed the set-up of a major concert or even local pub gig would realise how much work is involved in show’s production. With so much going on, and usually in a hurry, you would also realise the potential for error and the importance of good quality gear to withstand the rigours of a show’s preparation. Noel Bennett has worked in the industry since the early ‘70s, loading in and out artists such as Max Merritt, Brian Cadd and Grace Knight and was the front of house sound guy for the Little River Band for eight years. Bennett believes one of the most important accessories a musician needs to consider is the roadcase in which your gear travels. “I’ve seen necks snapped off guitars because they have been put into soft cases and put into the back of a truck. I’ve seen a two-inch alloy pole gone through a Roland digital piano. Roadcases are essential,” says Bennett. Well-travelled guitar tech Joe Yammouni recalls a 1973 Gibson Goldtop Deluxe arriving at a gig in Asia with a broken headstock and damage to all the controls. It was packed in a standard guitar case rather than a sturdy flight case; hence the damage. While even a flight case is not a guarantee of a damage-free trip, it certainly increases your chances of your gear remaining intact. Colin Pedlar is another roadie with a fine rock pedigree, having worked with The Screaming Jets, The Angels and Jimi Hocking. He’s seen plenty of amplifiers take some hard falls off the back of trucks, but if they’ve been secured in a good case, the damage has been minimal. “Most of the cases I have dealt with are custom-made and they do what they’re supposed to do,” says Pedlar. Bennett agrees. “The ones with foam lining, ply and good quality outer casing, whether hardened plastic or there was a period where they made them with thin metal and vinyl… as long as they are rigid and the items inside don’t move around, you should be right.” However, it’s not just the venue where your gear can come under fire; airports can be a place of much grief for many musicians. Melbourne-based roadie Alex Saad explains. “I used to see cases thrown out of aeroplanes. This is going back to the ‘80s but it wouldn’t have mattered what sort of case it was or what was in them, they would have been damaged.
male end to the female end. For example, a 240 volt cable, like a normal extension cable, they’re made with the wires all going anti clockwise. When you wire them into a plug you wire them anti-clockwise. When you wind up a cable, you are meant to go over and under, to stop it from twisting. You should wind from the male end always and always over and under, not around your elbow. Elbows are for ropes!” Bennett suggests that you not only purchase quality cables, but also look after them: “Keep them clean. Make sure you take any labelling tape off them. Coil them correctly. Don’t tie them in knots, use a bit of insulation tape to secure them.”
THE GEAR SHIFT NOBODY KNOWS MORE ABOUT STAGE GEAR THAN AN EXPERIENCED ROADIE. THEY’RE THE ONES WHO TRANSPORT IT, PLACE IT ON STAGE AND THEN REMOVE IT NIGHT AFTER NIGHT. WHEN AUSTRALIAN MUSICIAN WANTED TO KNOW A THING OR TWO ABOUT MUSIC ACCESSORIES, WE WENT STRAIGHT TO THE SOURCE AND SPOKE WITH SOME OF AUSTRALIA’S BUSIEST ROADIES ABOUT CASES, STANDS, CABLES AND GAFFA. I think today though people are more aware of getting the correct case for their instrument.” Airlines such as Virgin and Qantas have recently relaxed luggage fees for musicians so that it isn’t as expensive to travel now with your gear. However this obviously still does’t ensure its safety. A couple of international musicians had such bad experiences with airlines and their belongings that they took revenge in song. Travelling on an airline from Sydney to Byron Bay, American roots guitarist Dale Watson was so frustrated at losing a box of CDs that he’d paid more than $600 in excess baggage fees to transport, that he penned a song called ‘We Don’t Careways’. The YouTube clip received over 17,000 hits and the airline paid Watson over $2,500 in compensation within hours of the clip going live. Canadian musician Dave Carroll aimed his anger at United Airlines with his none too subtle song, ‘United Breaks Guitars’, after witnesses had seen airline ground staff flinging guitar cases recklessly around the tarmac. The overriding theme in much of what these roadies had to say is the importance of quality accessories, particularly your cables. “The last thing you want is a bad cable letting down some part of the signal chain. If you know your cables are top quality, then it’s easier to do the fault finding. If you have a bunch of cheap cables in the system, as soon as something goes wrong, it makes the fault finding so much harder,” says Pedlar. “As long as they are rolled up correctly, under and over, they don’t get the twists.” Alex Saad has a more technical view of the significance of a properly wound cable. “Cables are interesting because not many people know how to wind a cable properly. A cable is made from the
Of all the accessories we got to speak about with our road gents, the item they got most excited about was gaffa tape! Bennett recalls, “I remember the days when we didn’t use gaffa and the stages were very messy. People would get caught up in them. It can be used for so many things. I’ve seen situations where if there weren’t enough ratchett straps, the gaffa would hold the PA together or hold mic stands together.” Saad suggests gaffa now has some competition. “Gaffa is good for holding down cables but I think electrical tape use is almost as popular as gaffa for keeping stuff tidy. Gaffa is good for stuff on the floor. Electrical tape holds stuff on trusses and holds audio cables together.” However despite its foibles, Pedlar’s allegiance remains with the trusted gaffa tape. “Gaffa can fix just about anything. It can solve problems but it can also cause problems. I’ve seen it tear paint off walls and lift carpet off the floor when it’s not supposed to.” Pedlar has also seen some unorthodox use of the tape. “Twenty years ago, a support band did the wrong thing by the main act I was working for. Some members of the main band went backstage and dismantled a guy’s bass… took the neck and machine heads off, undid the pickups. They took everything out and wrapped it up in one giant ball of gaffa. It was a bit of a lesson to the support band. A gig’s road crew has enough to think about without musicians adding to their grief with problems which they really should have sorted out themselves.” Our roadies were keen to share some final gems of advice - don’t forget to pack your strings and batteries for a gig. Bring your own power leads. Don’t tap on your microphone. Don’t lean on the mic stand and certainly don’t twirl it above your head. You’ve been told!
ARE YOU THE NEXT
RØDE ROCKER? THE SEARCH IS ON. Think you’ve got what it takes to make it big? RØDE is looking for the very best unsigned artists around the world in the ‘RØDE Rocks’ talent search.
WIN
A 3-DAY STUDIO RECORDING SESSION AT RECORD PLANT HOLLYWOOD, OR AN AMAZING STUDIO PRIZE PACK!
Visit roderocks.com and you could be on your way to Record Plant in Hollywood to record with all-star producer Alain Johnnes (Chris Cornell, Queens of the Stone Age, Arctic Monkeys, Them Crooked Vultures)!
RODEROCKS.COM themusic.com.au
THE DRUM MEDIA • 39
A CASE FOR QUALITY
F
or a musician, your gear is your most important asset and consequently needs to be protected from the hardships of baggage handlers, over-enthusiastic roadies and constant gigging. It’s important to transport your instruments in cases that will guarantee their survival. So, rather than just accept the traditional case options on the market, why not consider something unique to your needs and appealing to your eye?
T
he Guitar Jack 2 from Sonoma Wire Works is basically a device used to connect an instrument, mic or any other audio hardware (such as a mixer) to your iPad or iPad 2, iPhone 4 or iPod Touch. The fun and games commence once you’re connected and can access the apps to create your music. In reviewing the Gear Jack 2, we really only need to know a couple of key things: is the construction solid and is the signal it emits clear and strong? The answer to both is a resounding yes!
Brisbane-based roadcase manufacturer www.cases.com. au is not a large company but that’s the way they like it. It means they can provide high-quality products and personalised service. The guys at www.cases.com.au have been in the case business for a long time, boast a combined experience of over 50 years and are acutely aware what their customers want. www.cases.com. au was established with the merger of two distinctly different companies: Blue Cat Case company, which was a manufacturer of custom cases, and Go Case, which was an importer of racks, packing cases and briefcases. Having both custom fabrication and off the shelf imports has been a winning combination for them as they roll into their tenth year of operations. Their cases are produced using a mix of cuttingedge technology and good old-fashioned blood, sweat and tears, constructed partly by hand and partly by robotics-based machinery. The best aspect of what www.cases.com.au do is they can custom design cases to your specific needs. Their innovative design team can create a case for you that is not only durable, but cleverly constructed using only the best quality components. Cases may feature drawers, compartments, shelves and shaped foam. Whatever you need, they can include. www.cases.com.au work with a wide variety of companies developing product for stage, computer industry, audio and broadcast industries. Cases can be constructed for any musical situation, catering for guitars, amps, racks, pedal boards, amp heads and combos, keyboards, synths, drums, mixers and DJ gear. In fact, if it hasn’t been made and you need it, then www.cases.com.
REVIEW: SONOMA WIRE WORKS GEAR JACK 2
au will look forward to the challenge of helping you. Handles and castors can be attached to make these cases as user-friendly as possible. Not only are the cases as sturdy as they should be, but also innovative in design. You may add logos or artwork of your choice to sync in with your company/band image. The purchase of a roadcase is an important investment, so why not take the time to chat with the guys at www.cases. com.au, discuss your needs and give them the opportunity put forward some no obligation options.
A solidly built aluminium unit quite weighty for its size, its features include a 1/4” instrument input with configurable Pad, Lo-Z and Hi-Z modes, and a 1/8” stereo output with increased drive for your headphone and a 1/8” stereo mic/line input with Pad, Normal and Boost modes. Each input offers 60dB of continuous level control. The unit has four rubber pads on the bottom so it can sit tight and flush with a table surface. Probably one of the only negatives is the only thing holding the Gear Jack 2 to your IOS device is the docking connector itself. You need to be mindful of knocking the unit while in use, as movement may result in loss of signal connection. Perhaps any future mods to the Gear Jack could include some kind of clip device to hold it secure or even a wide rubber band would do the trick. However if the unit is placed out of harm’s way, there shouldn’t be any issues. Cables snap snuggly into the metal inputs without a hitch and the unit docks into your IOS device quite easily too. Design-wise, the polished metal unit looks like an extension of your iPhone.
These include Guitar Tone (a free app featuring amps and effects), Taylor EQ (a free Taylor guitar brand-specific app), Four Track (a multitrack recording app which is not free) and Studio Track (multitrack recording software you’ll also have to pay for). You can also use other music apps. To begin, you need to plug the Guitar Jack 2 in before launching an app. The Guitar jack control panel can be found under Song Tools in the Four Track app. Once connecting an instrument or microphone to the unit, the sound quality is faultless with no dropouts, hiss or interference of any kind noticeable. Guitar Jack 2 is one of many IOS connectors available on the market now, but this one just seems to be more solid and rates high on sound quality too, producing true, realistic tones. You won’t find a product manual with the unit, merely a few beginner instructions on the packaging; however, it really doesn’t warrant one. There’s not much to know before you’re connected and creating music. At $199, it’s more expensive than some, but you get what you pay for; solid construction and perfect sound reproduction. www.innovativemusic.com.au
Four Guitar Jack enhanced apps are recommended for use but don’t come automatically; you’ll need to download them.
The M.I.P.A. 2012 winning H2n features our best microphones yet and is the only portable recorder with five mic capsules onboard. The H2n offers four unique recording modes: Mid-Side (MS) stereo, 90° X/Y stereo, 2-channel and 4-channel surround sound. Pictured actual size. Newly designed user interface. Bigger and brighter LCD screen. Five new mic capsules. USB 2.0 interface. Analog Mic Gain for precision volume control. Edit audio onboard. Onboard reference speaker and stereo output. New data recovery function. 20 hours of battery life. Create stunning 360° surround sound recordings. Linear PCM recording at up to 24bit/96kHz quality. Broadcast Wave Format support. 32GB SDHC card support. WaveLab LE software included for editing and mastering. Two Year Warranty when purchased from Authorised Australian dealers
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The first portable Mid-Side recorder 40 • THE DRUM MEDIA
themusic.com.au
dynamicmusic.com.au
BEHIND THE LINES WITH MICHAEL SMITH
DID YOU KNOW… That though it never really took off in Australia, where it was quickly superseded by the now also on the analogue scrap heap cassette, the 8-track tape cartridge was actually sonically superior as it featured a ½” tape running at 3 ¾” per second.
BC RICH COFFIN CASES B.C. Rich, a name synonymous with metal guitars, is thrilled to have an association with the legendary Coffin cases. These cases have been especially designed in conjunction with Coffin cases to give you the most features possible for storing and transporting your B.C. Rich instruments. The Coffin-shaped cases have the B.C. Rich logo in white on the outside with very rugged hard vinyl. There is contrasting red and black velvet interior emblazoned with the B.C. Rich logo. Other features include raised neck support, versatile Velcro block for a custom-tight fit of any B.C. Rich model, a roomy storage compartment, two supportive neck rests and a raised fingerboard padding in the top of the case. Available in three sizes.
INTERNATIONAL RØDE ROCKS COMP The Australian-owned microphone manufacturing company, RØDE, has announced an international band competition, RØDE Rocks, designed to discover and showcase the best in independent, unsigned talent and reward them with an all expenses paid recording session in Hollywood, as well as studio prize packs of microphones and speakers. To enter, you need to record an original composition of more than two minutes in length and then create an accompanying video that features at least one RØDE microphone. After uploading the video to YouTube, you simply visit the RØDE Rocks website and submit your details along with a link to the video. Saturday 30 June, a panel of judges including Matt Sorum (Guns N’ Roses, Velvet Revolver, The Cult), David Catching (Queens Of The Stone Age, Eagles Of Death Metal), Howlin’ Pelle Almqvist (The Hives), James Lavelle (UNKLE), Band Of Horses, Gareth Liddiard (The Drones), Har Mar Superstar, Deuce and Warpaint will pick ten finalists, their videos then being showcased on the RØDE website for two weeks during which time visitors will be invited to vote for their favourite performance. First prize is return flights to LA to record at The Record Plant in Hollywood, with producer Alain Johannes (Queens Of The Stone Age, Them Crooked Vultures). Providing additional production and engineering support during the session will be John Merchant (Michael Jackson, Lenny Kravitz) and Grammy Award winner Francis Buckley (Aerosmith, Black Flag), then it’ll be professionally mixed and mastered ready for the winning act to release. The winners will also receive vocal training from SLS-certified instructor Robert Stevenson. Second and third prizewinners will each receive a studio prize pack worth over US$15,000. btl@drummedia.com.au
www.promusicaustralia.com
DEAN MARKLEY’S LOVE POTION #9
GHS BASS FLEA SIGNATURE
Dean Markley recently announced the reintroduction of their original guitar care polish, Love Potion #9. The polish is available from music retailers worldwide. Gentle enough for daily use, Love Potion #9 is a simple, efficient way to care for all wood-crafted instruments. Applied daily, the concentrated formula provides streak-free lustre and shine and extends the life of the instrument. www.cmi.com.au
RESEALABLE MULTI-PACKS GHS Strings continues its innovative approach to packaging with the world’s first resealable guitar string package. GHS Strings “Multi” 5-Packs and 2-Packs are sealed at the factory for freshness in a tamper-proof package. The exclusive package design includes built-in zipper lock which allows the user to remove only the packs required at a given time and then reseal the package to maintain freshness. The GHS facility is 100 per cent humidity controlled with state-of-the-art equipment and highly skilled technicians ensure factory freshness in every airtight Fresh Pack produced. Each Electric Guitar Boomers and Acoustic Phosphor Bronze Multi-Pack of guitar strings has two extra High E strings, free. Bass Boomers Multi-Packs include two complete sets of bass strings. These packs easily fit into any guitar case and are available in a variety of gauges. www.dynamicmusic.com.au
GHS strings are now proudly endorsing The Chili Peppers’ Flea. He uses the tried and true formula of GHS Bass Boomers. GHS Bass Boomers are a Nickel-Plated Steel wrap wire with a special combination of Stainless Steel and Nickel Plate on the low E string. The unique Boomer hex core gives this string added strength. The Red Hot Chili Peppers count on Flea to provide that hard-driving bottom end and these strings are a crucial part of that signature sound. www.dynamicmusic.com.au
ESP STOOL AND STRINGS OFFER Anyone purchasing an ESP or LTD 100 series guitar, can now also acquire a quality ESP guitar stool and set of Dean Markley Helix strings, valued at $138, for just $19.95. Offer is open until June 30, 2012. The guitars themselves are on special too, with discounts of up to 40 per cent off. www.cmi.com.au
GRABAXE
K&M IPAD HOLDER RANGE More and more people are using their iPads for use on stage, whether it’s for set lists, lyrics or score chord charts. But where do you put them on stage? K&M have come up with a range of holders that either attach to the thread of your mic stand or clamp onto the upright of your mic or music stand www.trc.com.au
Released back in 2008, GrabAxe provides excellent protection for your guitars on stage. The only safer place is in your guitar case! GrabAxe can be used in conjunction with your guitar stand, acting as a safety belt, or replace your stand for more stage room. GrabAxe is small and lightweight. Fits in your pocket, gig gag or case, and can be left on your amp! GrabAxe can secure up to four guitars to your amp at one time (one per package)! GrabAxe comes with the main strap, side mount adapter and deck pad.
K&M 16150 GUITAR HOLDER
www.eastgatemusic.com
www.trc.com.au
One of the biggest problems when performing live is lack of stage space. The KM 16150 allows you to hang your guitar from your mic stand. There’s even a space for two picks in the rubber ring that protects the back of your guitar from the stand.
GUITAR GEAR GGT301 HEADSTOCK GUITAR TUNER The Guitar Gear GGT301 Headstock Guitar Tuner is a new fully-featured headstock tuner for guitar, with an amazingly bright and easy-to-read display that makes it so much easier for you to get into tune quickly. The GGT301 is chromatc, so you can tune to whatever you like, and is sure to be an essential part of your guitar gear arsenal from now on! Just add one of our 25 pick mega packs and it will also ship free! RRP $29 www.guitar-gear.com.au
themusic.com.au
THE DRUM MEDIA • 41
VIC FIRTH ESSENTIALS STICK BAG Cleverly designed to hold four or five implements, a hook-and-strap system allows for secure suspension from the floor tom or snare. An internal pocket and elastic drum key loop make the bag complete! www.musiclink.com.au
HISCOX HARDCASES ERNIE BALL COBALT STRINGS Ernie Ball’s Cobalt strings are a significant new product for guitarists and bass players. As soon as you string up a guitar or bass with Cobalts – before even plugging it in - you can feel the difference (smoother, more buttery feel). Once you plug in, you immediately hear added punch and extended frequency response. Ernie Ball Cobalt Strings are a new spin on Ernie Ball’s best-selling set of strings, which have been played by the likes of Eric Clapton, John Mayer, Steve Vai and many more. Engineered to maximize output and clarity, Ernie Ball Cobalt Slinky Guitar Strings are the latest innovation in string technology. Seeking to provide guitarists and bassists with a new voice, Cobalt strings provide an extended dynamic range, incredible harmonic response, increased low end and crisp, clear highs. Cobalt provides a stronger magnetic relationship between pickups and strings than any other alloy previously available. Cobalt Slinkys are also soft and silky to the touch, making string bending a breeze.
GALACTIC GL004 MUSIC DUAL LED LIGHT With the Galactic Music clip-on LED, you can perform everywhere from concert halls to jazz clubs with some extra light to see what you’re playing. It features dual goosenecks and multi-directional beams for adjustability over a wide variety of applications. Simply press one of the buttons on each individual LED light head to turn on a single or dual LED light. The Music LED runs on the three AAA batteries included or can be connected via the USB adaptor to a laptop or computer. RRP $20
Established in 1985, Hiscox Cases Ltd. is the brainchild of Brynn Hiscox, a professional guitar maker. Being acutely aware of the lack of quality cases on the market, he used his engineering background to design a case that stood up to his exacting requirements. Brynn’s customers demanded cases that had higher protection but with less weight. Pro Music, Hiscox’s Australian distributor, imports a wide range of their gear including a variety of cases for guitar, mandolin, sax and other horns, violin and cello. Guitar cases are custom-made to fit specific brands too including Fender and Gibson, and Hiscox even get as specific as a case for the the Brian May model electric.
GROOVETECH JACK AND POT WRENCH Instrument and amp jacks are notorious for coming loose, and with a shallow nut and recessed cavity, access can be challenging. However, the GrooveTech Jack and Pot Wrench provides three thin-wall sockets - 1/2�, 7/16� and 12mm - in a compact 4� tool to handle the most common sizes of jacks and pots on instruments, amps and other audio gear. Add a dab of threadlocker and you’ll probably never have to deal with that loose jack again. Sockets are pro-grade with a dazzling polished chrome finish. GTJPT1 www.trc.com.au
www.promusicaustralia.com
www.galacticmusic.com.au
www.cmcmusic.com.au
BESPECO CABLES Made in Italy, Bespeco produce a quality range of cables and stands, all thanks to their professional and technological research and development, the selection of components and the rigorous quality control at each productive stage. Bespeco offer two options of supply with their cables, either on a reel/roll or factory assembled. This applies to microphone/instrument cable, multicore, speaker cables and electrical mains cable. Assembled cables are neatly presented for effective selling and display, either in an eye-catching cardboard sleeve or in a bag. Either way, these are available in different colours and lengths. Another great feature of Bespeco cables is that they are now equipped with a strap-band, neatly holding the cable in place once folded! The strap-band and (if fitted) the rubber jack, may be personalised with your own name/company logo. www.dynamicmusic.com.au
GUITAR GEAR UGRIP FA10 HAND EXERCISER The uGrip green is light tension. Exercise with caution and be sure not to overextend yourself at first. This is a great hand exerciser for players of any instrument!
VOX ACOUSTIC AMPLUG
Finger-span can be extended by shifting the fourth button. Price? $19.99 RRP
The headphone guitar amp that lets you enjoy serious guitar sound, fast. Jamming late at night? Dont want to wake the neighbours? Maybe you want to work out a lick with your MP3 player without taking the time to set up your amp. You want to play guitar right now. amPlug is the answer. Simply plug this palm-sized headphone guitar amp directly into your guitar and enjoy serious guitar sound anywhere, anytime. Now available in six styles: Lead, Bass, VOX AC30, Classic Rock, Metal and Acoustic. AUX in jack lets you jam along with your CD/MP3 player.
www.kosmic.com.au
http://au.yamaha.com/
Use it to warm up before playing and to strengthen/stretch the fingers. It features unique ergonomic design that allows you to exercise the fingers, wrists and forearms while practising the correct action. Increases finger speed, strength and independence.
GUITAR GEAR UGIG INTERFACE FOR IPHONE IPAD The uGig is an iPhone/iPad interface that allows you to make use of a variety of great guitar apps. There are some great free apps to choose from and the uGig is an affordable way for you to try them all out, have a bit of fun and rock out. The uGig can also plug into your guitar amp, which means you can get your great guitar tones through an amp, or even a PA system if you need a back-up should your amp go down! Just plug the uGig into the device’s headphone jack, your instrument into the uGig and connect the output of the uGig to an amplifier or other device that has line input capability. Then you’re ready to rock! RRP $21 www.guitar-gear.com.au
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DECEMBER
2011 #47
Order your copy of AMID now! VISIT WWW.THEMUSIC.COM.AU/STORE 42 • THE DRUM MEDIA
themusic.com.au
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GUITARS BASS AMPS KEYBOARDS PA & LIGHTING DJ RECORDING DRUMS , T I T N A W U O Y D N A T I T O ! L A IF WE’VE G E D E N A S N I N A R O F M R A R U O TWIST WWW.KOSMIC.COM.AU 94 HECTOR ST OSBORNE PARK | 9204 7577 8/1296 ALBANY HWY CANNINGTON | 9258 4236
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