Issue 1417

33,560 OCTOBER 2012 MARCH 2013 - AUSTRALIA’S HIGHEST CIRCULATING STREET PRESS

GRAND BUDAPEST HOTEL

EDUCATION, TRAINING & CAREERS FEATURE

JOAN AS POLICE WOMAN

MICHAEL FRANTI

THE SHAKEYS

2

WWW. XP RE SS MAG.COM. AU

WWW. XP RE SS MAG.COM. AU

3

NEWSDESK

LOCAL NEWS

|

GLOBAL NEWS

|

ANNOUNCEMENTS

FUNKOARS FUN Australian hip hop titans, The Funkoars are heading to Perth to celebrate the outstanding chart success of their recent EP, Dawn Of The Head. Playing at Capitol on Friday, May 23, before heading down to Albany to play Studio 146 on Saturday, May 24, the band will only be playing two WA shows, so make sure you clear your schedule to see them! Joining The Funkoars for their performances will be local hip hop artist, Mr Grevis, as well as a special mystery guest. Tickets are available through Oztix.com.au.

Funkoars

SEXY SALSA

PERTH PUNX

This Sunday, April 13, the Rosemount Hotel will be holding a brand new night of infectious Latin grooves, provided by salsa septet, Orquesta Yambeque. If you’re a little rusty on your steps, not to worry, the Juan Randa Dance Academy will be there early offering discount lessons. The event will start off with DJ Mateo spinning some sexy Latin tunes from 4pm.

This is a new ground for the Rosemount, so, if you’re a fan of Latin tunes, make sure you come down and show your support. Entry is free, so you just rock up and dance the night away!

Punk rock trio, Hunx And His Punx have just announced the support of fellow Californians, Shannon And The Clams, for their Australian tour this month. Playing alongside the Americans at the Rosemount Hotel on Thursday, April 23, will be local boys, Doctopus and Kučka. With early bird tickets selling out in record time, fans are scrambling to get tickets for the show; so make sure you snap some up before they’re all gone. Tickets are $33.70 and are available through Oztix.com.au, or at the door (though there might not be any left by then!)

Mateo, Orquesta Yambeque

Hunx And His Punx

WAIFS WILL WANDER Iconic Australian band, The Waifs, will be returning soon for their first national tour since 2011. The band will be playing songs spanning their 22-year career at several venues across WA to kick off the tour. The shows will begin at the Bunbury Entertainment Centre on Wednesday, May 21, before moving on to the Astor Theatre on Thursday, May 22, the Kimberley Moon Experience on Saturday, May 24, and finishing up at the Fly By Night on Sunday, May 25. This is an event not to be missed for fans of The Waifs. Tickets are available through venue outlets and Oztix.com.au.

HEADING TO HEDLAND The Pilbara region’s premiere music fest, North West Festival, will be returning to Port Hedland this year for a weekend showcasing some of Australia’s biggest bands, from Friday, August 22. The event has previously featured the likes of The Living End, The Cat Empire, Vance Joy, Paul Kelly and a menagerie of others, and while nothing’s been announced yet, you can bet this year will feature plenty of must-see acts.

Festival fans will now enjoy two days of free camping from Friday night, including amenities. Make sure you keep an eye on this space for more updates and visit the festival website for more info in coming days at northwestfestival.com.au

Youth songwriting competition, The Quest, has announced the top 10 finalists set to battle it out for the coveted spaces performing at this year’s Fairbridge Festival. The finalists will be duking it out at the Camelot Theatre this Saturday, April 12, from 7pm.

Alongside the finalists, last year’s winners will also be performing, featuring Claudia Tero, Keisha Hewitt and Kids With Wolves. If you’d like to see some of Perth’s great young songwriters, and maybe catch a sneak peak at their Fairbridge set, tickets are on sale from the festival office on 9246 3311, or at the door.

North West Festival

Kids With Wolves

QUESTING KIDS

The Waifs

A TASTE OF THINGS TO COME One of the internationally sensational Taste Festivals will be setting up close to home for the Taste Of Perth from Friday–Sunday, May 2–4, at Langley Park. The event will feature some of Perth’s premiere chefs delivering their culinary secrets, a Taste Kitchen by River Cottage Australia’s Paul West, beer and cocktail masterclasses, and the winter favourites showcase at the famous Rekorderlig Cider Bar. Tickets are available through Ticketek.com.au, or at the door. Whether you’re a hardcore fan of gastronomic delights, or just a part-time lover of beer and wine, there’s something for everyone at this year’s Taste Of Perth.

As part of the Ride To Conquer Cancer, there will be a special house concert on Saturday, April 26, featuring performances from Empire Blues and The Littlest Fox. The event is BYO, with light food provided and tickets will set you back $30. The event will be held by members of the Flow Rider team for this year’s ride. Tickets are limited and are available by emailing Elaine at witzend@highway1.com.au.

If you’d like to donate, or find more information on the ride, visit conquercancer.org.au.

Paul West

The Littlest Fox

GO WITH THE FLOW

SONGBIRDS’ FLIGHT LA-based three-part harmony group, The SongBirds, will be hitting up the Ellington Jazz Club on Sunday, April 27, for the first show in the Australian leg of their tour, promoting their debut self-titled EP. Modernising the classic sound of vocal groups from the ‘20s and ‘30s, the band’s soulful deliverance and the international reputation of its members, including Australia’s own Danielle DeAndrea, makes this a mustsee event. If you’d like to check them out, the EP has just been released on iTunes. Tickets are available through ellingtonjazz.com.au.

The Songbirds 4

WWW. XP RE SS MAG.COM. AU

WWW. XP RE SS MAG.COM. AU

5

WIN

N E W S L E T T E R - S I G N U P AT W W W. X P R E S S M AG . C O M . A U F O R E XC L U S I V E C O M P S

PRINT AND DIGITAL EDITIONS PUBLISHER/MANAGER Joe Cipriani

EDITORIAL - 9213 2888 MANAGING EDITOR Bob Gordon: editor@xpressmag.com.au FEATURES & DANCE MUSIC EDITOR Merran Reed: featuresed@xpressmag.com.au LOCAL MUSIC & ARTS EDITOR Travis Johnson: localmusicarts@xpressmag.com.au GIG & EVENT GUIDES CO-ORDINATOR guide@xpressmag.com.au COMPETITIONS win@xpressmag.com.au

DOUBLE PASS TO IN THE PINES

For band gigs and launches - plugyourgig@xpressmag.com.au

RTRFM’s annual autumn music festival – In The Pines – is on Sunday, April 20 during the Easter long weekend with 20 of Perth’s best acts, such as Flower Drums, Dianas, and Gunns, playing across an all-day celebration at UWA’s Somerville. Email win@xpressmag.com.au to win a double pass.

PHOTOGRAPHY Rachael Barrett, Guang-Hui Chuan, Daniel Craig, Brandon D’Silva, Max Fairclough, Daniel Grant, Sammy Granville, Matt Jelonek, Emma Mackenzie, Callum Ponton, Denis Radacic, Bohdan Warchomij, Michael Wylie CONTRIBUTING WRITERS Leah Blankendaal, Nina Bertok, Aaron Bryans, Joe Cassidy, Hayley Davis, Chris Gibbs, Alfred Gorman, Shaun Cowe, Predrag Delibasich, Jayde Ferguson, George Green, Alex Griffin, James Hanlon, Chris Havercroft, Joshua Hayes, Brendan Holben, Coral Huckstep, Ellie Hutchinson, Tom Kitson, Charlie Lewis, Daisy Lythe, Troy Mutton, Andrew Nelson, David O’Connell, Shane Pinnegar, Jessica Willoughby, Emily Woods

ADVERTISING - 9213 2888 SALES MANAGER AGENCY / MOVIES / ARTS / EDUCATION / SPONSORSHIP / ONLINE MARKETING Craig Mauger - advertising@xpressmag.com.au MUSIC SERVICES / MUSICAL EQUIPMENT / BANDS / RECORD LABELS Dez Richardson - musicservices@xpressmag.com.au ENTERTAINMENT VENUES / LIVE AND DANCE MUSIC PROMOTERS Tim Milroy - entertainment@xpressmag.com.au CLASSIFIEDS LINAGE classifieds@xpressmag.com.au

PRODUCTION DEPARTMENT - 9213 2854

WIN A DOUBLE PASS TO SEE ANY DAY NOW Any Day Now is a powerful tale of love, acceptance and family. When a teenager with Down syndrome (Isaac Leyva) is abandoned by his mother, a gay couple (Alan Cumming and Garret Dillahunt) takes him in and becomes the loving family he’s never had.

But when their unconventional living arrangement is discovered by authorities, the men are forced to fight a biased legal system to save the life of the child they have come to love as their own. Inspired by a true story from the late 1970s. Email win@xpressmag. com.au to get a double pass to see it.

Any Day Now

CONTENT COORDINATOR Anthony Jackson - production@xpressmag.com.au ART DIRECTOR Dwight O’Neil DESIGN + PRODUCTION Andy Quilty, Anthony Jackson, Kasia Mazurkiewicz

PRINTING Rural Press Printing Mandurah DISTRIBUTION - 9213 2853 - distribution@xpressmag.com.au

CHECK IN AT THE GRAND BUDAPEST HOTEL, FOR FREE

ADMIN / ACCOUNTS - 9213 2888 Lillian Buckley accounts@xpressmag.com.au

Written and directed by Wes Anderson and featuring an amazing ensemble cast led by Ralph Fiennes, The Grand Budapest Hotel recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune -- all against the back-drop of a suddenly and dramatically changing Continent. Starring Ralph Fiennes, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Saoirse Ronan, Jason Schwartzman, Léa Seydoux, Tilda Swinton, Tom Wilkinson, Owen Wilson. Email win@ xpressmag.com.au to win a double pass.

EDITORIAL DEADLINES General: Friday 5pm, Eye4 Arts: Thursday 10am, WIN: Friday 5pm, Salt Clubs: Monday 5pm , Local Scene: Monday Noon, Gig Guide: Monday 5pm ADVERTISING DEADLINES Cancellations: Monday 5pm, Ads to be set: Monday Noon Supplied Bookings / Copy: Tuesday 12 Noon, Classifieds: Monday 4pm

Ralph Fiennes

Published by: Columbia Press Pty.Ltd. A.C.N. 066 570 803 Registered by Australia Post. Publication No PP600110.00006 Suite 55/102 Railway Street, City West Business Centre, West Perth, WA 6005 Locked Bag 31, West Perth, WA 6872 Phone: (08) 9213 2888 Fax: (08) 9213 2882 Website: http://www.xpressmag.com.au

MEGA MUSIC’S MEGA MOODY BIRTHDAY SALE

WARRANTY AND INDEMNITY Advertisers and/or their agents by lodging an advertisment shall indemnify the publisher, and its agents, against all liability claims or proceedings whatsoever arising from the publication. Advertisers and/or their representatives indemnify the publisher in relation to defamation, slander, breach of copyright, infringement of trademarks of name of publication titles, unfair competition or trade practices, royalties or violation of rights or privacy and warrant that the material complies with revelant laws and regulations and that its publication will not give rise to any rights against or liabilities in the publisher, its servants or agents. Any material supplied to X-Press is at the contributor’s risk.

33,560 OCTOBER 2012 MARCH 2013 - AUSTRALIA’S HIGHEST CIRCULATING STREET PRESS

6

WIN: DAN SULTAN’S NEW ALBUM BLACKBIRD Sultan’s new album is the culmination of many months of writing and recording, and sees powerhouse riffs met by crackling gospel interludes, old-school rock and roll jams, pure country tones, bare and aching ballads, harmonies, horns, banjos – even an Arabic scale or two. Blackbird is the simple journey of a man singing about love, desire and identity – an Australian musician coming into his own. Hit up win@ xpressmag.com.au to win a copy of Blackbird.

WWW. XP RE SS MAG.COM. AU

Mega Music is celebrating its 13 th birthday this week, ending April 19.

Despite the sale being themed around Mega moody teenagers, Mega Music is clearly very happy that its birthday time because they are giving one lucky X-Press reader a fantastic present. Send entries to win@xpressmag.com.au and tell us “what makes you mega moody?”, and you’re in the running to win a $100 voucher to spend in the store during the sale period. Check out megamusiconline. com.au or head into the Myaree or Wangara store to check out some of their specials.

WWW. XP RE SS MAG.COM. AU

7

FLESH

NEWS - INTERVIEWS - REVIEWS - CONTENTS

Indigo - Pic: Samuel Marshall

AMPFEST Nedlands Foreshore & Skatepark Saturday, April 5, 2014

THE LONG WAY HOME War Stories The Long Way Home is a gripping account of the experiences of servicemen and women who have had their lives altered by wounds, injury or illness during operations in Iraq, Afghanistan and East Timor. The play, written by Daniel Keene, is a collaboration between the Sydney Theatre Company and the Australian Defence Force. It will be showing at His Majesty’s Theatre this Friday and Saturday, April 11 and 12. Defence Coordinator, Brigadier Alison Craig, talks about the play and her experiences working with the theatre staff and wounded soldiers. SHAUN COWE reports.

“I’m really almost like the Defence’s equivalent of a producer,” Craig says. “My role as Defence Coordinator is everything from looking after the Australian Defence Force cast members… through to providing support to the Sydney Theatre Company with the delivery of the play.”

The play, which will finish its three-month run this weekend in Perth, is the culmination of months of research between playwright, Daniel Keene, and the Australian Defence Force. Serving the dual purpose of helping the road to recovery for wounded soldiers and educating the public on the terrible impact these dangerous operations have on the lives of army personnel, it is a sensitive subject that Craig believes Keene masterfully handled.

“He’s been remarkable,” she says. “He listened to them tell their stories; he patiently listened to them, at times, as he won their trust and confidence. So he was able to get a lot of depth of story from them.”

Amazingly, 11 of the actors in the play are the Defence personnel who lived the events told in the play. Suffering injuries both physical and psychological, and being unfamiliar with the discipline of stage performance, Craig says the key to making the soldiers ready for the play was being accommodating and offering intensive coaching.

“Most of their injuries are almost invisible.

One guy, who was in the Black Hawk accident where three Australians and one US serviceman lost their lives, he wasn’t expected to live. He was in a coma for a very long time; wasn’t expected to walk or run, or talk, and now he’s does all of that, so he’s quite remarkable. But he had a traumatic brain injury… so, for him, learning his lines was challenging. So Charmian Gradwell, the speech and movement coach spent a lot of time working with Lance Corporal Gary Wilson – the fellow from the chopper accident – to help him be able to articulate, clearly, the words he was going to deliver.”

With the play gaining patronage from the upper echelons of both the acting and military worlds, including Chief of the Defence Force, General David Hurley, Craig explains why she feels the play was so important to the military.

“I think the senior leadership of Defence saw two benefits for embarking on a unique project like this,” she says. “One is to tell the story of the Australian Defence Force in a way we haven’t done in recent times, and give people an opportunity to get, really, an almost first-hand account of what it’s like to be in the army.

“But I think the other reason, really, that’s very attractive about it, was the opportunity to help some of our working injured and see whether it would actually enhance their recovery.”

This year’s Ampfest final, held as part of the 4Sure Festival, was a damn fine way to spend a Saturday afternoon. Bands playing tunes right by the river what’s not to like?

It’s not easy being first up in these types of things, but Anna O actually asked to open the proceedings. Word to the brave! As the sea breeze made a welcome appearance, Anna O’Neil and band broke into her single, Sleepless, which as the opener to her debut EP, When The Winter Came, has already opened some doors around the country. Occasionally the sampled background vocals and icy keyboards seemed incongruent with the riverside surroundings, but O’Neil did well to maintain confidence and composure, as her voice sailed over the foreshore. Her newest composition, Fast Forward broad a late-night feel to the broad daylight, while Hibernation encompassed a more sombre, reflective mood.

North Shore Shoals were up next, an occasional two-piece (guitar and drums) showcasing Ben Pattison (ex of Wash) and his songs. It was the first gig in this guise and while songs such as Be Prepared and Girls On The Train, showed a fine appreciation for the Gallagher school of songwriting, there was an uneven nature in many of the songs - most likely due to be firstshow nerves - and a tendency for the songs to pitched a little bit beyond Pattison’s vocal range. It’s all in the playing though, and it seems as though he’s going to be doing plenty more.

When a false start in the first song saw the members of Silver Hills dissolve into laughter, the only way was up. Fortunately, the going got good and revealed an enthusiastic band playing reverb-drenched songs, many with a Smiths-like quality, with titles such as Cassowaries and Sun Sets On The West Coast - the dreamlike effect of the latter song making it seem

15

21

27

30 32 34

News Win Flesh Music Erykah Badu, Saskwatch Michael Franti, Joan As Police Woman The Soul Rebels New Noise Eye4 Cover: Fremantle Street Arts Festival Any Day Now, The Grand Budapest Hotel Travis Fine, The Lego Movie, Divergent Style In The City, Food Truck Rumble Arts Listings Salt Cover: Sable News, Take 5, Fresh Meat Oscar Key Sung, Bedroom To Big House Club Manual, Behind The Decks, Salt Rewind: A$AP Ferg Scene Live: The Love Junkies, OPIA, Monster Magnet Local Scene Tour Trails Tour Tale - Steve Kilbey Gig Guide Volume The Love Junkies

FRONT COVER: Erykah Badu performs at West Coast Blues N’ Roots this Sunday, April 13, at Fremantle Park.

SALT COVER: John Dewhurst, AKA Sable, heads to Metropolis Fremantle on Thursday, April 24.

8

BOB GORDON

BREAKTHROUGH TO BLUES N’ ROOTS Mojo’s Bar Tuesday, April 1, 2014 The Breakthrough To Blues N’ Roots competition final at Mojo’s last week yielded an embarrassment of riches, with three solid and well-experienced acts doing good-natured battle. Jordan McRobbie, Dilip N’ The Davs and Amani Consort took to the stage for short and sharp sets, with the latter winning by half a point. All would have been a welcome addition to the line-up at this Sunday’s West Coast Blues N’ Roots, which will now feature a set by Amani Consort.

Congratulations, we’ll see you there!

CONTENTS 4 6 8 10

as though the yachts on the river were sailing to it.

Gorgeous!

Indigo had come all the way from Mandurah and were here for business. Atmospheric and strident from the get-go, much of their music could be described as heavy folk and singer Christopher Kinna’s voice certainly had a good storytelling nature about it as well as a lovely timbre. Indigo Right had the right amounts of polish and grit all ‘round.

Fox Cat Rabbit are a freshly-formed duo who tout Mumford & Sons and Of Monsters And Men as influences, but don’t hold that against them. Made up of Keira Jane Ephraims on lead vocals and tambourine and Bernardine Grigson on guitar/kick drum/backing vocals, they are an assured presence with heavenly harmonies and a nice angle in banter. Pyramids evoked good pop folk - rather than the reverse - while We Threw Ourselves Into The Fire (‘we didn’t really!’) was a haunting ballad.

It ended on a quirkier note with Shopping Trolley, which tied things up in a bow all nicely. Smashing and fabulous!

While scores were being totalled Mathas held court with a set that held an audience that probably weren’t all that conversant with hip hop pretty much entranced. The Love Junkies then played, unwittingly providing the soundtrack to a shore-side wedding.

Closing with Blowing On The Devil’s Strumpet as the bride and groom were posing for photos on the nearby jetty, the happy couple were serenaded with a lovely chorus of ‘She sucked the life right out of me!’ It was both agonising and delicious. And possibly not very romantic.

The Love Junkies EP launch later that night is reviewed on page 27.

Come decision time it was Indigo who won the main prize of $5000 with Silver Heels claiming the $1000 runners-up cash.

Well done to the Youth Advisory Councils (YACS) from the City of Nedlands, City of Subiaco and Town of Mosman Park for staging the event. Warm camaraderie abounded between bands throughout the proceedings on a day where music, as they say, was the winner.

Aysha Amani of Armani Consort, winner of Breakthrough To Blues N’ Roots - Pic: Andrew Pring

TRYING TO BE A STAR Magic Dirt rocker, Adalita is throwing her support behind this year’s Record Store Day Australia, joining the growing cohort of ambassadors, including Marcia Hines, Dan Sultan, Tim Dalton and Ian Hunter.

Performing at the Byron Bay Bluesfest, she won’t be one of the many performances held at local record stores across the country on Saturday, April 19, but she’s urging fans to go out and pick up some vinyl. If you want to show support for your local stores and have a fun day out, both Mills Records and 78 Records will be holding special performances on the day.

The Malya Yurturringu: Be A Star Film Festival will be holding a special fundraiser gig at the Fremantle Arts Centre on Thursday, April 24, to support this year’s festival, held in the Western Desert. The fundraiser will see Perth reggae royalty, Grace Barbé spin her Caribbean grooves in support of an organisation that does excellent work engaging children from six communities over the school holidays, providing invaluable artistic outlets. Alongside the Creole queen will be songstress, Felicity Groom, and indigenous soul tribute act, The Merindas. There will also be Martu artwork on display, as well as movies and activities for kids. Tickets are available from Oztix.com.au.

Hardcore metal rockers, In Hearts Wake, are on their way to Perth to kick off their national tour, in support of their latest album, Earthwalker. The Byron Bay quintet will be roping in friends for the tour, including East Coast acts Dream On Dreamer, Endless Heights and Sierra, as well as Californian melodic hardcore act, Being As An Ocean. The bands will be touching down at Leederville HQ on Wednesday, June 4, for an all-ages show, before rocking the Amplifier Bar on Thursday, June 5, for an adults-only performance.

Tickets are available through Oztix.com.au

Adalita - Pic: Warwick Baker

Grace Barbe - Pic: Matsu Photography

In Hearts Wake

GIRL PUT YOUR RECORDS ON

WWW. XP RE SS MAG.COM. AU

PERTHWALKER

WWW. XP RE SS MAG.COM. AU

9

MUSIC

ERYKAH BADU The Principle Of Moments Erykah Badu performs at West Coast Blues N’ Roots this Sunday, April 13, at Fremantle Park. ALASDAIR DUNCAN reports.

Erykah Badu’s live shows are the stuff of legend. The singer is known for her powerful soul voice and crack live band, but also for the versatility of her setlist, which can change at a moment’s notice depending on the night, the crowd and the vibe.

She does old songs, she does new songs, and she creates entirely fresh musical moments onstage.

“If I could, I’d do every song I’ve ever written in the live show, but there’s just not time,” Badu says with a gentle laugh. “My band and I have been performing together for a really long time, long enough that they know everything, so we’re able to have a lot of versatility in the show.

“Things can just flow, the energy is always different, the atmosphere is different, and so we always create the show in the moment. Playing a live show is the opposite of recording. Playing live is about creating a moment; recording is about perfecting a moment. You have to make everything perfect when you record, but playing live is more about taking chances.”

Years of touring has taught Badu that different places in the world have different needs, and her show each night is a response to an intangible something in the air.

“When we’re in America, in a place like Denver, the air and the water there are really clean, so everybody’s going to be relaxed and having a good time,” she explains. “When I’m performing in a place like Detroit or Baltimore, though, it’s a different show. The water is not as clean there. Those cities are plagued with a lot of crime, and even if you’re living a decent life there, you feel the vibrations of those who aren’t.”

She can’t perform the same set in both places. “I’m kind of mutable, you might say – I feel what’s going on in each place, I watch how people behave, and I change my show to fit in with that. The most important thing to me is that I connect with the audience.”

Given that Badu will soon return to Australia, I ask about her experiences with crowds in this part of the world, and how her shows here generally go down. “I’m not saying this just because I’m coming to Australia,” she replies, “but I really love it down there. The air there is clean, the people are beautiful, and it feels very, very good to play there.”

In fact, Badu’s last trip to Australia was the source of one of her most cherished memories.

“I felt so good the last time I was there. I had a set of turntables in my hotel room, I had the windows open and all of my favourite tunes, and I was just watching people walk on the street below me while

VIEWS

|

INTERVIEWS

STORIES

I played songs. When I want to picture a time that I felt really great, I close my eyes and think back to the time I spent in Australia. I felt very free.”

There’s one subject that hasn’t come up in our interview so far, but there’s no way I can let Badu go without asking about Window Seat. The video takes place the in same street in Dallas where President John F. Kennedy was assassinated in 1963, and is presented in one continuous shot, with Badu gradually stripping naked as she walks. What was the initial inspiration for such a bold idea?

“Well, when I was trying to think of something for the Window Seat video, I really wanted to do something more special than I had done before, because I always feel like I’m in competition with myself. I thought back to artists like Nina Simone and Josephine Baker, people whose music goes beyond performance, who used their music to spread a message.”

That message was one about the dangers of conformity. “I became interested in this term, ‘groupthink’,” Badu explains. “I hadn’t ever heard of it before, but it defines a group of people who are afraid to go out of the thought patterns of their group, of their community or church, say, because they’re afraid that being an individual will cause them to be ostracised, singled out for attack. This term was coined by a sociologist called Irving Janis, and a lot of sociologists and writers have played around with it, but his take on it is the first. I started really thinking on this idea, and what it means in a present-day sense.”

“I’m kind of mutable, you might say – I feel what’s going on in each place, I watch how people behave, and I change my show to fit in with that. The most important thing to me is that I connect with the audience.”

The job of an artist, Badu says, is to create a dialogue, and reflecting upon the concept of groupthink, she saw the idea of getting naked in the street as a way to both rebel and liberate. “Public nudity is not in fashion,” she laughs, “so I expected there to be a big dialogue around it and there was.”

The video’s location was also of great significance to Badu, who holds JFK in very high esteem. “He’s a very important figure, for the nation and for me personally,” she says. “People really sensationalise the idea of Camelot, but if you look at the man behind that, he was not afraid to make tough policy decisions. That’s the kind of person I wanted to pay tribute to.

“As I walked down the street and started stripping off my clothes, I was very nervous. I mean, it was just me and a camera walking this busy street, and I was petrified at the start of the video, but once I’d gotten out of the car and started walking, I knew it was something I had to go through with, because it would be a liberating experience. As I took each piece of clothing off, I felt like I was shedding a fear, a judgement, a belief system, and I focused on those thoughts as I took each step, so I wouldn’t be distracted by anything else. It was a demonstration,

SASKWATCH We Live For Live Saskwatch’s second LP, Nose Dive, is released this Friday, April 11. AARON BRYANS chats with vocalist, Nkechi Anele.

Starting from the bottom, Saskwatch are the perfect example of working your way to the top - taking every opportunity and experience available and incorporating it into their craft to produce layered genius.

Blooming as buskers on the streets of Melbourne, Saskwatch immediately revealed their incredible talent as a live band, an attribute they hold to this day.

10

|

PIC: KENNETH CAPELLO

it was a conversation, and it was an exercise.”

In a recent feature for Interview magazine, Badu spoke to young gun Kendrick Lamar, and one of her first questions was about what he hopes to achieve in his career. It was an interesting question to pose to the new kid, and I wonder: if someone had asked Badu the same thing at the beginning of her career when her 1997 Baduizm album was just coming out, what would she have told them? The singer, who

has been in the game for nearly two decades at this point, takes a moment to reflect on this.

“If someone had asked me that when my first album was coming out, I’d have told them that I would like to gather a collection of autobiographical memories to give my children,” she says. “That would be my aim, so they might listen to my words and think of me, and then one day feel compelled to create something for their children.”

“When Saskwatch started as buskers on the street we weren’t even called Saskwatch,” vocalist, Nkechi Anele, explains. “It had over 20 members to it that were always interchanging. A few members including myself came a bit later on as the band was developing and playing a lot more. But the majority of the people in the band were the original members of the busking group.”

Over the years the numbers would reduce as it became apparent who could fully commit to the rigorous schedules of the band, leaving behind other

life aspects. Their hectic tour schedule has never stopped. Ever since the release of their 2012 LP, Leave It All Behind, the band have been devoted to their fans and their live reputation.

“We’ve always played live. As a band we started out busking. We’ve always tried things out live.

We’re not a band that sits in a studio writing an album and then does a tour. We’re a band who’s all about performing our new stuff live and gaining from the audience if the songs are doing well or not. The band has basically been brought up in the live music scene.

It’s our natural outlet to be playing live. It’s what we all want to be doing in our lives. The vibe can never be bad. It’s exactly what we want to be.

“Sometimes it can be really hard and things won’t turn out the way we expected them to be. The accommodation can be really shit or the weather really crap or people get sick; but overall the vibe when touring with this band is always up.”

Squeezed in between their touring schedule; Saskwatch have finalised their sophomore release, Nose Dive. Exploring life’s highs and lows, the LP shines in its ability to encapsulate Saskwatch’s live energy into layers of musical brilliance. Recorded over three weeks (in comparison to three days for their first release) with Lachlan ‘Magoo’ Goold at Applewood Lane Studios in rural Queensland, the nine-piece strengthened and built on their diversity.

“The first time we recorded, we’d played the majority of the songs the first few months before we performed them,” Nkechi reveals. “This time it was more about actually having time to knock them out.

The three weeks were great because we were away from home in a pretty isolated area so it was easy to focus on getting the best performance out. We were staying at a great place and it was really enjoyable.

“Having a producer work on the album with us was something we hadn’t really done before; it was a new thing that we were trying out. Also the album was completely different to our first one; it sounds a lot more professional. Using a lot of different aspects, like keyboards and adding a lot more layers to the music, was something that we were experimenting with in this album.”

WWW. XP RE SS MAG.COM. AU

WWW. XP RE SS MAG.COM. AU

11

MUSIC

VIEWS

|

INTERVIEWS

|

STORIES

MICHAEL FRANTI & SPEARHEAD Hearts And Minds Michael Franti & Spearhead return for West Coast Blues N’ Roots this Sunday, April 13, at Fremantle Park. JODY MACGREGOR checks in with him.

A Michael Franti concert doesn’t start with the curtains rising and him striding out from backstage to rapturous applause. He usually gets to the stage from the other direction – walking through the crowd, stopping to say hi and maybe hug a few friendly people before he climbs up to the microphone.

It’s a bonding thing, a way of knocking down the wall between the performer and the audience that he learned in one of his earliest bands, The Beatnigs, who travelled across America playing in every punk rock club that would have them. Although his music is much more mellow now, he’s kept that one element of the punk spirit alive.

“The stage and the audience, there was no barrier there,” Franti recalls. “Myself and a lot of other artists in punk rock bands at the time would jump into the crowd, we’d sing songs from the crowd, and I always loved that feeling. I still carry that DIY spirit, that there should be no division between the stage and the audience. These days I have a headset microphone and my guitar and I play songs on the top balcony. Sometimes I start the show in the lobby. We put little boxes out in the audience in different places so I can get up and play on top of little boxes in some of the venues. I love being out in the crowd. It’s also kind of cool to look back at the stage and hear and see my band, what they look like from the audience.”

Franti’s not the only one who gets up close and personal with the audience. Spearhead’s guitarist, bassist and even the drummer get out there, thanks to portable hand drums, but the keyboard player, says Franti “...Sadly is hampered by the size of that instrument.” This reminds Franti of an anecdote from his time in the group he formed after The Beatnigs: hip hop rabble-rousers The Disposable Heroes Of Hiphoprisy.

“We did this tour opening up for U2,” he says. “It was the Zoo TV tour, and it was the first tour with all these huge video screens and flying cars and all this really amazing visual stuff. One day I talked to Bono and I was like, ‘Man, this show looks fucking amazing’. And he’s like, (you’ll have to imagine Michael Franti’s Bono impersonation, but it’s pretty great) ‘I know, Michael, we spent $70 million on the production and I’ll never get to see it!’”

Like U2, Franti’s music has changed a lot over the years. The Public Enemy-style hip hop of The Disposable Heroes gave way to Spearhead’s acoustic jams vibe, soul and roots, but his activist streak remained in songs like Crime To Be Broke In America from 1994’s Home. An indictment of the US prison system, the song inspired someone to ask Franti if

MICHAEL FRANTI

he’d ever played a concert in prison, like Johnny Cash.

He hadn’t, but the idea stuck with him.

When he finally did get to play that show at California’s Folsom Prison in 2005, he says, “All these guys in the prison were like, ‘We don’t want to hear songs about how the prison system sucks. We want to hear songs about how much we miss our girlfriends.

We want to hear songs about forgetting these concrete walls that we’re behind’. I started realising that music works in different ways. Yeah, you can go out there and – to borrow a phrase from my buddy Zack (de la Rocha) – rage against the machine, but there’s also ways that music works with the heart.

Sometimes – usually, in fact – you see more progress moving people’s hearts than you do moving votes in Parliament or Congress. That’s how I’ve changed over the years.”

Franti has started an organisation called the Do It For The Love Foundation to share those emotional connections with the people who most need it – helping children with severe disabilities, injured veterans and people suffering from life-threatening illnesses to attend live concerts and have backstage meet-and-greets with their favourite musicians.

“People turn up at the show and are like, ‘I’ve got a short time left to live but I’m here with my family and we’re having this amazing experience.

We’re crying together, we’re laughing, we’re dancing and it might be the last time we ever go to a concert’.

I’d rather create that experience than just be going onstage every night telling the system to fuck off.”

That’s a laudable thing, but perhaps embracing positivity in his music might alienate the fans the Franti picked up as an angry young man in California, railing against injustices. Franti hopes not, and he tells a story about his very first concert, with a high school band called The Casual Tees, to explain why.

“We played out in the quad on the school campus and we had one amplifier and we put everything through it. We put the bass and the guitar and the vocals through the same amp – and it sounded like it. But we had a really great time and I remember seeing the first three or four kids get up to dance to our music and I was like, ‘I could get used to this. This is fun’. Ever since that time I’ve always tried to remember that same feeling that I had – not only with that band, but as I’ve toured later with other bands. I try and

remember the early shows that we had and the first people that came to your shows. I always want to grow with the music and I want the music to change, but you always want the first people who came to your shows to still like it. You think back, ‘Would the first 50 people at our concert like this record?’”

Franti has come a long way since The Casual Tees (“I think our flyers were better than our music,” he says) and this year he’ll be marking 20 years with Spearhead. But they’ll be celebrating in a low-key way.

“Me and the guys in the band will probably have a beer, sit down and say, ‘Hey, that was cool! It’s been 20 years, let’s go onstage and play tonight’.”

Franti only realised how long his current band has been together when Carl Young, who plays bass, pointed it out. “While we were sitting on the bus the other night Carl mentioned, ‘It’s my birthday and I remember I joined the band right when my birthday was, so it’s been 19 years now that we’ve been on the road’. We both looked at each other and had a bit of an emotional moment and then I said, ‘You know what? When I think back on it, this time that we’re having right now is the most fun that we’ve ever had’.”

‘I’ve been on the ride before, it never stops at all’, sung Joan Wasser on her 2006 debut LP, Real Life. The ride continues eight years later with the release of her fourth album, The Classic, and without making a drastic stylistic departure, Wasser has updated her sonic template – just as she’s done for each Joan As Police Woman record.

Gleefully grabbing from Motown and ‘70s soul music, it’s the New York-based songwriter’s most buoyant set of songs thus far.

“That’s just something that has been a constant in my life; if something’s done, move on to the next thing,” she says. “There’s always stuff to do, more music to be created, more people to collaborate with. Once it’s done, ‘Bye – see you later’. I think certain ex-boyfriends of mine are rather horrified at that.”

Fi r s t s i n g l e , H o l y C i t y , p e r fe c t l y exemplifies the record’s more extroverted nature.

It’s an uplifting Motown number that lyrically celebrates an exquisite romance and gains additional firepower from comedian/musician Reggie Watts’ scat-singing outro. Watts features again on the doo-wop title-track, while elsewhere The Classic showcases instrumental improvisation and hornsa-plenty. Wasser has no trouble introducing new facets of her personality on each release, but it’s not a closely controlled progression.

“I’d love to say that I had a grand plan, but guess what? That wouldn’t be true,” she explains. “I just keep going and I write. Clearly certain influences or feelings are revealed on each record, because of the place I’m in – that’s for sure – but I don’t plot it out. I do it and then I survey the scene after I do it and try to make sense of it.

Or not even make sense of it – just do it.”

There are some sustaining characteristics that unite all four Joan As Police Woman records: her celestial vocal style, lyrics that jump from sassy to sincere and an authentic invocation of soul music. Yet, Wasser isn’t inclined to rehash a formula that previously served her well.

“When I made Real Life I was very obsessed with remaking I’m Still In Love With You

by Al Green. I wanted the songs to be very concise and simple and clean. That record sounds quite polished and I really like that sound, but I did it already.”

So if Real Life was an attempt to remake an Al Green record, what was Wasser’s guiding example when crafting The Classic? “When I’m in a period of writing for a record, I don’t listen to any music,” she reveals. “I listen to music when I’m travelling or when I’m in a car but I don’t listen to all that much music when I’m home. I love silence.

People are like, ‘okay, weirdo’, but that is the truth.

Soul music and Motown, that’s the music that’s been near and dear to my heart, so I think that just came out naturally on some of these songs.”

Despite not being a massive listener, Wasser is perpetually writing music and clearly she takes songwriting quite seriously. However, she concedes that what becomes of her songs

after they’re released is out of her control. “I’ve got to just do the best I can and then once I’m done it’s not really mine anymore, it’s the public’s.

Then I just sort of move on and start working on something else. If I thought about how much stuff was out there I might lose my mind. And I don’t want to do that, I don’t want to lose my mind.”

The fact that Wasser doesn’t exercise precious ownership over her songs means she’s also willing to utilise audience reactions to help make sense of new songs. “For this record I played a monthly solo show to work out new material.

Those are massively informative because the song can really sound one way in my apartment alone and sound very different in front of actual breathing human beings.”

This public evaluation method hasn’t pushed her to conform to a safe or obviously accessible format. In fact, The Classic features the longest compositions in Wasser’s catalogue. For example, the record’s fourth track, Good Together, is a darkened seven-minute journey through emotions and textures that culminates in a guitarscreeching jam.

“In the past, when the lyrical content was done, shortly after I would fade it out,” Wasser says. “This time I was like, ‘I would want to hear that myself, the band keep playing, so why am I not giving my listeners credit enough to want to hear that stuff?’ It did feel like a chance I was taking, to allow the songs to really go, travel and not stop for a while. People have given me really good feedback about that, so I feel glad that I took that chance.”

Speaking of taking chances, naming an album The Classic is a rather bold move. The term alludes to high-brow ideals, time-acknowledged quality and an artist’s crowning achievement. So how should it be interpreted in regards to Wasser’s new record?

“I just think that it’s funny. I know that some people do – probably some people don’t, but that’s okay. There’s a song on the record called The Classic and it’s about an ultimate lover. I say, ‘You’re the archetype, you’re the classic’, it’s very bombastic and grandiose and kind of over the top. And I feel like there’s elements of that on this record.”

JOAN WASSER

JOAN AS POLICE WOMAN Wasser Matters Joan As Police Woman, AKA Joan Wasser, has just released her fourth album, The Classic. AUGUSTUS WELBY reports.

12

WWW. XP RE SS MAG.COM. AU

MUSIC

VIEWS

|

INTERVIEWS

|

STORIES

THE SOUL REBELS From The Soul, To The Soul The Soul Rebels bring a touch of New Orleans to West Coast Blues N’ Roots this Sunday, April 13, at Fremantle Park.

BOB GORDON chats with co-founder, Lumar Leblanc.

Lumar Leblanc is in his element. The vocalist and snare drummer for The Soul Rebels is with his band in their hometown of New Orleans and they are practicing. The only place he would rather be is onstage, but one always benefits the other.

“We’re in the studio now,” he notes. “We always go into the studio every month to create music so we can listen back and have a library of music we can pull from when we go touring.

Touring’s just about non-stop so you have to be in tune mentally and physically to handle it; it’s a whole spiritual connection.”

“You got to try to get along with each other, then you gotta create the music to please your fans. We’ve been blessed that we’re able to do it.”

It’s often noted that The Soul Rebels were once described by the Village Voice as ‘the missing

“...our music got people all over the world through Hurricane Katrina - we still feel like we’re torchbearers for the spirit of the city. People are rebuilding here every day and they look at the music and the culture as one of the main things to bring the city back.” link between Public Enemy and Louis Armstrong’, and so it should be. Leblanc formed the outfit with fellow percussionist Derrick Moss in 1991 and they have since toured the world, as well as been the house band on Thursdays at New Orleans hotspot, Le Bon Temps Roulé. Indeed, New Orleans and The Soul Rebels are both of, and with, each other.

“Well New Orleans is a place where music

is life,” says Leblanc. “We have such close ties to our history, not only in how we play music, but how we create it. Music is still in the lives, deeply, of everyone in New Orleans, we have our own style and we have our own culture. With the communication systems that have evolved now with the internet and everything you’re able to see everything that’s going on all over the world simultaneously. So we’re able to incorporate other things from other parts of the world into what we do and it makes for a big, pleasant gumbo of music.

“We still do music in different ways here.

Some people like to record and play music in its authentic form and it’s accepted; and you have others that do it like Li’l Wayne and it’s accepted. You have so many different elements here that work together for the common goal of bringing good music.”

This has been especially important since Hurricane Katrina tore through New Orleans in 2005.

While the soul of the city held true, it is music that has helped restore it’s broken heart.

“It’s a real spiritual thing,” Leblanc notes.

“We were so connected with Hurricane Katrina and everything that went on, we were able to feel like we were part of the rebuilding effort for the city. That helped a whole lot because our music got people all over the world through Hurricane Katrina - we still feel like we’re torchbearers for the spirit of the city.

People are rebuilding here every day and they look at the music and the culture as one of the main things to bring the city back.”

The band’s most recent release, Power = Power, was a free downloadable mixtape featuring originals plus covers of songs by Jay-Z, Kanye West, Bruno Mars and Daft Punk. In the past they have also collaborated with Metallica, Green Day, Maceo Parker, Suzanne Vega and Dave Stewart.

“It takes a lot of energy and discipline and creativity to do collaborations,” Leblanc says. “You have to find where you and the artist connect, so you can basically create something that’s new and bright and will bring a whole ‘nother life to not only their soul, but your soul.”

“It takes a lot of creativity. It takes a lot of hours of investigating what can come out of it.

Hopefully, it’s a spontaneous occurrence where you just get up there and play what you feel, and they play what they feel, and it comes out great. That’s basically how the process is, you try and find an artist that has something to offer like you, whom you feel can connect with your music. That’s what we do. We put forth the band and its instrumentation, which is so different from other groups, and that’s usually the key to making a new hybrid collaboration.”

As for the feedback from the artists they’ve covered...

WWW. XP RE SS MAG.COM. AU

“It’s been good and thankfully so,” Leblanc laughs. “You never know what a person’s going to think. It’s always worked out that the artist that we cover has been impressed by what we’ve done with their record, and we’re impressed by how they respond to what we’ve done with their record. It’s like a journey that you go on, seeking something and hopefully you find some treasure. That’s what we’ve been able to do. And it’s beautiful.”

Throughout our conversation saxophones, trumpets and trombones have sounded off in the background, adding to the musicality of Leblanc’s already sonorous voice. Perhaps thinking our conversation was for radio (“You wanna have everyone tell you hello from New Orleans?”), he calls the other members to come to the phone to give some welcoming shout-outs. “‘Hello how’re you doing? It’s Julian Gosin man, on trumpet’. ‘Erion Williams, saxophone, Soul Rebels - God bless Australia’. ‘Paul Robertson, trombone, Soul Rebels - Australia, y’all alright’. ‘Yeah Australia, it’s Marcus Hubbard, Soul Rebels, trumpet peace and love’. ‘Corey Peyton, trombone, Soul Rebels’.

“Derrick Moss sends his love too, bass drummer,” Leblanc chimes in to finish. “Yeah, so everybody’s excited. God bless, we’re looking forward to it.”

13

NEW NOISE

For more album reviews head to xpressmag.com.au

4

4

OUT OF 5

OUT OF 5

LIAM FINN

RUSSELL MORRIS Van Diemen’s Land Ambition Entertainment

The Nihilist Create/Control

One of the big surprises of the last 12 months has been the resurgence of Russell Morris. His blues-based record, Sharkmouth, which drew on this country’s history, sold truckloads and became his most successful charting album, and all of this without the help of any commercial airplay in this country. Morris hasn’t moved too far away from that successful formula with his latest, Van Diemen’s Land.

A well-seasoned songwriter, Morris again looks at the notorious characters of Australia’s past for his inspiration on this outing. Breaker Morant was court-martialled after the execution of nine prisoners, and now has a Russell Morris song to add to the film that commemorates his name. Morris gets help from an unlikely companion as The Living End’s Scott Owen adds weighty double bass to the compelling tale.

Burning Rodney has plenty of barroom swagger with a Morris’s raspy voice being aided and abetted by Vika and Linda Bull with some tasty slide guitar from soap star heartthrob, Rick Springfield. With a host of guests, a plethora of fertile subjects to draw from and Morris’s art for crafting a story, Van Diemen’s Land is set to build on his success.

This latest offering from Morris is rightfully being billed as the sequel to Sharkmouth, and deserves every bit as much success as that predecessor. Van Diemen’s Land is the real thing.

Liam Finn has a keen ear for melody but he tends to favour fizzy eccentricity rather than the straightahead sing-along path. He’ll sing in wired-eyed falsetto (The Nihilist), send in swirling guitar effects (Ocean Emmanuelle), Beatles-like organs (Snug As Fuck), and exuberant group backing vocals (Helena Bonham Carter). The Nihilist’s most exciting song is probably its most structurally conventional: the four-to-thefloor, distorted bass-driven Burn Up The Road. The five-minute, gravity-spurning outburst is summed up by the howling refrain, ‘I’m scared of myself / As I burn up the road’.

The record also includes whacked-out electronics (4 Track Stomper) and some sombre interludes (I). In fact, there’s a touch of melancholy throughout, largely stemming from the chosen chord structures. All along, Finn’s melodic effortlessness reigns supreme and the textural intricacy continues to surprise on repeated listens.

The spirit of The Nihilist doesn’t exactly echo the title’s connection to meaninglessness. However, Nietzsche’s philosophy on nihilism emphasises the need to establish a new table of values (or the “revaluation of all values”). Perhaps Finn’s record is founded in a sort of pop nihilism. It mightn’t be altogether radical, but it presents a more imaginative pop song standard.

Finn’s third solo LP is an accomplished journey through playful, baroque psychedelics.

CHRIS HAVERCROFT

4

AUGUSTUS WELBY

OUT OF 5

4

OUT OF 5

CERES I Don’t Want To Be Anywhere Else But Here Hobbledehoy Records

There’s something pretty special about music that’s equally as infectious and anthemic as it is affecting – which is precisely what Melbourne four-piece Ceres achieve on impassioned debut album, I Don’t Want To Be Anywhere But Here. Wearing their influences proudly, on Syllables and Try To Keep You the band feels reminiscent of acts such as Jimmy Eat World and The Get Up Kids while developing a distinct identity that sees a clear progression from last year’s Luck EP. Full to the brim with poppy hooks and altrock effervescence, tracks such as I Feel Fine, I Feel Sick and Barkly Garden Break Up Park are quite content to lull you into a false sense of positivity before delivering swift, crippling emotional gut-punches. As fists-raised zest turns quickly into yo-where-did-all-these-feelingscome-from-no-one-said-anything-about-feelingswhat-the-fuck, it becomes apparent that the band’s organic blend of boisterous punk leanings, impossibly catchy refrains and heart-on-sleeve sincerity results in a strikingly impressive debut.

It’s unassuming punk rock with the kind of energy that demands movement, coupled with the kind of lyrical honesty that forces introspection.

BLAKE GALLAGHER

4.5

FOSTER THE PEOPLE Supermodel Sony

Foster The People’s sophomore album, Supermodel, arrives almost three years after its predecessor, Torches.

For their latest effort, Marcus Foster has cited influences from West African music to David Bowie and The Clash.

Coming Of Age is the lead single, and one thing that stands out is the new focus on guitar.

Exuberant riffs are layered on top of the LA trio’s signature upbeat tempo, bringing a fresh twist to their familiar and well-loved indie pop style. Nevermind is a gorgeous tune that features wistful acoustics, seeing the band step out from the pop logic of their previous album.

The Truth is an MGMT-esque track with heavy-handed key progressions and drifting falsettos.

Closing the album is Fire Escape, a stripped-down acoustic tune with gorgeous harmonies and lyrics delivered with a raw vulnerability. It really is a beautiful track, and something quite unexpected.

Considering bands which experiment with their sound are often greeted with the prospect of isolating existing fans, Supermodel represents an artful continuation of Foster The People’s exquisite production value and indie dance-pop. The album is a strong follow-up to the band’s debut, and their commitment to exploring different soundscapes has certainly paid off.

OUT OF 5

SHARON YE

4

OUT OF 5

TEETH & TONGUE Grids Remote Control Not only is Grids the best Teeth & Tongue recording from Jess Cornelius, it’s the album that best shows her range.

One moment she’s lurching seductively from her piano like Tori Amos (Good Man), the next she’s strapping on a guitar for a cathartic Adalita-type rocker (More Than This) or evoking the restrained hysteria of early Kate Bush (I Feel Good). This is all packed into the first 15 minutes, as is the revelatory single Newborn, which works so well despite it being such an atypical composition for both Cornelius and guest vocalist, Laura Jean.

There are a variety of styles and tempos spread across the album, but the sum of these parts is a very consistent and cohesive work. There’s a therapeutic slant to the lyrics – so you’d expect the style-hopping songs to leap about in accordance with wild mood swings – but throughout there’s a constant grounding acceptance of not always being on top of the world and letting the lows wash over you until your next high hits. Newborn is caught in the glow of a spiritual awakening, but uncertainty is exposed in its self-reflective verses.

Reminders that we shouldn’t take for granted that we’re living in the First World and be satisfied with what we have crop up in uptempo, guitardriven tracks More Than This and Easy Living.

Grids explores issues such as self-growth, acceptance and mutual understanding. It’s far from coming across as a wishy-washy self-help guide, though; Cornelius is sounding assured, playful and ready to take on the world.

CHRIS GIRDLER 14

WWW. XP RE SS MAG.COM. AU

THE NOTWIST Close To The Glass Spunk German outfit, The Notwist, don’t appear to be in any hurry or bound by any parameters set by others.

The outfit started as a hairy rock outfit, before finding their niche as primarily an electronic project in the early 2000s. With only three albums in the last decade you are never sure what you will get with an album from The Notwist.

H av i n g m o s t re ce n t l y d a b b l e d i n soundtracks and side projects, Close To The Glass is the band’s most complete offering in six years. Things are kicked off with obnoxious blips and beeps before giving way to the delightful whisper that is Markus Archer’s voice and the glitches and understated beats that characterise the heartbreak of The Notwist’s finest moments.

Kong turns the record on its head as the electronica that has so far been the staple is swapped for a falsetto lead melodic romp that is driven by shakers, guitars and has a chorus that will prompt awkward teenage boys to dance around their bedrooms with arms flailing and hearts beating.

Close To The Glass may yet be the most broad exploration of electronica by The Notwist to date. The guitars play a more leading role than usual without there being any sacrifice in guile or impact.

CHRIS HAVERCROFT

A R T S & C U LT U R E

|

FILM

|

NEWS

|

EVENTS

DO YOU THINK HE SAURUS? Fremantle is about to be besieged by Saurus - a pack of rampaging, bird/dinosaur hybrid things - as part of the Fremantle Street Arts Festival, which runs from Saturday, April 19 - Monday, April 21. We caught up with Tonny Aerts, the Art Director of Close-Act Theatre, the Dutch troupe who wrangle the impressive beasts.

Founded in 1991 by Hesther Melief, Close-Act Theatre have spent over two decades astounding unsuspecting audiences around the globe with their arcane and alien creations, combining stilt-work, puppetry, costume and mime to make strange, otherworldly beings, many of which that, at first glance, couldn’t possibly conceal a human operator within.

“She grew up with stilt walking and acting because her mother was a street artist who travelled through Europe,” Aerts says of the group’s founder. “After her graduation at the design academy she started as a graphic designer, but not for long. Somehow she missed the travelling and acting and made her first stilt costumes: insects. This was a big success and she got a lot of work. Enough to stop the graphic work and make a living from street theatre.”

The idea for their Saurus show came about in 1993, taking roughly a decade from initial conceptual noodling about to prototype. Funnily enough it was the poor accommodations at a German medieval festival that first provided inspiration.

“A tent which Close-Act used to sleep in was rotten and therefore useless. After finding a hotel we got a great idea. Let’s throw away the textile and keep the sticks. With this sticks Close-Act created the first ‘longnecks.’ This worked out very well! Actually it was the start of a new Close-Act concept. In 2003 we added stilts, a tail and moving jaws to create a kind of fantasy dinosaur. It became a very original stilt creature wanted all over the world.”

WWW. XP RE SS MAG.COM. AU

Asked to elaborate on the concept behind the show, Aerts weaves an intriguing story of a world shared with benign, inhuman creatures. “The Saurus still live on this planet and we have to live together with them. No problem, they just walk around, eat from the trees and like to make contact with the humans. This is the main story but there is also something happening with the audience. The excitement you feel when you bump into this weird but realistic creatures increases. There are no visitors, only collaborators in this performance. The animals, who move kind of naturally, will not give the audience time to think. This is where it becomes reality.

You feel like a child again: so thrilled that you jump away when the Saurus come nearby. When the crowd moves you realise that you’re an important role in the show yourself.”

TRAVIS JOHNSON

For more information on The 2014 Fremantle Street Arts Festival, including performers, session times and locations, go to fremantle. wa.gov.au/Festivals.

15

A R T S & C U LT U R E

|

FILM

|

NEWS

|

EVENTS

|

FAS H I O N

COMEDY COMES A-CALLIN’

FILM

Before the Perth International Comedy Festival descends on the city, Vulture Culture presents two nights of hilarity. American comic Rich Ciesler and Adelaide funny man Ben Darsow will be performing at Hahas At YaYa’s on Wednesday, April 9, and Mojos Monthly Comedy on Tuesday, April 15, with both nights MCed by Chris “The Bloke” Franklin.

Tickets are $12.50 online through Eventfinder, $20 on the door.

WISH Perth Theatre Company present a stage adaptation of Wish, the acclaimed 1995 novel by Peter Goldsworthy.

The story centres on JJ, the hearing son of two deaf parents, and the relationship he has with Eliza, the mysterious girl he teaches sign language to. Adapted and directed by Humphrey Bower, who also stars and JJ alongside dancer Danielle Micich as Eliza, the show features live music by Leon Ewing. It runs from May 15 - 24 at Studio Underground in the State Theatre Centre. Go to perththeatre.com.au for session times, tickets and info.

ANY DAY NOW

DO YOU YIELD? Yield is an exhibition of new work by Western Australian artist, Jo Darbyshire that will be on display at Bankwest Art Gallery from April 11 - July 21.

It’s a collection of abstract paintings inspired by Darbyshire’s 2012 sojourn in Ireland to explore some of her family history. Her work will be displayed alongside landscape paintings drawn from the Bankwest Art Collection.

Irish Jellyfish by Jo Darbyshire. Photo by Eva Fernandez

CHECK IN AT LUNA To celebrate the release of Wes Anderson’s The Grand Budapest Hotel this week, Luna Leederville will be undergoing a radical makeover. For the opening weekend the iconic cinema will be transformed into The Grand Budapest, as envisioned by stylist (and former X-Press Arts & Fashion Editor) Emma Bergmeier-Varian, complete with hotel lobby, gallery space and lobby bar. Meanwhile, the Oxford street exterior facade will be transformed by projected images by Roly Skender. Plus there’ll be themed cocktails and Mendl’s cakes (courtesy of Baked180).

Go to lunapalace.com.au to book your stay now.

Hitting The High Notes Directed by Travis Fine Starring Alan Cumming, Garret Dillahunt, Isaac Leyva

MORE THEATRE THAN YOU CAN SHAKE A SPEARE AT Three local theatre groups have come together to celebrate the 450th birthday of William Shakespeare with a mini-festival of some of the Bard’s greatest hits at Marloo Theatre. Running until April 26, the Elizabethan enterprise sees Garrick Theatre, Darlington Theatre Players and the Kalamunda Dramatic Society stage productions of A Midsummer Night’s Dream, directed by Peter Clark, Macbeth, directed by Douglas Sutherland-Bruce, and Othello, directed by Lucy Eyre. Tickets are available through Trybooking.com. Email marloobookings@gmail.com for more info.

A Midsummer Night’s Dream

Fairly loosely inspired by a real story, Any Day Now should be so overly sentimental as to be a Hallmark Channel offering. Yet writer, director and producer Travis Fine manages to create a heart-warming film about social outcasts coming together.

Set in the late ‘70s, it follows the battle of drag performer Rudy (Alan Cumming), and his new (and still in the closet) partner Paul (Garret Dillahunt) as they try and provide care for their mentally handicapped ward, Marco (Isaac Leyva). However, as the unconventional living arrangement is discovered by the authorities, Paul and Rudy must struggle against a biased legal system to maintain their custody of Marco.

P a r t o f t h e re a s o n A ny D a y N ow is so emotionally resonant is the strength of the performances. Alan Cumming is perfectly cast as Rudy, a character with enough sass to sing his own back story as the blues in one brilliant scene. The fact that Cumming’s voice is actually the one doing the

singing makes it a much more believable experience for the audience. Garret Dillahunt provides the quiet and stable foundation for the couple, so his passionate pleas in court are even more effecting. Meanwhile, Isaac Leyva as Marco makes good use of silence, conveying more emotions through a well placed genuine smile or a devastatingly chosen word than a page of written dialogue could. All three of them have a good chemistry together; the scenes between Leyva and Cummings are particularly effective in this regard, bringing genuine warmth to something that could easily be saccharine.

Fine does a remarkable job of conveying the period. Wardrobe is appropriate and evocative without drifting over to being a costume, while the sets pop with ‘70s colour and style without appearing to be a stage.

The pacing is fairly rapid and doesn’t fall too far towards melodrama. This is not to say Any Day Now is without issues. The pacing is perhaps too rapid in sections; the timing of the relationship between Rudy and Paul, and Rudy’s meeting of Marco happen on the same day, reeking of plotted convenience; and, worse still, the end coda is so rushed that much of the impact seems lost in the final musical number by Cumming.

Still these are niggling complaints as, overall, Any Day Now manages to connect with the audience and drag them along on its emotional journey. Heart wrenching though the final outcome may be, strong performances and moments of mirth make this a journey worth taking.

DAVID O’CONNELL

PRIVATE

FILM

Form Gallery Friday, April 4, 2014 Ahead of the launch of Form’s PUBLIC: Art In The City program, select guests were invited to check out a stunning collection of street art, including works by Banksy, Kid Zoom, Luke Cornish, China Mike, Anthony Lister, Marina Marchesotti, Kyle Hughes-Odgers, ROA and Stormie Mills.

Photos by Shaun Ferraloro.

Adele, Ling

THE GRAND BUDAPEST HOTEL Room With Askew

Stormie Mills in Secret Window, Sasha, Andrew

Directed by Wes Anderson Starring Ralph Fiennes, Tony Revolori, F. Murray Abraham, Edward Norton, Saorise Ronan, Willem Dafoe

Brad, Pip

While it comes packed to the gills with his usual patented strain of whimsy, Wes Anderson’s latest effort is also his most poignant and emotionally resonant since The Life Aquatic With Steve Zissou.

Set in the fictional Eastern European state of Zubrowka in 1932 and wrapped in several layers of narrative, The Grand Budapest Hotel concerns the adventures of Zero (Tony Revolori), the titular hotel’s lobby boy, under the command of the dutiful concierge, Monsieur Gustave H. (Ralph Fiennes).

A fastidious yet passionate man, Gustave splits his time between running the hotel with an iron fist and seducing a large number of elderly female guests. When one of them (Tilda Swinton) dies unexpectedly and leaves Gustave a priceless painting, the concierge and his faithful lobby boy come into conflict with deceased dame’s greedy relatives, in particular Dmitri (Adrien Brody) and his vicious henchman, Jopling (Willem Defoe).

Bayoush, Tane

Alun 16

WWW. XP RE SS MAG.COM. AU

Anderson’s trademark sumptuous, idiosyncratic production design and careful composition are both present and correct here, as is his arch, droll approach to humour. Indeed, for the first half of the film the viewer could be forgiven for dismissing The Grand Budapest Hotel as a throwaway exercise for Anderson just an opportunity to play around with some friends (the number of familiar faces who appear, if listed, would leave no room for the review). However, as the film progresses and the stakes are raised, it becomes apparent that the director is actually processing some heavy matter here: growing old, coming to peace with one’s failings and one’s place in the world, grappling with the seemingly random cruelty that the world can throw at you. Setting the film against the rise of fascism prior to World War II means that, perhaps for the first time, Anderson’s characters are faced with credible threats to life, limb and prosperity and there are several moments of genuine suspense.

This is also Anderson’s most violent film there’s an extended gunfight, a number of murders and no small amount of mutilation - but it’s also among his funniest. Ralph Fiennes displays comic sensibilities that have gone largely untested up to this point in his career and the supporting roster of Anderson regulars - Bill Murray, Owen Wilson, Jeff Goldblum - and newcomers Harvey Keitel is a standout - all give their best.

What, really carries the film, though, is the clear affection Anderson shows for his characters. It would be so easy to dismiss the people who populate his films as bereft of depth, but while Budapest’s sets might be artificial it’s key characters are all too human.

Anderson might laugh at his creations, but he refuses to look down on them, no matter how ludicrous their foibles.

In acknowledging this, he manages to stick the landing, transforming what could have been just a fun romp into something incredibly moving.

TRAVIS JOHNSON

TRAVIS FINE

FILM

Any Day Now Writer, director, producer, actor and pilot Travis Fine has a lot of arrows in his quiver. With the release of his latest film Any Day Now, we managed to talk to him about the project, and how his varied skillsets help.

The idea for Any Day Now arose from a 30-year old-script by George Bloom (best known for his writing work on many ‘80s cartoons, including the first Transformers) inspired by meeting the actual Rudy (a drag performer played in the movie

by Alan Cumming). After coming close to filming many times through the decades, Fine was able to rework the script by adding the character of Paul (Garret Dillahunt) and finally bring the project to the screen.

Fine was lucky enough to draw the attention of Alan Cumming’s agent when casting, who suggested Cumming would be ideal for the role. As an out gay actor with cabaret experience, Cummings was a perfect fit. “It is all Alan’s voice in the film. The Back Story Blues is live. The rest is recorded in a studio and lip-synced on set, but it’s all Alan’s voice.”

Another stroke of luck came in the casting of Isaac Leyva. It was his smile that drew Fine to him after seeing an audition tape. Although different to the initial envisioning of Marco, Fine was able to rewrite the script to take advantage of Leyva’s silence, allowing him “...to show the emotion of the piece rather than telling it.”

With the period setting of Any Day Now, Fine was able to show off his love of the gritty, character-driven dramas of ‘70s cinema. Care was taken to evoke the period but never to push it to parody levels. In part, the production benefited in setting it in the later ‘70s, allowing it to be evocative of the era without falling victim to its excesses.

As director, writer and producer Fine was certainly busy with this project. “The hardest part was when all three disagreed,” said Fine. He often found himself balancing the writer’s intent against the director’s vision, all within the producer’s budget. Of the three, though, Fine’s finds writing the hardest. He writes so he has a project to produce and direct, considering directing a reward for the hard work of writing. He also found his early experience in acting (Fine has been on TV since the age of 12, but is probably best remembered as the mute Ike on The Young Riders) has given him an understanding of the differing languages actors speak in terms of school or method they prescribe

to. As such he is a good judge of what an actor needs in terms of a performance and is willing to give them that.

As for what is in the future? Fine has already written a script (about an ‘almost there’ ‘90s girl band getting back together) and is starting on the enjoyable task of putting together another movie.

DAVID O’CONNELL

FILM

THE LEGO MOVIE Another Brick In The Wall Directed by Phil Lord and Christopher Miller Starring Chris Pratt, Elizabeth Banks, Will Ferrell, Will Arnett, Morgan Freeman Who’d have thought that a big budget, hugely cross-marketed, major studio film based on a brand (seriously, it’s right there in the title - that’s the equivalent of The Coca-Cola Movie) would be one of the most subversive nuggets of pop culture to hit mainstream in recent memory?

And yet here we are. The Lego Movie comes out of the gate at top speed and spends it’s entire running time mercilessly skewering all kinds of cultural and social sacred cows - and doing so in a nice, fun, easily digestible way that is never malicious or mean.

Set in a world made entirely of Lego, the film’s hero is Emmett (rising star Chris Pratt) an ordinary construction worker who learns that he is The Special, the hero prophesied by the Master Builder Vetruvius (Morgan Freeman) who can stop the evil Lord Business (Will Ferrell) from unleashing his mysterious superweapon, The Kraggle. Aided by action chick Wildstyle (Elizabeth Banks) and Batman (Will Arnett), Emmett sets off on an adventure across multifarious Lego worlds in order to save the universe.

The film belts along at a terrific clip, taking in the breadth and history of the Lego brand, including castles, pirates, space, the old west and everything in between, plus a number of licensed properties (there’s a cameo - you’ll know it when you see it - that is sure to elicit cheers). It is gut-bustingly funny, combining both a stunning number of splitsecond gags and one-liners with some deeper and more pointed satire; the beating the very notion of Batman takes has been long overdue.

Even the more banal elements of its own marketing push are held up for ridicule the ubiquitous song Everything Is Awesome is a meaningless earworm in the world of the film, equated with a mind-numbing TV show called Where Are My Pants? Hell, even adult collectors of Lego surely the brand’s biggest market demographic these days - come in for a drubbing. If you just build the kit and leave it on a shelf, the film says, you’re a goon.

More than that, The Lego Movie goes out of its way to point out the ridiculousness of the very Chosen One narrative model it is purportedly conforming to. At heart, the film is a riotous celebration of creativity and free thinking, positing within the mythology it sets out that only by ignoring the instructions and building our own world can we ever aspire to be more than average but also that the potential for that exists within everyone. Add in some universe-expanding cosmology in the third act and what we have here is a Matrix-style gnostic parable wrapped in a cartoon about building blocks. We don’t get too many of those, so make your you check this one out.

TRAVIS JOHNSON

FILM

DIVERGENT The Odds Are Not In Our Favour Directed by Neil Burger Starring Shailene Woodley, Theo James, Kate Winslet In a post apocalyptic Chicago, society is divided into differing tribes based on the demonstration of psychological attributes. Beatrice Prior (Shailene Woodley) is of the Abnegation caste (a class of selfless workers who control the governing of the city), but she has always dreamed of being one of the warrior faction, Dauntless. As her Choosing Day approaches, Beatrice must decide which faction she will spend the rest of her life dedicated to. Her compulsory aptitude test reveals her to be a Divergent, someone that has aptitude for multiple factions, and therefore shunned and hunted by the new social norm. Keeping her test a secret, Beatrice (re-christening herself as Tris) joins the Dauntless faction. Now she must survive not only her Dauntless training, but a growing conspiracy between her new faction and the intellectual Erudite.

This big screen adaptation of Veronica Roth’s popular young adult series is brought to the screen competently by Neil Burger (The Illusionist).

Burger manages to perform some major world building without alienating those that are unfamiliar with the source material and even has a couple of spurts of action along the way. Design-wise the

WWW. XP RE SS MAG.COM. AU

futuristic Chicago is a familiar but workable whole, each faction having a look that is different, but reminiscent of past sci-fi designs.

Perhaps this is Divergent’s greatest flaw. It is awfully reminiscent of many films that have gone before. It’s not a terrible movie, it’s just not offering us anything new or different. The audience has seen all the pastiches of sci-fi design that the world is offering and should be familiar enough with the tropes of young adult fiction to see exactly where the story is heading We have seen these same lovelorn looks on young actors faces many a time since Twilight raked in its first million in profit. Divergent is often as grey and lifeless as the Abnegation lifestyle Tris is fleeing from. At almost two and a half hours long the film gives the audience ample time to contemplate these comparisons, as well as poke holes in the design of Roth’s world.

In some ways it is easy to feel sorry for Shailene Woodley. She gives a decent performance and manages to bring some emotional depth to the character of Tris, as well as being fairly ruthless in some fight sequences. However the comparisons were always going to be made to Katnis and The Hunger Games. Perhaps if Divergent had brought us the first strong female protagonist struggling against a corrupt system in a dystopian future it might have fared better but, alas, that is not the case. Even Tris’ birth faction, Abnegation, look like they would be at home as District 12 extras.

The Hunger Games is a hard shadow to get out from under and this average film struggles to do so.

Maybe that will be achieved by one of the two sequels that are already on the way.

DAVID O’CONNELL 17

A R T S & C U LT U R E

|

FILM

|

NEWS

|

EVENTS

|

FAS H I O N

PATRICIA FIELD

THEATRE/DANCE/ PERFORMANCE The Long Way Home: His Majesty’s Theatre Drawing on first hand accounts by Australian military personnel about their service in Iraq, Afghanistan and East Timor, this challenging work from director Stephen Rayne and writer Daniel Keene runs from April 11 - 12. Tickets are available through Ticketek.

Style And The City Style And The City, an exhibition of Sex And The City costumes curated by stylist/ designer, Patricia Field, continues until Thursday, May 1, presented by enex100 and Forrest Chase.

Considering she was named in Time Magazine’s ‘100 Most Influential Fashion Icons of All Time’ list, it’s no surprise that Patricia Field was asked to be the costume designer for the Sex And The City television series.

It was Field who chose the pieces worn in every episode by Carrie (Sarah Jessica Parker), Samantha (Kim Cattrall), Charlotte (Kristin Davis) and Miranda (Cynthia Nixon) and history has shown she was the perfect fit for the role.

“I had requested a brief from Darren Star who was the creator/producer/director of the whole deal,” Field recalls of her introduction to the show. “I asked him for a description of each of these characters as one of my acceleration points early on.

He was very articulate and had a very good focus on how to describe these four different women. I combined that, of course, with the script and then with each of the individual actresses, kind of like a recipe for a delicious soup.”

While the show was an instant success in the late ‘90s, Field could not have known of the magnitude of influence Sex And The City would have on pop culture and fashion some 15 years after the first episode.

“As time goes on and as the show has been long off the air - though the reruns are constantly on the air - a whole new generation of watchers have evolved,” she notes. “It’s kind of an ever-blooming product, it’s just keeps blooming on with the younger generation, the children of the original fans. It’s quite an incredible experience for me.”

As a result of the show’s popularity, it could be said that there is these days a wider appreciation of fashion as art.

“I believe there is, based on feedback I’ve received throughout the years,” Field says. “I think Sex And The City kind of opened up the idea to women about their individuality, their individual style, their creativity. And that opened the door to fashion as art,

Fights And Flights: State Theatre Centre A stunning mixture of dance, theatre and kung fu from Steps Youth Dance Company. 65 performers, ranging in age from seven to 30, work together to celebrate the challenges and victories of life. It runs from May 10 - 11. For tickets and session times, go to ticketek.com.au.

Pop & Splat

VISUAL ARTS Pop & Splat: Little Creatures Brewery An exhibition of works from Perth Stencil artist I’m The Boss, presented by Gullotti Galleries. It runs until April 14. Check out imtheboss.com.au for more.

as opposed to following the dictates of designers or magazines, or whatever’s trendy. I think women found that creative gene and it kind of liberated them.”

In all, there are 24 pieces to view (the wedding set is on display on the ground level at Myer Forrest Chase and the rest of the exhibition is on the Hay Street Level at enex100). Field admits to loving them all, but having a special connection to some.

“I do love them all, but there are other delights and motivations for me. For example, I bought three pieces of Halston for the exhibition and they were archived pieces because Halston was one of the most famous American designers, and he epitomised the chic-ness and simplicity of American fashion. He was a personal friend of mine whom I loved and adored, so when I had the opportunity to use some of his pieces it was very, very personal to me. It makes me very happy to see them alive and well and there for people to see.”

BOB GORDON

PERTH FOOD TRUCK RUMBLE Keep On Truckin’ This Sunday, April 13, the Perth Cultural Centre will be taken over by a fleet of mean machines with one aim: to bring the good people of the city, fast, cheap, good food.

In the normal course of events, you’d only be able to sample many of these delicious wares at festivals and community events. Well, this is a community event devoted to these purveyors of fine festival food. Running from 11am until 8pm, the inaugural Food Truck Rumble will bring together 17 mobile comestible vendors, each eager to provide the

hungry punter with mouth-watering treats.

Delish Ice, Jumplings Tasty Dumplings, Churro Central, Comido Do Sul Brazilian Food Truck, Miam Miam, Miss Tartufo Gelati, Vince’s Mobile Woodfire Pizza, Ffoodies, Hey Pesto, Lil Tortilla Boi, The Wagon, The Juicist, Mojito Cantina, Little Caesar’s Pizzette Food truck, The Merrywell, Butty’s and Kustom Cupcakes will all be on hand, serving special menus designed to be eaten on the run - or at least on the walk. For more info, hit up the Facebook event page.

The Refusal Of Time: PICA This video and sculpture installation by William Kentridge sits at the crossroads of industrialisation and colonialism, combining theatre, drawing, music, film, dance and animation. Presented by PICA, Perth International Arts Festival and the Art Gallery Of Western Australia, it’s on display until April 27. Go to perthfestival.com.au for details.

Ukiyo-E - Japanese Prints Of The Floating World: Lawrence Wilson Art Gallery An exhibition of Japanese woodblock prints from the collection of Ronald and Catherine Berndt. It runs until June 28. Head over to lwgallery.uwa.edu. au for details.

Year 12 Perspectives: The Art Gallery Of Western Australia This annual exhibition of the best work that our graduating Year 12 arts students have to offer runs until May 5. Go to artgallery.wa.gov.au for further information.

Drive Through The City’s Edge: Perth Centre For Photography Consuelo Cavaniglia’s new collection references the narrative and formal conventions of film noir. It runs until May 5. Go to pcp.org.au for more.

Sometimes It’s Second Nature: Free Range Gallery Rebecca Orchard’s first solo exhibition runs until April 13. Working in both drawings and installations, Orchard examines how elements of nature are represented and incorporated into the domestic sphere. For more information, go to rebeccaorchard.net.

25 Under 25: The Moores Building Contemporary Art Gallery Showcasing 25 young artists, each under the age of 25, this exhibition runs until April 13. Go to fremantle. wa.gov.au for more information.

Floating Bits: Linton & Kay Galleries This new exhibition by twin brother photographers Ian and Erick Regnard is a series of stunning black and white underwater images that contrasts the need for solitude with the feeling of lurking otherness. It runs from April 9 - 23. Go to lintonandkay.com.au for further information.

Business As Usual: PS Art Space Perth artist Sebastian Befumo’s first solo exhibition sees him exploring how architecture, construction and urban development affect our cultural landscape.

Featuring large scale sculptures accompanied by video work, it runs from April 12 - 26. Go to psas.com.au for more.

Churro Central

Delish Ice

The Wagon

Mojito Cantina

18

Uncle Jack WWW. XP RE SS MAG.COM. AU

Uncle Jack: The Blue Room Theatre An autobiographical work that sees a young man sent to work the land with his uncle, a war veteran, this coming of age tale features extracts from the real wartime journal of William Lonnie. It runs from April 22 - May 10. Go to blueroom.org.au for tickets and info.

Patyegarang: State Theatre Centre This new production from Bangarra Dance Theatre tells the story of the eponymous Aboriginal woman who taught her language to Lieutenant William Dawes of the Colonial Fleet. It runs from July 30 - August 2 for five performances only. Tickets are available via Ticketek.

MUSIC Silver Swans: Fremantle Arts Centre Presented by Tura New Music, cutting edge ensemble, Etica, will be presenting three new works in the FAC courtyard, including James Ledger’s Silver Swans, Chris Tonkin’s Transient States and Ross Edwards’ Laikan. Performance on April 10, tickets through oztix.com.au

FESTIVALS Independent Theatre Festival Offering up great West Australian theatre and dance every Wednesday, Thursday, Friday and Saturday until April 12. Productions include The Guys, Dancers Speak Volumes, The Standover Man and more. Go to subiacoartscentre.com.au for more.

Fremantle Street Arts Festival From April 19 - 21, the streets of the port city will be overrun by some of the world’s best al fresco performers, including comedians, acrobats, puppeteers, circus folk, musicians and the just plain baffling. Go to fremantle.wa.gov.au for full details.

Perth International Comedy Festival Our annual explosion of stand up excellence runs from May 1 - 18 and features performances from Julian Clary, Bob Saget, Chris Franklin, Michael Workman, Eddie Ifft, Felicity Ward, Hannah Gadsby, Jim Jefferies, Lawrence Leung, Mike Epps, Sami Shah, Stephen K. Amos and more. Go to perthcomedyfest.com.au for full details.

Perth International Jazz Festival Over 30 jazz performances over 12 venues across the city will be happening from May 9 - May 11.

Key acts include Kate Ceberano, Greg Osby, Peter Bernstein, Kristin Beradi and Rai Thistlethwayte.

Perthjazzfestival.com.au has all the info.

To have your performance, exhibition or cultural event listed, get in touch via

localmusicarts@xpressmag.com.au For more Art Stories head to

xpressmag.com.au

E D U C AT I O N , T R A I N I N G & C A R E E R S

FRANCO DI CHIERA Game Of Thrones On Sunday night in America, HBO aired the first episode of Game of Thrones season four, which meant on Monday, Australians were sitting in front of their laptops savagely downloading it. We caught up with WA Screen Academy Director Franco Di Chiera to find out why the series, which according to BitTorrent, recorded more than one million downloads of the premiere in half a day, has audiences captivated.

BURLEIGH SMITH The Rules Of The Game Perth based screenwriter and teacher, Burleigh Smith, recently had a win at New Jersey’s Garden State Film Competition, where his feature screenplay, You Can’t Play The Game If You Don’t Know The Rules, scored the Screenwriting Award.

We spoke to him before he embarks on the arduous task of transforming his words into an actual film.

Why has Game Of Thrones been so successful?

For some time now, with the introduction of digital technology in screen production we have seen the blurring of lines. So in terms of the quality of production, creativity and originality of story, the difference between film production and TV production is becoming less discernable.

And that’s reflected by the fact that some of the royalties of cinema, such as Martin Scorsese and Terry Gilliam are moving freely between those borders of film and television. When you consider how much money has been spent of GoT, compared to how much is spent in Hollywood, it is now clear that big screen productions have true competition.

Where does HBO get that budget from?

The budgets are still not as big as a Hollywood budget but digital technologies have made it a lot cheaper to make impressive visuals using CGI and lighting. Also, the series is sold all around the world; it’s been HBO’s most successful show in its history. The episodes sell for millions, just one single episode.

Is there something about the freedom to download the show that has propelled Game Of Thrones into stratospheric popularity?

It is a complex issue about illegal downloads. There are some sassy producers who will let their product be cannibalised in that way because it gets people talking about their film, which can lead to attention from studios.

In the case of Game Of Thrones, illegal downloading has been a benefit to them because it enabled the show to get everyone talking. Very few young people watch television as it is broadcast, they watch it when they want to via the Internet. All the controversy around Australia being the worst offender for illegal downloading, on the one hand, it’s fair enough, but on the other hand it really gave Game Of Thrones a lot of additional promotion. It’s a testament to the show’s success that people want to watch it so much, they aren’t prepared to wait, and they are prepared to break the law to watch it.

Do you think HBO mind that people illegally download the show?

Of course, they could make a lot more money if people purchased the show. But there’s a synergy to it. It’s kind of like a parasite. Where you have a parasite that is dependent on the host, but then sometimes that host becomes dependent on the parasite. The host is dealing with it but it won’t be a good thing in the long-term. We really need to figure out a way for people to download TV shows legally.

Are you hoping Joffrey gets his comeuppance this series?

Well. The show is inspired by European history, and there has been some horrible people in that past. George R. R. Martin follows that history, which saw some pretty ruthless leaders. So I don’t see Joffrey getting his comeuppance, unfortunately.

Tell us about You Can’t Play The Game if You Don’t Know The Rules.

The film is a romantic comedy about two people who are perfect for each other but may never meet. I play Anders, a dull academic who gets involved with the wrong girl. Zoe Ventoura plays Andrea, an HR officer who gets involved with an older gentleman. Both Anders and Andrea struggle with their respective relationships, not realising that there’s something better for them.

You wrote the screenplay in two months, that’s a quick turnaround, how were you able to do that?

I like telling stories. I’ve written some twenty short screenplays over the years and this is my fourth feature script. I’ve become much faster at writing with time. I write intuitively and deliberately, I try not to think too much about the work. Two months is a short time in which to write a feature screenplay but I know of some writers who have written scripts in a matter of days.

You drew inspiration from a self-help book, tell us a bit more about your relationship to the book It seems everyone has advice to give when it comes to relationships. There are a lot of books out there on how to improve one’s lovelife! Irene Alexander’s appealed to me first because of the title, You Can’t Play The Game If You Don’t Know The Rules. I had the idea for my story but was seeking a distinct title and sure found one. I came across the book in a store in Perth last year and thought it would be interesting to ‘adapt’ a relationships guide. And Irene has been very supportive.

What is the connection between self help and romantic relationships? Is there something about those two subjects that you find intriguing?

It’s not the first time this has been done. He’s Just Not That Into You and What To Expect When You’re Expecting are two examples. Though I’m less-interested in self-help and more interested in romantic comedy. Romantic relationships can be awkward and with this awkwardness comes humour.

I screened a clip from Rocky to one of my film classes the other day. I love that film and see it more as a relationship film than a boxing film. Rocky’s first date with Adrian is one of the most wonderfully-awkward in cinema. It’s uncomfortable and funny at the same time. And you really care for the characters.

Do you feel like it’s hard to tell an original romantic comedy? Why? I find rom com easy to write and have been working in this genre for many years now. Perhaps because my own relationships have been such a joke, I’m never short of material. I’m looking at exploring darker territory with my next screenplay, though I’m wary of straying from a genre that has served me well in the past.

How important has your time teaching at SAE been to creating this film?

I’ve been teaching at SAE for seven years now and it’s great to be talking about cinema on a daily basis. The students are enthusiastic and genuinely want to learn about filmmaking and I’m pleased to teach them.

How will this experience inform what and why you teach at SAE? I’ve made the screenplay available to some of my screenwriting classes. I enjoy sharing my work with others. We’ve looked at some of the scenes in class, discussed the characters and narrative and I hope it encourages the students with their own writing.

Go to sae.edu.au to find out more about the Creative Media Institute.

WWW. XP RE SS MAG.COM. AU

19

20

WWW. XP RE SS MAG.COM. AU

B E AT S

|

NEWS

|

INTERVIEWS

|

REVIEWS

|

EVENTS

NO FOOL Following a year of solid online releases, WA producer Sable is ready to take the country by storm with his Feels So Good Tour. Known as John Dewhurst to friends and family, he fills ADAM KNIGHT in on making peppy beats and coping with pre-show nerves ahead of his gig at Metropolis Fremantle, Thursday, April 24.

While Perth has never been short on talented producers, 2013 seemed like a banner year for our isolated city, something that continues this year with a new brigade of hungry young beatsmiths delving into all manner of sounds.

And at the forefront of the charge is John Dewhurst, AKA Sable, who in 2014 has already played shows in most capital cities, released a single that has dominated triple j airwaves, signed a record label contract, been streamed live around the globe on Boiler Room TV, and supported the likes of contemporaries such as Wave Racer, Basenji and Nina Las Vegas.

H av i n g j u s t s t a r t e d h i s first solo national tour, Dewhurst continues to kick goals but he says a few moments stand out as the most memorable. “The gigs I played with the Nina Las Vegas Presents tour were all amazing. The crowds were all vibing and made it so much fun. The first show of the EP tour in Brisbane was [also] fantastic,” he says.

It’s the first of plenty more to come, and given his live set was barely six months old when he first started travelling the country, you’d be forgiven for thinking nerves would play a role for the fresh-faced youngster.

Not so, it seems: “I don’t really get nervous in front of crowds. Before my set I might get a few butterflies, he says. “I’m always wondering how the crowd will respond to any unreleased tunes that I play, but generally I’m just having fun during the set.

“All of my recent gigs have been so much fun from the start that the nerves just disappeared.”

Fun is definitely one descriptor of Dewhurst’s music – a hypercoloured swirl of peppy synths, Jersey club bounce and pitched-all-over-the-place vocals. It’s no wonder debut single Feels So Good has garnered so much traction, with the second single Foolin’ also out by the time you read this.

Continued on page 22.

WWW. XP RE SS MAG.COM. AU

21

B E AT S

|

NEWS

|

INTERVIEWS

|

REVIEWS

|

EVENTS

DOCTOR DRU TOURS AUSTRALIA

Continued from cover.

“It’s amazing how many people are vibing to Feels So Good and the rest of my music. The response was surprising for sure. It’s all taking off so fast. Triple j have been super supportive and the team at Pilerats Records have done an incredible job.”

Feels So Good EP, which was officially released only a few weeks ago, features a wide variety of sounds all keeping in line with that Sable feel, from the house-leaning bump of Want U Girl, to the clubready Heights, and soaring Mana Pool, it’s a well-round five-tracker.

On his production process, Dewhurst reveals tracks are very much a product of his vibe at the time.

“The music I make is definitely a reflection of how I’m feeling at the time. The EP was intended to be a mix of textures and rhythms all reflecting a happy, summer vibe. As for my sound, I’m always trying to mix it up.”

Not one to bask in the glow of his own EP release Dewhurst recently released a free-for-download edit of Justin Timberlake mid-naughties grinder My Love to plenty of fanfare, alongside a joint jam with fellow WA producers Slumberjack, one of plenty in the healthy Perth producer pool mentioned above.

“Those guys are killing it. Expect more with them. Sid Pattni is killing it right now. He’s such a good songwriter. Palace is on the up and up. Leon Osborn is the Perth bass god and national mystery man. The buzz is building. In another game, Coin Banks is making waves in Oz hip hop.”

This young crew also – unsurprisingly – are by and large a pretty smart bunch, many coming from university backgrounds but still maintaining a desire to

succeed in music, and Dewhurst is no different, having finished an engineering degree last year.

He’s since put it on hold to focus on music, a big decision no doubt. “It was a huge risk but this is a rare opportunity and I think now is the best time to go all in. I always have the degree to fall back on.

“For now the shows have been so good and I have such an amazing team working with me that I feel pretty damn good about it.”

The smart head on his shoulders last year quickly came to the realisation that if he wanted to present Sable live to crowds, he would need an added live element to craft something engagement, rather than just staring down into his laptop for 45 minutes in the club each night.

“It is important for me to include at least some live element in my sets. For now I’ve scaled it back and I’ll play synth lines on a couple of tracks and sing a little bit with a twist,” he explains, revealing that played live his original songs often take on a new form.

“My own tracks are split down to give me more control over how they weave together to provide a flowy set. I’m including music from some artists that I’m really vibing on at the moment too. People can expect a lot of variety and a lot of bass music. In the future there will be visuals to match the set.”

And looking at how quickly the young gun has risen to the top of an incredibly large heap of producer talent in this country, it’s really just the beginning. “There are a lot of [future plans] that can’t be mentioned at the moment but they are super exciting…

“For now I’m writing more music and trying to put everything into these shows on tour.”

It all started when Doctor Dru was a little boy beating his mother’s pots and pans with his drumsticks. Three priorities dominated his youth, the snare, skateboarding and soul music. Soon his professional drumming career took him around Europe, supporting artists like R.Kelly in sold out concert halls. A skateboarding accident left him with two broken arms and put an abrupt end to drumming for a while. But tweaking a mixer was still possible, and so the relationship with an atari and a drum machine began. The subsequent years were spent honing his production skills and spinning vinyl at numerous parties and clubs. See him at Geisha on Thursday, April 17.

FRESH AS BRO L-Fresh The Lion will be playing at Mojos on Saturday, May 24, as part of his national tour, in support of his debut album One and his new single Survive. L-Fresh The Lion has proven to be one of Australian hip-hop’s fastest rising stars with the release of One, which achieved solid Triple J rotation, and it’s follow up Faithful, which saw the Melbourne via Sydney emcee perform sold out headline shows across the east coast.

L-Fresh also spent much of 2013 and the beginning of 2014 touring with a number of Australian heroes and international acts, including the likes of Horrorshow, Machine Gun Kelly, Dead Prez and Talib Kweli. Tickets on sale now from www.l-fresh.com

NEKO PLANET PERTH Prepare for out of this world entertainment as Neko Planet brings artists LeLe, Gothique Prince Ken and Dj Sisen to The Bakery on Wednesday, April 9, for one absolutely amazing and unforgettable experience.

Neko Planet Perth will be supported by anime covers and J-Rock band Anti-Social Yakisoba.

LeLe

MR. CARMACK PLAYS SHAPE Mr. Carmack has already carved out a reputation as one of the most creative and unique producers in the game right now, he’s been name checked by the likes of Pharell and DJ Shadow when he’s not busy putting out prolific releases. His eclectic mix of handclaps and melting beats, with the kind of swing to his percussion that can’t be taught, make a signature to even his most opposed tracks – futureembracing club tracks sit next to lush, delicate soulful tunes - with a shift so subtle it’s unsurprising he’s a multi-instrumentalist playing no short of the French horn, piano, drums, bass, guitar and ukulele. Check out Mr. Carmack at Shape on Saturday, April 26. Go to dashtickets.com.au to buy a ticket.

WITH DEADWEIGHT! DeadWeight! share their top five new bass tracks

Commodo F*ck Mountain Hotline Recordings

Las Malfunktions Firepusher EP

Machinedrum Back Seat Ho Ninja Tune

Hi5Ghost Kung Fu Kick Bandulu

DJ Q Trust Again (Major Grave Remix) Local Action

22

Deep Medi regular and total badman Commodo finally dropped his hugely anticipated F*ck Mountain 12-inch for vinyl only label Hotline Recordings. F*ck Mountain is all distorted kicks, unmistakable Commodo arps, chords and those dancefloor murdering basslines he does so well. The flip sees Commodo dip deeper into weird 125-bpmish territory that wouldn’t sound out of place on Pinch’s Cold Recordings imprint or in a late night Pearson Sound set. While both sides are hotly tipped by us, you can’t go past the madness inducing A-side.

Fresh from his stellar Dem Break EP with fellow Finnish producer Mikael on Innamind Recordings, LAS teams up with Turkish dubstep innovator Gantz. The Firepusher EP, this time on V.I.V.E.K’s System Music label, is another chest rattling release. For us personally, there is something about Malfunktions, which is LAS’ solo contribution to the EP that makes us lose our shit to everytime.

Machinedrum follows up his Vapor City LP in fine style with the Fenris District EP. Weighing in at 170-bpm and utilising samples from DJ Clent’s Back Seat Hoe, Machinedrum further cements his place as an untouchable, genre defying innovator. Driving basslines and sidechained chords grow in intensity as the tune progresses to eventually morph into a hypnotic series of stabs and skittering percussion, which set the benchmark for producers experimenting with this yet to be named BPM template.

Hi5Ghost drops his debut 12-inch for Bristol based grime label Bandulu. We’ve been hammering the eight bar original for a little while now, with its absolutely stupid Jammer vocal chops, string stabs and mental #BASE (as Big Narstie would say). Label head honchos Kahn & Neek take things up a notch with their siren sounding Happy Slap Remix giving the beat a bit of extra room to breath, adding brutal square wave melodies, and darkening the mood with their take on the O.G’s orchestral stabs.

Bassline veteran DJ Q’s album Ineffable was finally released on Local Action this week. We’ve been waiting for it for long time and it didn’t disappoint. To accompany the album, Local Action issued a new set of remixes of vocal cut Trust Again with young grime producers Rabit, Inkke, Major Grave and dubstep heavyweight Compa lending their sounds to the release. Our pick of the bunch is Major Grave’s ‘new’ grime, square wave interpretation that lets the vocal do its job and makes it compatible with our dancefloor.

DIE HIGH RECORDS Perth-based label Die High was born out of a desire to talk shit on the internet and has grown to release tracks from Slumberjack, Sable and Rattraps. We caught up with creators Gabriel Bravo and Corey Rozario.

How long has Die High been around?

We’ve been around for almost a year officially.

Why did you all start the label?

Just before we started this we had a lot of different things happening and the label gave those things a home. We liked the idea of working with good people and talking bulk shit on the internet.

Who are the main people behind the label? \ There are four people in the business but two of us - Gabriel Bravo & Corey Rozario run the label aspect. We’re 23 and stupid.

How do you find out about new producers, and what do you look for?

Either by submission - there are so many insanely good kids just flipping out sonic wizardry on the regular - or by a browse on the internet. It’s impossible to say what we listen for though. Sometimes it’s just ‘yeahh’ Does Per th suppor t its electronic music industry?

People have been making/supporting beats and electronic music in Perth for a long while. When I was in high school Paper Chain and a bunch of other Perth labels were already doing good things and great labels existed here long before that so the foundations of a good Perth scene has always been there. Great promoters and the internet has helped all that grow to what it is today I guess.

Are you all from Perth?

We’re all ‘in’ Perth most of the time yeah, it’s home.

What’s in the works for the rest of 2014?

More music, some parties and internet stuff plus a few things we’re really e xc i te d a b o u t t h at we c a n ’ t t a l k a b o u t , unfortunately.

Is there a focus on promoting locals acts?

For sure, we actually started a management company recently so we can work specifically with some Perth friends on their new projects.

What act are you most excited for?

We honestly can’t answer this. There are too many ridiculously talented people doing their thing at the moment.

WWW. XP RE SS MAG.COM. AU

OSCAR KEY SUNG Beat-making wizardry Oscar Key Sung has exploded onto the dance/pop music scene with his own unique brand of beat-making. He spoke to EMILY WOODS about his sound, influence and his love affair with Japan.

The 23-year-old Melbourne singer, songwriter and producer just released his first EP, Holograms, and he is about to set off on a national tour, which includes The Bird on Thursday, May 1, 2014. A festival regular, Oscar Key Sung has played to thousands at Falls Festival, Meredith, Sugar Mountain and Melbourne Music Week.

He has created a genre of his own by using a spacious melody of vocal samples, his own soulful voice, keyboard and drums. “It’s quite emotional in a way,” Key Sung said. “Quite sensual and electronic, R’n’B and soul influenced.”

Key Sung’s passion for creating unusual and enjoyable sound, stemmed from a love of all things creative. “I’ve always liked being creative in a lot of ways,” he said. “I grew up painting, and did a lot of acting and singing. I just liked the arts. Music is just one of the things I’ve always done since I was little.”

He got into beat-making a few years ago and his music took off when he decided to combine it with his soulful voice and lyrics. “I wanted to work with a limited palette. Using a lot of vocal samples as the source for my keyboard sounds and drum sounds,” Key Sung said. “I like having it all tie in and fit together.”

In recent years, Oscar Key Sung has become a regular in Melbourne’s beat-making scene, as one half of Oscar + Martin, and HTML Flowers.

Holograms sees him forging further partnerships, this time with Melbourne based producer, Andrei Eremin.

“He was able to give me technical advice that helped me make changes to the music,” he said.

“Because his ears are more trained to the production side, whereas when I went to University I did more conceptual stuff.”

Key Sung’s influences vary, from Just Green, to Beyoncé and everything in between. “There are a lot of artists who I think are amazing. Like Rhye, his album Woman was a big influence on me for the

EP,” he said. “I even listen to really poppy stuff like Disclosure, Bjork and Arthur Russell. I listened to Radiohead way too much when I was younger.”

Key Sung’s peers in the industry have also been a huge influence. “I definitely don’t draw from one particular thing and I think that’s really obvious when you hear my music,” he said. He studied Sound Art at University, but admits it influenced his music in an unusual way. “A lot of the emphasis in the course was about avoiding clichés and the pop-mentality.

That’s what drew me to the course initially,” he said.

“But then it also led me to react to that, and make things that were a bit more poppy, because I’m a reactionary kind of person. I like doing the opposite of what I’m told.”

Oscar Key Sung is looking forward to the rest of the tour, including his May show in Perth. He played in Perth a couple of years ago and enjoyed the effusively welcoming reception. “I had people coming up to me and saying they had a really good time so that was really good,” he said. After Australia he will head overseas, making sure he stops by Japan. “I’m a huge Japan freak. A huge goal of mine is to live there and I can’t wait to get into the dance scene. I hear it’s massive.”

Michael Bell

BEDROOM TO BIG HOUSE Paying It Forward Providing a platform for young DJs to play live is crucial to any scene wanting to develop talent. The inaugural Bedroom To Big House DJ competition does just that. MERRAN REED talks to event organiser Anton Mazandarani and one of the talented four finalists, Michael Bell, ahead of the finals at Capitol on Friday, April 8, 2014.

Mazandarani, a promoter, DJ and stalwart of the Perth club industry, understands how hard it can be to crack into the scene. “There are already so many DJs out there and a static amount of nightclubs and venues for them to play,” he says.

“I think all venues and all promoters want to give back where they can and we all realise how important it is, and how good it is for the whole scene to give aspiring talent a helping hand when we can.”

Michael Bell, one of the four finalists, has been DJing for two years and says although the internet provides a way for DJs to distribute music, competitions remain vital to boosting a young artist’s profile.

“Bedroom To Big House was the opportunity to get out of messing around in my room and at house parties and on to a main stage, and it’s helped my career a lot already, which is all I really wanted to gain from this,” he says.

“If it wasn’t for competitions like this, it would be near impossible to find new talent. Using the

internet, specifically Soundcloud, is a great way to get your stuff out there but with the amount of aspiring DJs today it is hard to get noticed.

Bedroom To Big House has already allowed Bell to secure a residency spot at Metropolis Fremantle for its new Wednesday night Next Gen, which only bolsters Mazandarani’s claim - that venues and promoters recognise the value of giving aspiring talent a boost.

Ahead of the finals, Bell says he feels like he has already achieved his goal, so he is happy with whatever the outcome is on Friday.

“Not only do I get to play at the bighouse on a weekly basis but I get to play the music I love and the music I want to share. So I feel like I’ve already achieved my goal,” Bell says.

Mazandarani, who started the competition last year, says the judges will be looking for someone who can judge a room and play accordingly, rather than rock up and play the same, rehearsed set.

“Someone with a bit of get up and go, who understands the ability to self-promote and help fill that venue, but most importantly we are looking for the mad skills,” he says.

“From selection of tracks, to how they build their set, technical and beat mixing abilities are crucial but the judges also look favourably on DJs who are making an effort to mix in key and equalising between tracks to make sure it’s sounding great out the front.”

Mazandarani says all four finalists, Kane Lucas, Jian Soares, Mitch Thoms, and Michael Bell are standout acts.

“It’s going to be a tough competition,” he says.

“All covered multiple genres and BPMs kept it fresh but the lads were not scared to experiment either, so it’s going to be a very tough selection on the night.”

WWW. XP RE SS MAG.COM. AU

23

B E AT S

LOST SOCIETY The Collective MUSTANG BAR DJ James MacArthur THE SHED Midnight Ramblers

WED 09/04 THE BAKERY Neko Planet THE BEAT (DOWNSTAIRS) Street THE BIRD Bird Live Sessions Leure Ghost Drums Leon Osborn BRASS MONKEY DJ Vicktor CAPITOL Harlem Vs Majesty Genge Peter Payne J.Yes Philly Blunt Slykidd Lenox Ave BMB PussyMittens Benny P X Owl X CAPTAIN STIRLING Lokie Shaw CLUB RED SEA Cheek CONSERVATORY ROOFTOP BAR Horseplay THE DEEN Manic Mondays GOLD BAR Famous ft.

DJ Crazy Craig THE GOOD SHEPHERD Thinkfar GROOVE BAR (CROWN) 5 Shots HIP-E CLUB DJ Roger Smart LAKERS TAVERN Grizzly

24

LLAMA BAR Akuna Club METRO FREO Next Gen MUSTANG BAR DJ Giles NEWPORT HOTEL Newport Wednesdays THE SHED DJ Dillan SOVEREIGN ARMS FIVE0 VILLAGE BAR Village People Wednesdays THURS 10/04 THE BIRD Hip Hop Kara”Yo!”ke BRASS MONKEY Karaoke THE CAUSEWAY Xport Thursdays THE CLAREMONT HOTEL Institution Thursdays ft.

DJ Pup B-Fix CLUB RED SEA Thursday Night Revolution CONNECTIONS Bingay THE CRAFTSMAN FIVEO THE DEEN Chase The Sun Thursdays DJ Don Migi Nano Surge DJ Flex GOLD BAR OG Thursdays LEISURE INN DJ Peta

NEWS

|

INTERVIEWS

|

REVIEWS

|

EVENTS

AMPLIFIER

METROPOLIS FREMANTLE

CAUSEWAY

Jody Wisternoff, Friday, April 11 @ Geisha

|

FRI 11/04 AMBAR District 2nd Birthday Zeke Philly Blunt Bezwun Marko Paulo DYP Huffle AMPLIFIER Fridays Are Back ft.

Edwardo Norton THE AVIARY Paradise Paul NDORSE THE BAKERY Tautoko ft.

Ambassador Scribe Intrusive Thoughts THE BAYSWATER Mario Zuli THE BEAT (DOWNSTAIRS) PLAY THE BIRD Reggae & Dancehall ft.

Mumma Trees DJ Veeness Dave Clark THE BRASS MONKEY James Ess George Green THE BRIGHTON DJ Peta BROKEN HILL HOTEL DJ Tony DJ Lukey CAPITOL Bedroom to Bighouse Death Disco Michael Bell Jian Soares Mitch Thoms Kane Lucas CAPITOL (UPSTAIRS) I Love 80s & 90’s ft.

Darren Tucker THE CARINE J!mmy Beats THE COMO FIVEO THE CRAFTSMAN Dazman DAILY PLANET Sundowner Sessions

THE DEEN Student Night EVE NIGHTCLUB Recharge Fridays FLAWLESS Monarch Fridays FLYRITE Deadweight! ft.

Clunk D.Y.P. Kid Lucid DJ NSFW C Rubble & Slackson GINGER NIGHTCLUB Mondo Dance Party GOLD BAR Vanity THE GOOD SHEPHERD Throwback Fridays GROOVE BAR (CROWN) DJ Crazy Craig HIP-E CLUB DJ E-Funk LAKERS TAVERN Grizzly LEISURE INN Miss Chief LIBRARY Dorcia MALT Nu Disco Hip Hop METRO FREO Clique Angry Buda DJ Mr-Phat Chris Whytehype METRO FREO (C5) Trap’d Olithagod Midsole The D’vauz Brothers MINT Club Retro MULLALOO BEACH HOTEL Flaunt Fridays DJ Darren Wize MUSTANG BAR DJ James MacArthur Swing DJ MY PLACE Karaoke PARAMOUNT Paramount Party Crew PARKER Limelite w Perking Duk Perking Duk Mell Bee Jump the Gun Blayze THE QUEENS Philly Blunt & DJ Reuben THE SAINT Dylan Carter

SHAPE BAR Drum & Bass Spectrem VLTRN Greg Parker Gorilla Tactics Gran Calavera THE SHED Crush DJ Matt SOVEREIGN ARMS Az-T TOUCAN CLUB The Drop Invictus Network Harvey Dub Shadow Scheme De.Bug Neurocyanists MCS Ritalary Sterling Haste WHALE & ALE Jaw$h YAYA’S ACE Fridays SAT 12/04 AMPLIFIER Pure Pop ft.

Bam Bam & Eddie Electric AMBAR Japan 4 ft.

Mo’Fly Tee EL Dead Easy Marko Paulo Bezwun THE AVIARY Thomas Ford Mitch Paradise Paul AVENUE Lokie Shaw THE BALMORAL Back To The 80’s THE BAKERY Deadboy Bolsty Scenic Djs Crainoid United Sound Alliance Clunk Ben T BAR ORIENT The Reggae Club BEAT NIGHTCLUB (UPSTAIRS) CANVAS BRASS MONKEY DJ Peta & Grizzly THE BRIGHTON DJ Miss Chief

WWW.XPRESSMAG.COM.AU

CAPITOL Death Disco CAPITOL (UPSTAIRS) Cream of the 80’s ft.

DJ Roger Smart THE COMO Jon Ee THE DEEN Saturdays DEFECTORS BAR Future Wives Club EAST END BAR Home EVE Eve’s Flirt Party FLAWLESS LQ Saturdays FLYRITE Father Saturdays GEISHA BAR Headkandi ft.

Chiari THE GENEROUS SQUIRE Defauntley GILKISONS DANCE STUDIO U.S.A. 1st BIRTHDAY! ft.

Tessela Kowton Untzz Heavyweight 12” GOLD BAR Pure Gold THE GOOD SHEPHERD Chocolate Jesus THE GRAND Jinx Project GROOVE BAR (CROWN) Hero DJs HIP-E CLUB DJ E-Funk THE KNIGHTS INN, MARGARET RIVER Boston Switch Sun City DJs Aian LIBRARY MKT LLAMA BAR DJ Reuben DJ Morris LOST SOCIETY Chalk METRO FREO Metropolis Saturdays ft.

Darren Tucker Dr Wazz Ben C DJ Shane METRO FREO (C5) I Love 80s and 90s MULLALOO BEACH HOTEL Oceanside 28’s MUSTANG BAR Rockabilly DJ DJ James MacArthur

Thief, Saturday, April 12 @ Amplifier

NEWPORT HOTEL Gravity DJ Tahli Jade DJ Tom Drummond PARKER Parker Saturdays ft.

Troy Division Lukas Wimmler Axen Jackness Chiari PARAMOUNT Saturday Nights ft.

Felix THE QUEENS Jay Lee Lloyd & Funky Bottoms THE SAINT Crackers SHAPE BAR Big Ape THE SHED Huge DJ Andyy SOVEREIGN ARMS Moe-Hee-Toe TOUCAN CLUB VICE WHALE & ALE Mario Zuij VILLA DJ Hype & Funsta MC Loadstar Gran Calavera Terrence & Phillip Spillage WHALE & ALE Spin Back Saturdays YAYA’S Arcadia SUN 13/04 THE AVIARY NDORSE Jad Lee (Mitzi) CLAREMONT HOTEL

Sunday Driver FLYRITE DAY-WOO LUCKY SHAG BAR DJ Richie G MULLALOO BEACH HOTEL Sunday Sesh DJ Slick MUSTANG BAR DJ Holly Doll NORTHSHORE TAVERN Splash Sunday DJ Session THE QUEENS Devo & Sam Spencer THE ROSEMOUNT (BEER GARDEN) The Get Down ft.

Charlie Bucket Klean Kicks Nick Sheppard THE SAINT Jon Ee & Az-T MON 14/04 BRASS MONKEY Monkey Madness THE DEEN Manic Mondays THE ROSEMOUNT HOTEL Bex & Turin’s Wide Open Mic THE SHED The Healy’s YAYA’S Big Tommo’s Open Mic TUES 15/04 THE BIRD The Bird’s Open Mic Night BRASS MONKEY Acoustic Open Mic Night MUSTANG BAR Danza Loca Salsa Night

Deadline Monday 5pm. The Club Manual is a service to advertisers listing all DJs & Dance Music. All inclusions are at the discretion of X-Press. Email guide@xpressmag.com.au

DELICIOUS @ ROCKET ROOM

OCEAN ONE BAR

THE SHED

THIS WEEK NEKO PLANET 9 The Bakery DISTRICT’S 2ND BIRTHDAY 11 Ambar BEDROOM TO BIG HOUSE 11 Capitol DEADWEIGHT! 11 Flyrite DRUM ‘N’ BASS 11 Shape U.S.A. TURNS ONE W/ TESSELA, KOWTON AND UNTZZ 11 Gilkinson Dance Studio LIMELITE ft. Peking Duk 11 Parker

Elizabeth Rose

Elizabeth Rose w/ Safia and Fishing

JODY WISTERNOFF 11 Geisha ELIZABETH ROSE, SAFIA, FISHING 11 Amplifier 12 Mojos DEADBOY 12 The Bakery DJ HYPE & FUNSTA MC, LOADSTAR 12 Villa THIEF 12 Amplifier 13 Newport Hotel APRIL KILLSWITCH ENGAGE 16 Metro City PIETER T & DEACH 17 The Northshore Tavern EASTER BOUNCE ft. Kid Kenobi 17 Parker COSMO’S MIDNIGHT 17 Villa DOCTOR DRU 17 Geisha MINISTRY OF SOUND: MELBOURNE BOUNCE SESSIONS ft. SCNDL & J-TRICK 19 Villa Nightclub BAM BAM & SAVO 19 Amplifier DELTA HEAVY 20 Villa

FRIDAY, APRIL 5 @ AMPLIFIER TOUCH SENSITIVE 20 Aviary Rooftop Sessions NiCe7 24 Geisha SABLE 24 Metropolis, Fremantle LIMELITE 7TH BIRTHDAY ft. Cedric Gervais, John Dahlback, Sebastien Leger 24 Capitol & Amplifier WHY MAKE SENSE ft.

Rustie, T.Williams, New York Transit Authority & Nightwave 24 Port Beach Sand Tracks FAR TOO LOUD 25 Ambar

HARDSTRAYLIA ft. RL Grime, Destructo, Oliver, Motez 27 Port Beach Sand Tracks THE CARNEVALE ft. The Martinez Brothers 27 The Causeway LORDE 29 Challenge Stadium (all ages) MAY OSCAR KEY SUNG 1 The Bird DJ PREMIER & PETE ROCK 1 Capitol BLISS N ESO, HORRORSHOW, SETH SENTRY 2 Signal Park, Busselton 3 Wellington Square

WILD FOR THE NIGHT ft.

Ashton Shuffle 25 Parker

HUXLEY 3 Geisha

THE ASTON SHUFFLE (DJ set) 25 Parker

ARMADA NIGHT ft.

Andrew Rayel, Jorn Van Deynhoven & Marlo 3 Metro City

MR. CARMACK 26 Shape Bar HIGH TIDE ft. Shockone, Nu:Logic, Dimension & more 26 Port Beach Sand Tracks VILLA’S 5TH BIRTHDAY ft.

Krafty Kuts 26 Villa

CITIZEN KAY WITH TKAY MAIDZA 3 Amplifier 4 Newport Hotel, Fremantle THUNDAMENTALS 8 Flyrite THE PRESETS, WORDLIFE, DJ BENI 8 Capitol

VANCE JOY & GOSSLING 8 The Bakery HOLY FUCK 8 The Rosemount 9 The Odd Fellow DISCLOSURE 9 Metro City 10 Groovin’ The Moo, Hay Park, Bunbury GROOVIN THE MOO ft.

Disclosure, Dizzee Rascal, Holy Fuck, Illy & more 10 Hay Park, Bunbury ALISON WONDERLAND 23 Secret Location L-FRESH THE LION 24 Mojos LAURYN HILL 24 Fremantle Arts Centre ELLIE GOULDING 28 Challenge Stadium RÜFÜS 30 Players Bar 31 Fremantle Arts Centre JUNE THE PRESETS (with the Australian Chamber Orchestra) 4 Concert Hall AUGUST THE ASTON SHUFFLE 23 Amplifier

A$AP - Photo by Daniel Craig

A$AP FERG Supported by DJ Slink The Bakery Saturday, April 5, 2014 The Bakery is a sweltering mess. With tonight’s live offerings, the usual demure crowd of skinny, tattooed Arts majors have been replaced by a mix of dude-bros and club-girls. They avoid the astro-turf and shipping container courtyard in favor of the stage, where at least the sloppy basswork by the resident DJ might remind them of Paramount [Nightclub]. The crowd’s heavy-handed moshing and fight-starting attempts throughout the night makes the heat almost unbearable. A sellout crowd is eagerly awaiting their trap lord, A$AP Ferg.

DJ Slink eventually takes the stage. While The Bakery suffers its share of sloppy disk-jockeying, this guy knows what he’s doing, despite a hiccup or two later in the set. One of Ferg’s resident hangerson takes a break from fist pumping in the corner and whispers something to Slink a couple times, Ferg’s not ready yet. What begins as a good DJ set stretches past the 90-minute mark, and the sellout crowd goes frigid.

When he does appear, it’s clear A$AP Ferg is not here to play songs, he’s here to put on a show. Every track has an interlude; banter to build the hype. There’s emphasis on being an original Ferg supporter, knowing the lyrics to the next song and “fucking bitches”. The crowd laps it up and the whole event is like a macabre

WWW.XPRESSMAG.COM.AU

pep rally, the sort you’d expect from Tyler the Creator or Death Grips.

His charms are such that you almost miss how little he’s rapping. His late 2013 release Trap Lord was primarily a list of bangers with an all star cast of guest spots -- Kendrick Lamar, Trinidad James and Wakka Flokka Flame all kill their verses. But it doesn’t have the same feel live when it’s just playback. For the most part, Ferg is rapping over his own recorded voice and cutting songs short to stage dive for the fifth and sixth time. For how little he does rap, Ferg absolutely kills it. He’s got the clarity, the emphasis and the bite, not to mention a surprising range.

A$AP Ferg strikes me as a wounded cowboy who knows the score. He’s taking advantage of his new-found success as much as he can, because he’s smart enough to see he might not be in demand in 12 months. It’s no surprise when Ferg calls for ‘all the bad bitches get up on stage’.

Before any of the crowd-sourced slutshaming can begin though, someone throws a water bottle. By sheer dumb luck it hits DJ TJ’s laptop, and the set dies. Trap Lord begins another pep talk. Behind him the posse is fretting away, and snippets of their conversation, which indicates this isn’t going to be a quick fix, are heard over the PA. Ferg breaks out into a voice-only rendition of Hood Pope, and then tells the boys to fetch him when it’s fixed. A 15-minute interval later and Ferg’s back on stage, but he’s not feeling it like he was before. Forty five minutes after he took the stage, A$AP Ferg ends his set, and when DJ TJ follows suit, the crowd gets the message. The show’s over.

Simon Donnes

25

26

WWW. XP RE SS MAG.COM. AU

LOCAL NEWS

|

INTERVIEWS

|

REVIEWS

|

Q & A

Monster Magnet - Photo by Rachael Barrett The Love junkies - Photo by Rachael Barrett

MONSTER MAGNET King Of The North/ Chainsaw Hookers Amplifier Bar Thursday, April 3, 2014 Dave Wyndorf’s last couple of trips to Perth came in the wake of his addiction to prescription drugs and recovery, a time when he seemed to have lost his way personally and musically, so it was a joy to hear last year’s The Last Patrol return to the band’s dynamic psych rock roots.

Chainsaw Hookers opened the show with nothing left to prove to anyone in this town, but they never let that slacken their pace and seem incapable of performing below their best. This support slot – the latest in their Who’s Who of touring luminaries – was as pummelling as always, even if the crowd was thin on the ground when they kicked off a mere fifteen minutes after the doors swung open.

King Of The North hit like a rock n’ roll tsunami, making the kind of noise The Black Keys would if they were trucker metalheads on a meth-fuelled long haul across the desert. Gathering up monolithic sounds that touch on heads down rock, boogie, metal and stoner doom, these guys have a buzz about them that only comes with being destined for bigger things.

From the word ‘GO!’ Monster Magnet were a swirling orgy of trance-like psych riffs, flashing lights and crushing space-force. With Wyndorf recently publicly decrying heavy metal and MM’s place in that pantheon, it came as a sweet tease when he promised songs only from their seminal first four records plus a few from last

year’s tour de force Last Patrol, and that’s exactly what they delivered, starting with an extended wig-out on Last Patrol itself.

Part MC5, Stooges and The Count Five garage mayhem, part volume abusing freakazoids, it’s easy to see why they were adopted by the stoner metal crowd, but apart from denim and volume, Monster Magnet shared nothing in common with traditional metal tonight.

Their cover of Donovan’s Three King Fishers is part Pictures Of Matchstick Men, part Black Sabbath, with Wyndorf calling it “...very psychedelic – and I want you to be very psychedelic too!” Indeed, there were far more people dancing esoterically than there were headbanging.

There was an incandescent madness to the show as the triple guitar riffs circled your brain through Dopes To Infinity, Spine Of God and Powertrip, and the tripped out lyrics tied knots around you. Wyndorf – looking brighter and healthier than on those last couple of visits - spent time with his back to the stage fiddling with a raised guitar rig that manipulated feedback in ever freakier squalls of sound, and whether he was bastardising American Pie, sounding like a heavy spacerock Doors, or cackling at a nubile in the front row ‘Oh I could take a bite outta you!’ the intuitive interplay between the band members was mesmeric and majestic, while on trippy closer Space Lord, Wyndorf reasserte himself as a psych rock cult leader.

SHANE PINNEGAR

LOVE JUNKIES Pat Chow/Health Legend/Ruby Boots Mojos Bar Saturday, April 5, 2014 With the spectre of the state election hovering over everyone heads, Mojos Bar filled up slowly but surely for the launch of The Love Junkies new EP, Flight Test.

Ruby Boots started the night, her powerful voice ringing out pure and clear. A recent writing expedition resulted in her song, Middle of Nowhere, although with the friendly crowd it seemed like anything but. The song Ruby Blues was heartfelt as hell, and with one more song she rounded out a great country-blues set.

The next group, Health Legend, were the antithesis of Ms Boots: loud as fuck in the best possible way. With the guitarist in his best grunge gear and the bass hanging low they proceeded with a mix of sludgy power chords that would break into a superfast punky thrash. The lead singer was shirtless by the second song and down on the floor with the crowd in a frenzy of lunatic adrenaline glory, and they were helpless to resist.

Three piece Pat Chow kept up the pace, but modulated it with melody over the crunch. Throwing out catchy indie riff rock, with some heaviness to break it up and keep anything from getting too safe, they were a fun, loud band. A few more songs featured jangly guitars sprinkled here and there but these guys were primarily about kicking arse. And speaking of kicking arse...

It was just past eleven when The Love Junkies took the stage, with lights dimmed in expectation and Girls Just Wanna Have Fun on the stereo. So, it seems, did these guys as the three of them came out and started a reverb-drenched mellow number that exploded with a bang and never stopped bringing it.

Frontman/guitarist Mitch McDonald had the crowd at his mercy the whole night. Lewis Walsh’s drums were particularly noticeable on all their songs, with a busy and full sound that still had some elegance to it. Detuned bass growled in the heavier songs, courtesy of the excellently named Robbie Rumble.

Robbie did heavy back up vocals on the third song over the more melodious Mitch, but more impressive was how they switched between 7/4 time and 4/4 time without a dropped beat. A mix of older songs and new tracks from the EP kept people interested, especially the older numbers. There were traces of stoner rock, grunge and punk, and even two songs that featured the string players swapping so Robbie could sing.

Then came the rare Nirvana song, Curmudgeon. Perhaps a misstep, as a more well-known song would’ve kept the energy high. No matter, as they brought it back around again with quiet/loud dynamics and some sneaky little chromatic riffs. All the while they exuded good feeling, and with most of Mojos singing along to a good number of the tracks they employed a few more cunning tempo changes and vocal interplay before ending with a glorious bang.

It was good night for the lads, and no one in the crowd would deny the skill, power and fun of The Love Junkies.

Elections be damned.

DAVID AZMO

As they bulldozed through Emotion Evolution and Nomadson with a killer stage performance where bassist, Dan Zarb, brought the This Other Eden kicked off the night in a consistent phrase ‘really getting into it’ to a whole new level. yet playful fashion with their young loyal fans He, along with lead, Mike Bok, and drummer, Ryan grooving avidly at the front of the stage, whilst diving Monger, looked truly in their element, making every into their pop-punk styles that would occasionally beat, strum and alternating bass seem all too easy. force out a hardcore metal scream through various Undone doubled the crowd, highlighting tracks, such as Better Already. that it has been far too long since fans had feasted on The pelvis-grinding late ‘90s rockers this eclectic trio. Bok thanked the crowd profusely for Loose Unit turned the hardcore alternative their presence and support, which extended through flavours of the evening up a notch. The crowd to the bands for the evening. consisted mostly of a few avid fans and the All ears were on the single of the moment, old-school Perth rock-loving enthusiasts who One Minute Ago, but not before a guest guitarist was were curious about their return. The three piece brought to the stage to assist with the hypnotic, rockers simplicity in sound made them quite easy dream-like track. The subtle switches between left to absorb. and right guitar, a consistent beat that picks up only Next up, the Perth masters of hardcore to subtly drop back, smooth yet illuminating synth obsidian doom rock, The Devil Rides Out, were raw in bass and smoky deep vocals is a refreshing beacon sound and style. The rustic bellowing screams mixed for what is to come from OPIA. with a heavy bass and bleeding riffs, made them The night ended with fan favourite hard to ignore. As each track grew with intensity, Recharge, which highlighted the major progression particularly Ugly Creatures from their EP of the same between old-school OPIA and the new path that they name, so to did the intriguingly hypnotic loops and have ventured down with One Minute Ago. The new Joey K’s unique vocals. track alone suggests OPIA are on a mission, with the The guests of honour, OPIA, flocked to the boys bunkering down for the last several months stage with an explosive start, making it quite clear for some serious writing and collaborative sessions with their passion and professionalism that technical having paid off. The anticipation for the debut album difficulties and lack of distortion was not going to is certainly buzzing. keep them from feeding the crowd with an intense KRISTINA SIMMICH and high-calibre performance.

The Rosemount Hotel Friday, April 4, 2014

OPIA The Devil Rides Out/Loose Unit/This Other Eden/Constructs

OPIA - Photo by JF Foto

WWW. XP RE SS MAG.COM. AU

27

LOCAL NEWS

|

INTERVIEWS

|

LIVE REVIEWS

|

Q & A

MISS SUNSET COAST COMPETITION The Northshore Tavern Sunday, April 6, 2014 Punters got to enjoy the charms of the Miss Sunset Coast Competition at the northern suburbs’ fresh new venue, and X-Press was there to get some snaps of all the fun. The entertainment keeps rolling on this week with Vdelli performing for the first time at The Northshore, this Friday, April 11. Entry is $10.

Photos by Rachael Barrett

CLANCY’S FISH PUB FREMANTLE

THE BEAT NIGHTCLUB Aveira Skies are launching their debut album, The Rise of a New Breed and This Existence are launching their debut EP, Close to Home, this Saturday, April 12. Both bands will be joined by locals Closure and Atlantis. This show is dedicated to those who miss Runaways! Doors open at 9pm and entry is $10.

Aveira Skies

INDI BAR After having sold out their first show at The Indi Bar, Nitro Zeppelin return with their trademark Zeppelin tribute show this Friday, April 11, with very special guests The Tommyhawks. Doors 8pm and entry is $10.

MOJOS Thursday, April 10, Galloping Foxleys launch their new album. Supports include Childs Play, Red Engine Caves and Blind Tiger Blues Box, plus Bryan Rice Dalton in the garden early up. Local artists Simone Taylor and Lindsey Matthews will be exhibiting some of her exquisitely intricate drawings on the hallowed walls of Mojos. $10 entry from 8pm.

SWALLOW BAR Thursday Night Live welcomes the fabulous Jazzy sounds of the Jessie Gordon Duo, shaking the house from 7pm. Razor Jack hits the decks on Saturday, April 12, with his rare collection of swingin’ sounds from West Africa, the Caribbean and the US. On Sunday, April 13, get on down for an afternoon of gypsy jazz with the one and only Voudou Zazou from 5pm.

28

WWW. XP RE SS MAG.COM. AU

This Saturday, April 12, Clancy’s Freo plays host to Margaret River ska reggae band, New Soundland. With support from Mat Cal and Black Heart Sun, this is your only chance to catch the boys as headliners in Perth this tour. Kicks off 8pm, $10 at the door.

New Soundland

ROSEMOUNT HOTEL This Wednesday, April 9, in the main room catch Hideous Sun Demon, Catbrush, Aborted Tortoise, Kitchen People and Pissedcolas, and then on Thursday, April 10, The Lucky Numbers hit the stage with support from Dirty Folk, Brufield and Billie Rogers. Friday, April 11, there’s a free entry show in memory of Perth musician Dom Di Blasio featuring Screwtop Detonators, Wizard Sleeve, Leeches, Nici Blue Eyes and more, while Saturday, April 12, local indie rockers Frighteners play their last show with special guests Lacey, Rag N Bone and Lumpy Dog. On Tuesday, April 15, Bex And Turin’s Open Mic Night continues. Check out rosemounthotel.com.au for ticketing and other info.

YAYA’S Fresh off the launch of her debut EP, When The Winter Came, local singer/songwriter Anna O takes to the stage this Thursday, April 10, with full band in tow. Don’t miss out! Get on down on Friday, April 11, for your fill of punk and ska as Them Sharks head up a massive show with Medicine, Blackwitch and At The Space Jam and check out The Meaning Of on Saturday, April 12, as they show off some of their fresh new material! As always don’t forget to hang around on Friday and Saturday for Ace And Arcadia after 11, resident DJs Pup and Cookie spin your favourite party starters to help you dance the night away!

LOCAL NEWS

|

INTERVIEWS

|

LIVE REVIEWS

|

Q & A

A QUICKIE WITH... THE SHAKEYS Awesome foursome The Shakeys unleash their EP, White Lightning, at The Rocket Room this Friday, April 11, with support from Battle Axe Howlers (Vic), Scalphunter, The Lungs and The Reptilians, plus DJs Kill and Holly Doll. We caught up with singer and guitarist, Claire Hodgson, ahead of their looming Japanese tour.

Where did The Shakeys spring from?

For ages our bass player, Jess, and I had joked about starting a band and all the crazy antics we’d get up to if we did. One thing led to another and before we knew it we had our first show lined-up, fittingly in a garage at a punk house party! The rest as they say, is history...

What’s your sound?

We’re straight-up punk ‘n’ roll, so bands like The Stooges, MC5, The Saints, The Victims, plus Memphis garage bands like the River City Tanlines and The Reatards we really dig on. We’ve also been compared with Blondie and The Runaways quite a bit, which is a huge compliment ‘cause we love the hell out of both of those bands.

Where did you record the EP? We recorded upstairs at The Astor in Mount Lawley with Mitch McDonald from The Love Junkies. We were actually the first band to record in the space with Mitch and were stoked to discover that it actually used to be an old grindhouse theatre.

The Shakeys - Photo by Daniel Grant

What’s the music scene like in Japan?

Really different to here! The venues are super-small, like for Tell us of this trip to Japan! example YaYa’s would be a big local venue over there. You can smoke Yes! We’re playing six shows over there in cities like Tokyo, inside (but you can’t on the street) and there are no bouncers, maximum Osaka, Kobe and Yokohama, with some of the hippest Japanese garage venue capacities, or lockouts. Venues basically let as many people in and bands around. The garage scene is really supportive over there so it’s been open to as late as they feel like so people just drink all night. It would be incredibly easy. The main challenge I see happening will be negotiating heaven except for the fact that the venues charge huge hire fees, so the the Tokyo subways hungover with all our gear (I’m not looking forward bands make stuff-all when they play. That’s something we’ve got over to that!), but the rest should be pretty smooth sailing methinks.

Tokyo at least!

MIDWEEK MAGIC AT THE BIRD Get a reinvigorating does of tripped-out electronica this Wednesday, April 9, at The Bird. Leure brings her signature hypnotic, electronic and wholly arresting sound, alongside the mysterious lo-fi sounds of Ghost Drums, plus Freo-based producer Leon Osborn. Entry is free from 8pm.

Leure

HOOK INTO FOUR5NINE Feel Lucky Punk is back where it belongs in the cosy confines of Four5nine at The Rosemount hotel this Wednesday, April 9. Chainsaw Hookers will be in the house, along with Yob Mob, Rumskull, Loners and Trip Hazard And The Rude Boys. Entry is $8 from 7.30pm.

THE MEANING OF MUSIC Desperately needing to blow at the cobwebs as they zeroed in on the completion of album #3, The Meaning Of have decided to have a bit of a shindig ay YaYa’s this Saturday, April 12, and they’re bringing some friends with them, namely Nevsky Prospekt, Carthasy and Red Sky. Catch them all from 7.30pm. Entry is $15.

Nevsky Prospekt

SKA SKA AT YAYA’S Catch Them Sharks at YaYa’s alongside Medicine, Blackwitch, and At The Space Jam this Friday, April 11, for an awesome night of punk/ska goodness. $10 entry from 7.30pm.

JAM WITH JASON Drawing on influences such as John Mayer, Jeff Buckley and Ryan Adams, up and coming singer-songwriter, Jason Ayres, demonstrates an astuteness of vision and command of his craft that belies his age. Find out for yourself when he releases his debut self-titled album - following on from two acclaimed EPs - at The Astor this Saturday, April 12, with support from Natalia. Tickets are available from liveattheastor.com.au.

That’s right, the weekly free local music blowout that is Antics at this week plays host to Apache, as well as The Colour Red. Get down to the Claremont Hotel this Saturday, April 12, from 7pm. Entry, as ever, is free.

Jason Ayres

Apache

APACHE AT ANTICS

LO C A L & L AU N C H I N G 11/04 11/04 12/04 12/04 12/04 16/04 17/04 17/04 18/04 19/04 25/04 26/04 03/05 04/05 08/05 31/05

THE SHAKEYS White Lightning EP Launch @ The Rocket Room TOURIST Race Against Time Album Launch @ Fremantle Arts Centre JASON AYRES Self Titled Album Launch @ the Astor LONERS Snake Run EP Launch @ Four5Nine NEW SOUNDLAND Self Titled EP Lauch @ Clancy’s Fremantle IN ORBIT Innerspace EP Launch @The Rosemount CATBRUSH Self Titled EP Launch @ Mojos ODLAW Cabins Single Launch @ The Beat Nightclub JAMES ATLES Self Titled EP Launch @ The Swan Lounge BLACK STONE FROM THE SUN Self Titled EP Launch @ Mojos MOANA A Mouthful Of Birds EP Launch @ Mojos SLEEPFREAK Sleazebag Video Launch @ The Bakery MITCHELL FREIND Falling With Style EP Launch @ YaYa’s TASHI Self Titled EP Launch @ Hyde Park Botanical Gardens MORGAN BAIN What You Believe EP Launch @ Indi Bar RUBY BOOTS Self Titled EP Launch @ The Astor Lounge WWW. XP RE SS MAG.COM. AU

29

TOUR TRAILS

KODALINE, APRIL 10 THIS WEEK KODALINE & THE TROUBLE WITH TEMPLETON 10 Astor Theatre SUZANNE VEGA 11 Astor Theatre DALLAS FRASCA 11 Settlers Tavern, Margaret River 12 The Odd Fellow 13 Indi Bar 1927 11 The Ravenswood Hotel VINCE JONES 9-11 WAAPA ELIZABETH ROSE 11 Amplifier Bar 12 Mojos Bar JASON AYRES 12 Astor Lounge THIEF 12 Amplifier Bar 13 Newport Hotel YOU AM I ft. ESKIMO JOE, JEBEDIAH & KATY STEELE 13 Hotel Rottnest WEST COAST BLUES N’ ROOTS Matt Corby, Michael Franti, John Mayer, Dave Matthews Band, Doobie Brothers, Boy & Bear and more 13 Fremantle Park BOZ SCAGGS 14 Crown Theatre APRIL 3 INCHES OF BLOOD 16 Amplifier Bar KILLSWITCH ENGAGE & KILL DEVIL HILL 16 Metro City BURIED IN VERONA 16 Villa 17 Prince Of Wales, Bunbury 18 YMCA HQ GYROSCOPE 17 Prince Of Wales, Bunbury JOSH PYKE 17 The White Star Hotel, Albany 19 Dunsborough Tavern BAM BAM 19 Amplifier Bar RECORD STORE DAY AUSTRALIA 19 Record Stores Everywhere TWELVE FOOT NINJA 19 Rosemount Hotel 20 Players Bar TOXIC HOLOCAUST & SKELETONWITCH 20 Rosemount Hotel KREATOR & DEATH ANGEL 20 Amplifier Bar THE ACACIA STRAIN 23 YMCA HQ 24 Amplifier Bar ELEANOR MCEVOY 23 Rosie O’Grady’s SKID ROW & UGLY KID JOE 23 Metropolis Fremantle HUNX & HIS PUNX /SHANNON & THE CLAMS 23 Rosemount Hotel MALYA YUTURRINGU: BE A STAR

30

WWW. XP RE SS MAG.COM. AU

TOURS LIVE

KILLSWITCH ENGAGE, APRIL 16 FUNDRAISER ft. Grace Barbe, Felicity Groom, The Merinda’s 24 Fremantle Arts Centre JEFF BECK 24 Perth Concert Hall WENDY MATTHEWS 24 Clancy’s Dunsborough TED DANSON WITH WOLVES/ CERES 24 Flyrite 25 Prince Of Wales, Bunbury 26 Railway Hotel ADRIAN EDMONDSON & THE BAD SHEPHERDS 24 The Odd Fellow 26 Rosemount Hotel FAIRBRIDGE FESTIVAL 2014 25 - 27 Fairbridge Village BALL PARK MUSIC 24 Astor Theatre 25 Studio 146, Albany 26 Prince Of Wales, Bunbury 27 Newport Hotel SHAKE IT! SHOWCASE 2014 25 Salt On The Beach MICHAEL BUBLE 26 & 27 Perth Arena AARON NEVILLE, DR JOHN & THE NITETRIPPERS 26 Riverside Theatre HUGH LAURIE & THE COPPER BOTTOM BAND 26 Perth Concert Hall CLIENT LIASION 26 Amplifier Bar ROBYN HITCHCOCK & STEVE KILBEY 26 Fly By Night THE SONGBIRDS 27 The Ellington Jazz Club TAME IMPALA 27 Hotel Rottnest JUSTICE CREW 27 Crown Theatre LORDE 29 Challenge Stadium BOY & BEAR 30 Divers Tavern, Broome MAY DJ PREMIER X PETE ROCK 1 Capitol KANYE WEST 2 Perth Arena RUSSIAN CIRCLES 2 Rosemount Hotel JAMES REYNE 2 Charles Hotel MKTO 2 Crown Theatre BLISS N ESSO 2 Signal Park, Busselton 3 Wellington Square ARMADA NIGHT ft. Andrew Rayel, Jorn Van Deynhoven & Mario 3 Metro City CITIZEN KAY 3 Amplifier Bar 4 Newport Hotel LEE KERNAGHAN 6 Princess Royal Theatre, Albany 9 Crown Theatre

ORIGIN 6 Amplifier Bar GIDEON 7 Amplifier Bar 8 YMCA HQ ELLA HOOPER 8 Artbar VANCE JOY & GOSSLING 8 The Bakery KARNIVOOL 8 Metropolis Fremantle THE PRESETS 8 Capitol 5 SECONDS OF SUMMER 8 Riverside Theatre THUNDAMENTALS 8 Flyrite 9 Mojos Bar MISERY SIGNALS 8 Amplifier Bar 9 YMCA HQ HOLY FUCK 8 Rosemount Hotel 9 The Odd Fellow DISCLOSURE & WAVE RACER 9 Metro City THE JEZABELS 9 Astor Theatre THE JUNGLE GIANTS 9 Rosemount Hotel JASON DERULO 10 Perth Arena PAUL WOSSEN 10 YaYa’s 11 Mojos Bar GROOVIN THE MOO Andy Bull, Architecture In Helsinki, Disclosure, Holy Fuck, The Jezabels, The Jungle Giants, Karnivool, Kingswood, The Kite String Tangle, Loon Lake, The Naked And Famous, Parkway Drive, The Presets, Peking Duk, Robert Delong, Thundamentals, Vance Joy, Violent Soho, Wave Racer, What So Not & more 10 Hay Park, Bunbury THE NAKED & FAMOUS 11 Astor Theatre ARCTIC MONKEYS 13 Perth Arena JONNY CRAIG 14 Amplifier Bar 15 YMCA HQ PETULA CLARK 17 Perth Concert Hall SEPTICFLESH & FLESHGOD APOCALYPSE 18 Amplifier Bar HITS & PITS 3 Strung Out, Face To Face, Unwritten Law, Implants 18 Capitol & Amplifier Bar JAMES VINCENT McMORROW 21 Astor Theatre THE WAIFS 21 Bunbury Regional Entertainment Centre 22 Astor Theatre 24 Kimberley Moon Experience, Kununurra 25 Fly By Night Club DANIEL CHAMPAGNE 21 Mojos 22 Four5Nine Bar

JEFF BECK, APRIL 24 DZ DEATHRAYS 22 Prince Of Wales, Bunbury 23 Indi Bar 24 Amplifier Bar 25 Newport Hotel WAGONS 23 Fly By Night FUNKOARS 23 Capitol 24 Studio 146, Albany THE ENGLISH BEAT 23 Rosemount Hotel MANGO GROOVE 23 Metro City 2014 AIRNORTH KIMBERLEY MOON EXPERIENCE Eskimo Joe, The Waifs, John Williamson, 42 Decibel 24 Jim Hughes Amphitheatre, Kununurra MS. LAURYN HILL 24 Fremantle Arts Centre GARY NUMAN 25 Astor Theatre ELLIE GOULDING & BROODS 28 Challenge Stadium LARRY CARLTON 28 Astor Theatre RÜFÜS 30 Players Bar, Mandurah 31 Fremantle Arts Centre WE ARE SCIENTISTS 31 Amplifier Bar THE BEARDS 29 The White Star Hotel. Albany 31 Prince Of Wales, Bunbury JUNE THE BEARDS 1 Astor Theatre DARREN MIDDLETON 1 Mojos Bar MEAT PUPPETS 2 Astor Theatre PROPAGANDHI 3 Amplifier Bar KIM CHURCHILL 4 Indi Bar IN HEARTS WAKE 4 YMCA HQ 5 Amplifier Bar YO GABBA GABBA! LIVE! 7 Riverside Theatre FRENTE 7 Astor Theatre LA DISPUTE 7 Rosemount Hotel 8 YMCA HQ DEAD LETTER CIRCUS 4 Pier Hotel, Esperance 5 The White Star Hotel, Albany 6 Settlers Tavern, Margaret River 7 Prince Of Wales, Bunbury 8 Rosemount Hotel CARCASS 12 Capitol JAMES BLUNT 12 Crown Theatre 13 Riverside Theatre DUNE RATS 13 Amplifier Bar RON POPE 13 Astor Lounge BASTILLE 18 Challenge Stadium

THE PAPER KITES 19 Artbar 20 Prince of Wales, Bunbury FINNTROLL 22 Amplifier Bar MONDO ROCK 22 Regal Theatre KEITH URBAN 29 Perth Arena JULY THE CRIMSON PROJEKCT 2 Fly By Night VIOLENT SOHO & SMITH STREET BAND 3 The Bakery THE AUDREYS 4 Fly By Night SOMETHING FOR KATE 4 Astor Theatre HIGH ON FIRE 18 Rosemount Hotel THE WHITE ALBUM CONCERT TOUR ft. Chris Cheney, Phil Jameson, Josh Pyke & Tim Rogers 26 Riverside Theatre PELICAN 27 Rosemount Hotel THE ANGELS 31 Newport Hotel AUGUST THE ANGELS 1 Wintersun Hotel, Geraldton THE ANGELS ft. DAVE GLEESON 2 Charles Hotel 3 The Ravenswood Hotel ROY ORBISON & DEL SHANNON TRIBUTE 7 Albany Entertainment Centre 9 Crown Theatre HANSON 15 Metropolis Fremantle TINA ARENA 15 Crown Theatre LADY GAGA 20 Perth Arena THE DANDY WARHOLS 22 Astor Theatre NORTHWEST PILBARA WEEKENDER 22 – 24 Port Hedland Turf Club THE ASTON SHUFFLE 23 Amplifier Bar SEPTEMBER KANYE WEST 5 Perth Arena MARINA PRIOR 5 Albany Entertainment Centre 6 Astor Theatre 7 Mandurah Performing Arts Centre ROBBIE WILLIAMS 11 Perth Arena BIFFY CLYRO 12 Metro City ANDREA BOCELLI 24 Perth Arena OCTOBER JUSTIN TIMBERLAKE 8 Perth Arena NOVEMBER KATY PERRY 7 & 8 Perth Arena

TO U R TA L E S

STEVE KILBEY Song Writing Man Steve Kilbey of the Church and Robyn Hitchcock of The Soft Boys combine their staggering songwriting talents and weighty back catalogues for one night only at Fly

By Night on Saturday, April 26. TRAVIS JOHNSON talks with Kilbey about art, writing and spreading yourself too thin.

Ask Steve Kilbey what he’s been up to lately and you’d best take a seat; the answer could take some time.

“Well,” he says, drawing in breath to answer what seemed to be an innocuous enough question.

“The Church have made an album (their first since 2009’s Untitled 23) and I’ve been working on that and I’ve been working on a couple of other collaborations.

I’ve done some shows with Mark Gable from The Choirboys, which were really pretty funny, actually.

We’re playing all my favourite and slightly obscure Aussie songs. Not all of them, but a lot of them are slightly obscure hits from the past. Me and Mark Gable and Richard Ploog, The Church’s old drummer - we’re doing that and we’re having a lot of fun.”

Plus there’s this: “I’m writing my memoirs - I’m finally getting behind the eight-ball on that. The contractual date when I’m supposed to deliver that is looming and I’m trying to get it all in.”

Kilbey is constantly on the move, either touring, recording or, if nothing else, posting on social media. He admits that sometimes the hectic pace of his life takes its toll. “I’m overcommitted and I just hit a bit of a chronic fatigue thing at the moment.

Everything’s piling up and I’m feeling really worn out.

It’s been a bit of a hard slog. But I am very busy and I would be more busy if I could manage it. I’ve always been busy - I’ve always been knocking out things all the time, doing paintings and doing gigs. I can’t say no to anything, so anything anyone suggests I go, ‘Yep! I’ll do that!’ I’ve got a lot of need to create and I’m always working on something. I don’t know, it’s what I am, I

guess. It defines me to keep working. I want to keep working! I mean, what I do isn’t really work; it’s not like digging a ditch. It’s what I enjoy. I’m just sort of driven on by a sense of trying to be an overachiever, I guess.”

His music aside, Kilbey is quite proud of the general reaction to his paintings, which were exhibited here in Perth when he last toured solo.

“Yeah, I reckon I’m in a strange position in that because I’m sort of saying to people, ‘If you like my music, you might like my paintings.’ Somebody who’s trying to do everything at once can be a bit, I don’t know, just a bit pretentious, so I’m always glad when they come and see the paintings and they’re happy with them. I was very happy with what people were saying. I don’t think my painting is as good as my music, because I’ve been working at music a lot longer, so I’m really happy with whatever I get.”

When next he heads our way, it’ll be in the company of Robyn Hitchcock, perhaps still best known for his work in The Soft Boys. You’d expect the pair, both heavily influenced by the paisley psychedelia of the ‘60s, both veterans of iconic bands, both well travelled on roads high and low, to have an epic and storied relationship, finally culminating in a co-headlining tour.

Disappointingly, the truth is far more prosaic.

“A promoter said to me, ‘If I bring robin into Australia, would you play with him on the tour?’” Kilbey reveals. “And I said, ‘Yeah, of course.’ So I guess he ran the idea by Robin. It’s been a long time coming. A lot of people have been suggesting to me for a long time, ‘Oh, you should meet robin. You should do something with Robin.’ and it’s finally happening, so I’m very happy.

“He’s got a lot of stuff out there,” he continues. “He’s a bit like me. You’d have to be kind of a mega-fan to keep track of everything he’s ever done. I think, between us... I saw someone said we had over a thousand songs, but it must be a lot more than that, because I’ve got almost a thousand songs on my own and I know Robin’s been going as long as me and knocking out albums. Yeah, I definitely like The Soft Boys and, over the years, the things that Robin’s done that have pierced my foggy consciousness, I’ve always enjoyed. I’ve been just checking out a few things on YouTube, checking out his later stuff, and I really like what he does. I think that, theoretically, on paper, it should be a good match.”

And if you’re worried that delving into those thousands of songs won’t bring up any classic hits for the fans, rest assured that Kilbey is aware of that issue. “I imagine there’ll be some familiarity, otherwise you get lynched after the show if you play all totally obscure things.”

WWW. XP RE SS MAG.COM. AU

31

GIG GUIDE

OLD BLOOD/MOJOS/WEDNESDAY 9

WEDNESDAY 09/04 AMPLIFIER BAR Academy Aveira Skies Ruthless This Existence Closure THE BAKERY Neko Planet THE BIRD Bird Live Sessions Leure Ghost Drums Leon Osborn BRASS MONKEY Sugar Blue Burlesque THE CARINE Open Mic Night Shaun Street CLANCYS CANNING Songwriter’s Night Ruby Boots Duo Justin Walshe CLANCY’S FREMANTLE Chet Leonard’s Bingoteque ELLINGTON JAZZ CLUB Rock for Camp Quality Night Cap Sessions THE GREENWOOD Keira Jane GROOVE BAR (CROWN) 5 Shots INDI BAR Songwriter Sessions Nicky Sandover Gus McKay Kristie Smith LANEWAY LOUNGE Adam Hall & the Velvet Playboys LOBBY LOUNGE (CROWN) Decoy Duo THE LUCKY SHAG Howie Morgan MUSTANG BAR Blue Gene DJ Giles MOJOS BAR Old Blood Blackbirds Golden Slums THE MOON CAFE Going Solo Mei Saraswati Nora Zion OCEAN ONE BAR Marcio Mendes THE PADDO Seeds Of The Sea Rob Hinton Eleven Eleven 459 ROSEMOUNT HOTEL Chainsaw Hookers Yob Mob Loners Rumskull Trip Hazard

THURSDAY 10/04 ASTOR THEATRE Kodaline Trouble With Templeton BAR ORIENT Open Mic Night THE BIRD Hip Hop Kara”Yo!”Ke BRASS MONKEY Rhythm Bound Karaoke BRIGHTON John Read THE BROOK Open Mic Night Chris Gibbs BROOKLANDS TAVERN Celebrations Karaoke THE CAUSEWAY BAR Xport Thursdays CAPITOL Miss Ink 2014 Vida Cain THE DEEN Howie Morgan Project DEVILLES PAD Rock’N’Roll Karaoke DUNSBOROUGH TAVERN Open Mic Night Kris Buckle ELLINGTON JAZZ CLUB WAYJO with Ed Neumeister Night Cap Sessions FLY TRAP (FLY BY NIGHT) Kate Gilbertson FREMANTLE ARTS CENTRE Silver Swans Eitica Ensemble THE GATE Greg Carter GRAND CENTRAL PARK Nathan Gaunt GROOVE BAR (CROWN) Dr. Bogus

THEM SHARKS

THEM SHARKS MEDICINE BLACKWITCH AT THE SPACE JAM FRIDAY, APRIL 11 YAYA’S

WWW. XP RE SS MAG.COM. AU

RED ENGINE CAVES/MOJOS/THURSDAY 10

ROSEMOUNT HOTEL Hideous Sun Demon Catbrush Aborted Tortoise Kitchen People Pissed Colas ROSIE O’GRADYS NORTHBRIDGE Laugh Resort SETTLERS TAVERN Open Mic Night ft.

Claire Warnock THE SWINGING PIG Open Mic Night Greg Carter UNIVERSAL BAR Retrofit VILLAGE BAR Village People Open Mic YAYA’S HaHa’s @ YaYa’s Rich Ciesler Ben Darsow

LOCAL GIG

32

DOWNLOAD OUR FREE EVENTS GUIDE APP

INDI BAR Open Mic Night LANEWAY LOUNGE Harry Deluxe LOBBY LOUNGE (CROWN) Double Take LUCKY SHAG James Wilson KALAMUNDA HOTEL The Black Fridays MARKET CITY TAV Vita Harry and Eleanore Kane Dodd The Skill Desire Alicia Risk Jake Dennie Leon MOJOS BAR Galloping Foxleys Childs Play Red Engine Caves Blind Tiger Blues Box Bryan Rice Dalton MUSTANG BAR Lonizer Rag n Bone OCEAN ONE BAR Turin’s Open Mic Night PEEL ALE HOUSE Open Mic Danny Bau PRINCE OF WALES HOTEL Third Gear 459 ROSEMOUNT HOTEL Blindspot The Temperament Castle Bravo Ready to Fire ROSEMOUNT HOTEL The Lucky Numbers Billie Rogers Hundred Acre Wood Dirty Folk Brufield SETTLERS TAVERN Claire Warnock Jordan McRobbie SWALLOW BAR Jessie Gordon Duo UNIVERSAL BAR Off The Record YAYA’S Anna O Eloise Ashton Sam Berendese FRIDAY 11/04 ADMIRAL HOTEL Hells Belles Lightning Jack THE ALBION Nicola Milan & The Stray Cat Club AMPLIFIER BAR Elizabeth Rose Safia Fishing ASTOR THEATRE Suzanne Vega China Doll THE BAKERY Tautoko ft.

Ambassador Scribe Intrusive Thoughts BALMORAL Vanerty Brothers BEAT NIGHTCLUB (UPSTAIRS) Live and Local IV Gone By Morning Distant Lights Just Say Mercy BELGIAN BEER CAFE Mike Nayar BELMONT TAVERN Electrophobia BEST DROP TAVERN Sophie Jane Duo THE BIRD Reggae & Dancehall ft.

Mumma Trees DJ Veeness Dave Clark

SCREWTOP DETONATORS/ROSEMOUNT HOTEL/FRIDAY 11

BRASS MONKEY Justin Cortorillo THE BRIGHTON Ross Lowe BROOKLYN TAV Siren & Assassin BROWN PARK SWAN VIEW The Right Way Up Tashi Crossbars Morozko The Redbirds THE CARINE Frenzy CHASE BAR & BISTRO James Wilson CITRO BAR Adrian Wilson CIVIC BACKROOM Bayou Animistic Amidst The Broken Natron CLANCYS CANNING DJ Boogie CLANCYS CITY BEACH Jack Doepel Organ Trio CLANCYS FREMANTLE John Bennett & David Hyams COMO HOTEL Fiona Lawe Davies Trio THE CORNERSTONE Why Georgia?

CRUISING YACHT CLUB The Hitman DEVILLES PAD Rockin’ A Gogo DIVERS TAVERN, BROOME Toby THE CURRAMBINE Grant Hart DUNSBOROUGH TAVERN Cuddles EAST 150 BAR Jeanie Proude ELLINGTON JAZZ CLUB WAYJO with Ed Neumeister Late night groove series with Jade Webb EMPIRE Howie Morgan FAIRLINES AMPHITHEATRE Ricky Green FLY TRAP (FLY BY NIGHT) Stone Circle THE GATE Choppa Duo GEISHA BAR Jody Wisternoff Jimi G Saul Bliss JaFunk GOSNELLS HOTEL Third Gear THE GREENWOOD Ryan Webb GREYHOUNDS Mandurah Driven by People HERDSMAN Chill Divine HOTEL ROTTNEST DJ Eugene HYDE PARK HOTEL (COURTYARD) Frank G INDIAN OCEAN BREW CO. Ben Merito INDI BAR Nitro Zeppelin The Tommyhawks KALAMUNDA HOTEL Vendetta LANEWAY LOUNGE Nat Ripepi Just for the Night M ON THE POINT Retriofit MAHOGANY INN Kevin Curran

MERIDIAN ROOM (CROWN) Trevor Jalla MOJOS BAR Freqshow Girlfriend Material Seasta Chani Kritical DJ Lunch Box MUSTANG BAR Adam Hall And The Velvet Playboys Swing DJ Flash Nat & The Action Men DJ James McArthur NORTHSHORE TAVERN Vdelli Two Plus One OCEAN ONE BAR Mad Agents THE PADDO Flyte PADDY MALONES Gary Fowlie PEEL ALE HOUSE Siren Song Enterprises QUARIE BAR & BISTRO Blackbirds RAVERNSWOOD HOTEL 1927 ROCKET ROOM The Shakeys Battle Axe Howlers Scalphunter The Lungs The Reptilians DJs Jessica Kill & Holly Doll ROLEYSTONE COUNTRY CLUB Acoustic Aly ROSEMOUNT HOTEL Dom Memorial Gig ft.

Screwtop Detonators LEECHES! The Trevallys Wizard Sleeve Ross Di Blasio Lachlan Gear & Tex Murdoch Blues Explosion Wolf Tatana Nici Blue Eyes Kim Bettenay Ivan Zarr ROSIE O’GRADYS FREMANTLE Madam Montage SAIL AND ANCHOR Howie Morgan SETTLERS TAVERN Dallas Frasca Michelle Spriggs Trio THE SHED P!Nked SOUTH ST ALEHOUSE Karaoke with Robbie King SWAN HOTEL (BASEMENT) The Flying Embers Opus Bay Sickly Midnight Boulevard SWAN HOTEL (LOUNGE) Modern Nash SWAN VIEW YOUTH CENTRE The Arcadian Wayne Lobb Morozko Tashi The Right Way Up The Crossbars SWINGING PIG Greg Carter UNIVERSAL BAR Nightmoves VERNON ARMS TAVERN Greg Carter THE VIC Nathan Gaunt WINTERSUN HOTEL Warwick Trant YAYA’S Them Sharks Medicine Blackwitch At The Space Jam

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

THE FLYING EMBERS/THE SWAN HOTE/ FRIDAY 11 SATURDAY 12/04 7TH AVENUE Karaoke AMPLIFIER BAR Thief Leure Anna O ASTOR THEATRE Jason Ayres Natalia THE BALMORAL Roger Roger THE BAKERY Deadboy Bolsty Scenic DJ’s Cranioid Untitled Sound Alliance Clunk Ben T BAR ORIENT The Reggae Club Mumma Trees Black Knight DJ Veeness BEAT NIGHTCLUB (DOWNSTAIRS) Aveira Skies This Existence Closure Atlantis BENTLEY HOTEL In The Groove THE BIRD Roko Music ‘Collider’ National Tour Roku Music Usurpers of Modern Medicine Mudlark SMRTS BOAB TAVERN Siren & Assassin THE BROOK Electrophobia THE CARINE Frank G CHASE BAR & BISTRO Choppa Duo CIVIC BACKROOM Shimmergloom The Date Louise Formentin Veronica’s Assassin CLANCYS CANNING Justin Burford CLANCYS FREMANTLE New Soundland Black Heart Sun THE CLAREMONT HOTEL Antics Apache Hello Colour Red CRAFTSMAN 5th Avenue DEVILLES PAD Black Magic Disco DUNSBOROUGH TAVERN Steve Spouse EAST 150 BAR Jarrad Wilson ELLINGTON JAZZ CLUB The Darling Buds of May Quinteto São Paulo featuring Giorgio Rojas FLY BY NIGHT Disco Freak GEISHA BAR Gay T Chiari Jason Stone Sophie Visser THE GATE Greg Carter GOSNELLS HOTEL Hells Bells Dirtwater Bloom Lightning Jack GREENWOOD Cargo Beat GROOVE BAR (CROWN) Easy Tigers HOTEL ROTTNEST Karin Page HYDE PARK HOTEL The Avenue

THE FREQSHOW/MOJOS/FRIDAY 11

INDIAN OCEAN BREW CO. Blackbirds INDI BAR Matt Gresham KALAMUNDA HOTEL Celebrations Karaoke LAKERS TAVERN Celebrations Karaoke LANEWAY LOUNGE Trevor Jalla Alcatraz M ON THE POINT Rhythm 22 MERRIWA TAVERN Celebrations Karaoke MUSTANG BAR Continentals Milhouse Rockabilly DJ DJ James McArthur MOJOS BAR Elizabeth Rose Safia Fishing MORLEY ROLLERDROME Perth Roller Derby The Bloody Sundaes vs Mistresses of Mayhem NORTHSHORE TAVERN Two Plus One NEWPORT HOTEL Gravity Tahli Jade OCEAN ONE BAR Desert Bells DJ Martin THE ODD FELLOW Rock F#@king Roll Tour Dallas Frasca Battle Axe Howlers THE PADDO Cheeky Monkeys PADDY MAGUIRES Cherry Lips PARAMOUNT NIGHTCLUB Felix PORT KENNEDY TAVERN Kevin Curran PRINCE OF WALES Creature The Lungs The Insinnerators RAILWAY HOTEL The Monicans Kings Justice The Crossbars Pony THE REGGAE CLUB Stock Standard Goodness DJ K.S. General Justice Mumma Trees 459 ROSEMOUNT HOTEL Loners Order Of The Black Werewolf Celebrator The Government Yard Sprawl ROSEMOUNT HOTEL Frighteners Lacey Rag & Bone The Lake The River ROSIE O’GRADY’S FREMANTLE Retro SAIL & ANCHOR Better Days SETTLERS TAVERN Zarm Acoustic Zarm THE SHED Huge SOUTH ST ALE HOUSE Robbie King & Friends SPRINGS TAVERN Dynamic Duo THE SWINGING PIG Frenzy SWALLOW BAR Razor Jack UNIVERSAL Soul Corporation

VELVET LOUNGE Liquid Lounge Special D&B Sundowner YAYA’S The Meaning Of Nevsky Prospekt Carthasy Red Sky ARCADIA @ YaYa’s DJ Cookie SUNDAY 13/04 BALMORAL Superseeds BELMONT TAVERN Justin Cortorillo BEAUMARIS SPORTS ASSOC. One Trick Ponies THE BRIGHTON Steve Spouse Nate Lansdell BROKEN HILL HOTEL Kizzy THE BROOK Adam James BROOKLANDS TAVERN Gerry Azor CAPTAIN STIRLING Open Mic Night Josh Terlick THE CARINE Mike Nayar THE CAUSEWAY Acoustic Sunday CHASE BAR & BISTRO Jonny Dempsey CIVIC HOTEL Jamie Powers CLANCYS CITY BEACH Salt Shaker Sundays DJ Boogie & The Salt Shaker Selectors CLANCYS FREMANTLE The Zydecats COMO HOTEL Ansell + Fretall CRUISING YACHT CLUB Guy Tucker DUNSBOROUGH TAVERN Kris Buckle ELLINGTON JAZZ CLUB Miles Bonny Random Act FLINDERZ HILLARYS Justin Kutylowski FLY BY NIGHT Stage Fright Open Mic Night FREMANTLE PARK West Coast Blues & Roots John Mayer Dave Matthews Band Doobie Brothers Erykah Badu Boy & Bear Michael Franti & Spearhead THE GATE Choppa Duo GOSNELLS HOTEL Frank G GROOVE BAR (CROWN) Peace Love HOTEL ROTTNEST You Am I Eskimo Joe Jebediah Katey Steele HYDE PARK HOTEL (COURTYARD) Dean Anderson INDIAN OCEAN BREW CO Retriofit INDI BAR Sunday Poolside Acoustic Session Tom Fisher & The Layabouts Malachi Wehipeihana Rock F#@king Roll Tour Dallas Frasca Battle Ax Howlers KALAMUNDA HOTEL Third Gear

SHIMMERGLOOM/THE CIVIC HOTEL/ SATURDAY 12

LAKERS TAVERN Wesley Goodlet Jamboree Scouts THE LAST DROP TAVERN Alan Stewart LOBBY LOUNGE (CROWN) Thierryno LUCKY SHAG Trevor Jalla MOJOS BAR Roku Music Fall Electric Doctopus The Flower Drums M ON THE POINT Nathan Gaunt MUSTANG Triple Shots DJ Holly Doll NEWPORT HOTEL Thief Mathyl Ethel Anna O Timothy Nelson OCEAN ONE BAR Tahnee DJ Martin PEEL ALE HOUSE Acousticone PORT KENNEDY TAVERN Greg Carter QUARIE BAR & BISTRO Acoustic Royale THE ROSE & CROWN HOTEL Felony Duo ROSEMOUNT HOTEL The Get Down Charlie Bucket Klean Kicks Nick Sheppard Rosie Mainroom Yambeque ROYAL PALMS RESORT Ian Cocker THE SAINT Howie Morgan Project SAIL AND ANCHOR Childs Play SEAVIEW TAVERN Christian Thompson SETTLERS TAVERN Scott Bassham SOUTH ST ALEHOUSE Alex Robins SWALLOW BAR Sunday Sessions Voudou Zazou SWAN HOTEL (LOUNGE) Lauren Kent Jeff Smith SWINGING PIG Siren & Assassin Aiden Varro UNIVERSAL Retrofit VERNON ARMS TAVERN Sophie Jane

WANNEROO TAVERN Matt Williams WHISTLING KITE James Wilson THE WINDSOR Acoustic Aly MONDAY 14/04 BRASS MONKEY Wire Birds CLANCYS FREMANTLE Quiz Night CROWN THEATRE BURSWOOD Boz Scaggs Daryl Braithwaite ELLINGTON JAZZ CLUB Walmart featuring Giorgio Rojas MOJOS BAR Wide Open Mic MUSTANG BAR Triple Shots ROSEMOUNT HOTEL Quiz Night YA-YA’S Big Tommo’s Open Mic Variety Night TUESDAY 15/04 BRASS MONKEY Open Mic Night Shaun Street THE CHARLES HOTEL Perth Blues Club Toby Pink & White Bridge Julius Lutero Band CLANCYS FREMANTLE Quiz Night ELLINGTON JAZZ CLUB Paul Clarvis GROOVE BAR (CROWN) Double Take LOBBY LOUNGE (CROWN) Hans Fiance LUCKY SHAG Leighton Keepa MERRIWA TAVERN Celebrations Karaoke MOJOS BAR Live Standup Comedy Jacques Barrett MUSTANG BAR Danza Loca Salsa Night OCEAN ONE BAR Undergrowth Open Mic Night ROSEMOUNT HOTEL Bex ‘n’ Turin’s Open Mic Night SWINGING PIG Siren Song Enterprises YAYA’S Kyle Taylor Edie Green Eloise Ashton Helen Shanahan Leah Emily Grant

LOCAL GIG

THE MONICANS

THE MONICANS KINGS JUSTICE THE CROSSBARS PONY SUNDAY, APRIL 13 THE RAILWAY HOTEL

WWW. XP RE SS MAG.COM. AU

33

AUSSIE INDIES SPLIT THE POT Eleven Australian independent music labels have scored significant funding from the Australia Council’s recording initiative. That’s almost a third of the 37 labels who applied, an impressive number of grants that was attainable thanks to increase in allocated budget this year. Chapter Music, Future Classic, Head Records, HopeStreet Recordings, Mistletone Enterprises, Rice Is Nice Records, Split records, Stop Start, SugarRush, Two Bright Lakes and Wantok Music Foundation will split $420, 828 between them, hopefully leading to a plethora of indie Aussie releases in the next 12 months.

BIRTHDAY BARGAINS AT MEGA MUSIC Mega Music has been peddling instruments and assorted muso gear for a good 13 years now, so to celebrate their entry into teenager-hood, they’re having a birthday sale. Until Saturday, April 19, they’re marking down a huge range of items in their Myaree, Wangara and online stores, including Randall amplifiers, Ludwig drums, Washburn guitars, Boss effects pedals and more. Head to megamusiconline. com.au and take a look.

APPLE UPS THE APPS Reports recently circulated that Apple will be raising app prices for customers in Australia, India, Indonesia, Turkey and South Africa by up to 30%, apparently to bring prices in line with fluctuations in international currency exchange. Apparently it’s already happened for Australian consumers, with apps normally priced at 99c now going for $1.29, while at the upper end, apps that once went for $4.49 are now $4.99. No word on whether these adjustments will affect iTunes music prices, but we’ll keep an eye on developments.

SWING INTO THE PIG Rockingham’s Leisure Inn recently announced that they’re amenable to bands using their bar, The Swinging Pig, for CD launches. As one of the most popular night spots in Rocko, this strikes us as a great opportunity for some of our more southerly muso mates. Hit leisureinn.com.au for details on the venue, then email Frank Gugliotta of Champion Music on frank@chamion.com.su to lock in a slot.

The Swinging Pig

CHEAP DJ CONTROLLERS Maximum Mixing On Minimum Wage A lot of DJ controllers are scary expensive.

Most of the mid-range controllers end up going for $800 and up. However, there’s a lot to choose from around the $300 mark, but most of these are easily broken plastic junk. Here I’ll show you some of the best ones, and one in particular to avoid.

First of all, make sure you pick your software. Controllers come with some kind of DJ software free in the box, and this will be the biggest factor in selecting your deck. Avoid anything with Virtual DJ. Avoid it. This software is useless. Very limited effects, poor quantization, unfriendly user interface, and hard to read at a glance. Junk software.

Traktor is much better for its customisability, wide range of effects and amazing beat recognition algorithms. However, if you find a controller for sale that has a copy of Serato DJ or Serato Itch, buy it!

What Serato is doing right now with effects and slicing is changing the face of digital DJing. Also, any controller that comes with Serato Itch gets a free upgrade to DJ, so it’s well worth it.

In terms of the hardware, the Native Instruments Z1 is a great starting point. It has a great sound card, good build quality, and comes with Traktor. The Z1 is a modular system, so you can add to it with X1mk2 and F1 controllers, expanding your capability without having to chuck your old equipment. Unfortunately the Z1 only has

Native Instruments Z1

To Advertise In Classfieds Call 9213 2888 Or Email musicservices@xpressmag.com.au

DANCE CLASSES

MUSOS WANTED

BELLYDANCE CENTRAL STUDIO CLASSES Free class Fri 25 April special beg. Term 1 starts Mon 28th April. For brochure, info and free class invite email dance@bellydancecentral.com.au. Mob: 0409 511 125. www.bellydancecentral.com.au

BASS PLAYER WANTED to join 4-piece orig band Est since 2000, alternate/commercial rock music. Must have good gear & a love for music, EP recorded and ready. Email david.saunders1@iinet.net.au or call 0410 723 738 OPEN MIC NIGHT every Thursday night at Indi Bar. Text Josh on 0430 313 577 for a spot.

EMPLOYMENT & TRAINING Do you know what a roadie is? Have you got any background in AUDIO, LIGHTING or BACKLINE? Are you looking for CASUAL work in the entertainment industry? If that sounds like you contact Events Personnel Aust. On 08 9361 5005.

FOR SALE HEADPHONES all brands & styles. 23 Harrogate Street, West Leederville. Contact Headphonic 08 93886333 headphones.com.au MESSA BOOGIE AMP EL34, Trident head and quad box 150w/50w switchable channel. Good condition $3000 ono Ph: 042 8745 308 GENERAL EXPRESSIONS WANTED GRAFFITI ARTISTS & GRAPHIC DESIGNERS for newly formed Street Art & Clothing Company. Exp req’d. Good $$ paid for quality. This will be a fun way to make money and not be involved in people’s day to day normality.Must have drive and want to be part of something new. If interested please call Mark on 0428 365 713 or email kingswoodstreetart@hotmail.com

34

WWW. XP RE SS MAG.COM. AU

PRODUCTION SERVICES CD & DVD MANUFACTURE Check out our latest CD & DVD specials online at www.procopy.com.au 9375 3902 DISK BANK Perth’s premier CD & DVD manufacturer, with options for all budgets. (08) 9388 0800. www.diskbank.com.au/specials.

MATRIX PRODUCTIONS AUSTRALIA Lighting, staging, sound systems, smoke machines, night club FX, intelligent lighting, strobes & mirror balls, crowd barriers, video projectors.

9371 1551 RECORDING STUDIOS ALAN DAWSON’s WITZEND RECORDING STUDIO Prof quality albums or demos, large live room, experienced engineer, analog to digital transfers, mastering..Alan 0407 989 128 or Jeremy 0430638178 www.witzendstudios.com ANALOG MASTERING VINTAGE TAPE, TUBES & TRANSFORMERS with the latest state of the art digital converters. Clients include: Melody’s Echo Chamber, Pond, Gossling, Knife Party, Felicity

NEWS

|

MUSIC GEAR & TECHNOLOGY

|

CLASSIFIEDS

IN THE STUDIO WITH...

THE LOVE JUNKIES With their new EP, Flight Test, having just hit the streets, we thought it cogent to touch base with the hard-charging three-piece to talk about their recording process.

Singer and guitarist, Mitch McDonald, took our questions.

What led to the decision to record the Flight Test EP yourselves?

I guess it’s something that I’ve always wanted to do or at least try once. The whole recording side of things is something that I think we’ve all been interested in learning and it was just lucky that a friend of ours - Rosco Stewart - loaned us a bunch of high end equipment to wrap our heads around. It’s also nice to have total control over the tones and mixes instead having to bounce ideas back and forth to someone else trying to understand your vision.

What are the advantages of going it alone when recording?

I guess not feeling the pressures of “studio time.” Because you’re laying down tracks with no outside influence, which generally costs money, it means you can relax a little and work on getting the perfect tone and the best take. I think it also makes you work harder in that sense and leaves room for everybody to have more input.

Is your studio rig different from your live rig and, if so, how?

I used the same rig but I guess I tweaked different tones for different sections. That’s the fun of recording: you get to have fun manipulating the tones for each section to give each part more character.

What was your financial investment in the project?

Did you feel there was more or less risk in going it alone?

Far less risk. It was nothing to hire the equipment so even if the project turned out to be a failure it wouldn’t have been that bad. I personally think that it’s the best we’ve ever sounded and it cost us next to nothing compared to everything else we’ve ever recorded.

What are your marketing and distribution plans for EP? Well, I guess our publicist is hard at work letting everyone know about it and MGM are distributing it again, which is awesome. We have a really solid team behind us at the moment, which is exciting. Everybody who pre-ordered the record got a Polaroid and a personal little letter from each of us, which was fun.

How long did the project take from inception to release?

About five months, I think - which is pretty quick considering everything else we’ve ever done has taken way longer, mostly due to financial reasons.

What’s up next?

We’re heading in a week to wrap up the Calling All Cars tour and then we’re on the road again in June for an EP tour. We’re also playing with The Meat Puppets at the Astor which is gonna be boss.

unbalanced RCA output, and overall the product is fairly limiting until you get the expansion units. At $279, it’s one of the cheapest ways to start up.

If you want to get everything in one go, the Pioneer DDJ-SB is a great unit. It comes with Serato DJ Intro, has plenty of hot cue and effect controls, plus the sturdiest aluminium jog wheels on any cheap entry level unit. This is a big factor, as jog wheels will be essential to your ability to properly cue up and make smooth transitions. A cool toy included is the optional filter fade mode on the crossfader, allowing you to sweep from one track to the other using a filter spectrum instead of ducking the volume.

Also have some fun with the sample and loop pads.

The Pioneer DDJ-SB drops in at $299.

However, if you can get your hands on a Novation Twitch, buy it! This is by far the most powerful unit in the lower price range. The Twitch was the first ever single piece controller to have a multifunction slicer deck, and they also ditched the jog wheels in favour of two jog touch strips. This means less moving parts and less things to go wrong.

Novation Twitch

With an aluminium faceplate and sturdy, dustprotected dials, it’s roadworthy and has the unique feature of being able to switch the vertical channel faders into effects faders. The sound card is actually cut straight out of a Focusrite and comes with two balanced TRS outputs as well as two RCA booth outputs. Originally, this product launched at over $700, but now you can pick up these items for under $300. The Twitch has been my favourite portable deck for over a year now, but move quickly as there’s very few of these gems still new in the box.

Pioneer DDJ-SB

TULLY JAGOE

For more Classifieds head to Groom, The Floors, Jeff Martin & The Panics. World class facility, World class results. Www.poonshead.com. 9339 4791 ANDY’S STUDIO International multi-award winning songwriter / producer. No band required. Broadcast quality. A songwriter’s paradise. Ph 9364 3178 GOLDDUST Production Mixing, recording and composition.

Leederville $80 p/h. 0408 097 407 LONEWOLF PRODUCTIONS FREMANTLE Custom designed equipment for cutting edge recording. 24 track tape. Premium digital conversion and mixing. FB. Jay Sonics 0423 445 154 RECORDING MIXING MASTERING PRODUCING Fremantle location. Call Pete Kitchen Cooked Records. Ph 0407 363 764 / 9336 3764 R E V O LV E R S O U N D S T U D I O P h 9 2 7 2 7 5 0 5 . www.revolverstudio.com.au SONGWRITERS! - UNLOCK YOUR SONGS’ POTENTIAL FREE APPRAISALS. UK Producer 45,000+ hours studio experience, 20 yrs in London working with songwriters and bands. Kicking arrangements, great studio and the ability to really listen will give your material the edge you need. Call Jerry on 0405 653 338 or visit www.jerichomusic.com.au STUDIO ZED Digital Mastering, Demo’s, albums, Live tracking sessions special from $250 p/day. Studiozed.net.au Ph: 9207 2072 REHEARSAL STUDIOS

great price!!! Unit 5 /16 Peel Road, O’Connor. Phone 9418 5815 or 0413 732 885 BIGBEAT SOUND STUDIO Clean rooms, all new PA systems, aircon and good parking . Willetton Ph: 0425 698 117.

PLATINUM SOUND ROOMS Professional rehearsal rooms, airconditioned, quality PAs mob 0418 944 722 STREAM STUDIOS 89 Stirling St, Perth. Mobile: 0403 152 009 info@streamrehearsal.com.au TUITION ***GUITAR LESSONS*** The Guitar Institute. Online bookings.

Beg to prof, all styles. Catering to WAAPA and AMEB standards.

All tutors have WWC clearance. Cliff Lynton Guitar Institute. Mt Lawley 9342 3484 / www.clifflynton.com BASS GUITAR LESSONS AVAILABLE by WAAPA tutor. A practicle approach to learning. .All styles.Years of experience. Tony Gibbs 9470 6131 ELECTRONIC MUSIC PRODUCTION LESSONS For those who may need help making a start and finding their way around Ableton Live. $50 per hr and may come to you. Ph; Danny 0408 909 928 EXPERIENCED SINGING TEACHER available for all voice types.

Proven results. Welcoming, relaxed environment. 0432 952 194 PERFORMANCE WORKSHOP FOR SINGERS Learn stage craft, mic technique and how to engage your audience. Beginners welcome. www.singerssecret.com

AAA VHS REHEARSAL ROOMS Great facilities, great vibe & WWW. XP RE SS MAG.COM. AU

35

36

WWW. XP RE SS MAG.COM. AU