Issue 1432 by X-Press Magazine

ISSUE 1432

2 3 R D J U LY 2 0 1 4

ANGUS & JULIA STONE

HUSKY

F R E E W E D N E S D AY S

E N T E R TA I N M E N T I N P E R T H

DRY DRY RIVER

#XPRESSMAG

THE KEEPER OF LOST CAUSES

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LOCAL NEWS

GLOBAL NEWS

ANNOUNCEMENTS

HIDDEN TREASURES WEEK 4

OH FOR THE ROTTO LIFE

The City of Fremantle’s Hidden Treasures winter music series continues this Thursday, July 24, with performances spread across four venues. The Workers Club will host Jean Guy Lemire and The Popular Front Against All Things Bad; the Buffalo Club will feature Spacemanatics and Yokohomos. Pakenham Street Art Space will witness a unique exhibition, Placement, focussed on a collection of band posters chosen by Nikolai Graham with sets by Craig Hallsworth and Gutterville Splendour Six; and The Navy Club will play host to performances from Jodie Tes & The Popular Front plus Ghetto Crystals (featuring Scarlett Stevens of San Cisco and Doug May, AKA KT Rumble). Tickets are $10 at the door at all shows. For more information on venues and artists see facebook. com/hiddentreasuresfremantle.

Rottofest, Vulture Culture’s annual weekend Ghetto Crystals, Hidden Treasures festival of comedy, film and music on Rottnest Island is back for its sixth year. There’ll be over 25 comedy performers and 12 music acts set to perform across five venues on the island (with a new opening comedy gala) on Friday, September 19, through to Sunday, September 21. Headline comedy acts this year feature Chappelle’s Show writer/performer Donnell R awlings (AKA Ashy La r r y ) , d o cu m en t a r y filmmaker/broadcaster/author/scamp John Safran, Troy Kinne, Claire Hooper, YouTube sensation Neel Kolhatkar, Triple J Raw Comedy YOU CAN’T HANDLER THE Winner 2011 Dayne Rathbone, Cam Knight, Sean TRUTH! Woodland, Sami Shah, Janelle Koenig and local favourites Suns Of Fred. US comedian, author and talkshow host, Chelsea Handler, This year’s music acts include singer/ will be bringing her unique live show Uganda Be Kidding songwriter Andy Bull, Panama, Coin Banks, Me to Australia, stopping by the Perth Concert Hall on Woodlock, Rainy Day Women, Deja, Bootleg Sunday, November 23. The tour will coincide with the Rascal, Our Man in Berlin, Lyall Moloney, plus DJ’s release of Handler’s new book of the same name that Micah, NDORSE and Paradise Paul. recounts a collection of travel essays and stories. Tickets For full details hit up rottofest.com.au are available through Livenation.com.au this Friday, July 25. Donnell Rawlings, Rottofest

Chelsea Handler

TONIGHT’S THE NIGHT Surroundings will be celebrating the Australian release of their debut LP, Of Bane, Burden & Change, tonight, Wednesday, July 23, with an 18+ show at The Academy (Amplifier/Capitol), with help from Glorified, Hollow Ground and Monolith, doors open 8pm. The hometown boys will also be playing an all-ages show on Friday, July 25, at YMCA HQ with support from Vanity, Finders, Hollow Ground and Incandescent. For more details head to facebook.com/surroundingsau. Surroundings

LEITH BE IN IT Damien Leith has announced a set of encore shows as part of his Without A Fight tour following sell-out shows across the country. Celebrating the release of his new single, You And I, Leith will be performing songs from his seven albums on Wednesday, September 17, at Margaret River’s Swings Bar; Thursday, September 18, at Friend’s Restaurant; Friday, September 19, at The Boab Tavern in High Wycombe, and Saturday, September 20, at the Mandurah Bowling Club. For more details visit damienleith.com.au.

Melbourne-based indie band Kingswood have released their latest single, I Can Feel That You Don’t Love Me, ahead of their upcoming album and national Microscopic Wars tour. The single features guitarist Alex Laska on lead vocals and hits a newer, emotive side. The quartet will be performing at the Prince Of Wales on Thursday, August 21, and Capitol on Friday, August 22. For tickets see oztix.com.au.

Damien Leith

Kingswood

CAN YOU FEEL IT?

30 YEARS OF BARNESTORMING The ever-so-popular 5 Seconds Of Summer have announced a return tour to Australia and New Zealand in 2015, including a final show at Perth Arena on Monday, June 29. Folks, that’s only 11 months away! Fans will need to act quick, last year’s sevendate tour sold out in minutes and this year’s fan presale has already sold out. Tickets will officially go on sale at midday on Friday, July 25, visit 5sos.com and livenation.com.au.

To mark the occasion of his 30th anniversary as a solo artist (numerous Cold Chisel reunion shows notwithstanding), Australian rock icon, Jimmy Barnes, will be embarking on a very special A Day On The Green national tour. As part of the show, fans will be invited on stage to whirl the Jimmy Barnes Greatest Hits Spinning Wheel, generating a different setlist for each show. Perth audiences can catch Barnes, along with The Living End, Ian Moss and Mahalia Barnes & The Soul Mates, at Kings Park on Saturday, November 22. Tickets go on sale via Ticketmaster.com.au on Monday, July 28, at 9am.

5 Seconds Of Summer

Jimmy Barnes

11 MONTHS OF WAITING

RIGHT SAID THREAD Tasmanian quartet, Luca Brasi, have announced their Get Sad See Mates headlining tour for SeptemberOctober in support of their album, By A Thread, released earlier this year. They’ll hit Amplifier on Friday, October 10, followed by a Bunbury show at the Prince of Wales on Saturday, October 11. Tickets are available through oztix.com.au. Luca Brasi 4

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PRINT AND DIGITAL EDITIONS PUBLISHER/MANAGER Joe Cipriani

EDITORIAL - 9213 2888 MANAGING EDITOR Bob Gordon: editor@xpressmag.com.au FEATURES & DANCE MUSIC EDITOR Zoe Kilbourn: 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

THE NEW POMPEII Kit Harington can’t catch a break. When he’s not fighting off hordes of White Walkers in Game Of Thrones, he’s fleeing devastating freak dust clouds of volcanic ash. It’s 79 A.D. and Kit’s a gladiator called Milo. He has to escape an arena of death, save his beloved, and avoid getting trammelled by the eruption of Vesuvius, all in the same week. Pompeii has just been released on DVD, and if you’d like a copy, hit us up at win@xpressmag.com.au. Pompeii

CARNIVALE After an enormous Carnivale success in April, Perth house impresarios Rough Love are bringing back their CauseWay masquerade for a second round on Saturday, August 10. A house party founded on the twin pillars of Venetian masked balls and arcade gaming à la Mortal Combat, The Carnivale 02 will be headlined by R&B, house and ghetto-tech legend Jimmy Edgar (UK). There’ll also be a lot of shimmery house vibes from a local legends Parakord, Eyan. Nina Van Dyke and Milanov, among others, as well as a sideshow alley setup featuring arcade games and soul food. Tickets are on sale now from pulseradio.net, but you can win a double pass by emailing us at win@xpressmag.com.au.

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

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Jimmy Edgar

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

ELECTRIFIED’S WORLD OF TRANCE It’s been a couple of weeks since Pure Trance and five days since Gareth Emery hit Perth - if you’re yet to give trance a chance this winter, you should hit up Electrified’s White Party this Saturday, July 26. Electrified runs monthly parties at Gilkison’s, a daytime ballroom on Murray St that’ll transform mecha-style into two arenas of hard, psy, progressive, and youname-it trance, complete with UV cannons, 17 DJs, glow gear and three bars. Entry’s only $15, and you can pick up tickets and info from electrified.us. We’ve got two double passes to give away, so if you’re keen, hit us up with your vital stats at win@xpressmag.com.au.

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Electrified’s White Party 33,560 OCTOBER 2012 MARCH 2013 - AUSTRALIA’S HIGHEST CIRCULATING STREET PRESS

PINING FOR THE FJORDS As the rampant success of the Millennium trilogy and Jo Nesbo has proved, we heart Scandinavian thrillers. The Keeper Of Lost Causes is another adaption of a crime novel by the original Girl With The Dragon Tattoo scriptwriter, and was the highest grossing Danish film of 2013. Department Q deals with cold cases, and a newly transferred PTSD-stricken detective just can’t let one of them go. Years before, the death of a politician aboard a ferry was ruled as suicide, but it doesn’t add up for our man in Copenhagen - he tracks down the only witness, the victim’s nonverbal brother, to investigate. Is this a dead politician? The Keeper Of Lost Causes is out in cinemas next Thursday, July 31. If you’d like a double pass, hit us up at win@xpressmag.com.au. The Keeper Of Lost Causes

Voyager

SON OF JACK

Timothy Nelson & The Infidels have announced the launch party for their hugely anticipated second album, Terror Terror, Hide It Hide It, at the Rosemount Hotel on Friday, August 1. The first two allocations of tickets sold out in minutes, but lucky us – we have two amazing prize packs to give away! Up for grabs for each of our lucky winners is a double pass to the show, two signed copies of the new album and the chance to hang out for a beer with the whole band after they get off stage. Email win@xpressmag.com.au and tell us why you think they should hang with you – prizes to the creepiest…

Perhaps you participated in Movember. Maybe you’re hanging out for the Perth leg of The Beards’ tour. Maybe you find yourself in the same beard grooming predicament as Roald Dahl’s Mr Twit, and you’re in dire need of beard grooming materials. Well, you’ve just been bailed out by Son Of Jack Beard Products, who have a $20 blanket special for the month (with carry pouches thrown in). These guys are the hirsute child of Art Of Bath, and they specialise in beard washes, balms, oils, many of which are all natural, one of which sounds delicious (cocoa mint), none of which are tested on animals. If you’d like to win a beard grooming kit complete with balm, oil, and wash, like the Son Of Jack Facebook page and hit us up at win@xpressmag.com.au.

Timothy Nelson & The Infidels

Son Of Jack

INFIDELS!

NOW, VOYAGER Believe the hype. The new album from legendary Perth progressive act Voyager, V, is their best yet. Having just embarked on a national tour to spread the word of prog, they return to their hometown crowd at Amplifier this Saturday, July 26. To celebrate, X-Press has a double pass to give away so email win@ xpressmag.com.au for your chance to rawk!

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FLESH

NEWS - INTERVIEWS - REVIEWS - CONTENTS

How did you feel about your set on Tuesday? Vincent didn’t need to borrow a lead or Ali’s guitar. Blake didn’t mess up at all... he hasn’t learnt to play drums yet. and Jake wasn’t being a wet flannel about any honeys that day. 10/10 great rock show What acts caught your ear/eye? All of them. We’re tight bros with Kitchen People, Old Blood, Pat Chow, Dream Rimmy, Eloise Ashton. Girl Heroin were real cool too. We look forward to throwing down with each of them because we’re probably the muscliest band, too.

HIDEOUS SUN DEMON Heat #7 Big Splash Winners Answered by Andy Campbell (vocals/guitar).

Who else in the Big Splash heats are you keen to get a look at? Seen ‘em all, but I hope Scalphunter make another really cool video. What are your plans, at this stage, for the rest of 2014? Release our album SWEAT, record our next two albums, go on tour to the US, try and get a gig with Hamjam. And save up for Jake’s bass lessons. The Big Splash continues with the first semi-final this Friday, July 25, at the Rosemount Hotel with Eloise Ashton, Dream Rimmy, Husband, Kitchen People and Puck. Tickets are $5 at the door from 8pm.

ROGERS, THAT OL’ HIGH PLAINS DRIFTER

NOBUNNY TOLD US Nobunny is returning to Australia this August alongside The Hussy for a tour of intense psychedelic punk rock. Performing at Amplifier on Friday, August 29, Nobunny is fresh off the release of his third album, Secret Songs, while The Hussy are set for the release of their fourth album, Hussy Galore, later this year. Tickets are available through Oztix.com.au. Nobunny

MIAMI MOTION Miami Horror have announced their Wild In Motion (Set It Free) Australian tour, coinciding with the release of a new single of the same name. The Los Angelinos will be visiting our shores in the spring with a Fremantle date at the Newport Hotel locked in for Sunday, September 28. Tickets are available through Oztix.com.au.

DARBY DOWN UNDER New Zealand’s Rhys Darby, star of Flight Of The Conchords and The Boat That Rocked is heading back to Australia on a visit that will kick off at the Astor Theatre on Tuesday, October 14, with tickets on sale through showticketing.com.au.

CONTENTS 4 6 8 10

28 30

Newsdesk Win Flesh Music Phantogram, Angus & Julia Stone The Creases, Pelican, I Am Giant, Husky New Noise Eye4 Cover: The Keeper Of Lost Causes Interview Sex Tape, Pategarang Billy Bleed, The Keeper Of Lost Causes The Hit List, Fashion Arts Listings Scene Cover: The Prototypes News, Producer’s Cut, Take 5 Mot3k, Rockwell Live: Sweetdog Sounds II, Sound Collectors, Pink Eye Town Local Scene: Dry Dry River X-Press Guide Social Pics, Volume

FRONT COVER: Boy & Bear’s Get Up & Dance

tour hits Albany Entertainment Centre on Thursday, September 26; Bunbury Entertainment Centre on Friday, September 27, and the Fremantle Arts Centre on Sunday, September 28. SCENE COVER: The Prototypes head to Metro City this Friday, July 25, for Viper Recordings’ 10th anniversary tour. 8

BOY & BEAR Eyes On The Prize Boy & Bear’s Get Up & Dance tour will stop by Albany Entertainment Centre on Thursday, September 26; Bunbury Entertainment Centre on Friday, September 27, and the Fremantle Arts Centre on Sunday, September 28. BOB GORDON reports

Not only is Tim Rogers Esq. performing The Beatles’ White Album with Chris Cheney, Phil Jamieson and Josh Pyke at the Riverside Theatre on Saturday, July 26, he’s making some sweet time to play some of his own tunes at Mojo’s this Sunday, July 27. Pre-sale tickets are $40 available through Oztix.com.au with limited tickets available at the door on the night from If it’s Monday, it must be Los Angeles. 6pm. He is, the one and only. That’s the way it’s rolling for Boy & Bear at the moment, the band’s touring regime this year Tim Rogers has seen them play 85 show so far, with at least that many to go. Even when they have time off, they’ve got somewhere to go. “We’re just waiting for the van to pick us up from LAX,” says drummer Tim Hart down the line from LA’s famous airport. “We just flew in from Nashville and we’re on our way to the hotel. “We’ve got a few weeks off. We’re going to be playing the Conan O’Brien Show in a couple of days. They tape that in Burbank, Los Angeles, and that’ll happen on the 23rd. We fly out that night, then we THE KID GOES ON TOUR come back home for six days then we’re off to Europe. Alex The Kid will look to continue their incredible 2014 We’ll rest for a few days so we’re not jetlagged for the with a national tour booked for August. The Geraldton first show, though we usually are anyway, but a few locals have recently signed to Whitewinter Records and beers fixes that (laughs).” have been performing their punk anthems all across the The run of shows in the US over the last West Coast. The tour kicks off on Friday, August 8, with month has already been quite a whirlwind, with a an all-ages show at YMCA HQ. Hit up facebook.com/ number of key gigs, notably Red Rocks, Colorado. alexthekidrock to find out more about them. “That was pretty amazing,” Hart gushes, “we were really blown away by it. One of the coolest things Alex The Kid is that the whole backstage is built into the rock. There’s a tunnel that goes up to where the soundguy mixes the HE’D NOAH THING OR TWO show that’s got all the signatures of all the bands who South African comedian Trevor Noah will be returning have played there. You’ve got your Neil Youngs and your to Australia for his second national tour, Lost In Cat Stevens, The Rolling Stones and U2... we felt really Translation, as part of the Just For Laughs Sydney humbled to play there. And it sounds amazing. It was Comedy Festival. Drawing mutual connects through really one of those things to tick off the bucket list.” The John Butler Trio recently sold out at hilarious storytelling, Noah will be venturing west for a Perth show at the Crown Theatre on Friday, the same venue, but for many, the mention of Red October 17. Bookings through Ticketmaster.com.au. Rocks Amphitheatre, conjures up memories of U2’s iconic Live Under A Blood Red Sky EP and video from way back in 1984. “It was incredible that video,” Hart enthuses.

“Me and my brother John who plays in the band (banjo, mandolin, keyboards), we used to stay up late on a Friday night as teenagers, and pop on that video. We were lovin’ it. It was incredible to go on the same stage. It was wonderful.” Those sorts of pinch-yourself moments become more frequent as Boy & Bear tour more often and on an ever-widening scale. “To be honest it’s what we’ve been shooting for,” Hart says. “The venues have been getting grander, but we’ve worked as hard as we can to get to this point. To roll into a town and the radio stations are playing your song... it really is one of those moments and you do sort of pinch yourself. Hopefully we can just keep working hard and keep it going ‘cause it feels pretty good.” This time last year, the band were a few weeks shy of the release of Harlequin Dream, the album that has taken them out into the world more than ever before. Plans were afoot, but they could not have had an inkling of what was to follow in the 12 months ahead. “We didn’t really,” Hart says. “There was a lot up in the air before we released this record. We’ve got incredible management and they’ve managed to find a really great booking agent and label in the UK, Europe and in the US and Canada, really lovely people and hardworking and not in it for a big, pop single, but in it to build a career for the band. Once we knew they were on board we were hoping that we’d be able to come out and work harder and we have been really fortunate in how it’s turned out. “We’re really stoked. It’s a lot of time away from your family and your loved ones, but if you have the opportunity it’s a really special thing and we definitely don’t take it for granted.” Despite all the miles covered, Hart says that Boy & Bear has some “rough but exciting demos” for their next album, which they hope to complete by mid2015. In the meantime, it must be heartening for the band to know that while they’re away shows on their springtime Get Up & Dance Australian tour are selling out one-by-one. “Yeah,” Hart laughs, “it’s nice, isn’t it? If you watched that TV series they made on INXS, when a band has some success overseas and starts to focus there Australia can feel a little bit like it’s out of the picture. It’s good to know that the fans have been there from the start and enjoying the music and with these shows coming up we know they’re still with us. Hopefully that following keeps going because we love playing live and Australia is our home and always our favourite place to play. Hopefully people will keep coming along, it’s really special that they are.”

GIVE BLOOD Mick Blood, singer of seminal Australian rockers, The Lime Spiders, has fallen on hard times of late in Sydney and some good friends and fans of his have put together a benefit to help out an old mate. Ghetto Crystals, SMRTS, The Painkillers, The Volcanics, Cavalier, Tilly Dan and The Midfield Legends will get together at Mojo’s next Wednesday, July 31, to play some kickin’ tunes and raise some cash for the man himself. 7pm start, $15 entry.

CATCH COURT One of the most distinctive new Australian voices in music, Courtney Barnett, is coming back our way as part of her national Tour. Having recently impressed international audiences when she played at Coachella, The Great Escape, Primavera, Sasquatch, Field Day and Glastonbury, Barnett and her band, The Courtney Barnetts, will play Fremantle’s Fly By Night on Friday, September 26. Support comes from DD Dumbo and tickets are on sale via courtneybarnett.com.au/shows from Monday, July 28.

Mick Blood Pic: Carbie Warbie

ENTERTAIN US

ARMAGEDDOOM 2, the second annual West Coast Doomfest, is set to roll on Friday, September 5, at The Rosemount Hotel. This roomful of doom is headlined by UK outfit, Conan, with special guests, Yanomamo (Sydney) who are touring nationally with them. Representing the local front will be The Devil Rides Out, Chainsaw Hookers, Bayou and Wizard Sleeve. Pre-sale tickets are available through Oztix.com for $20 (plus booking fee), door sales will be $25.

As part of the Newport Hotel’s Record Club, this week’s edition will be dedicated to Nirvana’s incendiary 1991 breakthrough album, Nevermind. Justin Burford (ex-End Of Fashion) & Friends will take to the LP with lots of love and grit this Thursday, July 17. “There aren’t many albums that can lay claim to changing almost every facet of music as much as Nevermind did,” Burford says. “It almost singlehandedly brought ‘alternative’ culture to the mainstream. It wasn’t just an album, it was a genuine cultural revolution. “I first saw the clip to Teen Spirit one morning in 1991 on Video Hits. I had no idea the impact these scruffy looking guys were about to make on the world, but being transfixed to the screen, I immediately felt the impact it made on me. Taped copies of the album spread through school like a bad rumour and I still remember moshing to it on mum’s coffee table with mates, the hi-fi cranked. We had our voice. We had an identity. We really felt we were apart of something. Not too long after I got a guitar and needless to say the first things I learnt to play were the songs from Nevermind.” Doors open at 7pm. Tickets are $10 (plus booking fee) from Oztix.com.au or at the door. Your hosts are Steve Parkin and Malcolm Clark.

Conan, ARMAGEDDOOM 2

Justin Burford

Courtney Barnett

ARMAGEDDOOM TIME

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MUSIC

VIEWS

INTERVIEWS

PHANTOGRAM. PHOTO: DORON GILD

PHANTOGRAM All The Voices New York duo Phantogram have just released their second album, Voices. KRISSI WEISS speaks with vocalist/ keyboardist, Sarah Barthel. While New York seems to breed electro/synthpop duos at breakneck speed, the world falls in love with them as fast as they appear.

From Chairlift to Holy Ghost!, Sleigh Bells to the late School Of Seven Bells (and the list goes on), New York has produced some of the greatest representations of this seemingly disparate genre over the last decade. Yet what holds this sound together is often the very thing that sets these bands apart. While music has long had a fascination with creative partnerships - viewing two creative souls toiling away at their music like some sort of platonic and tortured love affair – the aforementioned duos all essentially sound absolutely nothing alike. Their resumes may read the same but their creative output transcends any presumed mould. Phantogram are no exception. Friends since junior high, Sarah Barthel and Josh Carter

STORIES

have built their DIY project from the ground up by writing, playing and refining their sound year after year, and while their growth has been organic, their creative process is far from it. They are extremely disciplined and deliberate creators, drawing on Barthel’s visual arts background and Carter’s technical prowess, Phantogram stitch together EDM, hip hop, indie and shoegaze with the skill of surgeons, while maintaining a deeply hypnotic and concept-driven element to their sound. Nothing sounds clinical, mind you; they simply care about what they’re doing. They once explained that their song ideas for their first album, Eyelid Movies, came from short films they’d dream up together and then turn into song. Even their latest album, Voices, is a cacophony of imagery layered into sound. It’s this unique approach to the creative process that breeds the somewhat insular environment in which they write. Barthel and Carter have worked on tracks for Big Boi and The Flaming Lips but when it comes to their own creations, they are deeply protective of what they do for themselves. So when Phantogram signed to Republic – their first step into the world of major labels – they did so with caution. “We started out with an indie label, then toured a whole bunch, and just built fans through that so this transition to a major label seems completely natural; there’s nothing sudden about it,” Barthel says. “It’s definitely helping us now we have radio play, but for the most part we’ve never been pushed too hard, so we don’t feel like this band that came out of nowhere.” Nonetheless, Barthel makes it very clear that while they’re enjoying a growing fan base, they’ll never want that to grow at the expense of their integrity. People create for an audience, otherwise why ever leave your lounge room? But for fans of Carter and Barthel, they best be prepared to follow them wherever they go. “As a band people know that we’re Phantogram, we have full creative control. John Hill knew that when he worked with us, our label knows that,” she says. “That’s the reason we signed to Republic; because they gave us that option. Our music is our music and it doesn’t need to be changed or altered just so it can sit on the radio. If it doesn’t belong on the radio then it doesn’t have to be there but we’re glad at the moment that it’s sitting there; that’s a wonderful thing.” John Hill co-produced Phantogram’s latest (and most successful) release, Voices. His history is diverse, working with acts ranging from TUnE-YArDs, to P!nk, Portugal. The Man and Santigold. Barthel and Carter were attracted to his

ANGUS & JULIA STONE

“Rick Ruben’s impact is kind of indelible. Without Rick I don’t think Angus and I would have got back together, or not at least for a long time. He means so much to us; mostly because he found us and brought us back together and it’s so important. I feel so grateful just for that because the record wouldn’t have happened and I wouldn’t have had this time with Angus."

Rick-Rolled Angus & Julia Stone’s Perth show on Tuesday, September 23, at the Perth Concert Hall has sold out, but don't despair as another show has been added at the venue on Wednesday, September 24. Ahead of the release of their Rick Rubin-produced self-titled third album on Friday, August 1, Julia Stone speaks with AARON BRYANS about the emotional reformation with her brother Angus and their incredible bond. Ever since their formation in 2006, Angus & Julia Stone have taken Australia by storm, racking up numerous awards and nominations, taking over airwaves and spreading their beautifully gripping tunes into music devices across the land. With only two albums released, the potential of the brother-sister duo seemed endless. However, a lack of flexibility and a personal drive left the Stones each craving the pursuit of a solo career. “In a way there was some songs that came out on By The Horns that I would have never put on an Angus and Julia Stone record,” Julia Stone says of her second solo LP, released in 2012. “Angus and I sang By The Horns live together a few times but it wouldn’t have been right for our record; it was quite an angry song for me. "Making those solo records was a lot more personal. We had been used to collaborating in a way where it was half Angus’ songs, and half my songs, and there was something disconnected about that in terms of being able to fully commit to owning a record, entirely. When making By The Horns, there wasn’t any confusion of ideas or authenticism. It was a very specific feeling record for me and I know that Broken Brights (2012 solo LP) for Angus was the same. I think it was important for us to experience what it felt like top be fully committed to an album in that way. “When Angus and I worked together we sort of had each other, we had someone else to take responsibility with and in a way that made it easier. It’s like when you’re out of a relationship you have to really love yourself without someone else validating that and telling you that you’re good enough.” 10

eclectic resume and despite generally approaching things from an in-house perspective; they’re smart enough to know their limitations. They’ve had no shortage of studio experience with two albums, four EPs and a host of singles in their seven years together (as well as what can be assumed to be quasi-master classes from the likes of Big Boi), but fresh ears are generally a good thing. “We’ve always done it ourselves and we’re those types of people who look at it like if it ain’t broke, don’t fix it,” she says. “We’re always down to collaborate but it’s important that Phantogram is coming from just us because that’s why we’re doing it. I don’t want to play a song that someone else wrote, my art is more meaningful when it comes from us. I have a connection to the songs when we perform… but while we write everything, we co-produced this last record with John Hill because we wanted another ear. “John helped us hone in different tones and sounds and had a whole shitload of different equipment that we could use. He had a knowledge that we needed; Josh did what he knew how to do but didn’t know how to make, like, the beats crunchier or the synths more bumping. John was able to make things stick out more dynamically.” There are other concessions Phantogram have made in order to ensure the quality of music comes first. They have two new touring members to ensure their live sound is as explosive as their records and have learned a lot from playing crap venues with heinous sound, taking a sound tech on the road with them most times. After all, keeping things close has always been for the sake of Phantogram and if Phantogram needs a little help, pride is not a concern. Barthel and Carter don’t work so intimately just for the sake of it, they want to create the best music they can above all else. “Playing a lot of shows has made us open our ears up a lot more, especially with the release of this album, we put a lot more of a live feel into that record actually because of the amount of shows we’d played,” she says. “It took us a little bit of time to experiment with the songs live and to figure out what we wanted to do with the songs live. We’ve got two other players with us now so we’re able to pull it off a little bit better these days. It’s been fun having them along; people seem to be enjoying how we’re performing it and there’s been heaps of positive feedback.” “Our music is our music and it doesn’t need to be changed or altered just so it can sit on the radio. If it doesn’t belong on the radio then it doesn’t have to be there but we’re glad at the moment that it’s sitting there; that’s a wonderful thing.”

With no plans to reunite and both artists solo careers flourishing, it took the determination and vision of US producer, Rick Rubin, to organise a meeting in what was the first step of an incredibly emotional journey. “Rick’s impact is kind of indelible,” Julia reveals. “Without Rick I don’t think Angus and I would have got back together, or not at least for a long time. He means so much to us; mostly because he found us and brought us back together and it’s so important. I feel so grateful just for that because the record wouldn’t have happened and I wouldn’t have had this time with Angus. I think for both of us to meet each other after the time apart is so valuable and to know that we could write together and we could really make a record that was unified, it was really healing for us and our family and it was a really big part of it that he saw the potential for us to do something together. "In the studio Rick brings everybody together. When he walks into a room you see how everybody wakes up a bit like, ‘oh we’re going to play the best music we can play', he has this way of just being there. You know when someone really listens to you when you’re telling them something,

and it makes you understand what you’re saying in a way you wouldn’t otherwise understand your own words. When somebody isn’t listening when you’re telling them a story, it feels like a piece of shit that doesn’t have any point; but when someone listens to your story all of a sudden it has life and reason and purpose in being told, and that’s what Rick does, he listens. It feels like what you’re doing is important and worthwhile.” The end result has been an exciting one for the Stone duet; an upcoming national tour, a spot at Splendour In The Grass and their strongest album to date, the self-titled Angus & Julia Stone. “This record's a combination of songs we’ve written separately and songs we’ve written together. I think the biggest difference is the songs we’ve written together. Angus had a lot of input into the way that they sound and I think for me I was a so much more open to listening to Angus’s ideas and feelings about the music and him as well towards me; and that gave us this space to be able to write songs together. He’d sing a line then I’d sing a line, and then we’d try different ideas and jam on songs, and we hadn’t written like that on Down The Way (2010) and A Book Like This (2007).”

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“Some days the most exciting thing is that I get to hang out with Angus again. He’s so fun to be around and he’s a funny dude. I like that I get to do that again. We play a lot of sports together, so I get to play tennis and squash and that’s really fun on tour. Another thing is the band we have on tour with us; they’re all so good and I really like playing with this band. When Angus and I went solo we both played with different bands and we’ve pulled together this super band. They’re so special and so beautiful at what they do.” The chance to once again play Splendour In The Grass will be a moving homecoming for the duo, who have a chance to flaunt their rebirth and return to the musical avenue they loved for so long. “Splendour’s very exciting,” Julia chirps. “There’s a lot of friends and family and it’s where we spent a lot of time growing up; it’s an area that means a lot to us. We both had a lot of crazy and amazing times up in Byron and I guess it feels like a big show for us. It’s the first time we’ve played together in Australia in three years… as I’m talking about it my tummy’s feeling funny, I probably will cry on stage. It’s a really intense emotion to come home and be together and I love Australian audiences and people are so great in this country. It’s going to be an emotional show I think.”

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MUSIC

PELICAN Forever Now Forever Becoming, the fifth album from Pelican, signals a new beginning for the US post-metal instrumentalists. JESSICA WILLOUGHBY speaks with guitarist, Trevor de Brauw, ahead of their show this Sunday, July 27, at the Rosemount Hotel, with support from Chaos Divine and Foxes. The loss of a main songwriter would mean the end of many a band. Some, however, some use the opportunity as a new beginning. Post-metal instrumentalists, Pelican, faced this dilemma. When Laurent Schroeder-Lebec made the decision to leave while the Illinois-based four-piece were on hiatus in 2011, the news came as a shock. The

VIEWS

INTERVIEWS

founding member’s signature dynamic guitar tones helped shape and define the outfit’s sound for over a decade. Choosing whether to fold or to open a new chapter posed two daunting options to the remaining three members. Guitarist Trevor de Brauw’s recalls his emotional state being pretty raw at this pivotal time. “It was frightening,” he tells X-Press. “We had kind of reached our boiling over point with touring in 2009 and we realised we needed to reconfigure the band to make it sustainable. So we took a step away from the full-scale touring and writing and went into a brief hibernation. “It was at the end of 2011 that Bryan (Herweg, bass) and I started writing again. We had also done a tour, too, without Laurent because he wasn’t really willing to leave home anymore. We did those shows without him and that felt good to us. When Bryan and I started writing; that was the point Laurent decided to step back. We approached him because we really wanted to start getting the writing process moving and he (Laurent) just didn’t feel the creative drive anymore. He didn’t feel the passion to pursue it the way we did. He didn’t want to hold us back, so he decided to just pull out. “I think for Bryan and myself, the creative wheels were already spinning and there was no way to put the brakes on – in terms of writing. But at the same time, it put an onus of responsibility on us that had never been there is the past. Laurent has always been a very active contributor in the songwriting process and brought a lot to the table. It was sort of a harrowing challenge that we had to rise to. But I’m glad that we did it. “Personal and artistic challenges are always really important for growth as individuals and as a unit. It really gave us a chance to challenge ourselves and do something new.” The result was 2013’s Forever Becoming. Signalling Pelican’s fifth LP, the album sees Dallas Thomas (The Swan King) filling the void left by Schroeder-Lebec. An easy option, considering the guitarist was already doing this in a touring capacity – de Brauw says the transitional period helped them all grow both as a band and individuals. “We’ve worked in every possible configuration for writing, but Bryan and I never directly collaborated. We’d work on songs together, it was when they came to the full band. So it was daunting, but it was a new creative partnership that we were able to tap into and harness. That, and minus the fact that we had taken time off to recharge our batteries, it really felt like the excitement you feel when you start a new band. “When you start a new band, there is all this crazy electricity. That’s why the first records of most bands end up being their best albums, because they are tapping into this new creative energy. Bryan and I got to have that opportunity, 12 years into this band in a way (laughs). We needed it.”

STORIES

THE CREASES Finger On The Pulse Singer/guitarist, Joe Agius, chats with AARON BRYANS about the sudden rise of The Creases and their debut EP, Gradient. It’s been a huge year for Queensland quartet, The Creases, who advanced from weekend jam sessions to touring alongside the likes of Franz Ferdinand and The Jungle Giants. With an EP recorded and ready for release, the group scored a worldwide deal with Liberation Music as well as securing an appearance at this year’s Splendour in the Grass. “It’s been pretty crazy,” singer/guitarist, Joe Agius laughs. “Originally we never expected to even play live for this band; it was this silly project we did on weekends. After we released the first single, (I Won’t Wait), we got more serious and keen to do it properly. We definitely didn’t expect anything that’s been happening at all. “It’s been really cool having a team to work with. It makes it a lot easier for us and there’s a lot more opportunities. There’s only so much you can do as an unsigned band, it gets pretty difficult sometimes. Especially if you have really adventurous ideas you want to try and do with recordings or videos; it definitely helps with the label to be able to put some of that together.”

The summation of the band’s growth has arrived with the upcoming release of Gradient; The Creases debut, five-track EP that features their current single, Static Lines. Recorded with Simon ‘Berkfinger’ Berckelman from Philadelphia Grand Jury, the EP is officially released this week. “It was really cool,” Agius says of recording the EP. “We did it ages ago in November last year with Berkfinger. We were touring with Philadelphia Grand Jury at the time and we recorded it a few days between shows. It was really good and really rushed, but it was cool. We recorded it live as a band in one room, which is something we’ve never done recording-wise. We’re really surprised with how it sounded so we went with it. We literally just played metres apart in one room.” The journey goes on as The Creases are already beginning work on their debut album, scheduled for an early 2015 release. “We’re already into writing for it and I think we’ll be demoing in a month or so, then record it at the end of the year and hopefully have it out early next year,” Agius says. “We’re pretty keen to keep the gap between releases as small as possible. We’ve only been together for a year, so we haven’t had that time as a band to play shit shows with no one coming and really work up our sound and everything like that. Everyone’s kind of watched us evolve from the beginning. If you’d seen our first shows and then watched us play now you can see that there’s a pretty big difference in sound already and I think when it comes to the album it’s going to be different again.” xx

HUSKY

HUSKY Coming Back For I'm Not Coming Back I AM GIANT

I AM GIANT International Survival Ahead of I Am Giant's Perth show at Amplifier on Thursday, August 7, bassist Paul Matthews speaks with AARON BRYANS about the New Zealand band's second album, Science & Survival. With a brutal edge and gripping rock riffs, I Am Giant made a statement with their 2011 debut album, The Horrifying Truth, and have continued the momentum with their sophomore release Science & Survival. R e co rd e d i n Fr a n ce a n d Lo n d o n , alongside Melbourne mixing and New York mastering, the trio stuck to their guns and once again engaged the producing talent of Australian engineer, Forrester Saville. With bassist, Paul Matthews, incorporating his own production knowledge, the two were able to unite to solidify the LP. “It was more like an experience of missed opportunity,” Matthews reveals. “We allocated eight weeks in the South of France and Forrester Saville was producing with us and we went overtime so we did another three months back in my studio in London. 12

"I’ve been producing for a long time but I also had Forrester to bounce ideas off, particularly when I was playing and he gave me a lot of feedback.” “I’m excited about being able to finish an album that we are so happy with. We feel like we got it right… and it isn’t that easy to get it right. We plugged away and got an album that is a reflection of us.” The band have been on a professional mission from the beginning to perfect their sound, not only taking in the lessons learnt from their prior bands but also spending endless hours rigorously auditioning over 150 singers and 120 guitarists to finalise the sound they were searching for. “Really we just looked for a singer,” Matthews explains. “We just wanted someone whose voice we thought worked with the music we wanted to make, but we spent ages looking for a singer; over a year with 150 guys.” With only two albums under their belt, the potential of the New Zealand natives seems endless, given the incredible rise of late by Kiwi artists on the international stage. “There’s no denying the growth," Matthews says. "It’s been inspired by people who are a lot younger than us, like Lorde. She’s 17 years-old, so she’s younger than most people! Her, The Naked & Famous and The Brutes have been a resurgence for Kiwi artists.”

Touring in support of their new single, I'm Not Coming Back, Husky perform at the Rosemount Hotel this Thursday, July 24, and Mojos on Friday, July 25. BOB GORDON reports. Husky were last in Perth on Valentine's Day, a Friday evening at the Perth Festival's Chevron Gardens. It was a pretty happy, balmy night... for both band and audience. "It was a happy and balmy night indeed," echoes keyboardist/vocalist, Gideon Preiss. "We really loved the festival, the Festival Gardens and of course the show. At the time we hadn't been playing very much as we'd been holed up in the studio for many months here in Melbourne. So it was a memorable show to break our dry spell. "It was also one of our first shows with our new drummer Arron (Light), so that added to the fun. Other recollections include a seriously haunted backstage area, some of the best band catering we've encountered on our travels thus far, an awesome water feature somewhere, dancing for hours after our show in the gardens to the most stellar ‘60s and ‘70s soul tunes, more dancing at The Bakery afterwards and then the details begin to get a little sketchy. "Oh, and we came back to the festival the following night for DJ Shadow!" No wonder Husky are heading back to Perth this weekend, then. There's business to attend to as well though, the visit is part of a tour to launch their new single, the perhaps-inappropriately-titled-in-this-instance, I'm Not Coming Back. "It was penned by Husky (Gawenda, vocals/ guitar) during one of his fierce writing sprees," Preiss says. "As is often the case I get sent the earliest roughs of the

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song and we then collaborate and see it through to its completion. I felt it had something very special from the beginning, something that pulled you in, a message that I felt I and others could relate to while still leaving plenty to the imagination. "We recorded this one in Sydney with (engineer/producer) Wayne Connolly and used lots of vintage gear like old guitars, analogue synths and a Wurlitzer keyboard to create the '60s pop aesthetic." I'm Not Coming Back is the first taste from the band's forthcoming album. Preiss says it gives a pretty good indication of what's to come. "The song taps into ideas around escapism, longing and the impermanence of life and is pretty consistent with other songs on the album," he offers. "We also felt that after touring so much off the back of the last record, which was quite dreamy and textured, we wanted to write songs that were more dynamic and better suited to playing live. So there will be more upbeat tunes this time around." As ever, the band's harmonies on the song are exceptional. One wonders if the band have many harmony-only rehearsals, or if it all come quite naturally... "It's certainly something we've had to work hard on," Preiss says. "So yes, we will do harmony-only rehearsals. Singing live harmonies can be very tough to get right, but when you get it the effect is so powerful. The other thing for us is that having Arron singing has freed us up to be more flexible with vocal parts as he's got strong high register." Husky's national single tour ends on August 1 in Brisbane, but it's really only the beginning of a new chapter of hard work. "At this stage the plan is to get the record ready for release," Preiss says, "there's still much work that needs to be done. Other than that we're hungry to get out there and share what we've been doing all this time with people!"

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NEW NOISE

For more album reviews head to xpressmag.com.au

OUT OF 5

ALDOUS HARDING

THE ACID

Aldous Harding Spunk

Liminal Infectious/Liberator

New Zealand is having a rare run with the stature of female artists it is producing at the moment. Lorde is currently filling stadiums around the world and Tiny Ruins has given us an album of the highest quality, and so Aldous Harding has some big shoes to fill. Here, Harding gets her opportunity to make her own waves with her self-titled debut. Harding hones her craft in the port town of Lyttleton in the North of Christchurch, where she shares her warm tones with wayfarers and loners who stumble into the local bars. She is blessed with a voice that is suited to traditional folk songs, and comforting in a way that is not too dissimilar to Vashti Bunyan. Harding doesn’t go in for all the bells and whistles on her debut, rather focussing on the simple guitar-and-voice format that has served her so well in local bars. She’s also is in no hurry to churn through her songs with many of them reaching the 5 minute mark. This makes for a considerably more emotive and powerful listen with each spin. Aldous Harding has put together a debut that is steeped in a musical history that belies her years. It is spectacularly bleak in its outlook with some haunting guitar and harmonies from Simon Gregory thrown in for good measure.

Liminal is a shape-shifting meditation on loneliness and disconnection. Dense, raw and clean, it almost sounds like something produced by Sohn’s evil twin. Almost – while this album similarly draws on electronica, postdub and gritty post-rock, it doesn’t quite sound like anything else. Formed by Grammy-nominated producer and DJ Adam Freeland, Steve Nalepa (an artist, composer and professor) and Australia’s own Ry X, the collaboration’s debut is, as expected, musically ambitious. But rather than crowding out the sound with their respective talents, The Acid keep everything minimalistic. It is seamlessly cohesive, if a little ambiguous. Creeper is a dark and chilling track that explores obsessive and addictive tendencies of infatuation. With lyrics delivered at a near whisper, complete with heavy breathing, it feels as though Ry X is standing right behind you. Recently released Basic Instinct is filled out with acoustic guitar, as the lyric ‘Coming up for air’ repeats delicately – sparse, indie electronica at its best. The soft, slicing vocals on Clean are opposite to distorted Red. Other tracks like Veda and Tumbling Lights are harder to get into. Liminal creates an aesthetic The Acid clearly thrive in. Listeners have to meet them halfway – but it’s worth it.

CHRIS HAVERCROFT

EMILY MELLER

3.5

OUT OF 5

EXAMPLE

LANA DEL REY Ultraviolence Interscope/Universal

Live Life Living Sony

Lana Del Rey’s second album, Ultraviolence, sees Lizzy Grant’s character coming full circle. While generally well received, her 2012 debut, Born To Die, struggled to balance the establishment of the persona she was trying to project with earning her a viable place as a contemporary pop singer. The concept of fictionalising one’s name, background, values and identity is as old as any form of entertainment, yet Del Rey still poses a challenge to many about her place in music. Ultraviolence runs with her trademarks of lost love, abuse and the romanticism of death through a filter of cynicism and regret. With the playful nature of previous singles Off To The Races and Video Games forgone, a refined, sombre mood carries the album as her most defining and realised work to date. The frankly awkward hip hop vibe that came through on parts of Born To Die has wisely been left behind. In the landscape of not only pop music, but the noir-ish nostalgia-ridden universe she has developed, Del Rey sits alone in her own world. With no real competitors or rivals, the Lana Del Rey concept of a starlet surviving alone in a world of romanticised violence and abuse is as convincing, and ultimately entertaining, as any.

English singer/songwriter/rapper Example has come back onto the scene with a new record that starts off somewhat strongly but quickly finds itself falling into a mediocre hole. Live Life Living boasts a few songs that will get you moving and singing along, but it seems more dominated by uninspiring, repetitive and medium-grade tracks. Acknowledgment has to be given to the variation in sounds you’ll find pumping through your speakers, from classic hard beat dance and ’90s rave to more chilled, summer vibe sounds. And like most dance records, it has your typical ‘don’t forget your youth, let’s act like we’re crazy, irresponsible teenagers’ track (Kids Again). It also has its moments in which things seem to get a bit deeper than the usual electronic fare (Next Year) – but it doesn’t bring much else. As a whole, Live Life Living will probably work well for already established Example fans, but won’t gain him any new ones. If you were expecting a little more from Example this time around, you’ll find yourself switching to something else after a few tracks. AMY THEODORE

OUT OF 5

JOE HANSEN

OUT OF 5

TAMAS WELLS On The Volatility Of The Mind Popboomerang Tamas Wells is better known elsewhere in the world than in his native country, not only as an introspective Blind Bet singer but also due to his work as a humanitarian aid Independent / Rocket worker. Wells again wrote some tunes during his time in Myanmar and since returning to Melbourne in 2012, Melbourne trio, Cookin’ On 3 Burners, are back has pulled together On The Volatility Of The Mind. with their sixth studio album, Blind Bet. A refreshing Opening the album with whistling is fraught collection of soul and funk tunes, this album also has with danger and in many people’s hands would be a strong cinematic vibe, which diversifies their sound cloying, but damn if that this thing doesn’t earworm and adds texture throughout. you all day! It is not the only feature that makes A Riddle The band, led by guitarist Lance Ferguson a fine starter as is reintroduces the listener to Wells’ of The Bamboos, has collaborated with a number of gentle tones and knack for a subtle melody. guest artists this time around. Bamboos singer Kylie Wells can break a heart just by opening his Auldist showcases her soulful vocals on Chew You Up mouth, such is the fragility in his voice, and when he and Mind Made Up, while the album’s first single, the slows the pace and sings over delicate keys on Benedict groovy, Losin’ Streak, (featuring Daniel Merriweather) Island, Pt. One there are plenty who will share a heavy is a standout. And let’s not forget Tex Perkins, whose heart with him. Even when upping the tempo Wells vocals make the bluesy Flat On My Back a favourite. shows a frailty of few others, but he can’t help but be Blind Bet includes five instrumental cuts, swayed by a fine melody. A Snake Bite At The Quarry the best of which are the title track and The Spanish and An Appendix show off this insatiable appetite for Job – both of which would be well placed on a film crafting bouncy-yet-broken pop. soundtrack. Ross Irwin’s brilliant string and horn Wells is criminally underrated, which can arrangements create this welcome cinematic feel. probably be attributed to his lack of time spent in It’s been five years between albums for Australia of late. When he does find the time to breathe Cookin’ On 3 Burners, and Blind Bet is well worth the life into his songs in the studio it is well worth the effort wait. A catchy record that will leave you groovin’ from to track them down and hibernate with them for a start to finish. time. On The Volatility Of The Mind is no exception.

COOKIN’ ON 3 BURNERS

ALI BIRNIE 14

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CHRIS HAVERCROFT

A R T S & C U LT U R E

FILM

With the Scandinavian Film Festival starting this week, X-Press had a chance to talk to Sonja Richter from The Keeper of Lost Causes (Kvinden I Buret), one of the films screening. Based on the best selling Nordic noir book, the film is a stylish thriller about a cold case unit, Department Q. With the more literal translation of the title being The Woman In The Cage, we spoke to Richter about playing the character whose disappearance and imprisonment are at the heart of the film. “It’s a very popular book here, and I hadn’t read it before I was offered the part. So I went home and read it, and what attracted me to this part was her survival instinct. I thought she was an inspiring character and in all that darkness she is exposed to, she is hanging in. As for the whole film, I like that things are more complicated than black and white, there is a reason for what happens.” Both Richter and director Mikkel Norgaard were concerned about how to convey the feel of the book in those scenes of her character (Merete) trapped in the pressure chamber. Although they found it a “Long hard road,” they are satisfied that “audiences have found it believable.” One scene in particular made audiences squirm with Merete performing some dental work - with pliers. “What is it with teeth? People instantly feel in their body how much it hurts. You just feel it in your bones, and watching someone go through it is such an awful thing. We only did that once, it

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just worked right away. Everyone watching the monitors was just screaming and Mikkael said ‘Okay, we don’t need to do it again.’” Part of Richter’s preparation took her to dark places, as she read up on isolation experiments as well as tales from real life abductees. Yet she also found inspiration in these tales of survival against overwhelming odds. “Merete is a survivor, not in the sense of an Amazon warrior kind of woman, but more as a strong person inside. She is full of light and imagination and that allows her to survive this horrible, horrible situation.” As to why Scandi Crime and Nordic Noir are experiencing such a surge of popularity, Richter has an interesting theory. “Nordic Noir has some commentary on where our society is going. They also tell stories on survival and it becomes a sort of a fairy tale. I know that sounds really weird, but they have a sort of a fairy tale structure to them. Keeper Of Lost Causes is about Carl (the keeper of lost causes), it is his story, he is in emotional darkness and it is his way of working himself out of darkness. Whereas my character in the movie is kept in actual darkness, but on the inside she is filled with hope and energy. So they are opposites of each other. Him freeing her from her darkness is actually bringing him out of his darkness. Like a fairy tale, they are stories that tell us what it means to be a human being. I think that is what Nordic Noir is doing, giving us a dark but grown up fairy tale.” DAVID O’CONNELL

The inaugural Scandinavian Film Festival runs at Cinema Paradiso from July 24 - 30. For full details, session times and tickets, go to lunapalace.com.au.

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A R T S & C U LT U R E

FILM

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EVENTS

FAS H I O N

CINEFEST OZ FILM PRIZE JURY NAMED

FILM

The six judges who will decide the winner of CinefestOz’s inaugural $100,000 Film Prize have been announced. The panel includes Actor Marta Dusseldorp, film selector Benjamin Illos, producer Sue Milliken, beloved film critic Margaret Pomeranz and acclaimed Australian director, Bruce Beresford. Together they will decide which of the six finalists - Felony, Son Of A Gun, The Reckoning, The Waler: Australia’s Great War Horse, My Mistress and Paper Planes - will take the top slot. The winner will be announced at the festival on Saturday, August 23. cinefestozx.com has more information. Margaret Pomeranz

SEX TAPE Hit Erase Directed by Jake Kasdan Starring Jason Segel, Cameron Diaz, Rob Corddry, Rob Lowe, Ellie Kemper In case you thought that big screen American comedy was undergoing some kind of small but vital renaissance following the likes of Bad Neighbours and the Jump Street series, along comes Sex Tape, which expends a lot of time, effort and talent in a valiant attempt to get audiences to readjust their expectations to more realistic levels. Jason Segel and Cameron Diaz star as Jay and Annie, two appalling people (she’s a mommy blogger, he does something vague involving the music industry, so we know he’s still cool) who resent the fact that their adult responsibilities prevent them from dropping trou and having sex whenever they want (a montage detailing their early relationship shows this is exactly what they used to do - they would have been insufferable to know). In an attempt to spice things up, she suggests they film themselves having sex. He readily agrees because this is another comedy where the lead male is basically an anthropomorphic dog. This becomes a problem because the video they make synchs with all the iPads he habitually gives away as gifts, because

CLIP AWARD WINNERS ANNOUNCED

American cinema no longer has any resemblance to that nation’s economic realities. They need to go out and get back all of the iPads. Hilarity fails to ensue. A horribly ill-considered misfire, Sex Tape takes a group of talented comedic performers, including Rob Corddry and Ellie Kemper as Jay and Annie’s best friends and Rob Lowe as the CEO of a baby accessory company whose personal life belies his meek, buttoned down exterior, and just wastes them in turgid, too-long scenes. There are occasional laughs that you’ll cling to like a drowning man who’s been thrown a life preserver, as well as one standout sequence set in a mansion that feels like it’s been cut in from another, much better and riskier movie, but on the whole, the film is just inert. Sex Tape represents a low point for everyone involved. It’s actually sad to see Jack Black turn up in a third act cameo to drop some kind of half-assed, unearned moral lesson on Segel and Diaz how quickly he has fallen, and how far. Lazily written, haphazardly directed, unfunny, unsexy and populated by thoroughly unlikeable characters, it’s a horrible, horrible experience. It actually becomes somewhat horrifying when you meditate on the possibility that what we’re seeing might actually reflect someone’s ideas on how sex, relationships and marital intimacy work. If you find yourself relating to the scenario presented, seek help. If you find yourself in a cinema screening Sex Tape, seek the exit. TRAVIS JOHNSON

The winner of the 2014 CLIP Award (that’s Contemporary Landscapes In Photography) was unveiled at the Perth Centre For Photography on Friday, July 18, with Queensland’s Emma Louisa taking out the top gong and attendant $3000 cash prize for her piece, Gesture Study #2. The Student Award went to Western Australia’s own Gwenael Velge for Inhabited #1. Harrison Reid Sadler was highly commended for his Study Of A Partially Frozen Waterfall. The CLIP Award Exhibition runs at PCP until July 18. Go to pcp.org.au for more information.

FILM

Gesture Study #2 - Emma Louisa, winner of the 2014 CLIP Award.

AWESOME A CAPELLA Black Voices, the critically acclaimed British a capella five piece, are coming to Perth. Performing the music that has seen them share the stage with the likes of Ray Charles and Nina Simone, they will play the Perth Concert Hall on Saturday, November 8, as part of their fourth visit to Australia. Tickets go on sale from Wednesday, August 6, through Ticketek.

TAKING SHAKESPEARE TO THE STREET

A SHORT TIME LEFT FOR SHORT FILMMAKERS

Class Act Theatre specialise in making the works of William Shakespeare accessible to modern audiences and their new production, Romeo And Juliet With Hip Hop seems set to take that goal to new heights. Repositioning the classic tragedy in a world populated by b-boys and gangsters, the play now features music by MC Trooth and Loftee Beats. Directed by Helen Doig, it runs at the Subiaco Arts Centre from September 3 - 13 and the Mandurah Performing Arts Centre from September 18 - 19. Classact.com.au has more details.

The deadline for applications for the City Of Vincent Film Project is 5pm this Friday, July 25. Every year, the City Of Vincent, in conjunction with FTI, funds three short film projects either about an aspect, resident of part of the City, or by residents of the City. The three successful applicants receive $4000 in cash and $2000 in equipment and facilities hire from FTI, plus a 12 month FTI membership. The completed films will also receive a public viewing some time down the track. For full detials and submission guidelines, get over to fit.asn.au.

THE KEEPER OF LOST CAUSES Q Who? Directed by Mikkel Norgaard Starring Nikolaj Lie Kaas, Fares Fares, Sonja Richter Police inspector Carl Morck (Nikolaj Lie Kaas) is one square away from hard-boiled cop bingo. Brilliant yet abrasive, his dogged determination has alienated him from his department colleges, led to divorce and has left him drinking and smoking alone in his crumpled ensemble. Haunted by the past, he returns to work six months after an incident that led to the shooting of his fellow officers only to find himself shifted from Homicide to the newly formed Cold Case unit, Division Q. Now working out of the basement, along with his mismatched new partner, Assad (Fares Fares), Morck starts to investigate a five year old case of a missing female politician (Sonja Richter) that soon sees him matching wits with a killer. Horribly clichéd and predictable, The Keeper Of Lost Causes keeps borrowing from the film noir playbook, right up until the point that the antagonist’s revenge plot becomes so absurdly complicated and ridiculously baroque as to drift straight into Midsomer Murders. Yet if the audience can forgive the film these faults (or at least tolerate them) there is a somewhat enjoyable movie here. Using a very limited colour palette, director Mikkel Norgaard brings us a stylish looking thriller that is certainly evocative of the grim harsh reality it wishes to be. At times Keeper Of Lost

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Causes reaches that level with some scenes of the imprisoned girl being gruelling to watch (involving two words that are guaranteed to make anyone flinch - impromptu dentistry). In its shifts in time to cover the crime itself, we do become more invested in the victims of the case, allowing a slow build of tension. Unfortunately this all comes undone by the completely foreseeable nature of the plot. Nikolaj Arcel’s (The Girl With The Dragon Tattoo) adaptation of Jussi Adler-Olsen’s Nordic noir novel seems to have jettisoned some of the characters and plot lines of the original, leaving a less nuanced piece. Nikolaj Lie Kaas (Angels And Demons) does the best he can with the grizzled Inspector Morck, but the character is such a cookie cutter ‘hard-bitten flatfoot’ as to make it a doomed struggle. Fares Fares (Zero Dark Thirty) makes the most of the lesser role of Assad, proving a much more interesting character. There is a wonderful dynamic formed as the opposing personalities bounce off each other creating conflict that is reminiscent of the best buddy cop relationships. Sonja Richter shows incredible spirit as her character gets put through hell, and as mentioned previously participates in a most gruesome sequence that will have audiences squirming. Watchable rather than good, Keeper Of Lost Causes doesn’t quiet live up to all its promise. Still with the film doing well in Denmark, and the novel series doing well abroad, it is likely further adventures of Department Q are not a lost cause. DAVID O’CONNELL

BILLY BLEED Falling Into You Melbourne artist Billy Bleed blurs the line between truth and narrative with his exhibition, The Beautiful Fallen, which runs at Magenta from July 24 - August 24. X-Press caught up with the talented but elusive artist. Although he names among his key influences the likes of Hense, Stormie Mills, Liam Sparkes and Austin Lee, Billy Bleed never formally studied art, preferring instead to develop his own skills and style outside of the regimented confines of the classroom. “I struggled throughout my school years not only academically but through a sense of belonging,” he explains. “I’m an emotionally charged personality and was very sensitive, never feeling that i quite fitted into the square or the round hole. I just did not fully understand the systems within playground — there was a glitch that I saw and did not like.” His art, then, served as an escape from a world from which he felt alienated. “Painting is something that leaves me completely blank. When I paint I lose hours and have little memory of what has been happening. It is a moment when I am not consumed by thoughts. Like a black out, if that makes sense? It’s the only time when I feel at ease with myself and my surroundings.” He is not, however, the kind of reclusive ascetic you may be picturing. By day, Bleed is a social worker in one of Melbourne’s biggest Emergency Departments - a job that has a huge influence on his creative output. In this role, he has crossed paths with a vast range of people, including “...those who have committed murderer and armed robbery, drug users, drug dealers and traffickers, prostitutes, war veterans, white collar criminals, the homeless, young children, the elderly, kids who have found the wrong crowd, refugees, victims of domestic violence, and those who are dying and their families. All of these interactions have had a profound impact on my sense of self and the world around me. They have to come out in my paintings. They are the raw emotions of my works. If I tried to ignore these experiences I’d most likely be locked up in an institution for the criminally insane. I’d explode.

PATYAGARANG Movement And Intention This year sees a celebration of the 25th year of the Bangarra Dance Theatre with their latest production, Patyegarang. It marks only the fourth time a nonindigenous dancer has taken to the stage with the company. We spoke to dancer Thomas Greenfield about this honour, and how it was to perform in this tale about first contact between two cultures. “Patyegarang is Bangarra’s premier work this year. It highlights the communication and meeting of Patyegarang, a woman of the Eora nation, and Lieutenant Dawes, a member of the First Fleet, at first contact. The story is drawn out of the diaries of Lieutenant Dawes that were rediscovered in 1972. In these diaries he documented the Eora language. Through this documentation of the language and his diaries, they found out that a real principle influence for his grasp of the language was through this woman. The information most people have is about Dawes, through his documentation and writing, but this is really the story about the woman. Who she was in the Eora nation and how special she was to be chosen (or invested enough) to meet this white man that had come to the country, and not just share her culture, but to exchange it and have this neutral meeting. It’s really a celebration of this woman

Gandhi, Mandrake And The King Of Spades - Billy Bleed

“I owe it to these people to explore and share their stories with others,” he concludes. “Regardless of their situation - we need to share the dialogue to grow as a community. Even though I forget the names of people I work with over time, you never forget the stories and their struggle.” TRAVIS JOHNSON

Patyegarang and also a reclaiming of pride that the Eora nation has about getting their language back. “Stephen Page (Bangarra’s Artistic Director) is an incredible story teller. He structures the story through dance and physical communication of his ensemble. Dance is a really hard medium in which to express the concept of sound. When something is moving you contrive your own ideas from it. The movement and seeing physical bodies in space, you can already grasp that, because you’re a physical body moving in space so you already understand the medium being used. It is the physicality of the human form. I think that is why dance is so understandable.” With Patyegarang, before even starting creating movements Page’s approach was to “...seed his dancers with intention. So their movements come from that investment and they form direct action. Without intention you are not going to see powerful dance, rather virtuosic movement, which is something altogether different.” It is a philosophy that gelled well with Greenfield’s own experience. With a background of sports, hip hop and krump, Greenfield was somewhat late to approaching dance professionally. As part of his Bachelor’s placement he spent a couple of weeks learning from Bangarra during their 20 year retrospective, Fire. “It allows me to access the background I came from a lot more. I try to stay true to the raw background I have. It’s another thing I respect about Bangarra, their dance comes from a heritage and a reality of movement, it’s very grounded and angular. There is no forced movement, it is natural shapes that the body finds rather than a forced form. “ DAVID O’CONNELL

Patyegarang runs at the State Theatre Centre from July 30 - August 2. For session times and tickets, go to bangarra.com.au. WWW. XP RE SS MAG.COM. AU

ALPIZARRO Mauricio Alpizar and ‘70s Glamour There’s a fantasy element to Perth fashion designer Mauricio Alpizar’s clothes which is enchanting, as demonstrated at his recent Liberace-esque media presentation. “They make me want to lie on a luxury yacht covered in nothing but a white fur coat and a few diamonds,” ANNA SAXON reports. WED on Beaufort is the perfect place to host a ‘70s inspired fashion show. Like a scene straight out of Behind The Candelabra, the small boutique has embraced the oft -forgotten luxe glamor of the Disco Decade, while keeping it modern and chic. I feel like I’ve fallen down the rabbit hole and into an alternate dimension where Elizabeth Taylor never died and Watergate was only yesterday. Every surface is a mirror or white marble. There are faux-grecian columns, golden thrones, and oversized floral arrangements scattered throughout the store. Men and women dripping in Chanel lean against giant candelabras as Diana Ross plays over the speakers. Even the hors d’oeuvres – honeyed figs, chocolatecovered strawberries, champagne – help to create a sense of romantic nostalgia which perfectly matches Mauricio Alpizar’s ‘Summer Nights’ Couture Collection. The collection was heavily inspired by the luxe glamour of 70s icons like Cleopatra Jones, Bianca Jagger and the excessive Studio 54 movement. It’s all about long, flowing gowns, crisp white playsuits, and hair as high as the sky. The new 25-piece collection includes a combination of luxury resort wear and

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couture pieces that are set to inspire a “return of 1970s glamour”, each piece handmade with custom print fabric designed by Mauricio himself – which was seen to no greater effect than the gorgeous black and white patterned ball gown which was revealed during the finale to rapturous applause. The Collection will be launched at the 2014 Pierrot’s Model Search by Pierrot’s Hair Studios, followed by Costa Rica & New York Fashion Week. Mauricio himself is an incredibly interesting character. Born in Costa Rico, he moved to Perth in 1995 to pursue an already successful career in dance and choreography. Just under 5 years ago, Mauricio’s creative energies began to move from dance to fashion. His artistic and theatrical background is evident in every garment he creates, and there is a playful drama to his ‘Summer Night’ silhouettes. But perhaps most importantly, he is passionate about keeping talent in Perth. “It’s been my dream to become a designer since I was very young. I just want people to enjoy my art”, Mauricio said, as he clasped the hand of the host. “And I love Perth. I know everyone goes to Melbourne but I think we have something great here. I don’t want people going to Melbourne or Europe for Haute Couture, I want them coming here. I want to represent Perth.” Mauricio’s excitement about New York Fashion Week was palpable – he even played Empire State of Mind on repeat as the soundtrack for the second half of the runway show. His may not be the typical ‘local-boy-made-good’ story, but Mauricio Alpizar is a brilliant fashion ambassador for Perth – I can’t wait to see what he does with the ‘80s. Mauricio Alpizar’s Winter 2014 collection. Photography: Matt Jelonek

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Every week we bring you the best in fashion, food, shopping and lifestyle.

For Me And For You - Natalie Acton, Inside My Outside

VISUAL ARTS Stay Safe: Ruck Rover General Store Curated by Kate-Anna St Valentine, this is a charity exhibition to raise money for SAFE, an organisation dedicated to saving animals from euthanasia. Featured artists include Kyle Hughes-Odgers, Sean Morris, Mel Stringer, Rose Skinner, Maddy Young, Jessica Horrocks, Chiara Hunwick, Elizabeth Murraffo, Matt Moore and Leonei Brialey. It runs until July 31. Go to ruckrover. com.au for more info. Dinosaur Discovery - Lost Creatures Of The Cretaceous: WA Museum Combining life-size moving models and 3D augmented reality technology, this world-class exhibition brings the unfathomably distant past to life. There will also be fossils and specimens on display, interactive activities and more. It runs until August 3. Go to museum. wa.gov.au for more information. Nyoongar Stories: Mossenson Galleries An exhibition of works by Shane Pickett, Sandra Hill and Ben Pushman, Nyoongar Stories is held in celebration of NAIDOC Week’s 21st birthday. It runs until July 28. Go to mossensongalleries.com.au for more. Inside My Outside: Little Creatures Brewing A collection of new works by Brenton See and Natalie Acton that views universal human experiences through the lens of the animal kingdom. It runs until August 14. Marilyn Monroe - Exclusive Collection Of Original Photographs: Central Park Lobby Presented by Linton & Kay Galleries, this collection of almost 100 images spans 17 years of Marilyn Monroe’s life. The collection is on display until August 15.

EAT AT: THE OLD CROW

Henry V - Photo by Michele Mossop

Earth, Fire And Water: Kidogo Art House THEATRE/DANCE/PERFORMANCE An exhibition of ceramics by Jonathon Hook and Stewart Scambler, as well as paintings by Catherine Gordon. It runs from July 23 - August 17. go to Relative Values: Melville Theatre Directed by Tarryn Harris, this production of Noel kidogo.com.au for more info. Coward’s comedy of manners and culture clash runs until July 26. Go to meltheco.org.au for session times Placement: PS Art Space and tickets. Long time local music supporter and poster art collector Nikolai Graham will be exhibiting some of Jasper Jones: State Theatre Centre his favourite poster designers. The opening night Barking Gecko Theatre Company presents a stage of this fascinating look at music history features adaptation of Craig Silvey’s acclaimed novel, performances from Craig Hallsworth and The written for the stage by Kate Mulvany and directed Gutterville Splendour Six, hosted by Ross Chisholm. by John Sheedy. It runs until August 9. Go to It runs from July 24 - August 9. barkinggecko.com.au for more information. Curio Curiosa: Elements Art Gallery This exhibition of new works by Darwin based painter Bryan Bulley runs from July 25 - August 10. Also on display is Heart-less, a mini solo exhibition by emerging Perth artist Serena Lumley. Go to elementsartgallery.com.au for more. Translations Of Space: Spectrum Project Space An exhibition of works from four Shanghai-based artists and three Perth ones, including Jiang Junchen, Luo Wei, Xu Shanxun, Zhao Peishing, Amanda Allerding, Clive Barstow and Paul Uhlmann. It runs from July 25 - August 1 Natural Selection: The Hive This exhibition of stunning works by zoologist turned nature photographer Simon Pynt runs from July 31 August 3 and features shots taken from the Atherton Tablelands, Pilbara, Kimberley, Murchison, Goldfields, the South West and more.

Relaxed, casual dining with a Southern-influenced menu right in the heart of Northbridge. The Old Crow - Photo by Johnathan Trask

Henry V: State Theatre Centre Bell Shakespeare views the classic tale of courage, military valour and political intrigue through the lens of war-wracked 1941 Britain. It runs until 26. Book through Ticketek. 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. Concussion: The Blue Room Theatre A man is beaten so badly he suffers complete amnesia. He is cared for by a son he doesn’t remember and a doctor who may be his girlfriend. Surreal, funny, violent and explicit, Concussion runs from August 12 - 30. Go to blueroom.org.au for tickets and session times.

Natural Selection - Simon Pynt

FESTIVALS 2014 Perth Winter Arts Season This seasonal celebration of art and culture is back once again, showcasing a dazzling array of performance, visual arts, film, literature, fashion, food and more. It runs until August 31. Go to perthwinterarts.com.au to start planning your winter.

DRINK AT: THE CABIN Eclectic, rustic decor makes this Mt Hawthorn hideaway a great spot for a revitalising drink in the bleak midwinter. The Cabin

SHOP AT: SON OF JACK A Perth-based company specialising in beard care and grooming products that have been tested on humans, not animals. Check out their range at www.facebook.com/sonofjackbeard Son Of Jack

The Scandinavian Film Festival T h e f i r s t eve r S ca nd i na v ia n F i l m Fe s t i va l brings together the best cinema from Sweden, Denmark, Norway, Finland and Iceland. It runs at Cinema Paradiso from July 24 - 30. Go to scandinavianfilmfestival.com or lunapalace.com.au for details. CinefestOZ Film Festival Running from August 20 - 24 in picturesque Busselton, Bunbury, Dunsborough and Margaret River, this prestigious festival combines over 200 public screenings of French and Australian films, plus industry guests, forums and panels, workshops and the $100,000 CinfestOz Film Prize. Go to cinefestoz.com.au for full details. 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

Placement - Photo by Ben Green

GO TO: NO LIGHTS NO LYCRA Dance like nobody’s watching every Tuesday night at St Brigid’s Hall from 7.30 -8.45. Go to nolightsnolycra. com for details. No Lights No Lycra

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Chris Garvey, half of lengendary DnB duo The Prototypes, has just arrived in Australia after a brief spin through the college towns, major cities and ski slopes of New Zealand. He and musical partner Nick White have been here before are gearing up for Viper Recordings’ tenth anniversary tour, hititng Metro City this Friday, July 25. ZOE KILBOURN reports. “In terms of playing with Matrix and Futurebound, Brookes Brothers, Rockwell - we all know each other quite well, so it’s gonna be really cool. Being with Viper all up’s really cool - they love what we like.” What do The Prototypes like? It seems like they’ve covered so much ground - as have the other Viper artists, from Brookes Brothers’ sunny disco synths to Matrix and Futurebound’s . If there’s an archetypal Prototype track out in the ether, how would it sound? “Loud,” laughs Chris. “Loud. Bassy. We like big breakdowns, classic moments, and when it drops, it just has to drop, you know.” That summary isn’t really doing these guys justice. The Prototypes indulge in the heavy-hitting breakneck bangers DnB is most widely recognised for, but they’ve messed around with all its limits. From the club classic Blackout (a post-Prodigy bad trip featuring a vocodered out MC ID) to their soulful, commercial EDM-influenced Don’t Let Me Go, they’re constantly riffing on their strongly established (but multifaceted) sound. “I think with tunes like the Aluna George remix, and Just Bounce - we were sort of bored,” says Chris. “Exploring syncopation, and rhythm, and rhythms intertwining with the beat, using the bass and hihats to play off that, that really excites us. We try to keep it fresh. “I would love to know where we’re going - I would love to know what genre of drum n bass we sit in, all I know is that looking

back on it I just feel that Prototypes have an energy about them, and that’s what people like about us. You can never really know what other people peceive you as. All you can know is what all the tunes have in common.” For now, that common thread has been big noise - what Chris calls his “festival tunes”. After five years in the game, they’re finally working on an album, which gives them a chance to indulge their chill side. “City Of Gold should be out next year. Lights will be the first single off that, and the next single is Don’t Let Me Go with Humanoids, which is just sort of making an appearance on radio. One of the things that excites us about doing an album is that we can really explore things we haven’t been able to do before. We’re known for making big drum n bass tunes, the bangers. Over fourteen straight album tracks, piling them up just doesn’t work.” They’ve also had recent club successes with spoken-word samples on conceptual cyberpunk tracks like Abyss and Pale Blue Dot. The latter came from a COSMOS-style documentary break in the studio. “Sometimes you’ll have a little musical idea that pops into your head and you’ve got to get it down quick. My phone’s actually just full of little random things that I record when I’m on the go so forget them,” says Chris. “A little while ago, we were quite bored of the whole vocal thing, it was getting quite rigid, so with the spoken samples and

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big synths in Lights and Pale Blue Dot - we felt that it I don’t really worked, and when it really works, you’ve just gotta go with it. We were really happy to do vocal tunes again.” “All of our tunes, as far as we’re concerned, are the cornerstones of our set, so we try and play of our own tunes as we can,” he says, about his upcoming Metro City show. “We’re quite playing an hour and a half, two hours of our own music, going back a year. When you’ve got an hour set, you’ve really got to structure it tightly - it can get tough sometimes.” Chris is constantly on tour - he’s unfamiliar with the Viper Tour venues “except Metro City, that’ll be sick” - and it’s the DnB atmosphere that keeps him coming back. “It was really cool growing up in Brighton - I think the first I heard of drum n bass was listening to the Sound of Motion album, and I got that on a minidisk back in the day. There was a club night called Music Feed, and I was back every night - it was sort of like a religion. “One of our best shows was Kiev - I’ve played twice there, and it’s just absolutely crazy. The last time, there were fifteen thousand people in this student square. There’s fireworks going off in the middle of our set, all sorts of things. And as soon as you put your hand up, literally fifteen thousand people stick their hands up, just copy what you’re doing.”

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TASADI Into The Ancient Realm

DEATH DISCO THE HORROR, THE MIAMI HORROR Since expanding into a five piece, Miami Horror have gone from strength to strength. The dudes behind a string of Hottest 100 hits (and an inclusion on the Grand Theft Auto V soundtrack) have just launched a new single, Wild Motion (Set It Free) and announced a national tour. Miami Horror’s producer, Ben Plant, describes their latest single as “a love child of Talking Heads, Paul Simon and some sort of lost ‘80s Australian anthem” - a far cry from the New ‘80s Prince punch of their first hit Don’t Be On With Her. Miami Horror play Freo’s Newport Hotel on Sunday, September 28. You can pick up tickets from oztix.com.au.

Haven’t been infected with the Game Of Thones virus yet? If you’re giving Hodor’s DJ set a miss, you can catch Sydney producer/goddess Luen drop experimental pop, hip hop and RnB beats at Capitol’s Death Disco on Saturday, August 30. Get your tickets at the door. Luen

CHIME IN A new Aus chillwave challenger has entered the game - Perth production duo CHIME. Perth boys Leon Ross and Aaron Pezzaniti are part of a wave of electronic indie artists like Flume, Ta-Ku, and Wave Racer, and they’ve already received support from EDM.com, Nina Las Vegas, and Avicii. CHIME’s first release with Private Island Music is available for free download from soundcloud.com/chimeofficial.

Miami Horror

CHIME

EARTHCORE DIG THIS Legendary UK producer, promoter, and radio host John Digweed is bringing his set to Australia. As one half of Bedrock, he scored a couple of Top 40 hits and an inclusion in the Trainspotting soundtrack; he was the first British DJ to score a residency at no. 1 NY nightclub, Twilo; he’s released over 25 mixes for his Live In... series; his Transitions radio show boasts 15 million listeners. Yeah, he’s kind of a big deal. Digweed plays The Stables Bar on Friday, November 14, and you can get your tickets now from futuremusicgroup.com.au. John Digweed

Haven’t been to a decent doof in a while? Do you miss Blazing Swan? Interested in mixers and mind expansion? Intriguingly titled Earthcore: Ancient Future Past, a massive psychedelic EDM festival has been locked in for November 27 - December 1. The inaugural Earthcore festival was held 21 years ago, and the 2014 reboot promises spirituality workshops, food, entertainment, and what looks like over 120 producers across the electronic spectrum playing for five days straight. It’s in Pyalong, Victoria, and if you’re down to make the pilgrimage, you can pick up your tickets from dashtickets.com.au/tour/51.

Taha Asadi produces for the trance purists. His upcoming album as TASADI, a Prince Of Persia-esque fantasy on the Greco-Roman world called The Ancient Realm, is the kind of true-totrance work that would make Solarstone proud. He’s just dropped single Gates Of Persepolis, the second single off the album - it’s a stream of 130 BPM kicks, punchy sawtooths, and old-school sweeps. TASADI talks to X-Press about production, the genre, and opening for the likes of Tiesto and Paul Oakenfield. TASADI’s trance love affair began 15 years ago, as a Dallas high schooler who’d just got his hands on a copy of Tranceformer. “At the time in Dallas it was very rare to find anymore who even knew what trance music was,” he says. “What little electronic music existed was all just labeled “Techno”, and very different to what I enjoyed. My solution was to lock myself in a studio for countless hours, and learn how to both DJ and produce on my own. It was a long process that took lots of trial and error, but all worth it in the end.” That trial and error dedication certainly paid off. “It’s quite amazing actually. Tiesto, van Buuren and van Dyk were a few of the names I looked up to when I first started off. To have the privilege of playing alongside such great talents through the years is a blessing,” he says, with open-armed Taha humility. “One the best shows I’ve played was with Armin Van Buuren. The plan was to play outside on the main outdoor stage, but cold weather mixed with rain changed things up. We then were both shoved to play inside this small indoor venue, and now both scheduled at the same time. But since it was originally an outdoor event that sold many tickets, they now crammed everyone inside. There was probably 3 times the venue capacity of people inside. Probably the most packed room I’ve ever seen, but everyone really had a blast!” Taha describes his work with a wide-eyed enthusiasm rare in someone who’s been in the game

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this long. Maybe it’s how he found himself in trance itself - a genre that shuns the dark grit of much contemporary EDM in favour of free feeling, club oneness. That openness to experience and free play is reinforced by his love of broad Boys’ Own themes: “Quite often many artists just produce a track or album and afterwards pick a random name for it,” he says (chucking in an sheepish “this of course is totally OK!”). “In The Ancient Realm, each track corresponds to either a wonder of the world or a major landmark of the ancient era. Every single track was written with this very themed mindset in order to capture the specific wonder or landmark at hand. I used ethnic instrumentation mixed with modern electronic elements to capture all the emotion, and to paint an aural picture of its title. I took this same approach for my first album The System, which has an astrological/ space theme.” TASADI works from the ground up, with hardware like the hearty Moog Voyager, the Access Virus TI, and Nord leads playing a big role. “The best trick I can give out is to keep your studio system and internet system separate,” he says. “Sadly, the most important thing I’ve learned making this album is to consistently have multiple backups of your work in the studio.”

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MOT3K Heart Of Darkness Perth techno veterans MOT3K cook up some of the grittiest (and spookiest) dark tech in the country. ZOE KILBOURN chats with MOT3K’s JP before they hit the decks for Rough Love’s The Factory II this Friday, July 25. “Dazz K and I have been friends ever since I migrated from Holland. He was working at Sanity records and it was love at first sight,” laughs JP. “No. But he did invite me to come to the heat night club for a proper DnB/breaks gig, and from there on we have been mates. Sharing a very similar taste in music, it was a natural progression to include Dazz in making beats. I’ve been making music for over 24 years now.” MOT3K, a blurring of “more techno” (they replaced the E with a numeral after “some Belgian hardcore producer complained”) - are dedicated to self-determination: “I do all the artwork, we both come up with the ideas. We control the lot. We try not to use a lot of samples. For basskicks and hihats we do use samples. You don’t need to be reinventing the wheel a thousand times, but all the atmospherics, strings, and leads we want to make ourselves. Our main sound creator has to be the worlds best VST - Alchemy.” “Our musical differences is what it makes it

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special,” says JP. “Dazz’s favourite band ever is Queen, for fuck’s sake! I really love the hard and nasty techno and Dazz is into housier tech. We always want to keep evolving and working out new sounds and beats. We never really get writers block and our brains seem to hit the sync button when we’re working. “Genre doesn’t mean much nowadays,” he says. “They have a name for everything now. Deep hard house, or progressive minimal tech - I can’t do much with that. For me, a lot falls under the name techno, house or progressive. Trance I won’t even mention. Way too far from my musical taste. “We don’t want to pigionhole ourselves too much, so keeping it under the general tag Techno or Hard Techno is good enough for most of our tunes, but it’s important from a DJing perspective to be able cover all those subgenres in your set. “Dark techno I can do something with,” he says. “You’ll be guaranteed that it won’t be too melodic and obviously will have a lot of dark elements in it. Tech house gets a thumbs up from us as well.” Regarding the dark conceptual elements that characterise tracks like Achluophobia and The Creeper, JP says the aesthetic is “very important. We’re not writing fucking nursery rhymes here. We have a gasmask as our logo - that says enough. This is dark, deep thought- and mood-provoking underground music.” “Rough Love are great guys, full stop,” says JP of the upcoming Factory gig. He’ll be playing alongside other Rough Love golden children, including Shaddow Brothers and +1. “We definitely share the same vision and attitude and we’re grateful that they are putting on these parties at different venues never before used - it adds a dimension that people won’t forget. We feel honoured to be a part of making the factory a success story.”

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ROCKWELL AIN’T HARD TO TELL Tom Green’s approach to production is meticulous to say the least, and, as DnB maestro Rockwell, he’s focused on the atomic level of electronic music. For music that is clearly designed to move a club, his breaks could almost be straight-up Pierre Schaeffer. Signed to Shogun, he’s joining Viper Recordings for their Australia tour, including the Metro City gig on July 25. ZOE KILBOURN catches him on the eve of the tour.

Rockwell’s facebook bio lists his musical genres as DnB/170/130. “It’s literally easier to list what I play in beats per minute rather than genres, in a way,” he laughs. “A lot of times, when things do sound quite simple, it’s got like five or six layers and they’re all moving differently. It’s like a textural thing - I’m quite obsessed with the textural side of music. I think there are only a couple of tunes where I’ve used a sample drum break. A lot of it is building the drums from the ground up using drum machine hits and weird little sounds I seem to find.” “I go through samples, and I look for things that sound weird. I listen to stuff like sound library collections where they’ll set up a recording in a coffee shop, and some guy will be making coffee. It’ll be, like, a thirty minute sample file, but you’ll hear lots of little movements - when he uses the coffee whirrer, or the steamer. I hear movement in those sounds. I’ll only take the smallest fraction of a second, and I’ll scramble it in - makes things move more naturally, I think.” Green is the kind of musician who could have taken his music anywhere else - and he almost did. “DnB is kind of like you have the speed and urgency of punk rock with the breaks and the swagger and the attitude of hip hop,” he says. The name Rockwell refers not to the campy Motown singer behind Somebody’s Watching Me, x but rather Illmatic - “Nas’ll rock well, it ain’t hard to tell” being an early earworm. “I first heard DnB on tapes and CDs and it wasn’t really the same,” says Green. “When I went out and saw it live in a club, I was like, “Wow. This music is amazing”. It was just so loud, and the bass was so deep, and everything was so - loud,” he laughs. “It was like an assault on the senses. I don’t think people really get DnB until they see it in a club - I think it makes sense in a club a lot more than it does on an iPod or in your car.” “Before I sit down and start writing a track, I have a kind of blueprint - I know how it’s going to be arranged. You know how you want it to sound, but getting that translation without making any sacrifices - I think that’s one of the harder things about musical production,” he says. He’s certainly not afraid of the unknown. “I don’t know how my sets will go. And I guess that’s the point of being a DJ. I like that kind of unpredictability. A re they gonna dance? Are they gonna leave?” With a BBC1 residency and a string of Asia headliners upcoming, it’s fair to say they’re gonna dance.

WITH PUSSYMITTENS RTR’S ALYSHIA GATANI SERVES UP THE BEST NEW ELECTRONIC RELEASES. DUSKY Love Is Taking Over 17 Steps

This month, UK heavyweights Dusky announced the release of their new label, 17 Steps, and dropped the Love Is Taking Over EP. The title track is a nice follow up to the powerhouse that was Careless, sporting a catchy vocal and that cavernous Dusky bassline we all know and love. The 3 track EP gives us a tight cross section of what Dusky have to offer, with tracks that feel just as at home on the radio they do in the club. Dusky is touring Australia in November. You can catch them playing a 4-hour set at Ambar on the 14th.

FRITS WENTINK Family Dinner Heist Recordings

Dutch producer Frits Wentink delivers a charismatic EP filled with left-field samples and stunning synth flourishes. From the opening track Schewd to the hilariously titled If I Was To Gravy You, we are taken through an ever-changing soundscape which still manages to be cohesive. The samples are quirky and the beats unpredictable, making it a refreshing listen for those who want treat their ears.

SECOND CITY Technique Saved Records

Just a couple of months after giving us the smash hit I Wanna Feel, Second City settle back into some classic house with Technique (And We Go). The EP hums along nicely and is sure to be a favourite amongst people still catching on to the ever-growing popularity of deep house.

VARIOUS ARTISTS Spread Love #4 Black Butter Records

This compilation acts as a one-stop shop for those wanting to see what Black Butter Records have on offer this year. This showcase is a goldmine for genre-bending bass music sitting somewhere in between Deep House and Tech. And if you’d prefer a continuous mix of the album, Black Butter have ticked that box too!

FLOATING POINTS King Bromeliad Eglo Records

Sam Shepherd AKA Floating Points is known by his fans as an absolute master of his craft. This 2 track EP intricately weaves through moments of jazz house & minimalistic acid basslines. King Bromeliad delivers an electronica EP that doesn’t sound electronically made.

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From sedate to surfer punk, Aborted Tortoise blistered through a set of coarse but catchy guitar-driven punk tunes. After a big instrumental build intro, frontman Connor Lane came in loud and boisterous, but lacked the aggressive, drawling quality of vintage punk and the band’s releases. The band symbiotically fed off the cresting energy of the crowd, using the stage height to project themselves like grand, anarchic deities over the surging throng. Dream pop now, in the lazy confines of the courtyard, as Methyl Ethel, aka Jake Webb, took to the stage. Webb, guitar in hand, cut a coy and meditative silhouette as he worked his way through well-crafted and highly polished pop songs. There was an understated tone to the performance which ultimately culminated in a fizzling out, of sorts, as Webb finished up his set.

Rag N’ Bone - Photo by Cole Maguire

SWEETDOG SOUNDS II Mojos Bar Friday, July 18, 2014

Throwing together a menagerie of 10 bands over two stages, the Fremantle record label Bruno Sweetdog Records invoked the old gods of rock, holding vigil through the long night alongside a cohort of Fremantle’s mystic voodoo child acid cult and normcore grunge and punk revivalists. Lighting the flame was Yaqui Yeti. Singer/ songwriter, Joshua Sweetman played a bare bones set of simple, steady, guitar-chunking eighth note rhythms and blues-inspired vocal style. The songs, pumped out through a small, heavily-distorted portable amp, had an honest, DIY garage feel. Sweetman’s approach to performing was reflective, bantering with the crowd but performing with a light, unencumbered feel, both through original tunes and a cover of Elvis Presley’s Long Black Limousine. Sweetman was trying for a loud, wall

of noise effect to his performance, however, with just one guitar, the overdriven chords lacked body to propel that sound to the audience. As well, Sweetman’s vocals were slurred and off-pitch, while lacking emotional conviction. A cacophonous guitar thunk signalled the start of Marmmalade’s set. Treble-heavy distortion howling from the onstage guitar amp threw offbalance the steady, understated groove of drums and bass, though it gradually ebbed back to a smooth level by the third song. Breathy, hesitant vocals rested feather-light over psychedelic jazz rock instrumentation that played out a solid jam feel with a lot of good musical ideas that suffered from occasionally awkward transitions. Childsaint juxtaposed Yaqui Yeti’s stripped-back courtyard scene with their dazed and enthralling set. Crystalline harmonic rounds opening the song, Gutter Punts, cut through the dull buzz of chatter that had built up. The linear, pattern-based feel of the drums asserted itself over the song – though timing stumbled – while the listless, legato vocal style of singer, Chloe McGrath, detached itself and floated wisp-like over the courtyard, curling snake-like through the punters and bleeding out into the cold night air.

Continuing the night’s pattern of cresting and waning dynamics, Rag n’ Bone ruptured onto the Mojos main stage with a frantic energy. Singer, Kiera Owen, called out bold, self-assured verses that peaked into howling vocal crescendos, while guitarist, Axel Carrington, convulsed onstage while strumming out distortion-thick blues rock riffs. New song, Danielle saw the band move into snarling bass riffs and tribal drums. Out in the courtyard, Kitchen People moved away from the dreamy tones that had characterised the night’s outdoor entertainment and dished out a set of screeching, sardonic punk tunes. The band managed a set of rhythmically diverse tunes – from frenetic twominute punk tunes to half-time grooves and jumpy time feels – while keeping a light feel to the music. Inside, Hideous Sun Demon were beginning their set of drawling, sludgy stoner grunge, marking the end of the outdoor entertainment. With heavy, groove-based drums and bass providing the underlay for roaring guitar and vitriolic, slurring vocals. The band occasionally lagged, but maintained a massive, swelling wall of distortion that washed over the solid wall of people that had assembled. Blackmilk were next, throwing mind-altering, genre-bending compositions that levitate like Pandora mountains between the realms of dream pop, groove rock and cerebral alternative. Floating vocal harmonies, led by the lank-haired James Sherry, spilled out from the meditative bands members, buttering the chunky guitar lines and sturdy, evolving drum beats for a highly polished set that waxed, heady and thick. Finishing up the night was Dux family-led Perth titans, The Floors. Jiving blues rock thundered through the crowd, as vocalist, Luke Dux, howled and sputtered through attitude-charged songs. Hubris and swampy, tar-thick tunes radiated from the band, as Dux’s guitar, somewhat overloud though implacable, called out, laying a big fuzz sound over lumbering rhythm section parts. SHAUN COWE

Methyl Ethyl - Photo by Cole Maguire

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The Floors - Photo by Cole Maguire

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THE SOUND COLLECTORS PICA Friday, July 18, 2014 Louise Devenish and Leah Scholes want to know what percussion is. Of course, being virtuoso percussionists who have paired up from either side of the country to intensively explore New Music as PICA artists in residence, they have a better idea than most. Devenish and Scholes’ New Music encompasses the kind of interdisciplinary performance that pushes traditional Western Art performance beyond jazz, the third wave, and ethnographic exploration, smack-bang into gesture, dance, sound in the bloody first place. As The Sound Collectors, they’re on a challenging journey into the Heart of Artness. Art music obviously takes a lot of selfrestraint, which is particularly difficult when music is deliberately thumbing its nose at you. The Sound Collectors negotiate the requirements of playful instrumentation - the three works not commissioned for this performance are all part of a postmodern/avantgarde questioning of Serious Performance™ itself. Works like Rick Burkhart’s Simulcast (a mad multiphonic spoken-word work, with occasional frog toy castanets and flowerpot tom rolls) are pulled off with Godot aplomb, even when the score demands nightmarish monologues about Christmas and HR training. Leah Scholes performs Mark Applebaum’s Aphasia with rhythmic tightness and enthusiasm whether soundless arm movements in time with a pre-recorded tape can be read as vocal performance, or percussion, or musical performance at all is up for debate. For me, it’s the later works of John Cage that really grind my postmodern gears. Yeah, the composer as facilitator of the universe is cool the first time you encounter it, but by 1975’s Child Of Tree, Cage is just messing with you. Child Of Tree resists traditional instrumentation, and, as chance music, any deliberate structure or direction at all. It’s honestly quite painful to wait through shifting grasses (in this graceful PICA set up, a bundle of full-length reeds with down still intact) only to see a very brave Devenish play an amplified cactus with her bare hands. Every spindly click of a bending spike, accompanied by physical motions that looks like a Children Of Poseidon video, can get skincrawlingly uncomfortable. That’s just me getting crotchety, though - Devenish’s interpretation is respectful and flawless. I’ve heard Pax’s Cygni before, performed for a

The Sound Collectors. Photo by Matt Jelonek.

UWA revue by soloist Thea Rossen on vibraphone with tape. For Confluence, it’s been changed dramatically - he’s made room for a second performer. Devenish reverently rolls, slides and strikes a cymbal against the skin of a bass drum, and once the cymbal’s placed there, it’s remains attached by a kind of performance magnetism. The tape is almost imperceptible, and the piece is subtle and quiet enough to resist any clearly audible to-and-fro between parts - it’s a short and elusive exploration of percussive timbre and texture rather than rhythm. Composer Elise Reitze and engineering wunderkind Aharon Cunta joined creative forces to produce a work with a beautiful premise - with the aid of electrical gloves, musical gesture reverberates through four strings of LED lights across an entire colour spectrum. Motion(duelight); blends vibraphones, small pitched gongs and kalimbas, and toys with the just-missed-it unisons of Javanese gamelan, curving triads and nursery music. There’s a clear logic in the music, reminiscent of the kind of circuitry behind this set up, and it’s particularly joyful in its several tightly contrapuntal sections. The title piece is Lachlan Skipworth’s Confluence. Skipworth’s signature style is a kind of neogagaku - he’s studied shakuhachi intensively, and even his orchestral music rings with the angular timbres and elegant restraint of Japanese court music. Here, he’s working with prepared vibraphones (“prepared” in front of the audience, with alfoil), and it’s a clearly melodic and reverentially detached music. Pushing the limits of sound art takes a lot of resolve to witness - for every exhilarating step forward, there’s an equal and opposite exhaustion. ZOE KILBOURN

Tomás Ford. Photo by Justin Sideris

CRAP MUSIC RAVE PARTY Tomás Ford The Bakery Saturday, July 19 There is literally nothing better than arriving in a club and hearing music that you pump out in your bedroom when you know no one else is home. Literally nothing better than when you’re bumping and grinding on the Bakery’s dance floor to trashy pop songs, nostalgic ‘90s dance music and nu-metal that stinks with nostalgia. Welcome to the Crap Music Rave: Boom Shak-a-lak! With heavy rain the return of these cowboys of cool (host Tomás Ford and guest MC Ayden Doherty) threatened to be a bit underwhelming. For a good while, there was a very minimal crowd of people who just seemed to want to sway awkwardly at the back like they were at a school disco. This wasn’t no school disco, baby. Pumping out “cool music for cool people” and armed with some seriously cool person dance moves, these two had a packed dance floor fist-pumping to Ricky Martin’s She Bangs in no time – even getting everyone to really boogie with two separate host-vs-audience dance-offs. In the wake of a sold-out show in Adelaide, and before an upcoming four-weekend tour with the Edinburgh Fringe, Ford and Doherty gave us a very

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special Crap Music Rave, 100% audience requests. Whether you posted it to Facebook, tweeted it, or wrote it down at the event, all the requests went in to the melting pot. While this did produce some sick tunes, some people hadn’t even thought about since high school, it made for a bit of a disjointed experience. However, the hosts did compensate for this, encouraging a crowd vote if a song didn’t give the right kind of vibe and just plain skipping some that were really too awful. I do have to congratulate them for the departure from the expected tirade of synth with a short but nonetheless powerful segment: Frat Music Rave. It gave people a chance to let their hair down and thrash around in the tamest circle pit ever to a bit of Limp Bizkit (and to even get deep with some Avril Lavigne). What I did really love, and what seems to be a feature of Crap Music Raves, is the wide range of people who come – crap music is really universal! There were people dressed like they had come from nearby Metro City, people who were rocking some faded ol’ jeans, and everyone in between. All pulled by the siren song of such musical masterpieces as The Hamster Dance, for example. Young or old, with home-improvised PCYClevel light displays, the sickest breakdance moves since the late 1990s, and even party poppers, Ford and Doherty gave us some seriously crap music that I never thought I’d hear in a social setting since I left high school. But did I mind? Non, je ne regrette rien. CAROLINE STAFFORD

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THE BROWN FOX Friday, July 18, 2014 This sumptuous bar has become the go-to destination for post-work soirees in the west end of town. Featuring world class mixologists behind the bar, a truly impressive in-house cider in the form of Lazy Dog and an enticing food menu, you owe it to yourself to get down there and try it for yourself. Photos by Matt Jelonek

TURN UP YOUR STEREO

CRAFTY CUTS

This Friday, July 25, sees Stereo take over The Beat Nightclub for an evening of high quality rock and roll. Headliners The Novocaines are joined by local rock royalty Tired Lion, Royal Chant, Lionizer and Hideous Sun Demon. Doors open at 9pm, entry is $10.

If you’re of a mind to hear some tunes from David Craft then Mojos Bar is the place to be this Thursday, July 24, when Craft and his cohorts will be joined by Moana, Davey Craddock and Monique Shelford. The night also sees the debut of the video clip to Craft’s Smokey Lungs & Dirty Puns, created by Lewis Potts and featuring dancer Lily May. Doors open at 8pm, entry is $5.

The Novocaines Devan, Tiffany, Daniel

David Craft

MAKING A SPLASH

Becca, James, Brendan

Stefan, Ashleigh

The first few weeks of the 2014 Big Splash Competition have been a dizzying affair, with so many great acts competing for a shot at the big money. Now things are kicking up a notch, with the first semi final taking place this Friday, July 25, at the Rosemount Hotel. Get down to cheer your lungs out for Eloise Ashton, Dream Rimmy, Husband, Kitchen People and wildcard winners Puck as they slug it out for a spot in the upcoming grand final!

POWER ON WITH PERRY Fringe World favourite and all-around musical mindscrewer Sam Perry has a new treat for us, in the form of his new single, Fever. He’ll be debuting the track at The Bird this Saturday, July 26. Helping usher in this momentous occasion are Lilt and Sarah Pellicano. Doors open at 8pm, entry is $10. Sam Perry

Dream Rimmy

AN EARFUL OF OAKLAND Indie rock quartet Oakland will be shaking the walls of YaYa’s tonight, Wednesday, July 23. Along to help will be Riley Pearce, SC Barendse and Hunt For Dallas. Doors open at 7.30pm, entry is $7.

Taku, Lucinda, Amber, Jett

SIN ALONG WITH THE INSINNERATORS

Chas, Sari

Candice, Scott, Sonya

ACCELERATE WITH ESCELADE

Rockabilly rebels The Insinnerators are becoming the latest band to join the incredible roster of talent to ply their trade on the Devilles Pad stage this Friday, July 25, from 6pm. Joining them for the evening will be the smokin’ hot GoGo troupe Les Sataniques, plus the Double Trouble Molls on the decks in between sets. Doors open at 6pm an entry is free.

Alt-folk due Escelade - aka Benjamin Wolf and YingLi Wang, are finally unveiling their eponymous EP this Saturday, July 26, at YaYa’s. Support comes from Morrie Beth, the Matt Cal Trio and Tailored Grace. Doors open at 7pm, entry is $10. Escelade

MOJOS BAR Saturday, July 26, Abbe May performs with guitar and has proclaimed, “I have a back catalogue & i’m not afraid to use it!” Supports on the night are Davey Cradock, Jeff’s Dead and Lucy Peach. Tickets at the door from 8pm. Abbe May

THE CLAREMONT HOTEL Saturday, July 26, = sees Antics with supreme indie DJs. The night that has brought you Abbe May, Nick Allbrook, Kevin Parker’s side project Kevin Spacey, Rainy Day Women, Stillwater Giants and San Cisco DJ Scarlett Stevens rolls on in fine style. This week catch Tim Ayre from Tim & Jean. Free entry from 7pm.

MY PLACE This Saturday, July 26, My Place is hosting a school party! Come dressed as a student or teacher for a chance to win great prizes! Doors open at 8pm, entry is free!

YAYA’S Thursday July 24, Sydney punkers Royal Chant are storming WA with some jangly riffs served just how you like them. With support from excellent locals acts Pat Chow, Trigger Jackets, Black Stone From The Sun and Catbrush, don’t miss this huge night of punk ‘n’ roll. $10 entry from 8pm

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PINK EYE TOWN The Newport Hotel Record Club Thursday, July 17, 2014

DRY DRY RIVER Who Are You? Alt-rockers Dry Dry River launch their new single, Who, at YaYa’s this Thursday, July 24, with support from Sprawl, September Sun and LYTS. We had a quick chat with singer Jon Madd. So, who are Dry Dry River? Dry Dry River started as a jamming project in 2005 between guitarist Adrian Jolly and drummer Benn Palmer. Stuart Young completed the wall of sound on bass, and it wasn’t until early 2012 that they recruited me to sing for the band. I remember our first jam (or maybe it was my audition) at Stream Rehearsal Studios, there was magic in the music that night. We created a monster. What’s your sound? Our individual influences are quite varied, but as a band I think we aim to bridge the gap between Rage Against The Machine and Michael Jackson. It’s a strange recipe that seems to work.

Tell us about the writing of the single, Who. Most of our songs start as open jams and we bounce off each other’s ideas. It’s quite a democratic process. Sometimes the band will have a vague idea or concept and I will try to write the lyrics around it. This song didn’t really have that concept, and wasn’t actually called Who until Corey (Marriott) suggested it while we were mixing the track down. Where did you record and who with? Our upcoming EP was recorded with Corey Marriott at YoYo Studio primarily over two intense weekends, over much coffee and chocolates. By the end of it we were exhausted and slightly delirious, but are extremely pleased with the final result and it was definitely worth all the effort to get it right. Where does Who fit in with the rest of the EP? We decided to release this track as our first single because it covers a good range of our sound, with catchy hooks throughout the track and ending with a really brutal and heavy riff. What else is coming up for you guys? Our second single will be released in September, before we finally unleash our EP in November. Watch this space!

There is always something magic about a tribute night when it hits the mark; something in the egalitarian fun of watching established musicians put aside their egos and careers for the simple pleasure of playing some of their favourite songs. To watch them being fans and essentially having fun with the audience rather than just performing to them. If you haven’t been to one of the Newport Hotel Record Club gigs yet, you’d better get on to it, because the series hit the halfway mark last Thursday with the dubiously named Pink Eye Town recreating the ‘classic’ 1996 Weezer album, Pinkerton, start to finish, live on stage. For the uninitiated, the Record Club features a veritable grab-bag of some of Perth’s best pop and rock musicians playing a great album. Pink Eye Town was no exception, fronted by a Buddy Holly-bespectacled ‘Eskimo’ Stu Macleod, which makes perfect sense for those of us that can remember the Joe when they were singing about Playstations and eating their pets. Other denizens of Pink Eye Town included Rod Aravena (End Of Fashion), Andy Lawson (The Avenues), blast-from-thepast Luke Bostleman (Flanders) and ubiquitous skin-thumper Russell Loasby (seriously - if a drumstick falls in a forest, Loasby will be there to pick it up). Pinkerton was a bit of a strange album in terms of its dark and personal approach after the platinum success of their eponymous debut (the ‘Blue’ album) and its seemingly throwaway pop genius. Pink Eye Town busted straight through the first dark half, with muscular versions of Tired Of Sex and Getchoo quickly establishing their one-night-only band status was still destined to be memorable. Weezer are commonly called geek-rock, but this is a description that frequently underestimates the ratio of rock to geek. Weezer have always been about big guitar sounds, and Macleod’s riff leading into the “this is beginning to hurt” breakdown in Getchoo pitched the melodic wail pretty much perfectly. In fact, big meaty guitars seemed to be the main reason most of Pink Eye Town were there, bass duties occasionally swapped around between Lawson and Aravena to ensure everyone got to have a go. Seemingly scant minutes later, the band was wrapping up the A-Side setlist with Across The Sea before heading out for sugared tea in the green room (presumably) during the intermission. And it was a scant minutes later... the entire Pinkerton album clocks in at under 35 minutes. The inimitable MC and Record Club mastermind Steven Parkin (Autopilot, Basement Birds, etc) hosted a round of Weezia, awarding a brand-spanking new copy of Pinkerton on vinyl before welcoming the boys back for Side B. Opening with The Good Life, it was pretty clear that most of the audience did indeed wanna go back, and the band provided the means... and then... holy crap, a mass sing-a-long ensued with the opening lyrics, “God damn you half-Japanese girls...” El Scorcho is the one track from Pinkerton that always had immediate appeal, and is still a classic. It’s the number one geek anthem that sounds like it was born in an Oktoberfest tent. Awesome. There’s video of the performance floating around the internet and it’s clear that the audience was trying to match the band for volume by this stage. The album winds down beautifully with Pink Triangle, resurging with Falling For You and ebbing away with Butterfly before Pink Eye Town encored with a few ‘Blue’ classics, including slacker-anthem Undone. Epic. SABIAN WILDE

INDI BAR This Saturday, July 26 The Volcanics take their high energy rock ‘n’ roll to the limits. Currently recording their new single, Transmission, with Kenny Watt at Electric City Studios, the band will be joined by Legs Electric, The Fortunados (featuring Paul McCarthy) and Steve Jones of The Kill Devil Hills. The live music starts at 8.30 - don’t miss this great lineup. The Volcanics

LO C AL & LAUNCHING

24/07

DRY DRY RIVER Who Single Launch @ YaYa’s

24/07

FILTER BEDS Mindsweeping Single Launch @ The Bird

26/07

ESCELADE Self Titled EP Launch @ YaYa’s

26/07

KAT WILSON Sea Legs EP Launch @ The Astor Lounge

26/07

PAPER PLAINS Anaestalgia Album Launch @ The Beat

01/08

TIMOTHY NELSON AND THE INFIDELS Terror Terror, Hide It Hide It Album Launch @ The Rosemount

15/08

LET’S KILL UNCLE Self Titled EP Launch @ Amplifier

21/08

OWEN RABBIT Police Car Single Launch @ The Bird

06/09

KIMURA Uncaged EP Launch @ The Civic

19/09

JOSH JOHNSTONE Half A World Away EP Launch @ Indi Bar

20/09

THE PAINKILLERS Garage Sale Girl EP Launch @ Mojos WWW. XP RE SS MAG.COM. AU

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TOURS THIS WEEK METRONOMY 23 Astor HUSKY 24 Rosemount Hotel 25 Mojos Bar THE 1975 24 Capitol DECADE OF VIPER ft. MATRIX & FUTUREBOUND, BROOKES BROTHERS, THE PROTOTYPES & ROCKWELL + MC DELON 25 Metro City THE WHITE ALBUM CONCERT TOUR ft. CHRIS CHENEY, PHIL JAMESON, JOSH PYKE & TIM ROGERS 26 Riverside Theatre CORROSION OF CONFORMITY, WEEDEATER & LO! (CANCELLED) 26 Rosemount Hotel WINTER BLUES FEST ft. DAVE HOLE, RICK STEELE, VDELLI 27 Northshore Tavern TIM ROGERS 27 Mojos Bar PELICAN 27 Rosemount Hotel JULY THE ANGELS 31 Newport Hotel AUGUST WILLOW BEATS 1 Mondo @ Ginger Nightclub ROSS WILSON 1 Charles Hotel THE ANGELS 1 Wintersun Hotel, Geraldton 2 Charles Hotel 3 The Ravenswood Hotel KATE MILLER-HEIDKE 1 Astor Theatre IAN MOSS 1 The Centurion Hotel 8 Charles Hotel DAN SULTAN 1 Settlers Tavern, Margaret River 2 Astor Theatre 16 Roebuck Hotel, Broome MIDYEAR MAYHEM TOUR ft. BURIED IN VERONA 1 Prince Of Wales, Bunbury 2 Amplifier Bar 3 YMCA HQ BURIED IN VERONA, ANTAGONIST AD, STORIES 2 Amplifier 3 YMCA HQ

KASABIAN 5 Metro City NEUROSIS 6 Capitol I AM GIANT 7 Amplifier Bar PAUL GRABOWSKY 7, 8, 9 Ellington Jazz Club ROY ORBISON & DEL SHANNON TRIBUTE 7 Albany Entertainment Centre 9 Crown Theatre SLEEPMAKESWAVES 8 Amplifier Bar DAN CRIBB & THE ISOLATED 8 Rosemount Hotel 9 Monkey Bar & Lounge 10 Newport Hotel EMPERORS 9 Amplifier THE TELEVISION ADDICTS 9 Rosemount Hotel MENTAL AS ANYTHING 11 Charles Hotel COURTNEY LOVE 13 Metro City BOB DYLAN 13 - 15 Perth Convention & Exhibition Centre KATY STEELE 13 & 17 Ellington Jazz Club BONJAH 14 Northshore Tavern 15 Indi Bar 16 Amplifier 17 Dunsborough Tavern HANSON 15 Metropolis Fremantle PSEUDO ECHO 15 Charles Hotel 16 Centurion Hotel ED KUEPPER 14 Settlers Tavern, Margaret River 15 Fly By Night SPIDERBAIT 15 Astor Theatre TINA ARENA 15 Crown Theatre BODYJAR 15 Capitol INXS TRIBUTE 15 Civic Hotel RTRFM RADIOTHON 2014 15 – 24 BJÖRN AGAIN 16 Crown Theatre SEEKAE 16 The Villa ILLY 16 Settlers Tavern, Margaret River 23 Leisure Inn Rockingham

FEATURED GIG

THE 1975

CAPITOL THURSDAY, JULY 24

ROB SNARSKI 17 Mojos Bar LADY GAGA 20 Perth Arena KIDS IN GLASS HOUSES 21 Villa Nightclub THE DANDY WARHOLS 21 & 22 Astor Theatre KINGSWOOD 21 Prince Of Wales, Bunbury 22 Capitol TIM FREEDMAN 22 Ellington Jazz Club JAMES REYNE 22 Charles Hotel ULTRAGLOW 22 Metro City NORTHWEST PILBARA WEEKENDER 22 – 24 Port Hedland Turf Club QUEEN + ADAM LAMBERT 22 Perth Arena THE KITE STRING TANGLE 22 Amplifier Bar THE APE ft. TEX PERKINS 23 Mojos Bar JAMES REYNE 23 Astor Theatre THE ASTON SHUFFLE 23 Amplifier Bar RUSSELL MORRIS 23 Regal Theatre MELODY POOL 23 X-Wray Café 24 Settlers Tavern, Margaret River 26 Ellington Jazz Club KID INK 25 Villa MAN IN BLACK: THE JOHNNY CASH STORY 26-31 Regal Theatre KING BUZZO 26 Astor Lounge INDIAN SUMMER 27 Newport Hotel 29 Mondo at Ginger GEORGE GARZONE 28, 29, 30 Ellington Jazz Club THE AMITY AFFLICTION 29 Red Hill Auditorium KAV TEMPERLEY 30 Settlers Tavern, Margaret River POP WILL EAT ITSELF 31 Rosemount Hotel THE OWLS 31 Indi Bar LA COKA NOSTRA 31 Villa Nightclub SEPTEMBER DIEGO ELCIGALA 1 Regal Theatre ANBERLIN & THE GETAWAY PLAN 3 Metropolis Fremantle KANYE WEST 5 Perth Arena KAV TEMPERLEY 5 Players Bar, Mandurah 6 Prince Of Wales, Bunbury 7 Rumours, Albany 12 Divers Tavern, Broome MARINA PRIOR 5 Albany Entertainment Centre 6 Astor Theatre 7 Mandurah Performing Arts Centre HOWLING BELLS 6 Amplifier Bar THE WONDER YEARS 7 Amplifier Bar

VELOCIRAPTOR 7 Newport Hotel SHARON JONES & THE DAP KINGS 8 & 9 Astor Theatre CANNIBAL CORPSE 9 Capitol PROTEST THE HERO 10 Amplifier Bar DOUG ANTHONY ALL STARS 10 & 11 Regal Theatre ROBBIE WILLIAMS 11 & 12 Perth Arena BIFFY CLYRO 12 Metro City CASEY DONOVAN 12 & 13 Ellington Jazz Club REECE MASTIN 12 Astor Theatre 13 The Lakes Theatre ONE DAY 13 Capitol UNCLE JED 13 YaYa’s 14 The Indi Bar GRACE KNIGHT 19 & 20 Ellington Jazz Club 360 19 Metro City (18+) 20 Astor Theatre Perth (Licensed all ages) ANDY BULL 19 The Bakery 20 Rottofest STICKY FINGERS 19 Settlers Tavern, Margaret River 360 19 Metro City 20 The Astor ROTTOFEST 19 – 21 Rottnest Island GARETH LIDDIARD 20 Rosemount Hotel JOE BONAMASSA 21 Perth Concert Hall GABRIEL IGLESIAS 23 Riverside Theatre ANGUS & JULIA STONE 23 & 24 Perth Concert Hall ANDREA BOCELLI 24 Perth Arena INGRID MICHAELSON 24 Fly By Night Club BOY & BEAR 25 Albany Entertainment Centre 26 Bunbury Entertainment Centre 28 Fremantle Arts Centre COURTNEY BARNETT 26 Fly By Night THE CAT EMPIRE 26 Fremantle Arts Centre 27 Metro City WAVE ROCK WEEKENDER 27 - 28 Wave Rock Caravan Park VERUCA SALT 28 Rosemount Hotel RISE OF BROTALITY TOUR ft. I KILLED THE PROM QUEEN, THE GHOST INSIDE, IN HEARTS WAKE 27 YMCA HQ 28 Capitol LISTEN OUT ft. FLUME, CHET FAKER, ZHU AND MORE 28 Ozone Reserve MIAMI HORROR 28 Newport Hotel OCTOBER THE HIGH KINGS 1 Crown Theatre THE DIRE STRAITS EXPERIENCE 3 Perth Concert Hall

VERUCA SALT 4 Rosemount Hotel RICK SPRINGFIELD 7 Crown Theatre JUSTIN TIMBERLAKE 8 & 9 Perth Arena SLAVES 8 Amplifier Bar DEAD KENNEDYS 11 Capitol THE SELECTER 14 Rosemount Hotel ALL DAY 15 YMCA HQ 16 Prince of Wales, Bunbury 17 Amplifier TORCHE 17 Rosemount Hotel JOHNNY CASH THE CONCERT 17 Astor Theatre CHRISTINE ANU 17 & 18 Ellington Jazz Club MILEY CYRUS 23 Perth Arena BALL PARK MUSIC 24 Astor Theatre 25 Settlers Tavern, Margaret River BALL PARK MUSIC 25 Settler’s Tavern THE ROLLING STONES 29 Perth Arena NOVEMBER THE ROLLING STONES 1 Perth Arena KATY PERRY 7 & 8 Perth Arena JOE SATRIANI 11 Astor Theatre YES 12 Crown Theatre KRISIUM 12 Amplifier JOHN DIGWEED 14 The Stables Bar TORI AMOS 18 Perth Convention & Exhibition Centre NICK CAVE SOLO TOUR 27 & 28 Fremantle Arts Centre BEN FOLDS & WASO 28 & 29 Perth Concert Hall DECEMBER UB40 & BLUE KING BROWN 5 Red Hill Auditorium THY ART IS MURDER 17 YMCA HQ 18 Capitol JANUARY 2015 SUZI QUATRO 28 & 29 Regal Theatre FEBRUARY 2015 PASSENGER 7 Red Hill Auditorium ROXETTE 14 Perth Arena THE EAGLES 18 & 19 Perth Arena ONE DIRECTION 20 Pattersons Stadium PAUL SIMON & STING 21 & 22 Sir James Mitchell Park MARCH 2015 FROM THE JAM 5 Capitol KYLIE MINOGUE 14 Perth Arena ROXETTE 14 Perth Arena MAY 2015 RICKY MARTIN 8 Perth Arena

METRONOMY, JULY 23

MATRIX & FUTUREBOUND, JULY 25

WEEKLY WEDNESDAY 23/07

THE ALBION HOTEL Quiz Night AMBAR Deadweight! Gran Calavera Kid Lucid & Elayche (T.D.E.C Showcase) Rekab & Saxon & C Trubble AMPLIFIER BAR Surroundings Glorified Hollow Ground Monlith THE BIRD Henry Kissinger Langman x Yung Cranni Frodo x Sims x Henry Gillett DJ NSFW x Bixxxler BRASS MONKEY DJ Vicktor THE BROWN FOX Johannah Grace CAPITOL Harlem Wednesdays CAPTAIN STIRLING Lokie Shaw THE CARINE Open Mic Night Shaun Street CHARLES HOTEL Funky Bunch Trivia CITRO BAR Seasons Of Perth Ben Merito CLANCY’S CANNING Tim Gordon John Martyr CLUB RED SEA Cheek THE COURT Wicked Wednesdays ELLINGTON JAZZ CLUB Aquinas College Jazz FLYRITE Northbridge Nightly Now ft. Anchors GOLD BAR Famous THE GOOD SHEPHERD Thinkfar GROOVE BAR (CROWN) 5 Shots HULA BULA BAR Island Nite INDI BAR Darren Guthrie Reef & The Riff Raff Jase Le Scelle LLAMA BAR Akuna Club LANEWAY LOUNGE James Flynn Trio LOBBY LOUNGE (CROWN) Decoy Duo THE LUCKY SHAG Howie Morgan METRO FREO C5 Next Gen Darren Tucker DJ Shane DeBug

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MOJOS BAR Blues Rock Wednesday ft. Kerry B Ryan Moonshine Trust The Bonekickers THE MOON CAFE Going Solo ft. Luke Dux Joinseyt MUSTANG BAR Wild Wednesday Madam Montage DJ Giles NEWPORT HOTEL Newport Wednesdays Student Night 459 ROSEMOUNT HOTEL Hump Flump! ft. Kitchen People Sprawl Sexy Robot Tashi ROSEMOUNT HOTEL For Folks’ Sake ft. These Winter Nights Sam Wylde Sinead O’Hara David Craft Duo Buddy Phoenix ROSEMOUNT HOTEL (BEER GARDEN) Best Years Of Your Life Anton Maz ROSIE O’GRADY’S NORTHBRIDGE Laugh Resort Comedy Open Mic Night with Dave Fyffe SOVEREIGN ARMS FIVEO THE SWINGING PIG Open Mic Night Greg Carter UNIVERSAL BAR Virtual Insanity VILLAGE BAR Village People Wednesdays YAYA’S HaHas @ YaYa’s Hunt For Dallas Oakland SC Barendse Riley Pearce THURSDAY 24/07

THE BIRD Michael Tyrie Mei Saraswati Slums Mike Ford THE BUFFALO CLUB SpaceManAntics Yokohomos BRASS MONKEY Rhythm Bound Karaoke James Ess Open Deck Night BRIGHTON Siren Song Enterprises BROOKLANDS TAVERN Celebrations Karaoke CAPTAIN STIRLING Trivia Night THE CAUSEWAY BAR Xport Thursdays

CHARLES HOTEL Comedy Lounge Presents Funny Faces THE CLAREMONT HOTEL Institution Thursdays ft. DJ Pup DJ Tahni CONNECTIONS NIGHTCLUB Bingay Hosted by Veronica Jean Jones THE CRAFTSMAN FIVEO DEVILLES PAD Rock n’ Roll Karaoke DUNSBOROUGH TAVERN Open Mic Night Kris Buckle ELLINGTON JAZZ CLUB Cathrine Summers FREMANTLE WORKERS CLUB Jean Guy Lemire & Guests The Popular Front Against All Things Bad THE GATE Greg Carter THE GOOD SHEPHERD Juice ft. MacShane Georgia Reed GRAND CENTRAL PARK Kizzy GROOVE BAR (CROWN) Dr Bogus HULA BULA BAR Hi-Fi Lounge INDI BAR Open Mic Night LAKERS TAVERN Howie Morgan LANEWAY LOUNGE Charisma Brothers LEISURE INN DJ Miss Chief LOBBY LOUNGE (CROWN) Jack & Jill LOST SOCIETY The Collective LUCKY SHAG James Wilson MARKET CITY TAVERN Rob & Luke Tali Kau Paradox Kane Dodd Mitchell Martin Josh Ramsay Nathan Mayers MOJOS BAR David Craft & Band Moana Davey Craddock Monique Shelford THE MOON CAFÉ Yambeque MUSTANG BAR Indigo Mitch McDonald DJ James MacArthur THE NAVY CLUB Ghetto Crystals

TIM ROGERS, JULY 27

NEWPORT HOTEL The Newport Record Club NORTHSHORE TAVERN Nathan Gaunt Duo OCEAN ONE BAR Turin’s Open Mic Night PEEL ALE HOUSE Open Mic PLAYERS BAR Bombshells Strip Club PRINCE OF WALES Third Gear PS ART SPACE Placement ft. Craig Hallsworth Gutterville Splendour Six 459 ROSEMOUNT HOTEL Royal Chant Pat Chow Trigger Jackets Black Stone From The Sun Catbrush ROSEMOUNT HOTEL Husky Runner Patient Little Sister RUBIX BAR Monty Cotton THE SAINT Thursday Music Quiz SETTLERS TAVERN Open Mic Night ft. Claire Warnock THE SHED Booty Jooce UNIVERSAL BAR Off The Record YAYA’S Dry Dry River Sprawl September Sun LYTS FRIDAY 25/07

AMBAR Force Majeure ft. Swick Philly Blunt Death Disco DJs DNGRFLD Austy Bass Attic DJs AMPLIFIER BAR We Are The Emergency I, Said The Sparrow Finders The Lake and The River Fridays Are Back Kla THE AVIARY Paradise Paul NDORSE THE BALMORAL The Mojos BAR ORIENT Ceol THE BAYSWATER DJ Atlus BEAT NIGHTCLUB (UPSTAIRS) STEREO: Novocaines BEAT NIGHTCLUB (DOWNSTAIRS) PLAY BELGIAN BEER CAFÉ

Mike Nayar THE BELMONT Light Street BEST DROP TAVERN Tandem THE BIRD Diger Rokwell Rok Riley Ben M Marcus “UK” THE BOAT Ben Merito THE BRASS MONKEY Fruit Tingle Fridays James Ess Green George THE BRIGHTON Frenzy DJ Miss Chief CAPITOL Capitol Fridays Roger Smart CAPITOL (UPSTAIRS) I Love ‘80s & ‘90s Darren Tucker THE CARINE J!mmy Beats CHASE BAR & BISTRO Karaoke CITRO BAR Seasons Of Perth Bernardine CIVIC HOTEL Xzakt Knowledge Bones Tera aka big wil Remorse MORSE GANG Tonite CLANCY’S CANNING DJ Boogie CLANCY’S CITY BEACH Stielgutz THE COMO Byron O’Neill THE CORNERSTONE Halo THE CRAFTSMAN Vibez CRUISING YACHT CLUB Kathy Carver DEVILLE’S PAD The Insinnerators DJ Laith Tyranny Double Trouble Molls Rockin’ A Go Go Fridays DUNSBOROUGH TAVERN Cuddles EAST 150 BAR Adrian Wilson EDZ SPORTZ BAR Cornerstone ELLINGTON JAZZ CLUB Libby Hammer Quintet Suite 191 EMPIRE BAR Howie Morgan EVE NIGHTCLUB Recharge Fridays FLY BY NIGHT Scottish Ceilidh Dance FLYRITE Dear Friend ft. Amnesia Beecroft Sux Roland the Realest vs.

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

TOURS • LIVE • DANCE

GRAN CALAVERA, JULY 23

DJ Raw Sugar Willy Slade THE GATE Chris Gibbs GEISHA BAR Foreign Exchange ft. Mustard Cutler DJ Beto Tom Love Vs Paul Scott Devante Vs. Victor GINGER NIGHTCLUB Mondo Dance Party GOLD BAR Fox Friday’s GOSNELLS HOTEL Everlong THE GRAND Jay Mackay THE GREENWOOD Ryan Webb THE HERDSMAN Adam James Duo HULA BULA BAR Shakin’ It HYDE PARK HOTEL (COURTYARD) Justin Cortorillo INDI BAR The Shinkickers Nitro Zeppelin KALAMUNDA HOTEL Chill Divine LAKERS TAVERN Heaven & Hell Koopz LANEWAY LOUNGE Just For The Night LIBRARY Dorcia: Winter Warmer LLAMA BAR Honey LEISURE INN DJ Peta LOBBY LOUNGE (CROWN) Why Georgia? THE LUCKY SHAG DJ Richie G MALT Nu Disco Hip Hop M ON THE POINT Retriofit MAHOGANY INN Alex Canion METRO CITY Decade of Viper ft. Matrix &

KITCHEN PEOPLE, JULY 23

Futurebound Brookes Brothers The Prototypes Rockwell METRO FREO Clique Angry Buda DJ Mr-Phat Whytehype Brothers METRO FREO C5 Frat House Fridays Trap’d Olithagod Midsole The D’Vauz MINT Club Retro MOJOS BAR Husky Runner Childsaint MULLALOO BEACH HOTEL Jam Jar Friday’s Ladies Night MUSTANG BAR The Ginslingers Swing DJ Flash Nat & The Action Men DJ James MacArthur MY PLACE Karaoke PADDY MACGUIRE’S 43 Cambridge PARAMOUNT Paramount Party Crew PARKER DJs From Mars Lukas Wimmler Chalk & Cheese Simon Paiker PEEL ALE HOUSE Siren Song Enterprises PIRATE BAR Marcio Mendes PLAYERS BAR DJ Cookie PORT KENNEDY TAVERN Two Tenors THE PRINCIPAL Blackbirds PUBLIC HOUSE Neil Viney QUARIE BAR & BISTRO Back2Back THE QUEENS

FEATURED GIG

SHADDOW BROTHERS GEISHA BAR SATURDAY, JULY 26

Jon Ee DJ Reuben RAILWAY HOTEL Conceived in Chaos ft. Amidst The Broken Facegrinder All This Filth Fetus Fertilizer Ginger Rabbit ROLEYSTONE COUNTRY CLUB Monty Cotton ROSE & CROWN HOTEL Justin Martins ROSEMOUNT HOTEL The Big Splash Band Comp Semi Final #1 ft. Eloise Ashton Dream Rimmy Husband Kitchen People Puck SAIL & ANCHOR Howie Morgan Duo THE SAINT FIVEO SETTLER’S TAVERN Odette Mercy & Her Soul Atomics THE SHED Crush DJ Glen SOUTH ST. ALEHOUSE Robbie King Karaoke SOVEREIGN ARMS Thank God It’s… Funky Lounge Fridays DJ Az-T THE SWAN BASEMENT Wall of Noise #2 The Dead White Males Fight The Morning Discordians Noise Man SWINGING PIG Greg Carter TAMBREY TAVERN The Bitter Grins TOUCAN CLUB The Drop UNIVERSAL BAR Nightmoves UNIVERSITY OF WA Yambeque VERNON ARMS TAVERN Greg Carter THE VIC Nathan Gaunt VILLA Father Villa Takeover ft. DJ Butcher UV Boi WHALE & ALE Funky Friday’s Sonny WINTERSUN HOTEL Leon Tioke WOODVALE TAVERN iGeneration YAYA’S Aaron Gwynaire Jake Mullineux Joshua Cammack Lynda Smyth & The Borrowed Few Mind Canary

SPACEMANANTICS, JULY 24

Alysha Magnum James Atles ACE @ YAYAS DJ Pup DJ Double Dee SATURDAY 26/07

AMBAR Japan 4 ft. Miss Demeanour Pussymittens Micah Bezwun DNGRFLD Tee EL Philly Blunt AMPLIFIER BAR Voyager Caligula’s Horse Orsome Welles Tempest Rising Pure Pop Eddie Electric BAR ORIENT Saturday Night Fever THE ASTOR Kat Wilson Riley Pearce The Insatiables Curtis McEntee THE AVENUE Lokie Shaw THE AVIARY Samuel Spencer Paradise Paul NDORSE THE BAKERY Grandtheft THE BALMORAL The Wire Birds BAR ORIENT The Reggae Club BAYSWATER HOTEL Jamesley BEAT NIGHTCLUB (UPSTAIRS) CANVAS BEAT NIGHTCLUB (DOWNSTAIRS) Paper Plains Grim Fandango Chilling Winston Alex the Kid Being Beta THE BIRD Sam Perry Lilt Sarah Pellicano BOAB TAVERN James Wilson THE BRIGHTON Squinty THE BROOK Choppa Duo BROOKLANDS TAVERN Blue Collar Baby Heat #3 CAPITOL Death Disco DJ Mullet CAPITOL (UPSTAIRS) Cream Of The ‘80s DJ Roger Smart THE CARINE Tod Woodward CIVIC HOTEL Over The Top: Angels Tribute show CLANCY’S CANNING Steve Parkin THE CLAREMONT

HOTEL Antics Tim from Tim & Jean CORNERSTONE ALE HOUSE Danny B CRAFTSMAN Rock Candy DEVILLES PAD Black Magic Disco DUNSBOROUGH TAVERN Nathan Gaunt EAST END BAR Home ELECTRIFIED White Party: World of Trance ft. Jt Damien Blaze Illuminor Daniel Sun Chris Hynds Rinksi Cyberdelic & more! ELLINGTON JAZZ CLUB Ali Bodycoat Quintet Dd Soul feat. Chelsea Cullen ESPLANADE, BUSSELTON DJ Don DJ Jo FLAWLESS LQ Saturdays FLYRITE Father THE GATE Greg Carter GEISHA BAR MAIKO ft. Rob Sharp Steffan Gooch Luke Who? Shaddow Brothers Tred THE GENEROUS SQUIRE Defanutly GOLD BAR Pure Gold GOSNELLS HOTEL Allstar Showstoppers Beatles & Stones Show THE GRAND Jay Mackay THE GREENWOOD Tandem GROOVE BAR & LOUNGE (CROWN) Decoy HULA BULA BAR Sailor Saturdays HYDE PARK HOTEL Wesley Goodlet Jamboree Scouts INDI BAR The Volcanics Legs Electric The Fortunados Steve Joines KALAMUNDA HOTEL Celebrations Karaoke KARRATHA TAVERN Parker Avenue LAKERS TAVERN Celebrations Karaoke LANEWAY LOUNGE Retriofit Astrid Ripepi LIBRARY

DAMIEN BLAZE, JULY 26

MKT LOST SOCIETY Chalk M ON THE POINT Rhythm 22 MERRIWA TAVERN Celebrations Karaoke METRO CITY Metro Saturdays Ruthless Angry Buda METRO FREO Metropolis Saturdays Darren Tucker DJ Shane Ben C METRO FREO C5 I Love ‘80s & ‘90s Dr. Sunch DJ Shane MOJOS BAR Abbe May David Cradock Jeff’s Dead Lucy Peach MUSTANG BAR Bang Bang Betty & The H-Bombs DJ Holly Doll Milhouse DJ James MacArthur MY PLACE School Party NEWPORT HOTEL Gravity DJ Tahli Jade NORTHSHORE TAVERN Howie Morgan Project PARAMOUNT Madam Montage PARKER Parker Saturdays ft. Paul Scott Simon Paiker ACEBASIK Wasteland Jordan Scott PEEL ALE HOUSE Siren & Assassin PLAYERS BAR LUXE DJ Tito PORT KENNEDY TAVERN Stu McKay QUARIE BAR & BISTRO Felony Duo THE QUEENS DJ Az-T 3manual RAILWAY HOTEL Royal Chant Kill Teen Angst Shimmergloom Tenderhooks City Views 459 ROSEMOUNT HOTEL Leeches! & Agitated Puck Rainbow Nightmare Aborted Tortoise ROSEMOUNT HOTEL White Avenue Gunns Custom Royal Tarp On The Shed Floor ROSIE O’GRADY’S FREMANTLE Flava SAIL AND ANCHOR

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WHITE AVENUE, JULY 26

The Gypsy Minions THE SAINT Crackers SEAVIEW TAVERN Ceol SETTLERS TAVERN Arts Martial THE SHED HUGE DJ Matt SOVEREIGN ARMS Countdown Saturday DJ Atlus SPRINGS TAVERN Luke O’Connell THE SWINGING PIG Frenzy TOUCAN CLUB Vice UNIVERSAL BAR Soul Corporation VILLA Tropic Thunder THE WHALE & ALE Jawsh WOODVALE Flyte YAYA’S Escelade Morrie Beth Black Heart Sun Tailored Grace ARCADIA! DJ Pup DJ Double Dee DJ Shane SUNDAY 27/07

THE AVIARY NDORSE Ben Sebastian BAILEY BAR & BISTRO Gary Fowlie THE BALMORAL Andrew Winton THE BELMONT Acoustic Aly BENTLEY HOTEL Luke O’Connell THE BIRD Mei Saraswati Erasers Leafy Suburbs DJ Mr. Sinclair THE BRIGHTON Organ Grinders BROKEN HILL HOTEL Kizzy BROOKLANDS TAVERN James Wilson THE CARINE Chris Gibbs THE CAUSEWAY Acoustic Sunday CHASE BAR & BISTRO Jonny Dempsey CITRO BAR Seasons of Perth Dean Anderson CIVIC HOTEL Troy Nababan CLANCYS CITY BEACH Sunday Brekky Sesh ft. The Limelights Jazz Trio CLAREMONT HOTEL Sunday Driver CLUB BAYVIEW

Lokie Shaw COMO HOTEL Two Frets Down DUNSBOROUGH TAVERN Kris Buckle ELLINGTON JAZZ CLUB Nicola Milan & the Stray Cat Club FLINDERZ HILLARYS Adam James THE GATE Mike Nayar THE GREENWOOD Justin Cortorillo HULA BULA BAR Tiki Time Sundays INDI BAR The Autumn Isles Tracksuit Bonekickers INDIAN OCEAN BREW CO Retriofit KALAMUNDA HOTEL The Mojos LAKERS TAVERN Wesley Goodlet Jamboree Scouts LANEWAY LOUNGE Marc Osborne Sextet LAST DROP TAVERN Alan Stewart LOBBY LOUNGE (CROWN) Thierryno THE LUCKY SHAG DJ Richie G MOJOS BAR Tim Rogers THE MOON CAFÉ Cocktail Moods DJ Mr. Kavebeat M ON THE POINT Nathan Gaunt MULLALOO BEACH HOTEL Sunday Sesh NEWPORT HOTEL Della Stern PEEL ALE HOUSE Thierryno PORT KENNEDY TAVERN Greg Carter QUARIE BAR & BISTRO The Gypsy Minions THE QUEENS FIVEO Sam Spencer RAILWAY HOTEL Gignition St James Sirens Tarp On The Shed Floor Opus REDCLIFFE ON THE MURRAY Justin Walshe Band THE ROSE & CROWN HOTEL Blackbirds 459 ROSEMOUNT HOTEL Michael Terren Zyklus Josten Myburgh Steve Paraskos ROSEMOUNT HOTEL Pelican Chaos Divine Foxes ROSEMOUNT HOTEL

MEI SARASWATI, JULY 27

(BEER GARDEN) The Get Down ft. DJ Charlie Bucket DJ John Safari Klean Kicks ROSEMOUNT HOTEL (CAR PARK) Golden Days Vintage Markets! THE SAINT Sunday Funday Howie Morgan Project Jon Ee DJ Az-T SEAVIEW TAVERN Jeanie Proude SETTLERS TAVERN Codee-Lee Sam Harris THE SHED The Healys Renogade SOUTH ST. ALEHOUSE Open Mic Night SWALLOW BAR Sunday Sessions SWANBROOK WINERY Luke Dux Sam Barendse Will Stoker & Luke Dux SWINGING PIG Siren & Assassin UNIVERSAL BAR Retriofit VERNON ARMS TAVERN Kevin Curran WANNEROO TAVERN Steve Hepple WOODVALE Reckless Kelly THE WINDSOR Ryan Webb MONDAY 28/07

BRASS MONKEY Monkey Madness Student & Industry Night ELLINGTON JAZZ CLUB Chamber Jam MOJOS BAR Wide Open Mic PARKER

Manic Mondays! ROSEMOUNT HOTEL Comedy Trivia YAYA’S Big Tommo’s Open Mic Variety Night TUESDAY 29/07

THE BIRD Barefaced Stories BRASS MONKEY Open Mic Night Shaun Street CONSERVATORY ROOFTOP BAR Rooftop Comedy ELLINGTON JAZZ CLUB The Brown Study Band GROOVE BAR (CROWN) Jack & Jill LANEWAY LOUNGE Open Mic Night Josh Terlick LOBBY LOUNGE (CROWN) Hans Fiance LUCKY SHAG Ben Merito MERRIWA TAVERN Celebrations Karaoke MOJOS BAR Slacker The Hounds Laurel Fixation & more MUSTANG BAR Danzaloca Salsa Night OCEAN ONE BAR Overgrowth Open Mic Night THE PADDO Quiz Meisters PERTH BLUES CLUB The Shinkickers ROSEMOUNT HOTEL Bex & Turin’s Wide Open Mic SWINGING PIG Siren Song Enterprises YAYA’S The Limbs Cavalier Anemone Flesh Loree Dragovich

FEATURED GIG

WE ARE THE EMERGENCY AMPLIFIER BAR FRIDAY, JULY 26

NEWS

INTERVIEWS

REVIEWS

| B E AT S

LIVE

EVENTS

THE NEWPORT

THE SHED

ACADEMY @ AMPLIFIER

DELICIOUS @ ROCKET ROOM

METRO FREO

THE COURT

MUSIC GEAR & TECHNOLOGY

AMPEG GVT15H AMPLIFIER AND GVT112EW SPEAKER CABINET Continuing the popular trend that many amp companies have of making all that is old new again, Ampeg have some new amps on the market that look and sound like they could have been found in your uncle’s garage. The GVT series is designed for low to mid volume gigs in close quarter settings with a particular focus on providing big simple clean sounds to work with. It’s always a good sign when the very first chord on the very first setting upon switching an amp on sounds gorgeous, and things only get better from there. This is by no means an amp that will interest guitarists who wish to run their gain sounds at the amp stage. In fact, even with the gain completely maxed out the tones remain very clean. The amp is powered by two 12AX7 (preamp stage) and two 6V6GT (power amp stage) valves. For a very general sonic landmark, think of the standard Fender amp sound. The amp would, however, serve as an excellent palette for players who prefer to generate their tones from effects pedals. The amp reacted exceptionally to the overdrive and chorus effects that were run through the front end, and more discerning guitarists also have the option of an effects loop on the

rear panel to get the gain stages and effects orders just right. The reverb is authentic and highly useable and there is plenty of it on tap, with the level set halfway there is more than enough to go around. The standby switch features two settings: the amp can be run at 7.5 watts or the full 15 watts depending on volume requirements. Both settings delivered the goods. A classic look and a classic sound at an amazing price point, this series of amp is well worth a look for any guitarists looking for something a little left of centre. As a package, the Ampeg GVT15H and GVT112EW sell for $1298. Mega Music Wangara have an amazing deal on this amp setup - take it home for just $715.

Ampeg GVT15H Amplifier and GVT112EW Speaker Cabinet

CLASSIFIEDS

FENDER PAWN SHOP SERIES OFFSET SPECIAL GUITAR

The Fender Pawn Shop Series guitars are inspired by the more eccentric Fender creations of the '60s and '70s that occasionally found their way to the market place. The series introduces an assortment of guitars that in the words of the Fender crew “never were but should have been." The Offset Special is one such guitar. Although the particular model roadtested could have benefitted from a bit of a set-up, there’s something quite charming about this series of oddities from Fender. A three-way toggle switch provides the sonic variations from the guitar’s JZHB humbucking pickups, with the best tonal results found on the middle setting. Everything started to sound more authentic on this selection, with the bridge pickup just a little too brittle and the neck pickup just a little too muddy when played by themselves. Master volume and tone controls allow for a bit of tonal variation, but this guitar pretty much is at it’s best when running at full tilt. The vibrato arm is very subtle and provides some nice nuances without affected the integrity of the tuning. The f-hole soundhole is Fender Pawn Shop Series Offset Special Guitar

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a nice touch and rounds out what is essentially a comfortable, unique instrument. Light rockers, bluesmen and country twangers will most likely get a kick out of this one. The Fender Pawn Shop series guitars are manufactured in Mexico and sell for $1499.

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