Issue 1438

ISSUE 1438

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3RD SEPT 2014

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

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

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#XPRESSMAG

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ALVVAYS

INTERPOL

SHARON JONES & THE DAP KINGS

WHAT WE DO IN THE SHADOWS

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NEWSDESK

LOCAL NEWS

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GLOBAL NEWS

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ANNOUNCEMENTS

‘TOPS With their new album, Walking Under Stars, flying to #1 on the ARIA charts for the second consecutive week, it would only make sense for recent X-Press Magazine cover stars, Hilltop Hoods, to announce their Cosby Sweater Australian tour.

After sold out tours in New Zealand, Europe and the UK, the boys are bringing it back home for a 21 show circuit across Australia. Hilltop Hoods will perform at Sir Stewart Bovell Park in Busselton on Friday, December 5, and closer to Perth at Red Hill Auditorium on Saturday, December 6.

Tickets via Hilltophoods.com/hth/shows.

Hilltop Hoods

WANNEROO JOE Multi ARIA Award-winners Eskimo Joe are headlining a special concert at Wanneroo Showground this November. Happening on Saturday, November 8, the City of Wanneroo Presents: Eskimo Joe event is for all-ages and is smoke and alcohol free, with support acts soon to be announced. Tickets are free and available online exclusively to City of Wanneroo residents from Wednesday, October 1, and to the general public from Monday, October 13. For more details head to wanneroo.wa.gov.au/concert Eskimo Joe

GOSSLING’S HARVEST OF GOLD NATIONAL TOUR Gossling is going on a national tour in support of her current album, Harvest Of Gold. To complement the tour she will release a special digital edition of Harvest Of Gold featuring a bonus EP of new and previously unreleased music including covers of Everclear’s Santa Monica and Vance Joy’s Riptide. Gossling will perform at The Bakery on Sunday, November 9. Tickets are available at nowbaking.com.au.

Gossling

RED BULL’S FLYING BACH TO PERTH

NAUTILUS, MY BOAT

EXTERNAL ONCE AGAIN

Melbourne-based Perth photographer, Carine Thevenau, has created an homage to the poem and illustration, For The Nautilus Is My Boat, by Warwick Gobles (who also illustrated The Water Babies).

Thevenau’s For The Nautilus Is My Boat exhibition opened at the Perth Centre For Photography opened recently and runs until Monday, September 22.

Back for a one-off onslaught of surf rock’n’roll are ‘90s stage-commandoes, The Externals. This Friday September 5, from 7.30pm at the Gratwick VC Club Seaward Ave, Swanbourne, The Externals will be bringing on wave after wave of reminiscence of the halcyon days at the Swanbourne Hotel. Brush off the sand and get a can in ya hand for a night with The Externals, with solid support from AC563 and Tongue Charge. Merch will be available at the gig, as well as a seven-track CD of scorching new tracks. This is how you do it.

For The Nautilus Is My Boat Pic: Carine Thevenau

Following the sold out Red Bull Flying Bach events in Sydney and Melbourne last year they are now heading to Perth. Touted as Johann-Sebastian-Bach-meetsbreakdance, the show features piano, harpsichord and electronic beats compounded with head spins, power moves and freezes. Red Bull Flying Bach hits Crown Theatre on Friday, September 19, and Saturday, September 20. Tickets are now $71.26 for limited time only though premier.ticketek.com.au.

The Externals, Big Day Out ‘97

Red Bull Flying Bach

SPECIAL OCCASION #2 Doing just what it said it would on the tin, Special Occasion #1 sold out in a rapid-fire 24 hours and now it’s time for round two.

Special Occasion #2 will potentially be in the Fremantle area at a secret location, which will be revealed to ticketholders before the show via email and on the Wave Rock Weekender Facebook page. It'll be an evening of top notch DJs, complimentary retro hot/cold bar and cocktail snacks and an old school bar with high quality beer/wine/spirits/cocktails at a very nice price.

Attendees are asked to dress up retro, formal or funky to create that special feeling. In the mystery of it all there will of course be a mystery band performing. Given that last time out the mystery band were soul superstars Charles Bradley & The Extraordinaires you might wanna think about this.

This memorable night will take place on Wednesday, September 10, from 7pm. Tickets are $80 and on sale from Oztix.com.au.

WELCOME TO THE VALLEY The cat is out of the bag, the annual Oktoberfestinspired event Welcome To The Valley is back, with performances from Art Vs. Science, Yolanda Be Cool, Basenji, Dcup, Steve Parkin, Justin Burford, Charlie Bucket, Fdel and more. Tickets include bus transfers, entry to brewery or winery, lunch of Germaninspired cuisines and a final party bash at Belvoir Amphitheatre. Welcome To The Valley will be held on Saturday, October 25, from noon-10pm. For tickets head to Oztix.com.au.

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EVERY TIME THEY TOUR Heavy-hitters Every Time I Die and Touche Amore are teaming up for an Australian tour, in support of their new albums (From Parts Unknown and Is Survived By, respectively). They descend on Amplifier on Wednesday, January 14, 2015. Tickets go on sale this Friday, September 5, from Oztix.com.au.

Every Time I Die and Touche Amore

TORCHED Torche has regretfully announced the cancellation of their Perth show which was to take place at the Rosemount Hotel on Friday, October 17. For reasons of market competition and oversaturation, the involved parties did not feel confident in the overall success of the show and felt it was in the best interest to cancel. Torche apologises to all fans for the inconvenience and states ticket refunds can be received from the place of purchase.

SAFRAN SUCCOTASH The inimitable John Safran is bringing his DJ set to Perth with attuned support from Ben Morrison, Blake Kelleway, Ash Pederick and Sam Kuzich, performing at The Good Shepherd on Friday, September 19.

Doors open at 8pm, tickets are available from Events. ticketbooth.com.au.

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SMITH STREET TOUR Melbourne’s The Smith Street Band have announced an Australian tour to support their upcoming third album, Throw Me In The River. Touring along with them is New Jersey, The Front Bottoms and Apologies, I Have None. The Smith Street Band will be performing at The Rosemount Hotel on Saturday, November 29. Tickets are available at Thesmithstreetband.com.

The Smith Street Band

HOOROO! Known for their explosive performances which usually finish in riding an inflatable boat across a sweaty cesspool of spent clubbers, the Yacht Club DJs are signalling the end of their era by way of announcing the Hooroo! Tour. The cartoon pop party duo and mash up masters are kicking their Australian tour off, quite fittingly on Halloween in Hobart and will continue around the country before arriving in Perth to play at Amplifier on Friday, December 5. To get in on the raucousness and on-stage nudity hit up Oztix. com.au or call 1300 762 545.

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WIN

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

PRINT AND DIGITAL EDITIONS PUBLISHER/MANAGER Joe Cipriani

EDITORIAL - 9213 2888

STEREOSONIC Stereosonic has definitely earned its place at the pinnacle of Australian dance festivals, and in 2014 it’s even bigger - they’ve split an enormous lineup across two days. Stereosonic is back at Claremont Showgrounds on Saturday and Sunday, November 29 and 30, and features sets from Alesso, Tiesto, Diplo, Calvin Harris,Oliver Heldens, DVBBS, Carl Cox, Disclosure, Timmy Trumpet, Steve Aoki, Showtek, DJ Snake, and many, many, many others. If you’d like to win a double pass, hit us up at win@xpressmag.com.au.

You can find the entire massive lineup at stereosonic. com.au. Tickets available now from Ticketmaster.

Tiesto playing Stereosonic 2012

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

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

PRODUCTION DEPARTMENT - 9213 2854 CONTENT COORDINATOR Anthony Jackson - production@xpressmag.com.au ART DIRECTOR Dwight O’Neil DESIGN + PRODUCTION Andy Quilty, Anthony Jackson, Rachel Del Borrello PRINTING Rural Press Printing Mandurah DISTRIBUTION - 9213 2853 - distribution@xpressmag.com.au ADMIN / ACCOUNTS - 9213 2888 Lillian Buckley accounts@xpressmag.com.au EDITORIAL DEADLINES General: Friday 5pm, Eye4 Arts: Thursday 10am, WIN: Friday 5pm, Salt Clubs: Monday 5pm , Local Scene: Monday Noon, Gig Guide: Monday 5pm

MORE THAN A DAME Frank Miller’s 2005 neonoir thriller was an aesthetic left-hook - Sin City took the gloss and grit of comic book stylisation to film for the first time and did it with aplomb. We’re finally seeing a Sin City sequel - in the same year as the follow-up to 300, another adaption of Miller’s blood-drenched material. Codirected by Planet Terror’s Robert Rodriguez, Sin City: A Dame To Kill For returns to the multi-story format, blood spillage and all-star cast of the first instalment, and features Jessica Alba, Bruce Willis, Mickey Rourke, Joseph Gordon-Levitt and, believe it or not, Lady Gaga. It’s in cinemas from September 18, and if you’d be keen for a double pass, get in touch at win@xpressmag.com.au.

Joseph Gordon-Levitt in Sin City: A Dame To Kill For

ADVERTISING DEADLINES Cancellations: Monday 5pm, Ads to be set: Monday Noon Supplied Bookings / Copy: Tuesday 12 Noon, Classifieds: Monday 4pm Published by: Columbia Press Pty.Ltd. A.C.N. 066 570 803 Registered by Australia Post. Publication No PP600110.00006 Suite 55/102 Railway Street, City West Business Centre, West Perth, WA 6005 Locked Bag 31, West Perth, WA 6872 Phone: (08) 9213 2888 Fax: (08) 9213 2882 Website: http://www.xpressmag.com.au WARRANTY AND INDEMNITY Advertisers and/or their agents by lodging an advertisment shall indemnify the publisher, and its agents, against all liability claims or proceedings whatsoever arising from the publication. Advertisers and/or their representatives indemnify the publisher in relation to defamation, slander, breach of copyright, infringement of trademarks of name of publication titles, unfair competition or trade practices, royalties or violation of rights or privacy and warrant that the material complies with revelant laws and regulations and that its publication will not give rise to any rights against or liabilities in the publisher, its servants or agents. Any material supplied to X-Press is at the contributor’s risk.

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WA ANGELS If you’re a fan of Legends Football League and/or quizzes, head down to the Italian Club North Perth this Friday, September 5. The WA Angels are hosting a meet-and-greet quiz night double whammy.

Tickets are available from lou_devine@LFLAngels. com.au. For a chance to win a table for ten, drop us a line at win@xpressmag.com.au.

WA Angels

THIS IS THE ANTHEM Jersey boys The Gaslight Anthem have released their fifth album, Get Hurt. Leader Brian Fallon’s promised an album “completely different to anything we had ever done before”, and for all its experiments in pop, metal and folk, The Gaslight Anthem are still bringing the big Americana ballads.

It’s a little Dylan, a little Bon Jovi, and a lot of Springsteen. If you’d like to win a copy of Get Hurt, get in touch at win@xpressmag.com.au.

The Gaslight Anthem

SONGREADER BIFFY CLYRO Scottish alt-rock legends Biffy Clyro are playing a show at Metro City next Friday, September 12. It’s fresh off the back of some promised new material (B-sides from Opposites, their chart-topping 2013 album), We’ve got some double passes to give away, so drop us a line at win@xpressmag.com.au.

Biffy Clyro 6

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Presenting 20 new songs as sheet music was a bold move for experimental pop musician Beck, but his 2012 Song Reader project has finally borne recorded fruit. With friends like Norah Jones, Laura Marling, Jarvis Cocker and Jack White, the recently released Song Reader album is a chance to see Beck in action as a straight-up songwriter. An 8/10 rating from NME ain’t bad. If you’d like to win a copy of the new album, drop us a line at win@xpressmag.com.au.

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FLESH

NEWS - INTERVIEWS - REVIEWS - CONTENTS

The Love Junkies - Pic: Amber Bateup

THE LOVE JUNKIES Pass The Sauce The Love Junkies launch their second album, Blowing On The Devil’s Strumpet, this Saturday, September 6, at the Rosemount Hotel with support from Mt. Mountain, PUCK, Horror My Friend and Sprawl. BOB GORDON checks in with singer/guitarist, Mitch McDonald.

We described it as being agonising and delicious at the time. And oh, it really was...

Back in early April, the Nedlands Foreshore played host to The Love Junkies making a guest (closing) appearance at the Ampfest band competition.

As the trio tore into the decidedly unromantic Blowing On The Devil’s Strumpet, a newlywed couple posed for pictures on the jetty, embracing for the camera and pondering a loving life together.

With a bone-rattling, heart-shredding soundtrack to remember it by.

“God, I feel still feel terrible about that,” says singer/guitarist, Mitch McDonald. “What was funny was that we actually had no idea what was going on until we finished playing. We were just watching everyone in front of us laugh whilst we screamed, ‘She sucked the life right outta me!’

“What a horrible way to start the rest of your life together. I mean, if you had any doubts in your mind to begin with then perhaps that whole scenario could have come off as some universal joke.

Standing on the edge of a jetty in a tuxedo, wondering if the divorce will be as expensive as the ceremony.”

It could certainly be said, that The Love Junkies write, shall we say, saucy songs. That’s admirable and possibly ambitious in these PC times.

Talk about making things harder for yourself...

“I guess it could potentially rule out what is appropriate single material,” ponders McDonald. “Some stuff on the new album I thought was catchy enough but the content could’ve offended people. This album

CONAN Armagedoom It Headliners of festivals Hellfest and Roadburn, are English doom metal lords, Conan. This trio from Liverpool will be gracing the two-stage Armagedoom festival at the Rosemount Hotel this Friday, September 5.

is a little darker than the first and though I am proud of all the lyrics, I still don’t want to hurt anyone’s feelings.

Unless they deserve it.

“At times I feel like I intentionally go out of my way to make people feel uncomfortable, but that’s not for attention’s sake. it’s just to see how far you can push an opinion. To be real fucking honest about something that is generally inappropriate or too hard to talk about.”

McDonald, Robbie Rumble (bass) and Lewis Walsh (drums) have been collectively known as The Love Junkies since 2009. They’ve been lively from the get-go, but since 2012 they’ve delivered a debut album, Maybelene and this year’s Flight Test EP, which featured the aforementioned song, Blowing On The Devil’s Strumpet, a title that also graces their second album, released this Friday.

This year the trio have notched four national tours, performed shows in Singapore and Vietnam, signed with German-based label Siiick Records for European releases, which will no doubt require touring in that region before too long. Amidst all the activity, the band dynamic remains nicely intact.

“Nothing has changed too much,” McDonald considers. “We’re all still best buds writing music.

We’ve all been doing a bunch more solo stuff so I’m excited to see how the dynamic is for the next record.

I think everyone is slowly becoming more confident as songwriters, so perhaps there’ll be more collaborations in the future. But for now it’s still the same. Smooth sailing.”

So, who brings what to the band to make it what it is?

“Well, Lewis hits shit real hard,” McDonald states. “That’s what everybody keeps saying. The ringing in my ears always likes to remind me in the night times.

As soon as it’s silent, Lewis bleeds his way into my sleep in the form of a mosquito... and just starts hate fucking my ear drums ‘til morning. He also runs the accounts. I love that guy.

“Rob brings in a few tracks as well as a great smile. He’s also got strong hands, which is good for bass.

I write and record it all at the moment.”

As songwriter, McDonald’s plans for the new album, beyond and above what they’ve released before, was simply for it too sound more natural.

“I felt like our previous efforts (Maybelene) came off super rock sounding and though we’re proud of that record it still hadn’t quite captured the sound I had in my head when I think of us on tape.” he says.

“Doing it ourselves gave us a chance to spend more time on the tonal elements and production we wanted. I didn’t want it to sound polished. I just wanted it to sound interesting. I’m still learning as well, and doing our own records means that we can continue working at a pace we feel comfortable. Which I think means regular releases. Which means more touring.

More fun. We also want to try and take this record overseas at some point. Hopefully the States. We’re not sure yet... it’s a big decision and it ain’t cheap, so...”

And so it is, that as ever, the next step up merely paths the way to forward. If 2014 has been a big year for The Love Junkies, then 2015 is already calling for its share.

“Keep touring, keep writing, keep recording,” McDonald says of future times. “We’ll try and get overseas. I guess we’ll continue working on this thing because there’s nothing else to do. Nothing as exciting anyways.”

“When Conan started in 2006-07 I just wanted to create the heaviest music possible,” guitarist/ vocalist, Jon Davis, told Richard Maw of thesludgelord. blogspot.com earlier this year. “I didn’t know what genre we fitted into. I remember sending a message to someone on MySpace asking them what kind of music we did - I didn’t know! Horseback Battle Hammer (debut LP) came out and we were suddenly part of the sludge/ doom ‘scene’!”

Conan’s most recent liquefying assault on our ear drums has come in the form of their latest album, Blood Eagle, described as their heaviest release to date.

“I think progression’s good,” Maw told the website. “I think getting better at what you do is good.

People seem to like the style that we have. We sit loosely within a genre, but I think we are different in quite a lot of ways. This album drives home the fact that you can be heavy but you don’t have to be slow all the time. We love playing the mid-paced stuff.

“We picked up on the fact that people seemed to get into those bits more, and that affected our thinking subconsciously; we have written songs now that have a higher proportion of ‘rocking bits’. Krull, for example, was 95 per cent slow and five per cent rocking at the end. Now, I think things are more 60/40. We just got better at what we do and capitalised on the things that are best.”

Joining Conan on the trip West are sludge heroes Yanomamo and locals Chainsaw Hookers, The Devil Rides Out, Bayou and Wizard Sleeve. Tickets are $20 (plus booking fee) through rosemounthotel.oztix.com.au with limited tickets available at the door from 8pm.

SHARON JONES AND THE DAP-KINGS People Power Sharon Jones And The Dap-Kings return to Perth to play at the Astor Theatre on Monday-Tuesday, September 8-9. AUGUSTUS WELBY reports.

Initially due out in August last year, the release of Sharon Jones And The Dap-Kings’ fifth LP, Give The People What They Want, was halted when the group’s forceful frontwoman was diagnosed with pancreatic cancer.

This news sent waves of panic into the music community, but from the outset Jones spoke confidently about defeating the illness and getting back to business.

Accordingly, after the singer persevered through surgery and six months of preventative chemotherapy, Give The People What They Want was unveiled in January. Rather than slowly easing back in, a massive tour coincided with the album’s release. And it basically hasn’t ceased.

“My job is being a singer and an entertainer so I’ve got to get back out and entertain,” says Jones.

“I’m able to get out right now and really enjoy it. I don’t really feel anything as far as pain and sickness. I actually feel stronger.”

Starting with 2002’s debut LP Dap Dippin’, Jones and The Dap-Kings are basically responsible for bringing the sound of ’60s/’70s soul and funk music into 21st century relevance. Give The People What They Want is yet another trailblazing triumph, but Jones casually downplays the band’s impeccable track record.

“There’s just songs sounding good, coming out, each one,” she says. “I mean, we don’t think. Each time we do an album it’s because people are writing songs and we just play it and make stories. We’re telling our story. We’re not thinking about how we’re going to make this next album better. Don’t try thinking about bettering yourself, just do what you do best.”

As well as extrapolating the ups and downs of love, lyrically all five albums promote positive will and fortitude. Jones’ cancer was detected after the Give The People What They Want recording sessions, so her struggle isn’t specifically addressed on the album.

However, it’s still an exposition of determined strength.

“When I’m going to put my mind to something I do my best, especially when it comes to singing,” she says. “I’ve always felt that God gives me gifts. My singing is a blessing. Anything I get involved with – with my choir, with the wedding band, with just doing studio work with someone – I’ve always just been like that. This is what I can do; when I’m doing it I’m going to do it well.”

On Give The People What They Want, Jones and The Dap-Kings continue to draw prominently from the heyday of funk and soul music. Authentically reapplying this sound is impressive in itself. The fact that the band’s steadfast stylistic allegiance hasn’t grown tired over the course of five records is an even greater marvel.

“This is what we created,” Jones says. “I think that’s why we’re succeeding at what we’re doing. We’re not trying to jump around and do all this other kind of stuff. You just do your thing, be who you are, and I’m a soul singer. I’m not a pop singer. I don’t want to try to get out here and sound like some of these kids out here singing nowadays.”

Later this month Sharon Jones And The DapKings return to Australia to give the people what they want in a range of dancehall settings. The group was here as recently as January 2013 and a truly revitalised Jones can’t wait to reconnect with Australian audiences.

“When we come there everyone is so appreciative of our music. They enjoy it and they want it. I look forward to coming there every time the opportunity comes up. It’s so good when you’re doing your stuff and you can see how much love and care that the people have for what you’re doing.

“That’s the high, that’s the energy, that’s what keeps you going. That’s what makes you want to do more.”

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NOBUNNY WON’T MISS OUT The show must go on! Nobunny and the Hussy’s had to previously cancel, but alas, they will be performing as they were destined to this Wednesday September 3, for Academy at Amplifier Bar. As compensation for the inconvenience they are offering a two-for-one offer for all existing ticket holders and tickets are now available for $10 (plus booking fee) from Oztix.com.au.

Nobunny

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SOUTHBOUND’S ICELANDIC CHALLENGE

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You’re probably already excited for the annual camping festival Southbound happening at Sir Stewart Bovell Park in Busselton on Saturday-Sunday, January 3-4, 2015, but let’s add a bit more to that hype.

Icelandic singer/songwriter Asgeir will be joining the likes of The Temper Trap, Vance Joy, The Kite String Triangle, Robyn & Royksopp and many more for 2015. Asgeir’s electronic-tinged indie folk songs will be the perfect remedy for some more chilled out times under that big top tent. More local bands and Coconut Club acts will continue to be announced across the coming months.

If you haven’t already purchased your tickets, head to moshtix.com.au and check out southboundfestival.com.au to register for the most up to date info relating to Southbound.

News just in! The Black Keys’ Turn Blue world tour is heading to Australia early next year and they’re coming back to Perth for a show at Red Hill Auditorium on Tuesday, April 14.

Tickets go on sale from 9am on Thursday, September 11, via Oztix.com.au.

Asgeir

The Black Keys

THE BLACK KEYS TURN BLUE FOR US

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Newsdesk Win Flesh Music Interpol, Alvvays Patrick James, Perfume Genius Accept, Cannibal Corpse New Noise Eye4 Cover: Jemaine Clement What We Do In The Shadows, The Reckoning John Soto, Laughter On The 23rd Floor The Hit List, Fashion, Arts Listings Scene Cover: Flex Cop EDM News, Take 5 Rodriguez Jr, Nicky Night Time Live: PWEI, Melody Pool & Marlon Williams, Sacred Flower Union, Rave Of Thrones Local Scene: Girl York X-Press Guide Social Pics, Volume

FRONT COVER: The Love Junkies launch

their second album, Blowing On The Devil’s Strumpet, this Saturday, September 6, at the Rosemount Hotel. Pic by Gareth Andersen.

SCENE COVER: Flex Cop hits Geisha Bar on Saturday, September 6.

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MUSIC

VIEWS

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INTERVIEWS

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STORIES

are skewed by nostalgia, or we’re simply asking for too much. Regardless, when X-Press catches up with Interpol guitarist, Daniel Kessler, ahead of the release of the band’s fifth LP, El Pintor, he says that living up to expectations isn’t a practical concern.

“After we put out (2002 debut) Turn On The Bright Lights I realised the best thing you can do is write the things that make you feel like this is what you want to say, that this is a step forward,” Kessler says. “If you’re trying to please other people in general, you’re not really comfortable in your own shoes. If you’re happy with what you

“I don’t think I’d take the band for granted enough to say that, ‘I have to make another one’. You make a record because you want to make a record and because you feel like you have something better to say. There’s no set knowledge that this is going to happen.”

INTERPOL The Bass Within Interpol’s new album, El Pintor, is released this Friday, September 5. AUGUSTUS WELBY checks in with guitarist, Daniel Kessler.

The so-called ‘new rock revolution’ that occurred at the turn of the 21st century has since become the stuff of legend.

Essentially, the term was coined to describe an outbreak of bands reviving the sounds of ’60s garage rock and ’80s post-punk, which had largely been neglected in the previous decade. At the centre of this movement were three outfits

from New York City – The Strokes, Yeah Yeah Yeahs and Interpol. The debut releases from these bands incited especial critical fervor, to the point of being deemed ‘instant classics’.

This triad of New York trendsetters retains festival headliner status today, but the excitement generated by that initial breakthrough hasn’t been repeated. Perhaps our perspectives

create then you just have to have faith that people who like what you’ve done previously will give this a chance and will feel the same way.”

Interpol haven’t struggled to release a stack of quality music in the years since that iconic debut. Taking cues from post-punk and indie rock greats such as Joy Division and The Smiths, the band’s first three records explored fairly distinct stylistic territory with consistent success. However, on album number four – a rather lacklustre self-titled LP – it appeared they’d at last succumbed to creative inertia.

It’s been four years since that record came out, during which time original bass player Carlos Dengler left the group and vocalist Paul Banks and drummer Sam Fogarino both got involved with other musical ventures. Kessler says the prospect of doing another Interpol album wasn’t always certain.

“I don’t think I’d take the band for granted enough to say that, ‘I have to make another one’. You make a record because you want to make a record and because you feel like you have something better to say. There’s no set knowledge that this is going to happen.”

During the downtime, Kessler also remained creatively active. At first, he wasn’t writing with an Interpol record in mind, but he

inevitably began framing the new compositions in the context of the band.

“I was just trying to play music every day, but then songs do come about on their own and I get excited about the prospect of working with my bandmates on it. Usually the songs begin with me. If I get really excited about something and really into it, I arrange it in a certain way. If I see the potential for how it could become a piece of Interpol music then I start looking forward to that process where we get to all dip our fingers in it and transform it into an Interpol song.”

E v e n t u a l l y, K e s s l e r ’ s e n t h u s i a s m encouraged him to reconnect with frontman Banks and start working together on what would become El Pintor. However, the fact that they were down a bass player still hadn’t been addressed.

“Paul and I got together for, like, five days in August, 2012, with no agenda,” Kessler says. “He brought with him his guitar and bass and he was like, ‘Hey, maybe I should start with the bass because I tend to sing to basslines’. I didn’t know how excellent of a bassist he really is. In the first few days we made pretty great headway with a couple of the songs that are on the record, My Desire and Anywhere. There were enough good things happening in the room that we weren’t sitting thinking about ‘okay, what’s missing?’”

While Banks’ bass playing proved an asset in the songwriting process, a decision about who would perform bass duties on the album wasn’t made until just prior to entering the studio.

“We kept everything very open as far as whether Paul would play bass or whether we’d get someone to help us out,” Kessler says. “Then it was like, ‘We should just let Paul do it. He’s great, he wrote these parts’.

“We just crossed each chapter as we came to it,” he adds. “We were in the moment and nothing really required us to be out of that moment whenever we were together.”

Indeed, this points back to Interpol’s primary commitment to artistic expansion, unfettered by any extraneous details. El Pintor is out this week and Kessler doesn’t hesitate to describe it as a step forward.

“I’ve never been someone who cares about chops or how good you can do this. It’s really about what you say when you’re saying it.

That’s about it, really.

“It’s never showing how good you are, just to show how good you are. You see it by virtue of the ability to enhance the piece of music you’re working on. I see the progression there. I see us becoming a better band, truthfully.”

ALVVAYS For Always Alvvays have stormed into consciousness with a tidy first album and the finest indie pop single to hit the ears this year in the form of Marry Me, Archie. CHRIS HAVERCROFT speaks to the brains behind the outfit, Molly Rankin, about the cutest debut LP to be unleashed in some time.

It would appear that Molly Rankin was always destined to play music.

She had a fiddle in her hand at a young age and is the daughter of John Morris Rankin from Canada’s long-standing and award-winning Rankin Family Band.

What is more of a surprise is that she hasn’t followed into the folk footsteps of her renowned family.

“Folk was all that I knew because we didn’t have record stores or the internet at that time,” suggests Rankin of her formative musical years. “Those (folk albums) were the records I was familiar with and what we did on the weekends was go to Scottish square dances and step dance and play the fiddle. When we got Napster for the first time was when it sparked my interest in a world of music that I didn’t even know about until then. It was when I finished university that I started listening to things and realising what my influence was.”

The five members of Alvvays have known each other for quite some time, with Rankin growing up next door to Kerri MacLellan (keyboards) and the rest of the band members having met during their school years. The quintet share a strong connection as although they are now Toronto based, they all grew up in obscure islands in the maritime provinces. It was living in a remote area that Rankin insists forced her to play music instead of just hanging out in the mall for the whole weekend.

“I think that the sound of everything has changed a fair bit so it didn’t feel right to put it out under my own name. The boys are old friends from high school and they are from Prince Edward Island. Brian was the only one who had lived in Toronto because of the university there. Alex O’Hanley (guitar) and I started to write and record together and it was a revolving door of bandmates depending on who was available that weekend and eventually we had a solid combination of people who were happy to play music for longer than the holidays.”

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T h e s t r a n g e l y s p e l t A l v v ays we re originally known as Always until they realised at the 11th hour that another band already had taken that moniker. The polite Canadians didn’t want to step on any toes so they looked at other options for names. Rankin was still passionate about the word ‘always’ and didn’t war to call the band something inept like ‘Trees’. The quintet just brainstormed for a couple of hours and decided if they put the two v’s close enough together it would resemble a ‘w’.

“It never struck me that it would bug people as much as it does, and that people would pronounce it a different way” Rankin says. “That is kind of endearing. We did think we would continue to just go with Always as a band name, but the other band were signed to Sony so we were sure that was a fight that we wanted to risk entering as we are servers and nannies and waitresses with minimum wage jobs.”

While the self-titled debut has just hit the stores in earnest, it is an album that was kicking around in one form or another for some time. When the album was completed well over a year ago, Alvvays had no record label or agent and weren’t in a rush to release it. In order to play a festival in New Brunswick the band had

“Folk was all that I knew because we didn’t have record stores or the internet at that time. Those (folk albums) were the records I was familiar with and what we did on the weekends was go to Scottish square dances and step dance and play the fiddle. When we got Napster for the first time was when it sparked my interest in a world of music that I didn’t even know about until then. It was when I finished university that I started listening to things and realising what my influence was.”

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to have some tangible product. Alvvays thought that if they put the album out on cassette then the people who really wanted it would be able to get hold of it and it probably wouldn’t go online immediately.

“So, we put it out on cassette and then we had a slow build of people from word of mouth that came to our shows and then we eventually got to release it on CD,” Rankin explains. “It is a huge relief for me to finally have the record released because now I feel I can move on and do anything. For a while we weren’t really sure what would happen when it came out. We all have full-time jobs so any real spare time that we have needs to be used to practice and to get ready to go on tour. It can be hard to get everyone in the same place at the same time. I’m looking forward to moving forward now that the record is out.”

When all the members of Alvvays do go out on tour, Rankin has a different kind of challenge to deal with.

“I am prone to have respiratory craziness before we go on stage,” she says. “Phil (MacIsaac, drums) and I are just standing against a wall trying to breathe slowly and calmly. I get shallow breaths and start to panic and even forget what an A chord is sometimes.”

MUSIC

Patrick James Pic: Jarrad Seng

PATRICK JAMES Learning The Lines Touring in support of his second EP, Broken Lines, Patrick James performs this Saturday, September 6, at the Fly By Night. AUGUSTUS WELBY reports.

Keen followers of the Australian indie-folk scene have probably caught Patrick James live at some point in the last two years.

Over a busy 18-month period, the Sydney based singer-songwriter toured with the likes of Boy & Bear, The Paper Kites, Josh Pyke and Tim Hart.

Last month James released his second EP, Broken Lines. The five-track set follows on from last year’s relatively sparse debut, All About To Change. The majority of James’ recent touring has been conducted with a trio of backing musicians and the new EP shows he’s comfortably

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transitioned into playing with a full band.

“Touring with those guys so much definitely had an influence on the next batch of songs,” he says. “Onstage there’s more harmonies going on and a little bit more in-depth instrumentation to what my first EP portrays.

That opened up the writing for my second EP.” B ro k e n L i n e s w a s r e c o r d e d w i t h esteemed Australian producer Wayne Connolly.

Teaming up with the studio master further enabled James to expand the breadth of his compositions.

“I consciously wanted to make it a lot bigger,” he says. “So Wayne just gave me really good sonic ideas about how to put that all together. His way of working was to almost fiddle for a while; you get the beds of the tracks down and then you just fiddle with random instruments or synths or glockenspiels or something like that.

He’s definitely a very talented producer and had some great ideas.”

The resulting EP is replete with choral vocal harmonies, string arrangements and electric instrumentation. Thanks to Connolly’s crafty touch, the added instrumentation doesn’t obscure James’ intimate songwriting voice. While input was welcome from both Connolly and the band, James remained the commander-in-chief.

“It’s a really personal thing for me, writing my music and writing songs. It’s still pretty much a solo project. I’ll take the songs to those guys and I’ll have a basic idea of what I want them to do and they’ll go from there.

Wayne was really good with fleshing that out as well.”

As for specific songwriting instruction, he refers to some infallible sources of wisdom.

“Over the last six months I’ve had an imprint of James Taylor’s face in my mind, just being like, ‘What would he do in this situation?’

I think the main artist that I was listening to on the road, which influenced a few of the more acoustic-based songs, is Ryan Adams. There’s a song called Fight With Me, which is the only track on the EP that was consciously alternativecountry-sounding. I was just so in that headspace of listening to Ryan Adams, so that came out.”

Either way, Broken Lines is evidence that James’ artistry is developing. So what comes next?

“After this cycle I’ll think about an album,” he says. “I don’t know if the sound of the EP will be the exact sound I go with for the album to come, but for this EP that collection of songs just really stuck together.”

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PERFUME GENIUS Shining Bright With two successful albums to his name, MySpace sensation Mike Hadreas speaks with AARON BRYANS about his upcoming third album, Too Bright, and the struggles of being an openly gay musician.

Known as Perfume Genius, Mika Hadreas has made a name for himself through his lyrically moving and instrumentally engaging indie-pop, ensuring that all aspects of his recordings are influential and recorded within the proper environment.

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Now after two albums, Perfume Genius is set to return, taking a new turn in his career with Too Bright, an album recorded within the non-isolated environment of a studio with themes focussed on current issues rather than the past.

“The first couple of albums are about processing bad experiences that have already happened and trying to heal things that have already gone on,” Hadreas explains. “This album’s a lot more immediate and how I’m feeling now and how I want to feel going forward, it’s still very personal and I’m still very connected to it but in a different way.

“When I first went into the studio I was very worried I was going to lose the minimal, gentle qualities that I liked about the second album (Put Your Back N 2 It). I was very paranoid about not putting too many things on there or over-think anything and this album is a lot different I almost wanted to pile everything on and then twiddle it down. There are even instruments in it like sax freak-outs and a bunch of stuff that didn’t make it on the album but there are still a lot more elements going on. And also I found out a lot more about the music I was very much focused on the message and lyrical content of the first two but this one I was equally invested about how it was going to sound.”

Hadreas has had his fair share of unpleasant experiences as a result of being openly gay, including the removal of his promotional video for Put Your Back N 2 It from YouTube after footage of himself and pornographic actor, Arpad Miklos, embracing in underwear was deemed unsafe for viewing.

“It definitely helped more people listen to it and watch the video, it was weirdly helpful, the label was really stoked about it,” Hadreas laughs. “I’ve gotten shit my whole life for being gay so it wasn’t that surprising to me for something that I thought was really innocent and cutesy, they thought was offensive. To me it was ridiculous but there was a tiny uproar that happened from it and people wrote some really supportive and helpful things so I took that away from it more then the death threats because those are usually written very poorly and not very thoughtfully.”

Hadras’ experiences have resulted in the artist turning to music for emotional expression and therapy, and whilst he feels his public acceptance is improving, there will always be a fear of being put down.

“I have my guard up a lot, things have gotten better but I still carry myself like I’m going to get shit on the street. Nine times out of 10 they don’t, but the one time that they do that’s what you remember and that’s why you think you need to be so defensive and it can lead you to feel like a victim. A lot of this music is me trying to get over that and be more defiant and empowered instead of feeling self-conscious.”

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ACCEPT Golden Years Wolf Hoffman, guitarist with German heavy metal legends Accept, tells SHANE PINNEGAR that he’s over the moon with the response to their new album, Blind Rage.

Blind Rage is Accept’s third album since reforming in 2009 with new vocalist, Mark Tornillo.

It deserves praise, too, being every bit as good as their classic ‘80s albums which proved to be the forerunners to speed metal.

“Wow, man,” Hoffman exclaims down the phone line from his home in Nashville, USA, “a lot of fans are telling me nowadays that this new era of Accept is beginning to overtake the old, and they think it’s even better than the past now. How good is that?”

The perfectionist guitarist has every reason to feel excited and proud. Previous Tornillo-era albums, Blood Of The Nations and Stalingrad have been great, but Blind Rage sees the band going full circle back to their classic roots: a place where powerful rhythms, razor-wire riffs, classical-influenced solos, anthemic melodies and chanted choruses meet in a perfect storm.

The band are, in no uncertain terms, revitalised and sounding at their best.

“Yeah, I think it sounds that way because we are pretty revitalised,” he says emphatically, his accent somewhere midway between Germany and America’s Midwest, “and we feel like, totally energetic, and it feels like we’re having the best time ever. I think that’s

happening - that’s what you can hear on these albums, because we feel... we know what we’re doing, where we belong, what fans want to hear... and it feels like we’re having, I don’t know, a golden era of success right now.”

From almost being a footnote in metal history 15-20 years ago, Accept are now travelling the world, playing in places they’ve never even visited before (including the East coast of Australia in November – of the short tour, Hoffman says, “Well at least it’s a step in the right direction... we’re sticking our toes in the water, here, you know? We can’t take a full bath yet. We’re not quite ready for that.”)

The best part of their resurgence though, is that there’s no resting on past glories: the three Tornilloled albums really are as good as the old, yet Hoffman admits it’s not as simple as it might sound.

“Yeah, I know. That sounds like it might be... it sounds like it should be real easy, but it actually isn’t, you know? I think we were able to do it now, because we’re totally secure in what we’re doing, and we have the guy on vocals who can deliver it. So Peter (Baltes, bassist and along with Hoffman, the only constant member of Accept throughout all their incarnations) and I can write all the songs we want... and we can rest assured that Mark can really deliver them.

“All the groundwork is laid,” he continues after a short pause, “and we can just go to town and do whatever we want, which is awesome to me, you know?

We can sit there and come up with any melody lines that we want to, and he’s gonna make them come across which wasn’t always the case in the past. Sometimes in the past, we had to lean this-a-way and that-a-way because we knew it wasn’t going to work, but now we can sit there and then write songs all day long, and we know Mark can do it.”

CANNIBAL CORPSE C&C Violence Factory American death metal titans Cannibal Corpse must love Australia, with fans down under pegged to be the first in the world to hear tracks from their upcoming album, A Skeletal Domain, live. Guitarist Rob Barrett talks to JESSICA WILLOUGHBY ahead of their show on Tuesday, September 9, at Capitol.

Violence, in every sense of the word, has always served as a source of inspiration for longstanding death metal outfit Cannibal Corpse.

The most disturbing and depraved act offers the richest fodder for this five-piece to pen a lyric - with many of their most memorable tracks such as Pit Of Zombies (2002) and Meat Hook Sodomy (1991) taking colourful and fantastical twists.

Now, after 26 years of blood-drenched illusion, the band is turning to real life horrors to fuel their desire for gore. “We’re always basing things around violence pretty much,” guitarist Rob Barrett laughs. “But this time we tapped into real, non-fictional topics and made them our own.

“I actually read a story about this crazy doctor a long time ago that was doing lobotomy’s on people with ice picks. That’s where the song, Ice Pick Lobotomy, came from. That’s based on a real story, but I turned it into my own thing and put my own spin on it. Alex’s been diving into sociopath kind of stuff. People that aren’t right in the head and doing violent things.

This sort-of real life approach is the path we chose for our upcoming album.”

The album Barrett is referring to is Cannibal Corpse’s 13th album, A Skeletal Domain. Recorded in February at Audio Hammer Studios in Florida, this release sees lead guitarist Patrick O’Brien stepping into the spotlight and writing a majority of the material.

“He was just really on fire,” Barrett explains.

“He just kept coming up with all these great ideas. He was getting together with Paul (Mazurkiewicz, drums) at the practice room and putting together songs before we could really have our next song prepared. He just 12

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really had it flowing. This album is Pat’s shining moment, I guess you could say. He did some really kick-arse solos throughout the album as well. I guess it all depends on how much your creative process is flowing at the time.”

This offering also signals a change in the production department with the band stepping away from Erik Rutan, who has worked on Cannibal Corpse’s last three releases, instead opting to go with Mark Lewis – whose touch can be felt on recent Death Angel, Chimaira and Trivium LPs. “He’s done a lot of great work, especially the DevilDriver stuff and Black Dahlia Murder and Deicide,” Barrett says. “He’s just done a lot of really good stuff. It seems like through the history of Cannibal recordings, every three or four albums we’ll switch to a different producer just to mix things up. It was a cool experience. He’s really fast working and the quality of the production is awesome – we’re all happy with it.”

One thing Australian fans can certainly be happy about is they will be the first in the world to hear A Skeletal Domain live, with next week’s national tour kicking off just in time for the album’s release. This means Perth diehards will be experiencing the bulk of the LP in the flesh on September 9.

“There’s been some talk of maybe doing half of the new album on this tour,” Barrett says. “I know when we released Torture (2012), at one point we were doing six songs from that live. We definitely want to promote the new material hard. It’s somewhat difficult to satisfy everybody set-wise because we have so many songs now and so many albums. We’re just going to try and at least do one song from every album and as many of the new songs as we can.”

NEW NOISE

For more album reviews head to xpressmag.com.au

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LOOSE PILLS

ONE DAY

Rx Off The Hip

Mainline Sony

Loose Pills may be a relatively new name around Sydney, but the members of the guitar touting four-piece have played in more bands and jammed in more garages than it would be prudent to mention. One listen to their debut and there is no mistake that these chaps have chops that have been perfected by being around the block a few times.

The Mess For Me wastes no time in signalling that crunchy guitars and tight harmonies are the band’s sweet spot. Ryan Ellsmore has one of those pop voices that would have been at home fronting any of the most popular skinny-tied outfits from radio’s heyday. Whether giving a feverish melody from behind muscled up guitars or the more knee-trembling effort on the jangle of I Don’t Want It, Loose Pills are in safe hands.

Matt Galvin is the masterful hands behind many a splendid riff and freaked up solo and still finds the space to give his growl over to the garage laced She’s Melting which is a chugging highlight. Bill Gibson offers the sugar-lipped backing that was delicately honed well before his time on tour with Evan Dando, but Loose Pills are greater than its individual parts. Get Drunk, Play Records brings back memories of a more simple life and should be a mantra embraced by life coaches worldwide.

Loose Pills may not be the most fresh-faced chaps to make a debut but there is more than enough energy and brashness on Rx that it’s hard not to lose yourself in its poptastic charms.

Mainline is the train line running between Central Station and Strathfield on Sydney’s Inner West Line and the name of One Day’s debut album. It shines though that these seven creative men - from Horrorshow, Spit Syndicate, Jackie Onassis and Joyride - have all put their hearts into this record making every song unique and different in style. What brings the songs together is the American rap sound the songs have, this is not another easier-listening Australian rap record. It is hard bass with playful tones jumping on top.

A song that really stands out is Love Me Less - ‘I cheat on every woman I’ve ever been with, do you love me less?’ at the very least it’s poetic and honest. Mainland has a range of different sounds from straight forward rap to Jamaican rhythms and vocals in S.D.R.O to the ballad, Leave Your Windows Open.

Mainline is an open and honest album filled with emotions and genuine rap energy, bringing personal stories and things back to down to earth.

IDA C JOHANNESSEN

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CHRIS HAVERCROFT

2.5 OUT OF 5

TIMOTHY NELSON & THE INFIDELS Terror Terror, Hide It Hide It Independent

VARIOUS ARTISTS Beck Song Reader Warby Parke /EMI Beck’s Song Reader is a gimmick project that grows less and less interesting with every new purchasable product it stems, the latest of which is this misguided collection of pseudo-covers.

It’s hard to say who the album is aimed at.

It’s certainly not for Beck fans, who would presumably want a little more eclecticism and are yet to hear the original versions of these songs (although Beck does supply the Sea Change-esque Heaven’s Ladder). It’s that missing eclecticism which makes the collection a disappointment.

The first 10 tracks here are cut from the same cloth, boiling down Beck and his songs to their purest form – laidback country. It’s the result of having either too much reverence for the source material or not enough original thought to make the songs shine. For the second half the source material is used more like a jumping off point, with artists performing closer to their usual style.

The results are as eclectic as Beck’s halcyon days. Jarvis Cocker provides melodrama, Jason Isbell provides ragged Southern rock, and somehow Jack Black pulls off the album highlight in sea shanty, We All Wear Cloaks.

So if you’re a fan of any of the artists in the second half, this might be worthwhile. Otherwise, wait for the inevitable Song Reader album proper.

Timothy Nelson first made his mark as a tongue-incheek solo performer with a folk bent. Over the years his sound with his band, The Infidels, has evolved as much as his finer afro. Their album launch for Terror Terror, Hide It Hide It was bursting at the seams which was a sign that these tunes were already well loved before making their way onto record.

Nelson’s sophomore album is a grand work that draws on the grandiose AM radio pop and the class of Stax records. Soldier has sweeping strings and white boy soul out the ying yang as Nelson shows off his falsetto. Nelson knows when to shake it and also when to rein in his enthusiasm. Do You Need It? is one of these more refined moments that is more ache than desperate plea.

A man who knows a considerable amount about getting songs played on the radio, Joel Quartermain, has laid hands on these tracks having sat in the producer’s chair for the duration of the sessions. It has certainly been a labour of love for Timothy Nelson & The Infidels as they have thrown everything including the kitchen sink at these welllayered tunes.

Terror Terror, Hide It Hide It is an ambitious effort from one of Perth’s quiet achievers. This time around Timothy Nelson & The Infidels have the tunes to match their aspirations.

CHRIS HAVERCROFT

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LEONARDO SILVESTRINI

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THE LOVE JUNKIES Blowing On The Devil’s Strumpet Butsikastic/MGM

THE ICYPOLES My World Was Made For You The Lost And Lonesome Records Co Melbourne-based group The Icypoles’ debut album, My World Was Made For You, gives you a girly, soft and dreamy world wrapped in ‘60s pop harmonies where the bass drives the melody. The Icypoles’ sound is innocent and somewhat wistful.

Their innocent vocals work best in songs such as Gotta Stop It where the surf-harmonies blend well with a semi-harsh message: ‘Stop wasting time in love with boys with girlfriends/You gotta find the love that has no loose ends/You gotta stop and let him go, gotta find another man’. On the contrary, songs such as Round ‘n’ Round, where the vocals are mixed with lyrics such as, ‘My legs they make the wheels go round the wheels go round, the wheels go round’, indicate when it doesn’t work. On songs like Don’t Fall in Love With Me the girls sing together giving it an extra layer, which works well with the Lykke Li sounding drums.

The running theme of the album is boys can’t live without them, can’t settle down with them just yet. This album is mellow and low key, perfect for a rainy day.

IDA C JOHANNESSEN

Arguably not since The Vasco Era disappeared has there been a band in contemporary Australian rock that has sounded so genuinely dangerous and on the verge of completely losing it the way The Love Junkies do.

It’s their howling, punk-tinged brand of garage rock that has allowed them to move from support slots as diverse as You Am I, Calling All Cars and La Dispute this year alone with the utmost of ease.

While it’s difficult for bands in this vein to capture the lightning in a bottle that comes with their live performances, they have come quite close on their second studio album. There’s a progression and a maturity within the songwriting, but it’s quickly ensured that this is not a trade-off for intensity and energy – look no further than rip-snorters like opener, Mausoleum, and the sub-minute scorcher, When I’m Lookin’ In The Mirror. Even the slower moments on offer add a darker layer to the proceedings, providing a striking contrast, as opposed to a screeching halt to the momentum.

If you’re not on board with The Love Junkies by now, Blowing On The Devil’s Strumpet is your chance to rectify this situation.

DAVID JAMES YOUNG WWW. XP RE SS MAG.COM. AU

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With the vampire mockumentary What We Do In The Shadows hitting cinemas this week, we sat down and had a chat with one of the vampiric housemates. Best known as one half of the music comedy duo Flight Of The Conchords, actor Jemaine Clement gets his chance to be a suave, seductive, and dangerous creature of the night in the role of Vladislav The Poker, as well as the more mundane work of writing, directing and producing his first movie (alongside co-star and long time friend, Taika Waititi).

What We Do In The Shadows has been a long time in coming. It initially grew out of Clement’s fascination with the vampire genre at an early age, when he and his friends “...used to ride around on bikes with plastic teeth speaking in Transylvanian accents.” His love of such classic vampire films as The Lost Boys, Salem’s Lot, Interview With The Vampire, Dracula and Nosferatu (all of which are referenced in the movie) grew into an idea, and finally into film. “I wanted to do something looking at the perspective of someone living through hundreds of years. So it’s a bit like Highlander in that regard, too.” Eventually this idea coalesced into the current form, when co-writer (and director) Waititi suggested the mockumentary format. Eight years and one short film (as a proof of concept) later, the idea finally has finally made it to the big screen.

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Shooting over the course of five weeks, w Clement and Waititi allowed the actors to improvise scenes, to keep a spontaneous feel to the piece. “We had a script,” said Clement, “We just many of the scenes didn’t allow the actors to see it. The hardest thing was editing down the 150 hours of footage to movie length.”

Oddly enough, the strangest thing to happen during filming didn’t even make it into the final cut. In a sequence in which the housemates are saying farewell to a fallen friend, the prop of his burnt copse went missing. “It was dark and we were all improvising a vampire funeral, and the body floated out to sea. The next day someone had to put out a statement explaining if someone did find a pile of charred bones washed up, that they shouldn’t be too worried. It still hasn’t been found yet - but when it is, we’d like it back.”

Vampires are far from the only dangerous, suave and overly theatrical role Clement has had this year, as he once again stole the show reprising the voice of the villainous cockatoo in Rio 2. “If you have any kids around, that’s how they know me. Kids three to six will know me as Nigel.” As for the camp roles?

“I’m not sure if I am offered those roles, or tend to push it in that direction with my over-acting.” he jokes.

DAVID O’CONNELL

Get down to Luna Leederville this Friday, September 5, for a special screening of What We Do In The Shadows and a Q & A with co-star and co-director, Taika Waititi. For tickets, head to lunapalace.com.au.

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GOING THE DISTANCE

WHAT WE DO IN THE SHADOWS

HALF PRICE HILARITY

Written by acclaimed playwright and filmmaker Neil Labute (In The Company Of Men, Your Friends And Neighbours), The Distance From Here charts the destructive course taken by two aimless teenagers, Darrell and Tim, against the banal backdrop of suburban America. Presented by Irish outfit endless Theatre Company, it runs at the State Theatre Centre from September 8 - 13. Go to endlesstheatrecompany.com for further information.

Spring has sprung and to celebrate, The Laugh Resort is half price for tonight, Wednesday, September 3, only. Get down to Rosie O’Grady’s in Northbridge from 8pm to catch MC Jeff Hewitt and headliner Famous Sharon, plus Rory Lowe, Ayden Doherty, Sarah Young and whoever’s brave enough to tackle the open mic slot! Tickets on the door or via trybooking.com.

The Distance From Here

Famous Sharon, headlining at The Laugh Resort

HEED THE CALL

TAP INTO TRANSMEDIA

What Do They Call Me? is a searing piece of Indigenous theatre that tackles race, culture and sexuality head on. Although originally conceived as a one-woman piece by writer and original performer Eva Johnson, this new production from TEEM Productions and director Eva Mullaley sees the material interpreted by three actors: Ebony McGuire, Amy Smith and Alyssa Thompson. The season runs at The Blue Room Theatre from September 9 - 27. Go to blueroom.org. au for session times and tickets.

Over the course of a long and storied career, Jeff Gomez has worked with every one from Coca-Cola to the Colombian government and has become recognised as one of the world’s foremost transmedia producers. He’s now coming to impart the knowledge he’s gained in the fields of storytelling, branding, marketing, and more in a one day Transmedia Storytelling Masterclass. Perth peeps can catch Gomez at one40william on Monday, October 6. To book tickets, go to xmedialab.com

INDIE GAMES GURU COMES TO PERTH

REGIME CALLS FOR SUBMISSIONS

Travis Plane, director of games marketing agency Surprise Attack, is coming to teach local games developers how to crack the video game market and transform hobby operations into sustainable, secure businesses. Pane’s two hour Indie Game Marketing Masterclass takes place at FTI in the State Library of WA next Saturday, September 12. Head to fti.asn.au for more info.

Regime 05 is The Poetry Issue! The next edition of Perth’s best literary magazine, due out “sometime towards the end of the year,” will be edited in whole by noted poet Andrew Burke. Right now they’re looking for submissions, so if you think you have words worth hearing, shoot over to regimebooks. com.au. The deadline, much like the publication date, is a bit up in the air at the moment.

Interview With The Vampires Directed by Jemaine Clement and Taika Waititi Starring Taika Waititi, Jermaine Clement, Jonathan Brugh, Cori Gonzalez-Macuer, Stuart Rutherford A film crew documents the lives of four vampires who share a house in modern day Wellington, New Zealand in this riotous horror-comedy. Medieval tyrant Vladislav (Jemaine Clement), dandy Viago (Taika Waititi), “bad boy” Deacon (Jonathan Brugh) and the Nosferatu-like Petyr (Ben Fransham) all have their problems dealing with the modern world, but with any luck the addition of newly-undead Nick (Cori Gonzalez-Macuer) to their coven will hopefully help them with pressing issues as esoteric as not being able to enter nightclubs without being invited and as prosaic as keeping on top of the cleaning roster.

Horror spoofs are hard to pull off if you don’t know what you’re talking about - reflect on the atrociously bad Vampires Suck of a few years ago and shudder. Happily, with What We Do In The Shadows writer/directors Waititi and Clement demonstrate a fan’s love of the genre. It’s all in the details: the different vampire archetypes exemplified by the characters, the nods to obscure undead lore, the Hammer Horror-inspired design choices. Rather than take the easy route of slinging stones at Twilight, the filmmakers have pulled out some deep cuts.

Don’t think that makes the film inaccessible, though; above all else, ...In The Shadows is just flatout hilarious. The contrast between the fantastical

and the mundane is played up for full effect, and the cast are all committed to the premise well beyond the point of (intentional) ridiculousness. And while much of the dialogue is improvised, so much of it is eminently quotable; like the Monty Python movies, The Blues Brothers and Withnail And I before it, this is a film we’re going to be hearing lines from forever.

“Werewolves, not swearwolves.” is already out there.

For all that, at its core the film is warm and humane - or, at least, as humane as a film about a group of largely unrepentant killers can be. Whether it’s Viago’s Highlander-esque pining for a lost - and now aged - love or the groups hapless attempts at simply coping with contemporary unlife, there’s a kind of wistfulness in the mix that edges up to outright sadness. While it never overwhelms the comedy, the undercurrent is always present, adding some welcome depth to the proceedings.

There’s a world of difference between films that are trying to be cult classics and films that just are cult classics - for one thing, the former generally fall short of the mark. What We Do In The Shadows not only hits the mark, it drives a stake right through it. Smart, funny, geeky and insightful, it’s the sort of film whose success will be measured not by immediate box office takings but by the devoted audience it will cultivate for years. Much like it’s protagonists, it is immortal.

TRAVIS JOHNSON

FILM

The Reckoning

JOHN V. SOTO The Reckoning For his third feature film, Perth filmmaker John V. Soto eschewed the supernatural stylings of his earlier works to tackle a more straightforward crime thriller. On the eve of The Reckoning’s wide release, he tells us why.

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The state of the Western Australian film industry is a topic of constant and often furious debate, but while questions of government funding, talent drain and the viability of Australian screen product get kicked back on forth by the usual pundits, John V. Soto keeps chugging along, steadily and successfully making movies. Since 2009 he’s made three full-length films, with the latest, The Reckoning, hitting our screens this week.

Starring Jonathan LaPaglia and Luke Hemsworth, the film sees the former’s tough cop trying to track down two teenage runaways (Alex Williams and Hannah Mangan Lawrence) who may have filmed evidence that will lead him to his partner’s killer. It marks a step toward the mainstream from his previous works, Crush and Needle.

“Both Crush and Needle, whilst horror films, they were thrillers as well.” Soto tells us. “I guess I’ve kind of focussed in and narrowed down on an area that I really like in film, which is creating a thriller that keeps the audience on the edge of your seat. Also, I’ve gone towards a crime thriller for The Reckoning.

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With Crush and Needle there’s a supernatural element, which means you have to suspend disbelief. When you do a supernatural film or a horror film, you have to suspend a lot of disbelief. For The Reckoning I wanted to not have to worry about that - just, essentially, to focus on a crime thriller and see if I could twist it and turn it to keep the audience engaged.”

While Soto had wanted to do a crime thriller for some time, the idea was finally crystallised by a chance early morning encounter. “I wanted to write a straight thriller which is just a detective investigating and murder and gathering evidence to track down a killer. That was the basic idea and then one morning I was walking along Roe Highway at dawn, it was maybe 5.30 in the morning, and I noticed there were these two teenagers standing by the side of the road, both with backpacks. It was freezing cold and I wondered who they were waiting for and why this time. And an hour later I realised they were the two the detective were looking for. Then I thought, what if we told the story from their point of view?

What if they were making a documentary of their road trip and they had some evidence that they’ve captured on their camera?”

Like all of his previous works, The Reckoning was shot in WA, which presents a number of challenges for filmmakers. “Well, we don’t have a studio in Perth. That’s the big one. So what it forces us to do is work on location more and, in fact, The Reckoning does not have a single set. The entire film was shot on location. The difference between a set and a location is that when you’re on location you’re in a real house with real floorboards, real doors -its not all fake. It aids the actors, it’s easier for them to get in the role. I think it actually adds a dose of realism.”

TRAVIS JOHNSON

FILM

THE RECKONING On A Pale Horse Directed by John V Soto Starring Jonathan LaPaglia, Luke Hemsworth, Hanna Mangan-Lawrence While investigating the murder of his colleague and former friend, Detective Robbie Green (Jonathan LaPaglia) discovers an SD card containing the testament of two teenage runaways. As Detective Green investigates the murder, the footage of the two teens shows an attempt to uncover the killer of one of their sisters, who died in a drug related accident. Soon the two stories intertwine and Green finds himself in danger of losing his family, his career and maybe even his life.

An ambitious thriller that certainly looks the business, The Reckoning has all the styling and bluster of an American police drama. It manages to turn the streets of Perth into a dark and crime-ridden landscape that could easily substitute for Miami or LA, or anywhere else you would like to stick a CSI or NCIS in front of.

However, that seems to be the extent of its ambition, as the film collapses under the weight of its own logical inconsistencies, clichéd dialogue, plodding pacing and paper thin characterisations.

Ultimately The Reckoning gives us a procedural with no understanding of procedure, a mystery with little to solve, and a thriller that is short on excitement. The first half of the movie is full of

Damon Lockwood - Photo by Dan Grant

LAUGHTER ON THE 23RD FLOOR Damon Lockwood Based on acclaimed playwright Neil Simon’s experiences while writing for Sid Caesar’s Your Show Of Shows, Laughter On The 23rd Floor takes us behind the scenes of golden age TV comedy in the era of McCarthyism. Actor Damon Lockwood gives us some insights.

clumsy exposition as the police follow the breadcrumb trail left on the SD card. As such we see many locations twice, increasing the sense of deja vu, while not showing us much new or interesting. When the truth of the mysterious code “13:4” (muttered by the teenage Rachel) is revealed, the audience is given a brief flash of excitement as the breadth of the runaways’ plan is demonstrated, before The Reckoning settles in for its all too predictable conclusion.

LaPaglia’s character is a typical cop in trouble archetype; a marriage on the rocks, a partner who he has had an affair with, an out of control drinking habit, and a dark secret in the past. For all the plot points draped on the character, none are a surprise, and few get resolved or have much pay off. At his best he is serviceable in the role, at worst his tired hangdog expression makes him look less world weary and more like he wishes to be elsewhere. Indeed, most of the cast look like they are going through the motions here, with the exception of some of the younger members. Hanna Mangan-Lawrence puts in an admirable performance as Rachel, the bible-bashing cancer patient out for revenge.

She manages to pitch the performance with an intensity that is truly terrifying, counterbalancing a few quiet moments where she contemplates her own mortality.

It is actually moving, giving the promise of better roles to come.

The Reckoning may look good given its tiny budget, but it is pedestrian and predictable. A brief look at any crime time TV line up would find a similar, less error ridden and (maybe) more believable production.

DAVID O’CONNELL

Everyone knows Neil Simon. He’s one of the most reverted American playwrights of the 20th century, having penned countless classics of the stage, including The Odd Couple, The Sunshine Boys and Brighton Beach Memoirs. Laughter On The 23rd Floor might be just as good, but its not one of his better known works. Indeed, actor Damon Lockwood was unfamiliar with it before joining the ensemble of the current production by Black Swan State Theatre Company.

“Not this play,” he says. “I didn’t know too much about this play. I knew a couple of his other plays quite well, but not this one, so it was a good result. I was very aware of Simon’s canon of work and what he’s done for the field and always been a bit of a fan, absolutely. In terms of his respecting the audience, that’s what I’ve always liked about his work. He understands what it is to have a very large room full of people paying a lot of money to enjoy themselves. He’s always been very skilled at that kind of theatrical writing, I think.”

Lockwood was drawn by what he calls “the quick turn of phrase,” which he ascribes to both Simon’s skill as a writer and the play’s setting.

Laughter takes place in the writing room of a variety show starring the fictional Max Prince (Peter Rowsthorn) and many of the characters are based on the comedy legends that Simon worked with on Your Show Of Shows in the early ‘50s, including Sid Caesar and Carl Reiner. “The narrator in the play was based loosely on himself,” Lockwood explains. “So for him to be around some the comedy writers he was around - I mean, just through osmosis, you know what I mean?

If you’re gonna have that level of intelligence and that level of humility, it’s gonna impact your work somehow.”

Lockwood’s character, Ira Stone, is in fact based on the great Mel Brooks, although he avows that knowing that did not influence his performance.

“You can’t... I’m, certainly not gonna try and be Mel Brooks, you know what I mean? Just no. It’d leave everyone short-changed. I just have to bring my own interpretation and let (director) Kate Cherry kind of guide it in the direction that she wants. It’s great - it’s a great opportunity, but I don’t think anyone’s coming to see Mel Brooks on stage.”

Refreshingly, when pressed for the most challenging element of the play thus far, Lockwood reveals that it’s all been smooth sailing. “To be completely transparent with you, there hasn’t been a problem yet. I really like it because it’s a large cast and theatre’s the ultimate collaborative artistic pursuit and we all have to look after each other and pay respect to the ensemble nature of the piece. It’s just been a joy, to tell you the truth.”

TRAVIS JOHNSON

Laughter On The 23rd Floor runs at the State Theatre Centre from September 6 - 21. For tickets and session times, go to bsstc.com.au.

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A R T S & C U LT U R E

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FAS H I O N

Letters Home: The Blue Room Theatre Joe Lui’s autobiographical show centres on his decision to flee his native Singapore to avoid compulsory military service and how that decision has affected his relationship with his parents, his culture and himself. It runs from September 16 - October 4. Go to blueroom.org. au for more.

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

King Hit: State Theatre Centre Yirra Yaakin’s production of Geoffrey Narkle and David Milroy’s play, based on the life of the former, dramatises the plight of the Stolen Generation via the lens of boxing. It runs from September 18 - October 4. Head to yirrayaakin. con.au for more info.

Falling Through Clouds: PICA Performance Space The latest production from The Last Great Hunt is a sumptuous visual feast that details the relationship between a captive crane - the last of his kind - and the scientist studying him. Incorporating puppetry, animation, live performance plus a soundtrack from Ashley Gibson Grieg, it runs from September 22 - October 11. Go to pica.org.au for session times and tickets.

EAT AT: PAPPARICH NORTHBRIDGE

FESTIVALS

The Malaysian cuisine franchise is now in the ‘Bridge, serving up sexy satay to hungry punters.

AICE Israeli Film Festival Until September 7, catch the best of modern Israeli filmmaking at Cinema Paradiso. From the opening night film, Self Made, to the closing night documentary feature, The Green Prince, there’s something to please all tastes. Go to lunapalace.com.au

PapaRich

Falling Through Clouds - Photo by Jamie Breen

VISUAL ARTS Boundaries Of Beige: Fremantle Arts Centre Marzena Topka uses textiles such as office clothing and string in striking ways to investigate how organisational structures interact with our daily lives. It runs until September 20. Go to fac. org.au for more.

DRINK AT: THE MEATBALL BAR A wine bar with a meatball-centric menu, this new addition to Newcastle Street edges out IKEA by dint of possessing a liquor license.

The Meatball Bar

Afghanistan - Hidden Treasures From The National Museum Kabul: The Western Australian Museum Once thought lost or destroyed under the Taliban regime, these 230+ pieces illustrate the complexity and variety of Afghani history. The exhibition runs until November 16 - go to museum.wa.gov.au for further information.

Richard Avedon People: The Art Gallery Of Western Australia This collection of images by the famed photographer Richard Avedon spans his career from 1949 to 2002 and includes portraits of such notable figures as Truman Capote, Elizabeth Taylor, Twiggy, Malcolm X and Bob Dylan. It runs until November 17. Go to artgallery.wa.gov.au for more information.

Adjustment: Emerge Art Space Felicity Sivewright’s new exhibition explores the changing face of WA in the name of “progress.” It runs until September 20. emerge-art.com.au has more details.

Le Vol: Turner Galleries Melbourne artist Valerie Sparks creates large-scale works in the style of 19th century French scenic wallpapers, conflating multiple perspectives and locations into one landscape. The exhibition runs until September 27. Go to turnergalleries.com.au for more.

SHOP AT: YOLOMEN Stylish or garish? That’s in the eye of the beholder.

One thing’s for sure, the range of jackets offered at yolomen.com certainly make an impression.

Fremantle Arts Centre Student Exhibition: Fremantle Arts Centre This huge showcase of work produced by students who have undertaken various creative courses at the FAC runs from September 6 - 21. Go to fac.org. au for details.

THEATRE/DANCE/ PERFORMANCE This Is Not A Love Song: The Blue Room Theatre Written by top notch Australian comic Greg Fleet and directed by Tegan Mulvaney and presented with a live soundtrack by Michael de Grussa, this new play takes a critical look at love and all the terrible pain it brings. It runs until September 6. Go to blueroom. org.au for more.

Le Noir: Crown Theatre Perth Billed as “the dark side of cirque,” Le Noir features 20 world class circus performers, many of them Cirque Du Soleil veterans, in a surreal and seductive 360 degree spectacular presented in the round. It runs until September 7. Book through Ticketek.

The Glass Menagerie: The Old Mill Theatre Directed by Susie Conte, this production of Tennessee Williams’ meditation on family and fate runs from September 6 - 20. For tickets and session times, go to oldmilltheatre.com.au.

Beer Drinking Woman: His Majesty’s Theatre Accompanied by pianist Leonie Wilson, Christa Hughes presents a paean to dipsomania as part of the Downstairs At The Maj season. It runs from September 11 - 13. Book via Ticketek.

The Brain From Planet X: Phoenix Theatre Dark Psychic Productions present an off-the-wall musical spoof of 1950s alien horror movies, written

by Dabid Wechter and Bruce Kimmel and directed

by Ryan S. McNally. It runs from September 11 - 27.

Book through TAZTix.com.au.

Spike Heels: Melville Theatre A contemporary comedy of manners that delves into the mix-ups and misunderstandings inherent in a four-sided love triangle (quadrilateral?).

Written by Theresa Rebeck and directed by Trevor Dhu, it runs from September 12 - 27. Hit up meltheo.com.au for tickets and session times.

Yolomen

MAN UP, WEAR MANOLOS GO TO: BEAUFORT STREET ART MARKET On Sunday, September 7, the Barlee Street car park comes alive with market stalls, live art, and public hanging spaces. Get down early, grab some breakfast on the strip and soak up some local culture.

Beaufort Street Art Market 18

I’m furious about the fact that heterosexual men don’t wear high heels.

This is partially because I hate suffering alone and would love to spread some of the misery that is a full blown arch spasm in six inch peep toes, but it’s mostly because it’s completely hypocritical.

ANNA SAXON reports.

Little Big Shots Film Festival For Kids Coming to the Fremantle Arts Centre inner courtyard from October 7 - 9 is this family friendly showcase of short cinema, which features sessions suitable for everyone from toddlers to teens (two years to 15, to be precise). Go to fac. org.au for tickets and session times.

As early as the 17th century, high heels were being worn by men in Persia as effective horse-riding footwear. When a soldier stood up in his stirrups, the heel helped him to secure his stance so that he could shoot his bow and arrow more effectively. A wave of interest in all things Persian passed through Western Europe and Persian style shoes were enthusiastically adopted by aristocrats, who sought to give their appearance a virile, masculine edge that, it suddenly seemed, only heeled shoes could supply. As the wearing of heels filtered into the lower ranks of society, the aristocracy responded by dramatically increasing the height of their shoes, and the true high heel was born.

The real question is why heels never came

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The Collector’s Gift, screening at Little Big Shots Film Festival For Kids

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

back into fashion for men - after all, if the ‘90s can, anything is possible. But the absence of heels in the modern male wardrobe can be laid squarely at the feet of institutionalised homophobia. Essentially, heels for men were never revived because by the early 20th century, sexually provocative attire for men had come to be associated with homosexuality. The resulting moral panic ushered in an era of drab, blocky, fully concealing menswear in which a well-turned calf simply had no place - a setback from which men’s fashion has yet to fully recover. The reason straight boys dress so horribly is because they’re not over a 100 year old gay panic.

We did get them back for a brief shining moment in the glam-rock glory of the 7’0s - when platform shoes full of goldfish were de rigueur for a night out at the disco, and David Bowie (the epitome of the modern dandy) was seducing men and women alike with his incredibly shapely legs. A select few subcultures have figured out the secret of the modern heel since then - goths, for example, some ‘90s ravers, old-fashioned butchers. You don’t need to be a diva to rock a pair of heels. You don’t need to be sexually attracted to footwear to pop on some hooker boots.

Admit that slight elevation in your shoes makes your legs and bum look great and go pick up chicks in some stilettos! Bring back mens heels! Bring back mens tights! Let’s make masculinity dandy again. If Robert Downey Jr can do it, you can too.

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NEWS

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INTERVIEWS

Fresh from the icy, vodka-drenched wastes of Mother Russia, playing at the Midsummer Night’s Dream music festival, back to our own sea-girt land for his first national tour, supporting his latest EP, Placebo.

Flex Cop, aka Patrick Arnold, has just come back from a three-hour drive through rural Queensland to attend a wedding. Finally back in reception, he chats to SHAUN COWE about the trip and what it’s taught him about his different roles as a DJ/producer.

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“I wrote the Orange Mecanique album together with [Tunisian-based producer] Haze-M. He wrote four tracks and I wrote four tracks and we released them together on this album. Basically, his management got hit up by these people from Lithuania who organise the festival in Russia and they’ve gone: ‘Hey, we’re listening to this album and this is our favourite album. We want them to play at the festival this year.’”

To begin with, Arnold was worried that living in Australia would be a deal-breaker for the organisers, because of the cost involved with sending him halfway across the world. However, once the details were ironed out, Arnold found himself at the festival being asked to do a live set – something he’d never done before.

“I’ve been really keen to do a live set for a long time, so I said, ‘Cool, I’m happy to debut a live set.’ It was a really cool jam-style live set, which is pretty tough to pull off for electronic music, but I think it all worked out really well.

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LIVE

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VENUES

“It’s kind of hard to be a single producer and do a very involving live set, because I think there’s always a trade-off between it being too simple – and then you look like you’re not doing anything up there – and then you have some where it’s so complicated, you know, they guy’s just so busy tweaking knobs there’s just no interaction with the crowd. I think there’s a fine line between being able to tweak the music and react to the crowd and just getting too caught up in your own work.”

For Arnold, one of the strangest things to come out of the festival was meeting Haze-M. It was the first time the pair had met face-to-face, a phenomenon that Arnold claims is pretty common within the electronic music scene.

Continued on page 22.

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ORIGIN

PUSHAMAN If you didn’t manage to snag a spot at the Yeezus tour, you can catch fellow G.O.O.D musician and tour mate Pusha T hosting an after party at Metro City this Friday, September 5. Doors open at 10, but the party rolls on until 5. Tickets from Oztix.. As for the Yeezus tour, Noisey reports that although Kanye isn’t dropping new music on this particular concert run, he did perform Blood On The Leaves four times.

The lineup for this year’s Origin NYE Party is still under wraps, but they’re ringing in the launch party with Shogun Audio’s Joe Ford, a 20-year-old production wunderkind already exclusively signed. Shogun describe his sound as “hi-tech DnB tinged with rock, funk, and everything in between,” and you can check his work out at soundcloud.com/forddnb. The Origin launch party is locked in for Friday, September 12 at Villa Nightclub. Tickets available now from Moshtix.

ONE DAY Continued from cover.

“Every single person I’ve collabed with, including vocalists, I don’t think I’ve ever met in person before him,” says Arnold. “I usually work through people at labels. I usually write my tracks as instrumentals – not thinking there’s gonna be vocals for them – then I’ve had people say, ‘Hey, listen. Would you be interested in having vocals on top of it?’ One label put me in touch with Stee Downes, another label put me in touch with Cari Golden… It’s all through correspondence.”

From the festival stage to the studio, Arnold then goes to chat about his upcoming show at the Geisha Bar in Perth and how DJing compares to live sets.

“The small intimate venues are great

because you often get the crowd right in front of you and whenever there’s space behind the desks, and the promoters don’t mind, I like to just get as many people behind the decks with me, you know?

I just want to have everyone right next to me. DJing is a lot of fun because you’ve got to be on your toes but there’s not so much that can go wrong and you can really have a good time with everyone around you and I think they appreciate you when it when you’re having a good time with them. There’s different things to enjoy about each style and each platform.”

FLEX COP PLACEBO EP TOUR SATURDAY, SEPTEMBER 6 @ GEISHA BAR

LISTEN OUT LOSES YG Hip hopper YG has cancelled his Australian tour (and therefore his Listen Out appearance on Sunday, September 28). Stay posted, though - Listen Out plan to announce two more acts over the next couple of weeks.

Listen Out have also announced the line up for the Red Bull Crate Diggers Stage. They call it ‘an adventure in musical palaeontology’, and the list reads like a who’s who of Perth DJs (and a what’s what of ‘90s dance culture): Gracie and Sistym (classic DnB), Philly Blunt (“Party Like It’s 1999”), Genga and Benny P (‘90s RnB and hip hop), Micah Black (2 step/garage), Casual Connection (disco) and Troy Division and Bunj (independent dance).

Skip-hop imprint Elefant Traks are bringing Horrorshow, Spit Syndicate, Jackie Onassis and Joyride to WA, all at once. The One Day crew play Capitol on Saturday, September 13, and will be a four-MC pile-up of individual sets (with a final all-in closer). Tickets from onedayers.net.

BASENJI Sydney bass producer Basenji has dropped a couple of surprises this week: a free download and a national tour.. Heirloom ticks all the Australian sound boxes – trap percussion, choppy synths and atmospheric sweeps – but it arrives there by way of Nintendo.

Think windchimes, temple blocks, and what sounds like a vocal guest spot from Kirby. Basenji plays Welcome To The Valley on Saturday, October 25.

You can hear and download Heirloom from Future Classic’s Soundcloud.

WITH ZEKE BEATS BASS LEGEND AND LAB SIX INSTRUCTOR ZEKE UGLE TALKS UP HIS FAVOURITE NEW TRACKS.

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EPROM Prototype Rwina Records

This track is one of my all time favourite EPROM tracks.

The hip hop influence with the bass and synthetic soundscapes moulds perfectly together in this one.

SUBP YAO Broken Chords Iolab Records

Subp Yao’s an amazing producer hailing from the Netherlands, and this track is off the Drops 3 compilation mixed by DJ Alyaz. I’m always a sucker for anything with bass, arpeggiation and chords. I am currently collaborating on a track with this guy which will be released on my forthcoming EP through Germany’s Saturate Records.

G JONES Pixel NXTCLASS

If you are a fan of video games or anything bleepy, this track is for you. A great composition. G Jones’ newest EP, Sound The Alarm, just came out - plenty of bangers and purple sounds.

LORN Army Of Fear Brainfeeder

Musically, I’m very much into heavy bass and dark vibes. Lorn takes the cake with this track and encapsulates darkness, deepness and emotion all in this great composition.

BLEEP BLOOP + G JONES Quasars Free Download

If you’re looking for future bass music with a difference, no one does it better than Bleep Bloop. A short and sweet collaboration which will melt your brain.

NICKY NIGHT TIME Routledge Classics Nick Routledge, Van She’s frontman reborn as house producer Nicky Night Time takes some downtime from his chill-out trip to Rome to talk about his solo project with ZOE KILBOURN. “I’ve been getting videos from all my friends around the world, saying, ‘Oh, your song’s playing at a party’,” he says, of runaway success Everybody Together.

“I don’t know if it’s weird necessarily, but it’s nice. Van She’s very considered, very democratic. Being able to call all the shots myself is quite liberating.”

Van She have been kicking around for over a decade, making electropop grounded in ‘80s synths and tropicana (see their 2012 record, Idea Of Happiness). Bandmate Michael di Francesco (as Touch Sensitive) has had a lot of solo success, as has founding member Matt Van Schie (as it turns out, with a hard ch).

“Obviously, when you say Routledge, it doesn’t roll off the tongue so much,” he laughs, when asked about the band’s obvious surname reference. “We didn’t know what to call the band. Matt told us that his surname means ‘of the river Schie’ in Dutch, and we were like - if we took the Van and added She, it would be ‘of women’.

‘Music on the side’ doesn’t really do it justice - it’s something Nick’s been dedicated to since teenagehood. “I kinda went over to the UK and worked in a few studios after high school, and I got into Djing when I was over in the UK, ’98, ’99. Then I started writing dance music and came back when I was 25 - I was sick of working for the man, I guess.

Started Van She and the rest is kind of history, really.”

Breaking into the London music industry as a high schooler is a pretty massive leap to make, but Nick shrugs it off. “I don’t know, I just kind of got into music and the logical transition was the UK. My dad was British, and he just told me to go overseas, get a job. I literally walked round every studio in Soho and knocked on their door. I think I got the job initially because someone mistook me for somebody else.”

It’s pretty clear that his music career is no back-up plan or fluke. Nick has already got a game

plan sorted for the next decade.

“I’m aiming to be a DJ/producer, and I’ve always got ideas for the live show. I guess I want to be that producer guy for the next ten years. I’ve also got another project I’m not going to tell you about yet - that’s going to be the other part of Nicky Night Time, which is gonna come in five years’ time. It’s a long-term plan, which is exciting.”

“I’ve always been into production as Nicky Van She, and Van She Technologic. In terms of production it’s not really new for me, but in terms of creating my solo identity it’s been great. I had a bunch of tracks on my laptop that I go back to every now and then, and I had one track I made when I was stuck at Johannesburg Airport for eight hours during a layover. I got back and showed it to --- from the One Love imprint, and said that this was music I did on the side.”

“I like being in those situations where everyone’s around and you don’t know anybody you kind of go into an airport lounge with a glass of wine and just work. After I started, I was four hours down - I kind of get addicted to it. I don’t mind being in those pressured situations. I like being able to push myself.”

Technology (in all its free-associative buzzword glory) is the big Push. “For my new single, I went down the other route and wrote the vocals from scatch. For Everybody Together, I found all these samples of this guy talking, and pitched them up and down and spliced them together - all those words in Everybody Together aren’t actually from the same sentence. For this new single, I’ve been working with this girl called Nat over Skype from LA - I sent her the track, we went through the vocals together, going back and forth - she’d record something and send it through to my computer, and then we’d chat about it. I love technology like this - there’s such a weird techno. Tech. Like hackers, almost.”

RODRIGUEZ JR.

emphasises that they weren’t trying to pin down their style.

“Our sound was definitely more techno onstage while our albums were a blend of house, techno, electronica, ambient – so it was already a mess and a fusion of things. We actually didn’t think too much in the studio. And I am doing the same today.”

Having transferred into solo mode five years ago, Mateu perceptibly relishes the uninterrupted freedom to experiment he’s now permitted. However, with no partner in crime to bounce ideas off, perhaps it’s become difficult to determine how well something is working.

“Sometimes I might feel lost for a moment,” he admits, “but then I take a break, work on something else, and eventually come back to my initial plan. My creating process has always been the same. It has to be as fast and as spontaneous as possible, because that’s the only way to avoid getting lost through possibilities.”

Indeed, when experimenting with electronic production, the possibilities really can appear to be endless. The malleable nature of modern technology makes it very easy to fall into a regressive cycle of editing and re-editing. A tendency to second-guess oneself doesn’t help in evading this hurdle.

“I don’t have any self-confidence, so it can take ages to finish a track,” Mateu says. “With the modern digital audio workstation, it became so easy to recall a track a thousand times and polish every little details for hours. Though I always try to impose a deadline to myself, otherwise you suck all the life out of a track and make it sterile.

“Producing in the studio is like projecting something from inside,” he says. “You have time to draw a background, hosting events and telling a story.

Performing live is very different. It’s pretty much like an emotional catharsis – getting naked in front of an audience and letting your most inner personality go out.

That’s almost tribal.”

French Connection Before he headlines the Rough Love First Birthday on September 19, polymorphous producer Rodriguez Jr. talks to AUGUSTUS WELBY about genre, live performance, and sampling pets.

In this wonderful age that allows us unlimited access to every kind of music ever made, it seems like there are new subgenres emerging with each passing day.

The thing is, these genre labels aren’t usually coined by artists looking for a succinct style descriptor.

Rather, it’s people like us – those with pens in hand or fingers on keyboards – who are largely responsible for the glut of ambiguous categorisation. See, while you could call French original electronic producer Rodriguez Jr a stylistic polymath, his musical exploration isn’t motivated by thoughts of genre.

“Having fun in the studio is the only key,” he says. “Experimenting with my synths, trying new tricks, noodling with my modular synth, improvising or trying to get inspiration in old records, sampling my cat.”

Rodriguez Jr., also known as Olivier Mateu, got his first major exposure as one half of French electro-tech duo The Youngsters. Throughout the first decade of the 21st century, The Youngsters released two full-length records and a stack of singles, gaining support from French techno legend Laurent Garnier’s F Communications label along the way. The Youngsters were largely deemed a techno act, but Mateu again

RODRIGUEZ JR. FRIDAY, SEPTEMBER 19 @ GEISHA BAR WWW. XP RE SS MAG.COM. AU

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POP WILL EAT ITSELF Pop Will Eat Itself - Photo by Rachael Barrett

LYTS/Like Junk The Rosemount Hotel Sunday, August 31, 2014 Pop Will Eat Itself invented the Grebo movement in the ‘80s and became the leaders of the Birmingham music scene. They evolved into a chart-denting band that were one of the best of the new breed, melding their industrial pop sound with electronica. It has been 20 years since they have been to Australia but this night showed they are far from forgotten.

Like Junk have been kicking around for a while, appearing to be intent on creating music that challenges the audience. The trio of guitar, drums and keyboards take a slightly different slant to their punk-inspired tunes that are relatively minimalist in their execution and somewhat shambolic as well. Like Junk bring a theatrical bent to their music that would have been right at home in a New York basement in a previous era, but at The Rosemount on a Sunday night is a bit meh!

Changing the pace altogether was LYTS, which is essentially Laith Tierney and Yaegar Strauks in electronic duo mode. The two musicians make tunes that have a dark and brooding feel to them that would be akin to the sound of Depeche Mode with a mouth full of downers. LYTS gave the punters enough to look at instead of contemplating the floor during their weighty and sinister-sounding set.

Pop Will Eat Itself originally called it quits in 1996 before a brief reunion about a decade later.

While their original frontman, the strapping and charismatic Clint Mansell, is continuing to concentrate

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Melody Pool and Marlon Williams - Photo by Rachael Barrett

on soundtrack work, his right hand man in the Poppies, Graham Crabb, resurrected the group with a new line up. This incarnation announced their intent on stage with the brief, sample-led Back To Business being the first glimpse of new material.

The band promised to deliver the hits on this tour and that is certainly what they did, with Wise Up Sucker airing early. Crabb was bouncing around the stage in shorts and a t-shirt with a megaphone never too far out of reach. Mary Byker took the role of front man in his stride with few missing Clint Mansell in the slightest. Pop Will Eat Itself were never about strong vocal performances, with crunchy, distorted guitars often drowning out the clarity of the strong rapping but not overpowering the melody.

Crabb showed off his biting Brummie wit as he silenced hecklers in a roar of laughter. Byker squared the ledger pointing out that within 48 hours of arriving in Australia, Crabb had already been evicted from a nightclub and lost his cell phone. The social satire that the band had been known for reared its head in Ich Bin Ein Auslander, but for the most part the set was a celebration of danceable tunes and energetic delivery.

If they hadn’t delivered enough of their biggest numbers throughout, the 5 piece pulled out the irrepressible Def Con One to great applause during the encore before donning some Guy Fawkes masks for a pumped up take on Prodigy’s Their Law. Any fears that Pop Will Eat Itself would be a revisionist outfit going through the motions were quashed during a high octane show that deserved a better billing than a Sunday night, and left no one disappointed.

CHRIS HAVERCROFT

MELODY POOL & MARLON WILLIAMS Ellington Jazz Club Tuesday August 27, 2014 At first you may think that the teaming of Melody Pool and Marlon Williams as touring partners would have gone together like vegemite and lamb, yet their different interpretations of the country records that they were exposed to growing up made for a complimentary experience by the two crooners.

New Zealander Marlon Williams has plenty in common with Justin Townes Earle. The lanky Williams has a similar build, familiar wardrobe, may frequent the same barber and most importantly has the knack for spinning a tale. It was known that Williams would be delivering a batch of alt. country tunes, but it was his choral background and ability to hold a note that was the big surprise packet.

The Tuesday night revelers were eating out of the palm of his hand as Williams’ between-song banter touched on topics such as diamonds, Kiwi history and stories from the road. Heaven For You showed that heartbreak was on the menu during Williams set, yet things got far more sinister when the rest of his set spoke of hospitals, shootings and infanticide. During an accomplished 45 minute set, Williams may have killed off at lease half of New Zealand in song.

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Melody Pool was also playing her first shows in the West and was headlining due to the success of her critically acclaimed debut. Pool had some familiar faces in the crowd with her grandparents pulled into conversation throughout the set. There were a few firsts for Pool as she road tested some new songs as well as playing an electric guitar which she assured all she has never done before.

Pool may look like butter wouldn’t melt in her mouth, but she can swear like a sailor when she feels the need. She insists that she didn’t even change the name of a former beau who she describes as ‘a dick’ during the caustic Henry. Pool’s controlled yet powerful voice has a hint of Stevie Nicks about it, which was best displayed on the sombre Royal Queen (Mary) and Open Book but it was the toe tapping The Hurting Scene that remains her strongest moment.

30-plus shows in a couple of months has obviously seen Pool and Williams bond over the love of song. To celebrate, the two united on stage to run through half a dozen duets to finish the evening. As well as adding flavours to one of each others tunes, the pair put their mark on songs by The Everly Brothers and Leonard Cohen. It was a tidy finish to a polished night.

CHRIS HAVERCROFT

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RAVE OF THRONES Kristian Nairn. Photo: Derwent Photography

Kristian Nairn, Ego, Genga, Rad Wedding DJs, Animal House DJs

Sacred Flower Union - Photo by Rachael Barrett

SACRED FLOWER UNION Mei Saraswati, Flower Drums, Tourist Kid The Bird Friday, August 29, 2014 Sometimes you just have to throw a spotlight on someone. Dan Griffin (no relation, by the way) is an unassuming kind of guy, but as Sacred Flower Union, he’s forged a huge discography on the sly over the last two years; seven solo and split tapes in the time it probably takes Axl Rose to get his pants on and amble down the driveway. On record, his instrumentals are submerged in the atmosphere of the tropics, existing amongst the hums of mosquitoes and the seethe of insects. You know, like VHS tapes of the Amazon. It might be gorgeous and prehistoric, but it’s not wild. In person, however, Sacred Flower Union is one of the best things you can spend half an hour on in Perth.

Griffin builds his lo-fi jungle synth instumentals from scratch with drum pads, pedals and keyboards, stacking polyrhythms like he’s playing Jenga on opposite day. The dexterity with which Griffin wields a set of drumsticks is incredible, and the sight of him jumping up and down, thumping out complex rhythms - if there was a second that he wasn’t pogoing, I must have blinked. Even when his equipment malfunctioned midway through the enthusiastically begged-for encore (“Hey, uh, sorry! My pedals aren’t… working!”), he recovered and constructed an ecstatic jam that was as frenetic and intoxicating as the rest of his set. If you

want to talk about best kept secrets in Perth music, get onto his bandcamp and dive in pronto.

Beforehand, Mei Saraswati bewitched The Bird with her sampler-based star & b. Her music is like a kitchen devotional, full of the largest emotions but sung in the humblest, realest way, like midnight advice from an older sister, or a joke your granddad made a decade ago with a significance you’re only just grasping now. Equally as prolific as SFU, she wove a set that leant on tracks both old and from her forthcoming new tape. Flower Drums closed the evening to a dwindling crowd, which was likely due to the fact it was bucketing down all evening. Having toured America, they’ve logged some serious miles on their live act, and they glided through their dreamy set with the precision you’d expect, despite some early sound problems.

The overwhelming luminescence of their live recordings is hard to replicate live, and the Drums colour inside the lines gorgeously on the arrangements, but the presence was somewhat lacking; you know, all wave, no crash. Leigh Craft has a voice in the Connan Mockasin range, but he didn’t cut across or rise above the velvet carpet the Drums were laying out together. That said, the new tunes were fitting parts of the quilt, and all things considered, it’s hard to know what could possibly follow a one man marching band and come out as riveting.

ALEX GRIFFIN

Villa Saturday, August 30, 2014 It’s a funny thing, celebrity - it can lead to all sorts of other things. Of late, that other thing is the celebrity penchant for being a superstar DJ on the side and cashing in on your short lived fame à la Paris, Bieber, Pauly D or David Guetta.

Some may even remember a few years back when Mike Fielding - Naboo from The Mighty Boosh - visited Perth for a DJ set, and despite the costumed affair being a fun night, Naboo’s set itself was fairly disappointing. Lucky for us, Hodor proved to be an entirely different affair.

Kristian Nairn, who we all know better as Hodor of Game Of Thrones, came to Perth. And like a mighty dragon, the big man slayed it. Turns out Nairn is in fact a great DJ technically, and knows how to work a room and create a party. This should be no surprise though really, as Nairn has been DJing for much longer than he’s been acting. He was in fact a resident DJ at The Kremlin – a legendary gay nightclub in Belfast – for over 10 years. His prominent profile in fact helped him get into acting.

Villa lent itself well to the theme - the venue decked out like the finest hall in Westeros – with the regal stage set featuring two suits of armour, crested flags, ivy lined pillars, and at the back, the giant throne of swords itself. There were Kings and Queens, Knights and Ladies, Night’s Watchmen, Hodors and White Walkers.

There was even a Tyrion running around.

There was a great selection of Perth’s finest party DJs in support including the Rad Wedding DJs, which comprised of those merry pranksters Aaron and Paul of Jump Climb, and The Animal House DJs.

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Warming up for Hodor was Sydney AVJ artist Ego – who had put together an amazing spectacle for us to witness – projecting a mash up of Game Of Thrones footage and other assorted randomness on two big screens, cut up and remixed in time with the block rockin’ beats. A great party set to work the crowd up to fever pitch in preparation for the big man.

Nairn ambled onstage to be greeted by massive applause, shouts of ‘Hodor!’ and a Sea Of Phones. He became acquainted with the controls and then started his set by getting on the mic and issuing forth what must be the greatest intro statement of a DJ ever: “All right, let’s kick this shit off. HODOR!”. The crowd accordingly went mental. Fake swords were raised to the sky. Wildlings roared and leapt in the air in merriment.

There was much rejoicing.

Nairn plays a tightly mixed selection of upfront house music that was perfect for the evening’s festivities. A relentless pace was maintained, thumping bass drums and synth stabs were the order of the night, with a smattering of vocals; but he steered clear of cheese, keeping it mostly underground and deep. While everything seems to get called deep house these days, Nairn dabbled - but kept it mostly upbeat, party movin’, piano-led grooves with funky beats.

Witnessing the man in the flesh, he really is a giant at a massive 6’10’. So much so that he seemed to make the CDJs look like little toys. But he sure was adept at using them, stabbing the buttons and dropping beats with his huge fingers, and flicking the faders with his big thumb.

But at the end of a 1.5 hour set, there was still much partying left in this crowd and the Pilerats DJs and Genga did well to keep the vibe going and the people moving into the wee hours, as the motley crew of allsorts slowly stumbled out into the dawn streets to make their way home after a grand celebration. Hodor!

ALFRED GORMAN

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X-PRESS DIGITAL APP LAUNCH The Astor Lounge Monday, September 1, 2014 We ushered in a new week, a new month, a new season and a new app!

Industry figures converged on the Astor to get the first look at the brand spanking new X-Press Magazine app. Sweet sounds were provided by Timothy Nelson and Lucy Peach, while Gage Road Brewing Co. supplied the refreshments.

Photos by Matt Jelonek

Tim, AJ, Dwight

Joe, Evelyn

Travis, Rachel, Stefan

Mike, Holly

Sylvia, Alf, Amelia

Sara, Zoe

LIONIZER HEAD SOUTH Indie punk pair Lionizer continue to charge through what has been an incredible year for them what with the amazing response to their debut EP, Come Home, and all. Next up is a lightning fast regional tour throughout the month of September, which will see them playing Mustang Bar on Thursday, September 18, Geraldton’s Camel Bar on Friday, September 19, and Saturday, September 20, Fremantle’s Newport hotel on Sunday, September 21, and finally Albany’s White Star Hotel on Saturday, September, 27. Before that, though, you can catch them at YaYa’s this Thursday, September 4, alongside Joshua Cammack, AstroPig and Ready To Fire. Doors open at 8pm, entry is $5.

Speaking of metal, big and brutal five piece Kimura are launching their EP, Uncaged, at the Civic Hotel on Saturday, September 6. It’s sure to be a massive night, with Regeneracy, To Hell With Honour and Gates Of Perdition rounding out the bill. Doors open at 7pm.

Lionizer

Kimura

TAKE YOUR MEDICINE

MEDITATE WITH MEI

Usurper Of Modern Medicine play their first show since their album tour in July when they hit the Rosemount Hotel this Wednesday, September 3, along with French Rockets, Ray Finkle, Dream Rimmy and Delay Delay.

After this they’ll be heading to Brisbane at perform at the massive BigSound 2014 festival in Brisbane! Doors open at 8pm, entry is $10.

Mei Saraswati launches her new cassette, Hypermeditations, at The Bird this Thursday, September 4, supported by the instrumental psychic incursions of Mudlark. Doors open at 8pm, entry is $5.

Usurper Of Modern Medicine

ON THE WIRE It’s been a long time coming, but finally hard working heroes Rag n’ Bone are ready to unveil their new single, Wood & Wire. Helping them out are fellow travellers Aborted Tortoise, Night Signals, Dream Rimmy and Shit Narnia. It’s all happening at Flyrite thhis friday, September 5, from 8pm.

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RAGE IN THE CAGE

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Mei Saraswati

EARTH ROT UNLEASHED Following on from their debut EP, Dirt, which hit the streets earlier this year, darker than dark metal maestros Earth Rot have taken it to the next level with their self-titled debut album. Following dates in Ballarat and Melbourne, their launch tour hits Amplifier this Friday, September 5, with support from Internal Nightmare, Grotesque, Sanzu and 9 Foot Super Soldier, and Eliot St, Bunbury, on Saturday, September 6, with Internal Nightmare, Death Dependant, Suffer In Rot and Septillion.

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Girl York - Photo by Fiona Hoy

GIRL YORK It’s Up To You Electro-grunge three piece girl York unveil their new single, Body Lies, at The Odd Fellow this Friday, September 5, with support from Trigger Jackets, Horror, My Friend and Oakland. We had a word with guitarist, keyboardist and singer, Shaun Martin.

What’s the Girl York story?

Daniel Byfield (drums) and I grew up together in the Wheatbelt watching our Dads playing in cover bands. We started playing music together from there and eventually started writing our own songs.

Originally we were going to record an EP ourselves and went along to a WAM recording workshop at Fremantle Recording Studios. We met Brian Mitra (bass/synth) there and pretty much decided to have Brian record and produce the EP.

What’s your sound?

In the beginning we were a two piece piano and drums band so we sounded a bit like Ben Folds or Dresden Dolls. But I think the first EP has some influences from Nirvana (or grunge in general) and Tame Impala as it was the first time we could actually get away from playing just two instruments and do whatever we wanted.

Tell us about Body Lies. What made it stand out as a potential single?

Body Lies is probably the prettiest song on the EP and I guess that’s why we thought it would make a good single. Its a sugar-pop song that we all enjoy playing and I think it’s a song that that people might be able to connect with best lyrically.

Where did you record and who with?

We recorded it down at Fremantle Recording Studios with Brian Mitra. It was actually the first song we ever recorded on day one of our EP tracking.

What’s up next for you?

Next up for me is started a new job working in Chile! In between all that we will be playing shows and touring the EP when it comes out and then start working on our next release.

CLANCY’S FISH PUB FREMANTLE The first act in the new Month of Sundays format is the sensational Boom! Bap! Pow! This ultra cool outfit lead by the enigmatic Novac Bull are blowing punters away on the national festival circuit. Good times will abound as BBP are sure to get you up dancing and loving the Sunday session atmosphere down at Clancy’s. Catch them every Sunday in September except for the 28th, when ska kings Special Brew will cover that one. Free entry from 7pm.

Boom! Bap! Pow!

MOJOS BAR Saturday, September 6, Natural Touring are pleased to announce Cornerstone Roots. Jahmoko and DJ General Justice support. Presales are $25 plus booking fee via Oztix. Limited tickets are $30 at the door on the night from 8pm.

YAYA’S Perth City Battles returns from 2pm on Saturday. September 6, bringing you the freshest rap battles from Perth’s hottest MCs, while the evening brings you hard rock and punk with Scalphunter, The Lungs, Together Alone, Creature and Union. As always don’t forget to hang around after the gigs on Friday and Saturday for resident DJs Jordan and Cookie to spin your favourite party starters to help you dance the night away!

05/09 05/09 05/09 06/09 08/09 06/09 12/09 19/09 19/09 20/09 20/09 04/10 16/10 07/11

THE ROSEMOUNT HOTEL Friday, September 5, sees the best named doom event this side of Doomvale, Armadegedoom. Headliners this year are Conan on their debut Australian tour. Antipodean sludge jerkoffs Yanomamo will be hitchhiking along for the ride, along with Perth locals Chainsaw Hookers, The Devil Rides Out, Bayou and Wizard Sleeve. Tickets are $20 plus booking fee through Oztox.

Limited tickets will be available at the door on the night from 8pm.

Conan

SWALLOW BAR Thursday night kicks off with a bang with Shotdown From Sugartown from 7pm. Expect rockabilly and honky tonk blues. The fabulous Mama Cass hits the decks on Saturday night with her collection of soul, funk, jazz and disco vinyl from 8pm. On Sunday, welcome back mister Robbie Jalepeno - acoustic magic with dark and stormy vocals.

EARTH ROT Self Titled Album Launch @ Amplifier GIRL YORK Body Lies Single Launch @ The Odd Fellow RAG N’ BONE Wood & Wire Single Launch @ Flyrite KIMURA Uncaged EP Launch @ The Civic LITTLE BIRD Self Titled EP Launch @ Indi Bar THE LOVE JUNKIES Blowing On The Devil’s Strumpet Album Launch @ The Rosemount THE CABALLEROS Another Day Single Launch @ Devilles CHILDSAINT Sick EP Launch @ The Bird JOSH JOHNSTONE Half A World Away EP Launch @ Indi Bar THE PAINKILLERS Garage Sale Girl EP Launch @ Mojos SKULLCAVE Acid Tone Single Launch @ Four5Nine THE LAMMAS TIDE Barefoot Electric Album Launch @ The Odd Fellow VILLAIN The Other Side EP Launch @ Flyrite VARIOUS Stormrider 2015 Compilation @ The Civic WWW. XP RE SS MAG.COM. AU

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TOURS THIS WEEK ANBERLIN & THE GETAWAY PLAN 3 Metropolis Fremantle NOBUNNY 3 Amplifier Bar TIJUANA CARTEL 4 Mojos Bar 5 Settlers Tavern, Margaret River 6 Capitol 7 Indi Bar CORNERSTONE ROOTS 4 Prince of Wales Hotel 6 Mojos Bar 7 The Saint KANYE WEST 5 Perth Arena HORROR MY FRIEND 5 The Odd Fellow MINISTRY OF SOUND: SESSIONS 11 5 Villa Nightclub KAV TEMPERLEY 5 Players Bar, Mandurah 6 Prince Of Wales, Bunbury 7 Rumours, Albany MARINA PRIOR 5 Albany Entertainment Centre 6 Astor Theatre 7 Mandurah Performing Arts Centre HOWLING BELLS 6 Amplifier Bar CLIENT LIAISON 6 The Bakery VELOCIRAPTOR 6 The Causeway 7 Newport Hotel BOYCE AVENUE 7 Astor Theatre THE WONDER YEARS 7 Amplifier Bar SHARON JONES & THE DAP KINGS 8 & 9 Astor Theatre CANNIBAL CORPSE 9 Capitol DOUG ANTHONY ALL STARS 9 Regal Theatre

SEPTEMBER PROTEST THE HERO 10 Amplifier Bar DUNE RATS 10 Dunsborough Tavern 11 Barbados Lounge Bar, Bunbury 12 Players Bar, Mandurah DOUG ANTHONY ALL STARS 10 & 11 Regal Theatre LIOR 10 Fly By Night 11 Albany Entertainment Centre ROBBIE WILLIAMS 11 & 12 Perth Arena KAV TEMPERLEY 12 Divers Tavern, Broome BIFFY CLYRO 12 Metro City BAM BAM 12 Amplifier Bar 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 (Licensed all ages) ANDY BULL 19 The Bakery STICKY FINGERS 19 Settlers Tavern, Margaret River TCHAMI 19 Ambar CLAUDE HAY 19 Swan Hotel Basement ROTTOFEST 19 – 21 Rottnest Island TIKI TAANE 20 Settlers Tavern GARETH LIDDIARD 20 Rosemount Hotel MEG MAC 20 Amplifier Bar JOE BONAMASSA 21 Perth Concert Hall SWOLLEN MEMBERS & MADCHILD 21 Amplifier Bar 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 DMA’S 25 Mojos Bar 26 Amplifier Bar COURTNEY BARNETT 26 Fly By Night KING GIZZARD & THE LIZARD WIZARD 26 The Bakery 27 Wave Rock Weekender BLUEJUICE 26 Capitol 27 Red Earth Arts Festival, Karratha THE CAT EMPIRE 26 Fremantle Arts Centre 27 Metro City WAVE ROCK WEEKENDER 27 - 28 Wave Rock Caravan Park RISE OF BROTALITY TOUR ft. I KILLED THE PROM QUEEN, THE GHOST INSIDE, IN HEARTS WAKE 27 YMCA HQ 28 Capitol

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KANYE WEST

PERTH ARENA FRIDAY, SEPTEMBER 5

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LISTEN OUT PERTH2014 ft. FLUME, CHET FAKER, ZHU AND MORE 28 Ozone Reserve MIAMI HORROR 27 Red Earth Arts Festival 28 Newport Hotel

OCTOBER THE HIGH KINGS 1 Crown Theatre HANDS LIKE HOUSES 1 YMCA HQ 2 Amplifier Bar THE DIRE STRAITS EXPERIENCE 3 Perth Concert Hall ANNA VISSI 3 HBF Stadium THE MEANIES 3 Rosemount Hotel MANJIMUP BLUEGRASS & OLD TIME MUSIC WEEKEND 3, 4 & 5 Manjimup VERUCA SALT 4 Rosemount Hotel BRITISH INDIA 5 Scarborough Beach Amphitheatre JUSTIN TIMBERLAKE 8 & 9 Perth Arena SLAVES 8 Amplifier Bar THE TEA PARTY with SUPERJESUS 9 Crown Theatre DEAD KENNEDYS 11 Capitol JUSTIN TOWNES EARLE 11 Astor Theatre ADAM BRAND 15 Friends Restaurant 16 The Deck, Busselton 17 New Centurion Hotel 18 Charles Hotel 19 Ravenswood Hotel THE SELECTER 14 Rosemount Hotel ALL DAY 15 YMCA HQ 16 Prince of Wales, Bunbury 17 Amplifier Bar SAY ANYTHING 15 Amplifier Bar COMEBACK KID 16 Amplifier Bar MISSY HIGGINS 16 Crown Theatre 18 Bunbury Regional Entertainment Centre 19 Mandurah Performing Arts Centre ALLDAY 16 Prince Of Wales, Bunbury JOHN WILLIAMSON 16 Albany Entertainment Centre ANDREW DICE CLAY 17 HBF Stadium JOHNNY CASH THE CONCERT 17 Astor Theatre CHRISTINE ANU 17 & 18 Ellington Jazz Club JASMINE RAE 17 New Centurion Hotel 18 Charles Hotel 19 Ravenswood Hotel SOLE MIO 19 Crown Theatre REGGIE WATTS 21 Astor Theatre PROXIMITY FESTIVAL 22 – 2 Nov Fremantle Arts Centre MILEY CYRUS 23 Perth Arena BRAZOUKA 23 – 26 Regal Theatre BALL PARK MUSIC 24 Astor Theatre 25 Settlers Tavern, Margaret River BEN OTTEWELL 24 The Odd Fellow 25 459 Rosemount Hotel WELCOME TO THE VALLEY 25 Belvoir Amphitheatre DEVIN TOWNSEND 25 John Inverarity Theatre, Hale School

HOLY HOLY 25 Dunsborough Tavern LIL JON 26 Metro City THE ROLLING STONES 29 Perth Arena

NOVEMBER THE ROLLING STONES 1 Perth Arena JOELISTICS 1 459 Rosemount 2 Mojo’s Bar AQUA 5 Metropolis Fremantle THE SCREAMING JETS 6 Capitol THE BEAUTIFUL GIRLS 7 Rosemount Hotel RODRIGUEZ 7 & 9 Kings Park & Botanic Garden MADDEN BROTHERS 7 Crown Theatre KATY PERRY 7 & 8 Perth Arena BLACK VOICES 8 Perth Concert Hall MIX 94.5’S CLASSIC HITS ALL DAY 8 King’s Park & Botanic Garden RADIO BIRDMAN 9 459 Rosemount Hotel GOSSLING 9 The Bakery JACK CARTY 9 Rosemount Hotel JOE SATRIANI 11 Astor Theatre JIMMY EAT WORLD 11 Metro City YES 12 Crown Theatre KRISIUM 12 Amplifier Bar THIRSTY MERC 12 Friends Restaurant 13 Rivendell Winery 14 New Centurion Hotel 15 Charles Hotel 16 Ravenswood Hotel PAUL UBANA JONES 13 Northshore Tavern 14 Ravenswood Tavern 15 Collie Hotel 16 Settlers Tavern 19 Music Shack, Pinjarra 21 Howling Wolf Winery, Yallingup JOHN DIGWEED 14 The Stables Bar DUSKY 14 Ambar NOFX 15 Metro City THE MARK OF CAIN 15 Rosemount Hotel SEAN PAUL 15 HBF Stadium TORI AMOS 18 Perth Convention & Exhibition Centre JIMMY BARNES 19 Bunbury Regional Entertainment Centre 20 Albany Entertainment Centre 22 & 23 Kings Park & Botanic Garden STEVE SMYTH 19 459 Rosemount Hotel 20 Prince of Wales, Bunbury 21 Redcliffe On The Murray 22 Mojos Bar 23 Indi Bar JUSTINE CLARKE 22 Crown Theatre C.W. STONEKING 22 Rosemount Hotel 23 Mojo’s Bar NICK CAVE SOLO TOUR 27 & 28 Fremantle Arts Centre ILLY 28 Astor Theatre BEN FOLDS & WASO 28 & 29 Perth Concert Hall COLAB FESTIVAL 29 UWA Oak Lawn THE SMITH STREET BAND 29 Rosemount Hotel

STEREOSONIC 29 & 30 Claremont Showgrounds

DECEMBER JOAN ARMATRADING 4 Astor Theatre HUSKY 4 Dunsborough Hotel 5 The Bakery 6 Prince Of Wales, Bunbury UB40 & BLUE KING BROWN 5 Red Hill Auditorium HILLTOP HOODS 5 Bovell Park, Busselton 6 Red Hill Auditorium PIERCE BROTHERS 5 Settlers Tavern 6 Indi Bar NE OBLIVISCARIS 6 Amplifier SLEEP 8 The Bakery TY SEGALL 11 The Bakery THY ART IS MURDER 17 YMCA HQ 18 Capitol WATSKY 18 Prince Of Wales, Bunbury 19 Leisure Inn 20 Amplifier Bar

JANUARY 2015 SOUTHBOUND 3 & 4 Sir Stewart Bovell Park, Busselton EVERY TIME I DIE 14 Amplifier OZ ROCK BUSSELTON ft.

ICEHOUSE, ABSOLUTELY 80S, WENDY MATTHEWS, ROSS WILSON, DIESEL, JAMES REYNE 24 Barnard Park, Busselton RED HILL AUSTRALIA DAY EVE CONCERT ft. ICEHOUSE, JAMES REYNE, DIESEL 25 Red Hill Auditorium SUZI QUATRO 28, 29 & 31 Regal Theatre DOCTOR WHO SYMPHONIC SPECTACULAR 31 Perth Arena

FEBRUARY 2015 CHIODOS 4 Amplifier Bar PASSENGER 7 Red Hill Auditorium ROXETTE 14 Perth Arena THE EAGLES 18 & 19 Perth Arena ONE DIRECTION 20 Patersons Stadium PAUL SIMON & STING 21 & 22 Sir James Mitchell Park GUY SEBASTIAN 28 Perth Arena

MARCH 2015 FROM THE JAM 5 Capitol KYLIE MINOGUE 14 Perth Arena

APRIL 2015 THE BLACK KEYS 14 Red Hill Auditorium

MAY 2015 RICKY MARTIN 8 Perth Arena PALOMA FAITH 16 Perth Concert Hall

JUNE 2015 5 SECONDS OF SUMMER 29 Perth Arena

EARTH ROT, SEPTEMBER 5

JAMIE OEHLERS, SEPTEMBER 6

WEEKLY WEDNESDAY 3/09 THE ALBION HOTEL Quiz Night AMPLIFIER NOBUNNY The Hussy THE BALMORAL Randa And Soul Kingdom THE BIRD Shake ft.

Dixieland Dan DJ Seventh Son BRASS MONKEY Backpacker Night Sugar Blue Burlesque THE BROWN FOX Acoustic Chill Out CAPITOL The Academy vs.

Harlem ft.

The Others Losing Grip Bounty Hunter Cursed Earth Peter Payne BMB Olithvgxd JS THE CARINE Open Mic Night Shaun Street CHARLES HOTEL Funky Bunch Trivia CITRO BAR Dean Anderson CLANCY’ CANNING BRIDGE Wanderlust Duo Dan Durack CLUB RED SEA Club Kahuna CheekgoproBEAHERO THE COURT Wicked Wednesdays CURTIN UNIVERSITY School of Design & Art’s ‘Big Night Out!’ ELLINGTON JAZZ CLUB Will Vinson FLYRITE Northbridge Nightly Now GOLD BAR Famous GROOVE BAR (CROWN) Free Salsa Nights!

HULA BULA BAR Island Nite LLAMA BAR Akuna Club – Sweat It Out ft.

Benson LANEWAY LOUNGE Adam Hall & the Velvet Playboys LOBBY LOUNGE (CROWN) Decoy Duo THE LUCKY SHAG Howie Morgan MALT SUPPER CLUB Margeaux Wednesdays METROPOLIS FREMANTLE Anberlin The Getaway Plan

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METRO FREO C5 Next Gen MOJO’S BAR Rich King Matthews Tashi Sam Wylde THE MOON CAFE Going Solo ft.

Jordan McRobbie Shane Corry MUSTANG BAR Backpacker & Student $5 Fest Madam Montage DJ Giles THE PADDO Dove 459 ROSEMOUNT HOTEL Humpflump III ft.

Sexy Robot Lammas Tide Bronte Famous Sharron Ben Mulvey Leith Daniel Jermaine White Craig Quartermaine Cameron McLaren ROSEMOUNT HOTEL French Rockets Usurper of Modern Medicine Ray Finkle Dream Rimmy Delay Delay ROSEMOUNT HOTEL (BEER GARDEN) Best Years of Your Life Student Night ft.

DJ Anton Maz ROSIE O’GRADY’S NORTHBRIDGE Laugh Resort Comedy Open Mic Night ft.

Dave Fyffe SHAPE BAR Milk Wednesdays ft.

Nerium Equation Butcherskank Peter Payne Illu Naysu Blacklaces SOVEREIGN ARMS Wednesday Cocktail Night DJ Five O SWINGING PIG Open Mic Night Greg Carter UNIVERSAL BAR Virtual Insanity UNIVERSAL BAR (UPSTAIRS) Adrian Wilson VILLAGE BAR Village People Wednesdays YAYA’S Highway Breakdown Veronica’s Assassin Tell The Shaman Falloway

THURSDAY 4/09 THE BIRD Mei Saraswati Mudlark

BRASS MONKEY James Ess Open Deck Night Rhythm Bound Karaoke THE BRIGHTON Siren Song Enterprises BROOKLANDS TAVERN Celebrations Karaoke CAPTAIN STIRLING Trivia Night THE CAUSEWAY BAR Xport Thursdays CLANCY’S FREMANTLE Swamp Thing THE CLAREMONT HOTEL Institution Thursdays CONNECTIONS NIGHTCLUB Bingay hosted by Veronica Jean Jones THE CRAFTSMAN FIVEO DEVILLES PAD Rock n’ Roll Karaoke Magnus Danger Magnus DUNSBOROUGH TAVERN Open Mic Night Kris Buckle ELLINGTON JAZZ CLUB Will Vinson FLYRITE Jurassic - Farewell & 90s Party ft.

Neck Deep State Champs THE GATE Greg Carter THE GOOD SHEPHERD Vibe Merchants Present: Culture ft.

Hawke Attack Dellity Professor Mowbray Nebula b2b DJ NSFW b2b Bixler Simmzee b2b Frodo b2b Huffle GRAND CENTRAL PARK Nathan Gaunt GROOVE BAR (CROWN) Switch HULA BULA BAR Hi-Fi Lounge INDI BAR Open Mic Night LAKERS TAVERN Howie Morgan LANEWAY LOUNGE Libby Hammer Trio LEISURE INN DJ Misschief LOBBY LOUNGE (CROWN) Jack + Jill LOST SOCIETY The Collective LUCKY SHAG James Wilson MOJO’S BAR Tijuana Cartel DJ Care Bear MOON & SIXPENCE Bob & Clem

ALISON WONDERLAND, SEPTEMBER 6

MUSTANG BAR Ruby Boots Little Lord Street Band DJ James MacArthur NEWPORT HOTEL The Newport Record Club OCEAN ONE BAR Turin’s Open Mic Night THE ODD FELLOW Bloody Dange 2 ft.

Lunar Inverse Migsee Silver Hills PEEL ALE HOUSE Open Mic Chris Kinna PLAYERS BAR Bombshells Strip show PRINCE OF WALES Cornerstone Roots RAILWAY HOTEL Austen Tayshus 459 ROSEMOUNT HOTEL Ships in the Night #6 ft.

Anna Dunnill Byron Bard Geoffrey Power-King Chris Arnold Jakub Dammer Michael John O’Sullivan Davey Craddock Caroline J Dale ROSEMOUNT HOTEL The Devil in Miss Jones Hunt For Dallas The Crossbars Zykus The Dead Capital ROSIE O’GRADY’S FREMANTLE Clayton Bolger RUBIX BAR Alex Canion THE SAINT Thursday Music Quiz SETTLERS TAVERN Open Mic Night with Claire Warnock THE SHED Midnight Ramblers SWALLOW BAR Shotdown from Sugartown UNIVERSAL BAR Off The Record VELVET LOUNGE Doctopus Trustee Brown The Worst Mind Canary YAYA’S Lionizer Astropig Ready To Fire Joshua Cammack

FRIDAY 5/09 ALBANY ENTERTAINMENT CENTRE Marina Prior AMBAR MONARCH FT. Mediks

AMPLIFIER Earth Rot Internal Nightmare Grotesque Sanzu 9 Foot Super Soldier Fridays Are Back Jamie Mac ASTOR LOUNGE Matt Okine THE AVIARY Paradise Paul Zel THE BAKERY Roki Soul Jah Love THE BALMORAL The Mojos BAR ORIENT Reggae Club THE BAYSWATER DJ Atlus BEAT NIGHTCLUB (UPSTAIRS) Verge Collection The Regular Hunters Galloping Foxleys Spacehound BEAT NIGHTCLUB (DOWNSTAIRS) PLAY BELGIAN BEER CAFÉ Mike Nayar THE BELMONT Light Street BEST DROP TAVERN Tandem THE BIRD Methyl Ethel HAMJAM Dream Rimmy THE BOAT Kelly Read BRASS MONKEY DJ Vicktor James Ess THE BRIGHTON Easy Tigers CAPITOL Capitol Fridays Roger Smart CAPITOL (UPSTAIRS) I Love ‘80s & ‘90s Darren Tucker THE CARINE J!mmy Beats CHASE BAR & BISTRO Choppa CITRO BAR Adam James CLANCYS CANNING BRIDGE DJ Boogie CLANCY’S CITY BEACH Zarm Duo CLANCY’S FREMANTLE Free Friday Fiesta ft.

The Limelights Jazz Novelty Act Jim Fisher Ian Simpson Bluegrass Co. CORNERSTONE ALEHOUSE Sweet Surrender CRUISING YACHT CLUB The Sophistikatz DEVILLE’S PAD Prom Fright The Morning Stars DJ Razor Jack Double Trouble Molls

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

LOUIS & THE HONKYTONK, TIJUANA CARTEL, SEPTEMBER SEPTEMBER 6 DUNSBOROUGH HULA BULA BAR MUSTANG BAR TAVERN Shakin’ It Adam Hall & The Brett Donald HYDE PARK HOTEL Velvet Playboys EAST 150 BAR (COURTYARD) Swing DJ Jamie Powers Kevin Curran Flash Nat & The EAST END BAR & INDI BAR Action Men LOUNGE DJ James MacArthur Vdelli DubVision MY PLACE INDIAN OCEAN Julian Jordan Karaoke BREW CO. Melotyx NEWPORT HOTEL Ben Merito Boston Switch KALAMUNDA HOTEL FLUKE Fridays Marto Madam Montage Retriofit EDZ SPORTZ BAR NORTHSHARE LAKERS TAVERN Ghostbuskers TAVERN Grizzly ELLINGTON JAZZ Chalk ‘N Cheese LANEWAY LOUNGE CLUB THE ODD FELLOW Astrid Ripepi Quartet Jodie Tes & The Horror My Friend THE LEISURE INN Popular Front PARAMOUNT DJ Peta Late Night Groove Paramount Party LIBRARY Series with Eddie Crew Dorcia Masson PARKER LLAMA BAR EMPIRE BAR Candy Kanye Party Honey Howie Morgan PEEL ALE HOUSE THE LUCKY SHAG EVE NIGHTCLUB Siren Song DJ Richie G Recharge Fridays Enterprises MALT FLYRITE PERTH ARENA Nu Disco Hip Hop Rag ‘N Bone Kanye West M ON THE POINT Aborted Tortoise PIRATE BAR Retriofit Night Signals Adrian Wilson MAHOGANY INN Dream Rimmy PLAYERS BAR Shit Narnia David Broadway Kav Temperley THE GATE THE MANOR PORT KENNEDY Chris Gibbs The Manor Live TAVERN GEISHA BAR Sessions ft.

2 Tenors 2014 Habitat DJ TALE THE PRINCIPAL Comp. Heat #3 METRO CITY Jonny Dempsey GINGER NIGHTCLUB Metro City After Party PUBLIC HOUSE Mondo Fridays Neil Viney hosted by Pusha T GOLD BAR QUARIE BAR & METRO FREO C5 Fox Friday’s BISTRO Frat House Fridays THE GOOD Tripwire METROPOLIS SHEPHERD RENDEZVOUS FREMANTLE Throwback Clique 012 – Kings: JT HOTEL (LOBBY BAR) GOSNELLS HOTEL Grant Hart & Usher The Gypsy Minions ROLEYSTONE MINT GRATWICK VC CLUB, COUNTRY CLUB Club Retro SWANBOURNE Jeanie Proude MOJO’S BAR The Externals 459 ROSEMOUNT Fisherman Style AC563 HOTEL #99 ft.

Tongue Charge Last Week’s Heroes Earthlink Sound THE GREENWOOD Lionizer Corby Acoustic Aly September Sun Rasta Fyah GROOVE BAR Lunar Inverse KBi Sound (CROWN) ROSEMOUNT HOTEL Smitch Tod Johnston & Peace Armagedoom ft.

Killa Elite Love CONAN MOON & SIXPENCE DJ Crazy Craig Yanomamo Soul Corporation THE HERDSMAN Chainsaw Hookers MULLALOO BEACH Troy Nababan Duo The Devil Rides Out HOTEL HIGHWAY HOTEL Bayou Jam Jar Friday’s Ladies Wizard Sleeve Big Steve Spouse Band Night ROSIE O’GRADY’S FREMANTLE Gunshy Romeos SAIL & ANCHOR Howie Morgan Duo SETTLERS TAVERN Tijuana Cartel SHAPE BAR The Switch THE SHED Crush DJ Glenn SOVEREIGN ARMS Thank God It’s…

Funky Lounge Fridays DJ Az-T SWINGING PIG Greg Carter UNIVERSAL BAR Nightmoves VERNON ARMS THE BAKERY TAVERN SATURDAY, SEPTEMBER 6 Greg Carter

FEATURED GIG

CLIENT LIAISON

SHARON JONES & THE DAP-KINGS, SEPTEMBER 8 - 9 CLANCY’S CANNING THE VIC BRIDGE Nathan Gaunt Steve Parkin VILLA CLANCY’S Ministry of Sound: DUNSBOROUGH Sessions 11 Deep Sea Disco ft.

WINTERSUN HOTEL DJ Swami Adima Lost 4 Words THE CLAREMONT YAYA’S HOTEL Kogz Antics Inveigh Slang Tim from Tim & Jean The Psych Ward THE CRAFTSMAN Azmatik Madam Montage Inrone THE CRUISING Inveigh Slang YACHT CLUB ACE Fridays Rockin’ Ronnie DJ Pup DEVILLES PAD Black Magic Disco SATURDAY 6/09 JO19 DUNSBOROUGH TAV AIR NIGHTCLUB Brayden Sibbald Bazillionaire – What EAST END BAR & Happens in Vegas LOUNGE Casino Party HOME AMBAR ELLINGTON JAZZ Japan 4 CLUB AMPLIFIER Victoria Newton & Howling Bells Jamie Oehlers 44th Sunset LNG presents Glassmaps Sam Nafie Pure Pop Harry Winton Eddie Electric Harry Mitchell ASTOR THEATRE Elliot Smith Marina Prior Ralph Marshall (on THE AVENUE bass) Lokie Shaw FLY BY NIGHT THE AVIARY Patrick James Paradise Paul FLAWLESS NDORSE EUROFEST FT. Zel DJ Daniel Falcone THE BAKERY DJ Sarandy K Get Weird ft.

FLYRITE Client Liaison Father THE BALMORAL THE GATE The Wire Birds Greg Carter BAR ORIENT GEISHA BAR Saturday Night Fever Flex Cop BAYSWATER HOTEL Aarin F Acoustic Saturdays James Francis BEAT NIGHTCLUB Fishtrek (UPSTAIRS) THE GENEROUS CANVAS SQUIRE BEAT NIGHTCLUB Defanutly (DOWNSTAIRS) GINGER NIGHTCLUB House Party Saturdays @ Ginger THE BIRD GOLD BAR DJ Erik Namorato Pure Gold DJ Stace GOSNELLS HOTEL Artgames ft.

Third Gear Sandra Rizzo THE GRAND OWLY DJ Atlus BOAB TAVERN THE GREENWOOD Siren & Assassin Baby Piranhas BRASS MONKEY GROOVE BAR & DJ Peta LOUNGE (CROWN) Grizzly Decoy THE BRIGHTON HULA BULA BAR DJ Misschief Sailor Saturdays THE BROOK HYDE PARK HOTEL Chris Gibbs Duo Wesley Goodlet BROOKLANDS TAV Jamboree Scouts Organ Grinders INDI BAR CAPITOL Little Bird (UPSTAIRS) KALAMUNDA HOTEL Cream Of The ‘80s Celebrations Karaoke DJ OBZ LAKERS TAVERN THE CARINE Celebrations Karaoke Adam James LANEWAY LOUNGE THE CAUSEWAY Fleer Ultra Velociraptor Alcatraz CIVIC HOTEL LOBBY LOUNGE Kimura (CROWN) Juliana Areias Duo Gates Of Perdition LOST SOCIETY To Hell With Honour Chalk Regeneracy

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VELOCIRAPTOR, SEPTEMBER 7

LUXE BAR Group Therapy – Interprofessional Cocktail Party M ON THE POINT Rhythm 22 MERRIWA TAVERN Celebrations Karaoke METRO FREO Official Can Do Cancun Launch Party METRO FREO C5 I Love ‘80s & ‘90s MOJO’S BAR Cornerstone Roots Jahmoko DJ General Justice MOON & SIXPENCE Damien Cripps Band MUSTANG BAR Shot Down From SugarTown DJ Holly Doll Milhouse DJ James MacArthur NORMA JEANS COCKTAIL LOUNGE DJ Daz NORTHSHORE TAVERN INXS Tribute Perth THE PADDO Cheeky Monkeys PARAMOUNT Felix PARKER Parker Saturdays PEEL ALE HOUSE Ghostbuskers PLAYERS BAR Luxe DJ Munch PORT KENNEDY TAVERN Dynamic Duo PRINCE OF WALES Kav Temperley RENDEZVOUS HOTEL (LOBBY BAR) Domonic Zurzolo 459 ROSEMOUNT HOTEL Tell The Shaman Dan Peters & The Volatyles Pandaphobia The Hounds ROSEMOUNT HOTEL The Love Junkies Mt Mountain Puck Horror My Friend Sprawl ROSIE O’GRADY’S FREMANTLE Flava SAIL AND ANCHOR The Gypsy Minions THE SAINT FIVEO SETTLERS TAVERN Swamp Thing THE SHED HUGE DJ Andyy SWALLOW BAR Mama Cass THE SWAN HOTEL Bughunt Neil Preston Clifford de Silva Vorsen SWINGING PIG Frenzy

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CANNIBAL CORPSE, SEPTEMBER 9

UNIVERSAL BAR Soul Corporation VELVET LOUNGE Louis & the Honkytonk Silver Hills The Limbs THE VIC The Wire Birds (duo) VILLA Alison Wonderland THE WOODVALE HI-NRG YAYA’S Perth City Battles #27 ft.

Decoy vs. Donkey Scalphunter The Lungs Creature Union Together Alone ARCADIA All-Nighter!

DJ Cookie

SUNDAY 7/09 AMPLIFIER The Wonder Years ASTOR THEATRE Boyce Avenue THE BALMORAL Andrew Winton THE BELMONT Acoustic Aly BENTLEY HOTEL Jeanie Proude THE BRIGHTON Becs Scrivener Duo BROKEN HILL HOTEL Justin Burford BROOKLANDS TAVERN Frankie G THE CARINE Chris Gibbs THE CAUSEWAY Acoustic Sunday CHASE BAR & BISTRO Jonny Dempsey CIVIC HOTEL Kizzy CLANCY’S CITY BEACH Sunday Brekky Sesh The Limelights Jazz CLANCY’S FREMANTLE Stielgutz Guitar Duo Boom Bap Pow CLAREMONT HOTEL Sunday Driver CLUB BAYVIEW Lokie Shaw COMO HOTEL Two Frets Down DUNSBOROUGH TAVERN Kris Buckle ELLINGTON JAZZ CLUB Brazilian Day FLINDERZ HILLARYS Trevor Jalla THE GATE Mike Nayar THE GREENWOOD Luke O’Connell HULA BULA BAR Tiki Time Sundays INDI BAR Tijuana Cartel

INDIAN OCEAN BREW CO. Retriofit KALAMUNDA HOTEL The Mojos LAKERS TAVERN Wesley Goodlet Jamboree Scouts LANEWAY LOUNGE Libby Hammer LOBBY LOUNGE (CROWN) Thierryno THE LUCKY SHAG DJ Richie G MANDURAH PERFORMING ARTS CENTRE Marina Prior MOJO’S BAR Caravana Sun Blue Child The Weapon Is Sound M ON THE POINT Nathan Gaunt MULLALOO BEACH HOTEL Sunday Sesh NEWPORT HOTEL Velociraptor THE PADDO Superseeds PEEL ALE HOUSE Thierryno PIRATE BAR Sunday Jazz Session ft.

Holli Scott PORT KENNEDY TAVERN Greg Carter THE PRINCIPAL Timothy Nelson QUARIE BAR & BISTRO The Gypsy Minions THE QUEENS FIVEO Sam Spencer THE ROSE & CROWN HOTEL Blackbirds ROSEMOUNT HOTEL (BEER GARDEN) The Get Down ft.

DJ Charlie Bucket DJ John Safari Klean Kicks ROSIE O’GRADY’S FREMANTLE Gang of Three ROYAL PALMS RESORT Steve Spouse RUMOURS, ALBANY Ka Temperley THE SAINT Cornerstone Roots SETTLERS TAVERN Dave Mann Sunday Sess THE SHED The Healys Blue Hornet SOUTH ST. ALEHOUSE Open Mic Night SPRINGS TAVERN Alex Caniona SWALLOW BAR Robbie Jalapeno SWANBROOK

HOWLING BELLS, SEPTEMBER 6

WINERY Natasha Shanks James Rogers Little Lord Street Band SWINGING PIG Choppa 2 Tenors UNIVERSAL BAR Retriofit VERNON ARMS TAVERN Kevin Curran WANNEROO TAVERN Steve Hepple WHISTLING KITE James Wilson THE WINDSOR Howie Morgan

MONDAY 8/09 ASTOR THEATRE Sharon Jones & The Dap Kings THE BIRD ‘Drawing Stories’ solo exhibition ft. Ashley Ramsey Beige Hayley Beth Shit Narnia BRASS MONKEY Monday Madness Student & Industry Night CLANCY’S CANNING BRIDGE Scotty’s Quiz Night ELLINGTON JAZZ CLUB Corpus Christi College MOJO’S BAR Wide Open Mic PARKER Manic Mondays ROSEMOUNT HOTEL Comedy Trivia YAYA’S Big Tommo’s Open Mic Night

TUESDAY 9/09 ASTOR THEATRE Sharon Jones & The Dap Kings THE BIRD Raw Industry #1 BRASS MONKEY Open Mic Night Shaun Street

CAPITOL Cannibal Corpse CLANCY’S FREMANTLE Quiz Night CONSERVATORY ROOFTOP BAR Rooftop Comedy ELLINGTON JAZZ CLUB Russell Holmes Trio GROOVE BAR (CROWN) Flava Dee LANEWAY LOUNGE Open Mic Night Josh Terlick LOBBY LOUNGE (CROWN) Hans Fiance LUCKY SHAG Leighton Keepa MERRIWA TAVERN Celebrations Karaoke MOJO’S BAR Mojos Monthly Comedy ft.

Tien Tran Ben Sutton Matt Jan Sophie Joske Mark Mahon Ben Mulvey Ayden Doherty MUSTANG BAR Danza Loca Salsa Night OCEAN ONE BAR Overgrowth Open Mic Night THE PADDO Quiz Meisters PERTH BLUES CLUB Gospel According To John Swamp Thing Veronica’s Assassin REGAL THEATRE Doug Anthony All Stars ROSEMOUNT HOTEL Bex & Turin’s Wide Open Mic SUN CINEMAS, BROOME Japanese Film Festival SWINGING PIG Siren Song Enterprises YAYA’S Necter Tell The Shaman Bad China The Hounds

FEATURED GIG

RAG ‘N BONE

RAG ‘N BONE

ABORTED TORTOISE NIGHT SIGNALS DREAM RIMMY SHIT NARNIA FRIDAY, SEPTEMBER 5

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NEWS

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INTERVIEWS

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REVIEWS

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LIVE

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EVENTS

AMPLIFIER/CAPTIOL FRIDAY

AMPLIFER/CAPITOL SATURDAY

METRO FREO

THE CAUSEWAY

DELICIOUS @ ROCKET ROOM

THE COURT

MUSIC GEAR & TECHNOLOGY

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CLASSIFIEDS

up until I started studying drums at WAAPA in 2003.

My family got me it for Christmas and that was the best Christmas that ever was!

MUSO SPOTLIGHT: NATHAN SPROULE Nathan Sproule (right) in Chainsaw Hookers

A familiar figure on the drum riser at countless gigs, Nathan Sproule, currently on stick duties for The Devil Rides Out, Chainsaw Hookers, Throat and more, gives us some insight into his craft.

When did you first start playing drums?

I first started playing drums in 2001, when

I was 14. What drew me to drumming and music was my obsession with White Zombie and Slipknot’s drummers and in particular their music. I really admire John Tempesta and Joey Jordison’s drumming, I love their passion and ferocity behind the kit. I actually listen to White Zombie’s Astro-Creep: 2000 every day. It was the first record I ever bought!

What was your first kit?

My first drum kit was an Impact drum kit, a beginner level drum kit that stayed with me

EMPLOYMENT & TRAINING

PRODUCTION SERVICES

DIRECTOR AND ACTORS Wanted: Director CD & DVD MANUFACTURE Check out and female actor around 30 yrs of age our latest CD & DVD specials online at www.procopy.com.au 9375 3902 Ph: Andrea 0427 174 590 MATRIX PRODUCTIONS AUSTRALIA Lighting, MUSOS WANTED staging, sound systems, smoke machines, B A S S P L AY E R WA N T E D O l d s c h o o l night club FX, intelligent lighting, strobes & blues rocker for working rock band. mirror balls, crowd barriers, video projectors.

Phone: 041 223 1126 9371 1551 OPEN MIC NIGHT every Thursday night at RECORDING STUDIOS Indi Bar. Email Trojan_johnmusic@yahoo.com.

ALAN DAWSON’s WITZEND RECORDING au for spot. Laneway Lounge Open Mic every Tuesday night. If you’re keen for a spot text STUDIO Prof quality albums or demos, large live room, experienced engineer, analog to digital Josh on 0430313577 transfers, mastering..Alan 0407 989 128 or OPEN MIC NIGHT Peninsula Tavern, Maylands. Jeremy 0430638178 www.witzendstudios.com Bands needed and solos/duos. Call Damian ANALOG MASTERING VINTAGE TAPE, TUBES 0411 367 783 & TRANSFORMERS with the latest state of the OPEN MIC NIGHT Solo acoustic open mic art digital converters. Clients include: Melody’s Thursdays at Ocean One Bar. Scarborough. Echo Chamber, Pond, Gossling, Knife Party, Call or text Brett on 0447 597 179.

Felicity Groom, The Floors, Jeff Martin & The OPEN MIKE NIGHT/ARVO South St Alehouse Panics. World class facility, World class results.

Hilton, original songs, solo/duo, sorry no bands. Www.poonshead.com. 9339 4791 Come on down for a play on a Sunday to round ANDY’S STUDIO International multi award off the weekend..TEXT..Gus 0409101688 winning songwriter / producer. No band UNDER COVER BIG BAND seeks trombone/ required. Broadcast quality. A songwriter’s trumpet players. 0451 458 533 Chris. paradise. Ph 9364 3178 30

What drummer has most influenced your style and why?

If I had to narrow it down to just the one drummer then it would have to be Josh Freese. He is the master of masters and a genuine god of drums. He plays all styles spectacularly and gets the calls from all the guys. I mean, a guy who can play with A Perfect Circle, Devo, Sting, NIN, Michael Buble, Weezer, G’n’R to The Replacements is a guy to admire on the drums.

I really look up to Josh Freese’s ability to just make the ladies dance and forget all the “drummer and their chops” rubbish. Don’t get me wrong, he can lay it down better than anyone else but he has the maturity in his playing to know what is needed where and when and man he delivers!

What training have you had?

I have been taught my entire life up until just recently, actually, when I left WAAPA. I started out lessons in my home town of Bunbury, WA with Adam Rando and then spent a lot of my time after that studying with an awesome drummer named Gary Larkin, who is an incredible teacher located in Cowaramup (not far from Margaret River). When I

GOLDDUST Production Mixing, recording and composition. Leederville $80 p/h. 0408 097 407 RECORDING MIXING MASTERING PRODUCING Fremantle location. Call Pete Kitchen Cooked Records. Ph 0407 363 764 / 9336 3764 REVOLVER SOUND STUDIO Ph 9272 7505. www.revolverstudio.com.au SONGWRITERS - BANDS! Great Productions!

London Producer, awesome studio. Call Jerry on 0405 653 338 www.jerichomusic.com.au REHEARSAL STUDIOS

AAA VHS REHEARSAL ROOMS Great facilities, great vibe & great price!!! Unit 5 /16 Peel Road, O’Connor. Phone 9418 5815 or 0413 732 885 BIGBEAT SOUND STUDIO Clean rooms, all new PA systems, air-con and good parking.

Willetton Ph: 0425 698 117.

PLATINUM SOUND ROOMS Professional rehearsal rooms, airconditioned, quality PAs mob 0418 944 722 STREAM STUDIO’S 89 Stirling St, Perth. Mobile: 0403 152 009 info@streamrehearsal.com.au

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moved to Perth I started studying with Ric Eastman, Chris Tarr, Wency D’Souza and Ben Vanderwal.

What’s you practice regimen like?

It’s fairly poor at the moment, I use to be devoted to practicing eight hours (at least) every day. But now I transcribe a song or two a week and rehearse with each band at least once a week and gig one or two times throughout each week.

What’s your current preferred stage rig?

My preferred stage rig is one rack, one floor, one snare, one bass drum, one pair of hi hats, one ride and two crashes. I really enjoy bigger drums so I usually play with a 24x14 bass, 13/14 or 15 rack, 16/18 floor tom, 15” hi hats, 20” & 21” crashes & a 24” ride. My rack toms and floor toms change a lot because I just cater for what ever style I’m playing on that given gig.

What’s the financial investment like for a drummer?

I would hate to know how much I have sunk into my drum kit over the years but it is a huge financial investment. From the sticks to the skins to the cymbals to the hardware I break each and every week or two, and that’s just the tip of the iceberg. But I don’t regret it, playing music with your mates is the best thing anyone in the world could ever do and for that it is a small price to pay.

TUITION

***GUITAR LESSONS*** The Guitar Institute.

New Studio New Times Avail. Online bookings.

Beg to prof, all styles. Tutors WWC clearance.

Cliff Lynton Guitar Institute. Mt Lawley 9342 3484/ www.clifflynton.com BASS GUITAR LESSONS AVAILABLE by WAAPA tutor. A practicle approach to learning. .All styles.Years of experience. Tony Gibbs 9470 6131

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