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LOCAL NEWS
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GLOBAL NEWS
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ANNOUNCEMENTS
KING GIZZARD & THE LIZARD WIZARD King Gizzard & The Lizard Wizard are not slowing down the touring and are announcing SinoAustralian Tour in August/September. They’ve just returned from a US/Canadian tour, squeezing in a recording session at Daptone in Brooklyn plus working on their material for both their fifth and sixth LPs in the Catskill Mountains along the way. These guys are working hard this year and have already sold out their first show in Sydney. Here on the West Coast they’ll be performing at The Bakery on Friday, September 26, tickets available at Nowbaking.com.au. Catch them also at the Wave Rock Weekender on Saturday, September 27, tickets available at Soulhighway.com.au. King Gizzard & The Lizard Wizard
SEARCH NO LONGER Legendary singer/songwriter Rodriguez first played in Australia in the late ‘70s and is returning to Perth after 25 years. Rodriguez’s unique story was made into the Academy Award-winning 2012 documentary Searching for Sugar Man (and aired on SBS this past Monday). He will be performing at Kings Park & Botanic Garden on Friday, November 7. Tickets are on sale Thursday, August 28 at 12pm from www.ticketmaster.com.au and 136 100. Rodriguez
HUSKY CONFIRMS After touring with the album, Forever So, for almost two years in Australia, the US and Europe, Husky are marking the release of their follow-up album, Ruckers Hill, with a national tour in November/December. The extensive tour encompasses 16 headline dates and two festival appearances. The Melbourne band have spent 18 months working on the 13-song LP, which will be released on Friday, October 17, and will be available for pre-order from this Friday, August 29. Husky will be performing at Dunsborough Hotel on Thursday, December 4; The Bakery on Friday, December 5, and at the Prince Of Wales in Bunbury on Saturday, December 6. For tickets see oztix.com. au and nowbaking.com.
Sticky Fingers have almost sold out their Australian Land Of Pleasure album launch tour and are playing an extra show at The Bakery. Their album Land Of Pleasure landed at number three upon its ARIA chart debut and number one on AIR Independent Album Chart. With their Saturday, September 20, gig selling out, Sticky Fingers will be performing the extra show at The Bakery on Sunday, September 21. Tickets available at Nowbaking.com.au.
Husky
Sticky Fingers
STICKY FINGERS PUT ON EXTRA SHOW
TY THIS Stoner-doom legends Sleep are back with their first piece of new music since 1998 and are returning to our shores for their first full Australian tour. Founding drummer Chris Hakius has retired, but Jason Roeder from Neurosis will be hitting the drums just as hard. Sleep will be performing at The Bakery on Monday, December 8. For tickets see lifeisnoise.com and oztix.com.au.
Ty Segall will be staging his biggest Australian tour in December, performing songs from his just-released double album, Manipulator, (reviewed on page 12) and plenty more from his ever-diverse catalogue. Joined by the full band line-up of bassist Mikal Cronin, guitarist Charlie Moothart and drummer Emily Epstein, this four-piece are world-renowned for their devastating performances and epic live shows. Ty Segall performs at The Bakery on Thursday, December 11. Tickets are available at Now Baking, Oztix and Heatseeker.
Sleep
Ty Segall
NO SLEEP ‘TIL SLEEP!
JIMMY BARNES ANNOUNCES EXTRA SHOW IN KINGS PARK With his album release 30:30 Hindsight out this Friday, August 29, Jimmy Barnes is putting on an extra show in Kings Park as part of his national A Day On The Green Tour due to the overwhelming demand. Following their performance on Saturday, November 22, Barnes, The Living End, Ian Moss and Mahalia Barnes & The Soulmates will take to the stage again on Sunday, November 23. Tickets for the new show go on sale Monday, September 1, at 9am, from Ticketmaster.com.au (136 100). Jimmy Barnes 4
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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
The Great Steampunk Affaire Events: Pic by Dean Smith
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
STEAMPUNK
For band gigs and launches - plugyourgig@xpressmag.com.au
The Great Steampunk Affaire ball is being held at the WA Museum on Saturday, September 6. Themed Fin de Siecle: An Evening Of Mass Extinction, the event will celebrate the variety, and annihilation, of Earth’s pre-historical biota, leading up to a final cataclysm. To celebrate this cheery prospect, we’re giving away two tickets to whomsoever can riddle us this - which author is mentioned by the Great Steampunk Affaire as a chrono-navigator? Head to their website for clues and send your antiphon to win@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
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Sixto Rodriguez in Searching For Sugarman.
GIMME SOME SUGAR Perfect for prepping for his national tour in November, X-Press has copies of Rodriguez documentary Searching For Sugarman to give away. Detroit folk musician Sixto Rodriguez released one album before fading into obscurity, at least as far as the mainstream music industry was concerned. As two rabidly enthusiastic South African fans discovered, Rodriguez left a legacy through bootlegs and word-of-mouth that lead to his rediscovery (and now, his third Australian tour). With universal critical acclaim and a 2013 Academy Award for Best Documentary, Searching For Sugarman is an important film about an important man the music world almost lost forever. If you’d like a copy, drop us a line at win@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 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.
33,560 OCTOBER 2012 MARCH 2013 - AUSTRALIA’S HIGHEST CIRCULATING STREET PRESS
Oneluv’s Hope Floats.
HOPE FLOATS YOUR BOAT Australian designer Dina Ochwada’s jewellery label, One Luv, have been making beautiful pieces in the spirit of French giants like Chopard since 2004. Ochwada’s work is intricate and playful, featuring whimsical origami, babushka, and harmonica-inspired collections, necklaces based on Yves Saint Laurent’s trademark spectacles, and maritime pieces. One Luv just released their Hope Floats collection, a series of pendants featuring crystals trapped in glass chambers. We’ve got a piece from the Hope Floats collection to give away, along with $25 vouchers to use at oneluv.com.au. Drop us a line at win@xpressmag.com.au.
Nick Cave in 20,000 Days On Earth.
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Ethan Hawke in Predestination.
PREDESTINATION Fans of Australian film, science fiction, or Australian scifi are getting spoilt. Hot off the heels of the fourth Mad Max trailer, we’ve got another Australian dystopic thriller hitting cinemas. Peter and Michael Spierig, the brothers behind vampire-virus movie Daybreakers, are the dudes behind Predestination. The film follows a Temporal Agent (yes) who has the perfect career-securing move - a time-travel journey to ensure he’s never out of work again. Predestination stars Ethan Hawke, Sarah Snook, and Australian legend Noah Taylor, and you can catch it in cinemas from Thursday, August 28. Get in touch at win@xpressmag.com.au for your chance to win a double pass.
20,000 LEAGUES
BABY JUST SAY YES
For Nick Cave freaks, those fascinated by his mythos, and everyone who dug his neo-Western The Proposition should check out the new semifictional film, 20,000 Days On The Earth. The film is a broody take on a day in the life of Cave, and it’s an intimate and frank look at the creative process and who we really are. It’s bound to be as trippy and melancholically meta as his music and novels, and you can see it in cinemas from August 21. Keen for a double pass? Hit us up at win@xpressmag.com.au.
It was only a matter of time before Julian Fellowes screenwriter behind Gosford Park and Downton Abbey and archetypal English gent - took on Shakespeare. Romeo And Juliet is reimagined for the 21st century in this lush adaption, scripted by Fellowes and directed by Carlos Carlei. It’s set in Verona and features all the lush melodrama you know and love in Fellowes’ period pieces (plus Paul Giamatti). Romeo And Juliet is out on DVD, and if you’d like to win a copy, get in touch at win@xpressmag.com.au.
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FLESH
NEWS - INTERVIEWS - REVIEWS - CONTENTS
GOZZY GOZZY GOZZY The grand final of Gozzy Rock was held at the Don Russell Performing Arts Centre last Saturday, August 23, for the first time at that particular venue. From 27 entrants all up in the competition, Huntingdale indie pop band Raksha, took out first place and received $3,500 in prize money, $1,600 worth of recording time in the City of Gosnells sound studio and an X-Press Magazine promotional pack worth $750. The members of Raksha are all aged between 14-17 years. Maddington soloist Agamous Betty was the runner up, walking away with $1,500 and a $1,200 recording package. One of Gozzy Rock’s youngest musicians, 14 year-old soloist Naomi Hart, was presented with the Encouragement Award, receiving a $500 cash prize and $800 recording time. Gozzy Rock 2014 was proudly presented by the City of Gosnells and sponsored by X-Press Magazine. The event was supported by CCA productions and GOZYAC (Gosnells Youth Advisory Council). Congrats to all the winners. Raksha
NEWPORT RECORD CLUB HITS THE WALL Over the past 12 Thursdays, the Newport Hotel Record Club has hosted some of WA’s finest musicians in an undulating orgy of supergroup-ness, performing their favourite albums in entirety. One of the highlights from the events, co-organiser Steve Parkin says were nearly 300 people moshing to Justin Burford’s take on Nirvana’s Nevermind. Ending the series are the hosts of Record Club, Malcolm Clark and the aforementioned Parkin, along with their own little supergroup. They will be performing all four sides of Pink Floyd’s The Wall. The performance will be synchronised to the 1982 Alan Parker movie, which will be playing on a big screen behind them. The last of the weekly series is this Thursday, August 28. Entry is $10. A second series looks likely in the future. Pink Floyd’s The Wall, Newport Hotel Record Club this Thursday
SUNDAY NOT FAR AWAY
ANDREW DICE CLAY Still Unbelievable One of the funniest, most popular, and most reviled comedians ever, Andrew Dice Clay, is bringing his profanity-laden stand-up show to HBF Stadium on Friday October 17. SHANE PINNEGAR finds Clay ready to talk business. Fans of Andrew Dice Clay – or ‘Dice’ as he is often known – will remember him through the late ‘80s/ early ‘90s for his hilarious smutty rewriting of popular children’s nursery rhymes, his catchphrase ‘unbelievable’ and his star turn as ‘rock n’ roll detective’ Ford Fairlane in the movie The Adventures Of Ford Fairlane. More recently he’s played an exaggerated, impossibleto-deal-with version of himself in the final series of popular HBO show Entourage and a surprising – and very well received – straight dramatic role in Woody Allen’s film Blue Jasmine, opposite Cate Blanchett and Alec Baldwin. “It started with Entourage,” Clay explains. “Woody Allen saw me on Entourage and then Scorsese saw me in Blue Jasmine. It seems like Hollywood is looking to really pump me up in an acting way, which was always my goal from day one. A lot of comics, as funny as they might be, they don’t understand theatre and they don’t understand performance. “I never really studied comics. I studied rock bands. I studied artists from Elvis to drummers like Buddy Rich and bigger than life personalities like Muhammad Ali and bands like Led Zeppelin and even your Australian band, INXS.” It wasn’t all fun n’ games though: MTV banned him for life in 1989 (they rescinded the ban in 2011) after he cussed on a live show, the movie studio dropped an elaborate premiere for the Ford Fairlane movie after pressure from groups outraged by Clay’s politically incorrect character, and he still courts controversy, having a live interview on Channel 8
Nine’s Mornings program cut after two minutes when he dropped F-bombs, asked compere David Campbell if his co-host Georgie Gardner was a ‘hot number’, and said he’d like to ‘kangaroo-fuck half these [Australian] girls across the country’. Contrary to the days of old when he refused to apologise for anything he said, Clay says he’s not that guy any more. “They did the right thing,” he admits. “What happened was my publicist, basically, he didn’t tell me the kind of show it was and I don’t even know when I’m, like, calling there to be honest with you. I don’t do that kind of stuff anymore on live TV. I would never. I definitely owe them an apology. I have a different career now. I’m doing a lot of the acting stuff I always wanted to do. I just got done with Martin Scorsese with his new project for HBO.” The mere thought of Andrew Dice Clay apologising for being a snapperhead in 1989 or 1990 was unbelievable (sorry), but the new Clay is older, wiser, and seems less willing to jeopardise his second chance round the ride. “Because when my career took off as a stand up and I’m on MTV or those kinds of things, I just didn’t care,” he confesses. “I did, like I said, what any rock star would do. They sing it in their songs - I do it in my stand up.” Times have changed since those heady days and there’s far less taboos nowadays – does Dice still have what it takes to shake things up? “You know what?” Clay snorts. “I wish you had seen a recent show and I wouldn’t even have to answer that. The way my son Max puts it to me, who’s 24 years-old, he says, ‘in a day and age where nobody could shock anybody anymore, you still manage to cross that line’. “I blow people’s minds because the language is so colourful and so cartoonish. Anybody could go on stage and be filthy, but to be filthy and hysterical are two different things - that’s a hard thing to do.” Sometimes, 15 minutes is just not long enough, and time is running out fast, but we can’t let Dice go without him plugging the tour, can we? Why is this the first time he’s come to Australia? “I don’t really go out of the country much,” he admits, “But I’ve always had a tremendous fan base in Australia. I’m excited about coming there because I always have people in my audience from Australia when I’m in Vegas. They’re the coolest people. “As far as kangaroo-fucking the girls,” he says with a Diceman laugh, “Let’s see what happens.”
Sydney hip hop collective One Day (Horrorshow, Spit Syndicate, Jackie Onassis and Joyride) are excited to announce the arrival of their infamous block party, One Day Sundays, in Perth on Sunday, September 14, from 1-10pm at The Rosemount Hotel. The Perth event will see the One D ay D J s J o y r i d e , A d i t ( H o r ro r s h ow ) a n d Raph (Jackie Onassis) bringing the party jams alongside local Aslan who’ll be spinning his signature brand of southern rap and trap music. Some of Perth’s best graffiti writers will painting live courtesy of Ironlak and Rosemount Hotel kitchen will be cranking out delicious foodie treats. All that and it’s free.
Acclaimed Australian blues singer/songwriter C.W. Stoneking is set to release his new album, Gon’ Boogaloo, on Friday, October 17As is his way, C.W. will be hitting the road with his band in support of the LP, and stops by our way on Saturday, November 22, at the Rosemount Hotel and Sunday, November 23, at Mojo’s. Tickets on sale through Oztix.com.au.
One Day
C.W. Stoneking
WAITING ON THE STONEKING
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THE SUNNYBOY RETURNS First screened in Perth in October last year at Luna Cinemas, The Sunnyboy has since featured in community outreach events all over Australia. Documenting Sunnyboys singer/guitarist Jeremy Oxley’s 30-year battle with schizophrenia and his re-emergence in more recent times, the film is a joint winner of The Mental Health Services Broadcast Media Award 2014. Director Kaye Harrison will receive the award from Prof. Fiona Stanley at the TheMHS Conference on Wednesday, August 27. The broadcast media award is for the best program, program segment or series of programs/segments relating to mental health or mental illness. This Thursday, August 28, The Sunnyboy will screen at the Perth Convention Centre as part of the TheMHS Conference with Kaye Harrison and Sunnyboy Peter Oxley along to participate in a Q&A following the screening, hosted by X-Press Magazine Editor, Bob Gordon. This event is a combined sponsorship between Partners In Recovery in the Perth metro region. Entry is free and all are welcome, just RSVP to awards@themhs.org to confirm your booking. Jeremy Oxley, Kaye Harrison and Peter Oxley - The Sunnyboy
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Newsdesk Win Flesh Music Bluejuice, Autumn Isles, SLAVES Jimmy Barnes New Noise Eye4 Cover: White Rabbit, Red Rabbit Predestination Magic In The Moonlight, Felony The Hit List, Fashion, Arts Listings What’s On In September Scene Cover: Client Liaison EDM News, Sable, Kristian Nairn, Kim, Robbie Jalapeno Live: The Ape, The Dandy Warhols, Apache, Peking Duk Local Scene: Morgan Bain X-Press Guide Social Pics, Volume
FRONT COVER: US comedian, Donnell Rawlings,
headlines Rottofest, happening from Friday, September 19, through to Sunday, September 21. SCENE COVER: Client Liaison hit The Bakery on
Saturday, September 6.
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MUSIC
BLUEJUICE Home Truths After 13 incredible years, Bluejuice are calling it quits on their illustrious career. Jake Stone speaks with AARON BRYANS about his time with the band and reveals his views on the Australian music industry. Bluejuice perform at Capitol on Friday, September 26, the Red Dirt Arts Festival Karratha on Saturday, September 27, and Southbound at Sir Stewart Bovell Park, Busselton, on Saturday-Sunday, January 3-4.
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It’s been an impressive career, for Sydney indie-rock four-piece Bluejuice, with three acclaimed records to their name and numerous radio singles including Vitriol, Broken Leg and Act Yr Age. All good things must come to an end, however, and with the release of their greatest hits album, Retrospective, the Aussie band is heading out on their final tour of Australia. “It’s a greatest hits record but there’s a few new songs on there and I think that the songs that we’re putting out are not just good, but better,” says vocalist, Jake Stone. “I’ll Go Crazy is probably the most consistent and best recording we’ve figured out; it’s a cracking single, rightly written, lots of hooks, great production, it’s as good as anything. I think we’re a much tighter studio band then we’ve ever been.” With the door now closed for Bluejuice, Stone is glad he can finally share his experiences as an artist and hopefully impact up-and-coming musicians along the way. “I would’ve liked to have gone overseas and been popular over there because I think it would’ve been
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a very different experience of success over there,” he reveals. “We would be wealthy and we’d be a successful band in that way and that’s a very different thing to being a successful band in Australia. “I don’t know if the general public realises this, but now it’s kind of a given if you’re a young artist and you’re doing well you immediately go overseas now, but that wasn’t the case when we started. There were no other bands in Sydney and no one really had any money to go overseas to do that shit. Wolfmother and The Vines were doing it but no other bands were really getting that support. I don’t think there was a climate overseas to support Aussie bands. “I’m happy with what we did but I wish that we had gotten overseas partially because idiots think that’s the main thing and if that’s what people think then sometimes you have to do what they think to be treated well. The difference between being treated well as a musician and treated badly is perception. If people recognise you on the radio they treat you famously, they treat you very differently if they don’t. If you say you’re a musician from a band they ignore you straight away and
patronise you but if they know you they treat you like God; there’s no subtlety. There’s a massive difference when they do know you and when they don’t know you. “It’s incredibly ignorant and stupid but that’s just the way people are. I don’t hate people. I feel very lucky that we’ve had a great career and been supported by people but being in the band for as long as I have been it’s amazing watching people change their attitude to you depending on your level of success. I’ve enjoyed our successful periods as you get a lot of great stuff happen to you because everyone wants to give you stuff… but in my not-as-successful periods it’s been very revealing. “I think for the first seven years of the band it was really tough because we were not seen as a serious band and no one really supported us in a way, but once Vitriol came out we sort of represented Australian attitude but at the same time they’ll support you but they won’t allow you to be as exotic or glamorous as bands overseas. We have had that many singles that have gotten high reception on radio yet I can walk around and nobody recognises me and nobody gives a shit that I’m in the band. “The tall poppy syndrome it doesn’t breed quality in the way that we think it does, it actually represses people and makes them less adventurous in some ways because they feel that they need to live up to some standard promoted by people who don’t really understand music. “We’ve just been around for a long time and Stav (Yiannoukas) wants to do something else with his life, he has two kids. “The problems we’ve had are the same problems that any other band would have. We’ve always had to battle perception and we’ve always had to strategise to be successful. We do love Australian music and we do love Australia. We love it enough that we don’t want it to bullshit itself and lay around stupid preconceptions held by idiots. Let’s be the smartest country we can, not the dumbest. We should get this government out; we shouldn’t be a bunch of racist isolationists. Let’s open our eyes to what makes this country great and get behind it like we seem to be with younger bands now. If you’re friends with a band don’t just write them off or make fun of them and ask them when they’re going to get a real job. Go see them, go support them, be supportive and have fun with them.” While discussing a fair share of negatives, Stone insists Bluejuice’s career has been an incredible journey and is incredibly grateful for what they have accomplished. “There isn’t one particular highlight; I think consistently following up our singles and getting them to radio has always been a highlight and probably just discovering that Broken Leg went platinum this morning. It went platinum in 2007, but I only just found out about it, nobody had told us it happened.”
THE AUTUMN ISLES A Question Of Being The Autumn Isles launch their second album, A Bird Called Cognition, this Saturday, August 30, at The Bakery with help from The High Learys, Gunns, Thee Gold Blooms and Jeff’s Dead. BOB GORDON reports. When The Autumn Isles released the first single, Harvest In The Night, from their new album, A Bird Called Cognition, back in July, singer/guitarist, Alex Arpino, commented on how the new LP finds the band stepping into new territory and therefore experimenting more. So how did you reach these new depths? "I believe it was a combination of things," Arpino says now. "For one, feeling more comfortable and confident as a songwriter, being more aware, emotionally, and having a willingness to express that. I also think it comes down to experience as a band, looking at what we have done before and wanting to explore other things, different tones and textures, and having the means to do it. I also think we have found more cohesion as a group which has been really rewarding." Rather than a conscious push forward to up the ante with the band's songs, Arpino notes that it is more as a result of sheer creative momentum. "We never really had any big conversations about trying to push beyond in a 'goal setting' 10
kind of way," he says. "We just let the songs shine through and took them to where we felt they belonged. I’m lucky to be able to work with a great group of musicians, everyone takes their role in the band seriously and will work really hard to give the best they can regardless." It's been an introspective time in Arpino's life generally, following the loss of his father. He found a catharsis in the songs on the new LP and something of a new creative freedom. "It has allowed me to find a more natural place in terms of songwriting, there was a time I felt like I was 'doing' rather than 'being' when it came to writing music. I feel that has changed while working on this album." Now that the album has been delivered the challenge of delivering it onstage presents itself, finding the Autumn Isles more than up to the task. "We have nine musicians in total on stage for the album launch, and are performing the album in its entirety," Arpino says. "The focus has been to try recreate the album as close as we can. There hasn’t been much variation outside of that. Apart from Hurricanes, which has this great apocalyptic noise jam that builds at the end of the track, we recorded it live in a few takes, no overdubs. This has allowed us to really improvise each time we play it live, which has been fun. "Our hope is that people take the time to listen to the album, get to know it and hopefully appreciate the work that has gone into it. If there is something in the record that resonates with, or inspires someone then our work is done."
SLAVES The Journey Continues With five prior bands under his belt, Johnny Craig chats with AARON BRYANS about the next page in his illustrious career, post-hardcore band SLAVES, who will perform at Academy @ Amplifier Bar on Wednesday, October 8. It’s been an extensive career for the talented Johnny Craig; the vocalist well known for his incredible range and endless band appearances has had his fair share of highs and lows. Last seen on the band scene departing Dance Gavin Dance after a period of drug abuse and imprisonment, Craig is back and better then ever, looking to harness his personal growth through his latest outfit, SLAVES. “It’s definitely given me a different vantage point when it comes to lyrics and stuff like that,” Craig reveals. “I’ve had a lot of troubles and I’ve gone through lots of things that have given me a lot to work with. I think it all happened for a reason and it made me a better person and a musician. “I think that this is the best project I’ve done so far, musically, vocally, and lyrically. I think that it’s happened at the right time, this project is a part of me.”
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Quickly forming in earlier this year, SLAVES jumped straight into prominence signing with Artery Records and releasing their debut album, Through Art We Are All Equals, which features guest appearances from long-time friends Vic Fuentes, Tyler Carter and Kyle Lucas alongside sister, Natalie Craig. “It feels pretty good. A lot of people that are on the album I haven’t seen in a while and it’s good to get back to having a relationship with them and moving forward with them; it feels good to be a part of it again.” The album was recorded under a limited time and budget; but that didn’t stop the fourpiece from writing immensely layered and highly detailed instrumentals alongside hauntingly strong vocals. “We didn’t really have a lot of time or a big budget so it only really took two months to put everything put together and ready to go,” Craig says. “A lot of time was spent on the vocals.” Their debut album is just the beginning for SLAVES and the continuing career of Craig with numerous tours scheduled and remixes for supergroup Isles & Glaciers. “We’re going to write another CD, we’re touring all the rest of the year, we have tours booked for next year, it’s going to be a busy, busy time for us. “I’d never say an Isles & Glaciers reunion won’t happen. As of right now all of the people that are in that band are pretty happy doing their own thing; but who knows? We are going to be releasing some remixes of the songs but it’s nothing new.”
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“It was pretty hard going to America and dealing with that whole record company songwriting machine,” he says. “They’d have me go out with four different writers a day. I’d spend two hours with each writer, and usually after the second writer I’d be like, ‘have I written with this guy before?’ You’d be scratching your head. But it sorted itself out and even if I didn’t do songs with people there were people I would click with straight away and end up writing with. Jonathan Cain (The Babys, Journey) and the other was Desmond Child (Bon Jovi, Kiss, Alice Jimmy Barnes releases his solo career Cooper), the two most obvious ones. (Laughs) My wife’s just pointed out that I’ve written a few with retrospective, 30:30 Hindsight, this Friday, her too.” While in the US in the mid-80s, Barnes had August 29, and performs two A Day On offers to join such iconic bands as Van Halen (postThe Green shows on Saturday-Sunday, David Lee Roth, pre-Sammy Hagar), Deep Purple Little Feat. He was flattered, but having just November 22-23, with help from The and left a band after a decade, Barnes was focussed on Living End, Ian Moss, Mahalia Barnes & songwriting collaborations only, by way of building solo career. The Soulmates. BOB GORDON looks back. upon an already-successful “Jonathan Cain sent me Working Class Man which was fantastic and we ended up writing 90 per He’s used to them by now, but a milestone is a cent of Freight Train Heart together.” milestone The release of 30:30 Hindsight, Barnes’ “I was just thinking,” Jimmy Barnes says solo retrospective, has allowed him the chance to redown the line in his friendly Scottish-sounding gruff, release those songs on one disc and remake various “it’s been 30 years with Mushroom (Records) and 30 tracks on the other with friends such as The Living years as a solo performer - that means I’ve been on End, Baby Animals, Keith Urban and Bernard Fanning. the road for 40 years. It’s a long time to be out seeing He even reunites with his ‘80s collaborators - Steven the place. It’s good.” Van Zandt on Ride The Night Away and Cain (with When Cold Chisel finished their infamous other Journey members) on some of the Freight Train Last Stand tour in late 1983, it seemed like such a big Heart Tracks. finish that no one was thinking about what would “We hadn’t done much since then,” Barnes happen next. says, “so it was nice to revisit the Journey boys for this Everyone except Barnes, that is. By mid- and just tip my hat to them, for how important they 1984 he’d release a hit single, No Second Prize, soon were in my career. At that point they really helped followed by his debut album, Bodyswerve. Consider give me some guidance and experience and a nudge Bernard Fanning’s first album after Powderfinger forward.” broke up took three years. As the years went on, Barnes explored the Three decades ago, Barnes had other ideas. “It was December ‘83 when we finished R&B, blues and soul textures that he was missing from with Cold Chisel and I remember thinking, ‘if I his Cold Chisel days. It’s a realisation he made only sit around procrastinating people are gonna start recently, that he was seeking to find what he once comparing what I’m doing to Cold Chisel. Even I’m had revelled in. But if there is one thing that Barnes’ solo career has continued on from his old (and now going to compare it to Cold Chisel’. “I didn’t think about it too much; I just had current) band’s tradition, it was the delivery of bona to get out and do what I do best, which is get out fide Australia rock anthems to audiences all too willing in front of people and play live. In February ‘84 I put to sing along to them. “I was just trying to make good music,” he together a band that was very secure and familiar for me and went back out on the road trying out songs we points out. “My whole career was really based around would record. By April we were in the studio recording live performance. That was what I did best. I guess and Mark (Opitz) came in to produce and we made a with that in mind, when I was writing by myself or raw, rough record. I didn’t want to remake Pet Sounds with other people that was always a consideration. or anything, I just anted to make a rock’n’roll record. You can sit around and make studio songs forever, “It came out and entered the charts at but to make songs work live, you need to make them #1. At that point it gave me the luxury of being able anthemic and make them connect with people en “Songs like Lay Down Your Guns and I’d Die to take a deep breath and think about what I was masse. gonna do with the rest of my career. It was all about To Be With You Tonight just sort of had that element momentum, to not let myself be intimidated in any to them. And No Second Prize, it was just the way way, even though I was. It was a lot of bravado, as I played live and the way I related to an audience. I wanted them to sing along with me because they much for my own benefit as anyone else’s.” As the ‘80s continued Barnes was soon felt the same. When people sing along to anthems filling the arenas that Cold Chisel once filled on his it’s because they feel and emotional connection. “It’s that simple and most of my songs are own. Eyeing bigger (first) prizes he was often of to the US, on co-writing trips for albums such as Freight simply things I want to shout about. Whether it’s ‘I Train Heart and Two Fires. love you’ or ‘I want to kill you’ (laughs).”
JIMMY BARNES 30 Years Of Barnestorming
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NEW NOISE
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TY SEGALL
LAURA JEAN
Manipulator Spunk
Laura Jean Chapter Music
One of the buzz artists of the past few years has been Ty Segall. This is surely in part due to the fact that over a short amount of time he has amassed a discography that is larger than most modern consumers’ record collections, but also due to the breadth of his guitarbending psychedelia. Manipulator is another look into the fertile mind of Segall, who pulls together 17 tracks that are mostly filled out by the multi-instrumentalist himself, with a little glitter added by some friends along the journey. While the doubters would point to Segall’s prolific nature as a measure that he lacks quality control, they would be hard pressed to pursue that argument when handed what is clearly Segall’s most conscious, refined and clean record. There is the perfect amount of glam brought into the mix during The Faker, which could give Segall his most notable and successful tune to date. The Californian’s love of the guitar is evident with the instrument being layered deeper than a Sara Lee pastry with guitar solos both competing and complementing each other when necessary. Sabbath and T-Rex are still places Segall calls home but it is the acoustic moments that are thrown in here such as The Hand and Green Belly which give Manipulator a wider palate. With the indie world watching with baited breath for Manipulator, Segall has shown himself to be capable of being a crowd pleaser without any hint of scheming or conspiring.
Folkie songwriter Laura Jean has recorded her selftitled fourth album, produced by John Parish who has collaborated with PJ Harvey, as well as his work with Goldfrapp, M Ward and many others. Dealing with life can be cruel, or at least that is how it seems for Jean on this almost biographic release. With her frail voice evoking goosebumps, on the other hand she can at times become overly so, sounding like a little bird, more pitiful than a melancholic. Too much wallowing and some awkward song lyrics take the attention away from some melodies that are otherwise beautiful such as ‘Now I have a song to sing’ in June, although the song still holds its own. There are also songs such as Don’t Marry The One You Love where Jean excels in her songwriting, allowing the listener’s mind to roam free on the topic of marriage and what the song means to them. With her vulnerability does come songs such as A Mirror On The Earth, personal and deep. On this album Laura Jean has captured the difficulties in life and family affairs while leaving us with a dark forest feeling. IDA CECILIE JOHANNESSEN
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CHRIS HAVERCROFT
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ROYAL BLOOD LOWTIDE Lowtide Lost And Lonesome Lowtide’s self-titled debut album has been a while coming, but hell, it was worth the wait. There are lashings of Joy Division and Explosions In The Sky in its emotive and often dark swell, and the emphatic chord progressions could bring grown men to their knees. The opener, Whale, is, for want of a better analogy, like a whale’s call. It’s haunting yet beautiful, and sets the pace for an album that moves like the sea. First single, Blue Movie, succeeds in deceiving the listener as to when exactly it will erupt, move into a chorus or even end, making it a strong centrepiece for the band’s debut. Missing History is vaguely reminiscent of The Cranberries’ Zombie, as it winds up for each chorus, but dares to be more delicate. A major highlight on the album, its softness resonates long after the six minutes and 14 seconds have come to an end. The closing track, Still Time, is appropriately sobering. Each track, in both sound and name, seems to evolve or transition from the one that preceded it, reinforcing the sense of movement and maturity on the album. IZZY TOLHURST
Royal Blood Warner Royal Blood are a couple of boys from southern England, burly in both physique and on-record presence. Diverting from the regular rock two-piece setup – six strings and a drum kit – axeman Mike Kerr thrashes a bass guitar. He sends the bass through multiple amplifiers and distortion peddles, creating an alarming aural melee. Consequently, Royal Blood’s non-stop big riffs are forcefully stuffed in your face. Royal Blood attach themselves to the sultry riff-rock tradition that spans from Black Sabbath to Queens of the Stone Age, with the odd sleepover in Pantera’s basement and Jack White’s loft. The sexual masculinity genetically bound to this league of intelligent ‘rawk!’ is essential to its appeal. Royal Blood have convincing chops – with bold riffery and Kerr’s sometimes dazzling high register – but they haven’t nailed the art of primal seduction. Nevertheless, Ben Thatcher’s bullishly fierce drumming commands plenty of movement. The riffs frequently suggest that a stranger’s head is an appropriate target for your own. If that’s not your style, the solid grooves impel mass shimmying onto the dancefloor. This LP is a hell of a lot of fun, there’s no doubt about that. However, while it proves Royal Blood are dexterous re-appliers, they aren’t compelling storytellers in their own right. AUGUSTUS WELBY
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BROODS Evergreen Universal For the bulk of Evergreen, Auckland brother-sister duo Broods deal a similar brand of ethereal goth synthpop to London Grammar. The pair’s best moments play up the contrast between Georgia Nott’s ethereal vocal harmonies and brother Caleb’s elaborate electronic backdrops. The overall effect is a sturdy, if familiarsounding debut of danceable energetic tracks with the injection of a dark twist. The bouncing vocals allied with vibrant sonic textures in Mother & Father set a luminous, mildly foreboding tone, furthered by hints of sketchy experimentation in Everytime. A scatter of shuddery synths in Bridges alongside gradual sheets of stuttered beats in Never Gonna Change set these tracks chief among the rest. Broods particularly shine on delicate ballad Medicine, illustrating the duet’s ability to downplay the somewhat heavy-handed feel and allow room for air in their sound. The track is lightened with a down-tempo melancholy melody, especially flattering to Georgia’s elusive vocals. It doesn’t always work, but in short, Broods’ knack for durable hooks demonstrates they can transcend the confines of gloomy synthpop. It’s quality songwriting with better production and poppiness in all the right places. KIERA THANOS 12
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OUT OF 5
DIE! DIE! DIE! S W I M Black Night Crash / MGM ‘Overlooked’ and ‘underrated’ are, sadly, two terms that are liberally yet justifiably applied to the discography of Die! Die! Die! Despite accolades for their exceptional live shows and consistently engaging albums, they never seem to quite reach the heights they deserve. To many, Die! Die! Die! are a sleeper. So, to them – and every other fan of modern post-punk and forward-thinking, interesting guitar music – this must be said: wake up. Now. Die! Die! Die! have delivered the single best album of their career. That potential from their early material? Realised. The progressions made on Form and Harmony? Expanded beyond your wildest dreams. Sonically, it’s white-knuckle levels of intensity from go to whoa, with piercing cries and knife-edge guitar matched up to pummelling drums and earth-rumbling bass. Not a single track drops below exceptional, its emotional spectrum never loosening its grip. This is a band that has gone above and beyond the call of duty to deliver its definitive album. Whether this is your first time or your fifth time, prepare to be stunned and enthralled by what you find on S W I M. Things for this band will never be the same again. DAVID JAMES YOUNG
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A striking variety of performers will bring Iranian playwright Nassim Soleimanpour’s play, White Rabbit, Red Rabbit, to life at the State Theatre Centre’s Studio Underground from Tuesday, September 2. However, only the vaguest outline of the material is known - even to the performers. We reached out to opening night actor Sam Longley in the hopes of shedding some light on the subject. “Here’s the trick,” says veteran comedian and actor Sam Longley. “I don’t know because the whole point is that I don’t know. Literally the only thing that I know is that the title is White Rabbit, Red Rabbit and the writer seems to be of Middle Eastern descent. that’s all I know. I don’t know if there’s just me on stage, I don’t know if there’s multiple actors on stage. I don’t know what the play is about. I. Don’t. Know. You know more than I do - you’ve read the press release. It’s a tricky one, man.” He’s speaking of the play White Rabbit, Red Rabbit, a stage play written by Iranian author Nassim Soleimanpour and inspired by his experiences after his passport was cancelled as a result of his refusal to do national service. Each night a different performer will take centre stage; following on from Longley’s opening night turn, the likes of Alicia Osyka, Kyle Morrison, Monica Main and Mark Storen will tread the boards. Even Greens Senator Scott Ludlam is taking a shot. The thing is, none of them will so much as see the script before they step onto the stage; the content is completely unknown. “Perth Theatre Company reached out to me, asked me if I would do it, and I said yes because it’s one of those challenges as an actor that just don’t come along.” Longley says. “I do improv comedy, I do it every Saturday night up at The Brisbane Hotel (at The Big HOO-HAA!), I’ve been a stage actor for nearly 20 years, so I’ve worked with scripts where you have a rehearsal time and you get to really understand your character and figure out the whole show, but I’ve also been improvising since I was 17. So I’m used to being on stage with absolutely nothing, but this is a mixed beast. “There is a script,” he continues. “But you don’t get any time to learn it. All the tools you would normally use as an actor are, to a certain degree, taken away from you and most of the tools you would use as an improviser are taken away from you. I’m guessing that the tools that are left, I assume the play is written so that the tools you have left are just used to maximum effect, and that is just really exciting for an actor. Because we can get safe, as actors. We can make safe choices and find a character that we’ve really inhabited and researched and all the rest, but when you have no control over it - god, that’s going to be fun! and nerve-wracking and frightening.” There is one more clue to the proceedings, although Longley hasn’t received it yet. “I have been told that two days before the show I get something, but I’m not sure what that something is. It might literally just be some costuming. I don’t know what they’ll send me, but they’re certainly not sending me the script. So I’m not preparing at all. I think that’s what the play requires, and there’s nothing I can prepare for. I’ve trained as an actor and I’ve trained as an improviser.” He pauses. “If it’s song or dance, I am royally fucked, but I don’t think it’s gonna be either of those two. God, I hope it’s not.” TRAVIS JOHNSON
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MAKE TIME FOR MAKESHIFT FILM
Presented as part of the Perth Fashion Festival, Makeshift sees 12 local emerging fashion designers with 12 independent Northbridge boutiques in order to showcase both. Window displays by the designers will be on display from September 17 - 22. Makeshift is presented by OnWilliam, with support from the City Of Perth and The Department Of Culture And the Arts.
APOCALYPSE WOW
Paper Planes
Adam Peter Scott’s Trivia Death Match continues at Lazy Susan’s Comedy Den next Wednesday, September 3, with a special Apocalypse Edition! All things pre- post- and intra-apocalyptic will be discussed, dissected and argued over by Werzel and Ben Sutton of These Final Hours, Ethan Marrell of Super Dingo and X-Press Local Music & Arts Editor and Mad Max aficionado Travis Johnson (who is, in the interests of full disclosure, writing this). The end draws night at 8pm. Tickets are $15 from Eventbrite.
PAPER PLANES TAKES FLIGHT Paper Planes, the new family film by Australian film industry MVP Robert Connolly, took home the inaugural CinefestOZ Film Prize on the weekend. More than 20 submissions were received for the $100,000 prize - the richest in Australia. The winning film was selected by a jury headed by acclaimed Australian director Bruce Beresford and boasts a top-notch cast, including Sam Worthington and David Wenham. It beat out stiff competition from the likes of WA-shot films Son Of A Gun and The Reckoning. It next gets an airing at the Toronto Film Festival ahead of its Australian cinematic release.
OUT IN THE STREET The 2014 Beaufort Street Festival needs you! If you’re a street performer or busker, that is. Submissions are now open for al fresco acts who want to be able to strut their stuff in front of the thronging hordes who will descend on the Mt Lawley thoroughfare on Saturday, November 15. Check out the application form at beaufortstreetfestival.com.au.
THE STAIRS GALLERY OPENS Visual artist Jordy Hewitt is about to unveil her latest venture, The Stairs Gallery. Situated on King Street in the Perth CBD, the gallery is envisioned as occupying a point somewhere between a traditional gallery show and a studio open, and will initially pay host to a cross section of Hewitt’s artistic pursuits. the opening celebration takes place this Friday, August 29, from 6pm.
The Spierig Brothers on the set of Predestination
THE SPIERIG BROTHERS
Greg Fleet
FAT SHAN GETS FUNNY This Thursday, August 28, sees the in inauguration of Fat Shan’s Comedy at Four5Nine Bar! Presented by funnyman Rory Lowe, this first night is headlined by none other than Aussie comedy legend Greg Fleet, who will be performing alongside Sean Conway, Colin Worth and Sam Cribb. Doors open at 8pm, entry is $15.
Predestination Predestination is the third film by Australian directors the Spierig Brothers. It is a complex tale involving time travel, based on a story by Golden Age science fiction writer Robert A. Heinlein. We sat down with Peter and Michael to talk about the difficulties of adapting such a legendary author
and temporal paradoxes. “We read the short story quite few years ago and we thought it was a completely new and original spin on a time travel story. Then you discover it was written in 1958 and it is still so original and so unique. It was quite a lengthy process to get there, but it stuck with us and we knew we had to eventually get this done as a movie.” Taking the short story as a starting point, the Spierig brothers expanded it into a full length script, adding elements but taking care to maintain Heinlein’s voice. “There is a certain level of complexity to it. Heinlein wrote the original story in a day, and it is such a tightly crafted exercise in paradoxes. We expanded the characters and added a thriller element to the narrative as well. It’s such a difficult thing to do as it’s such a tightly woven time travel story, that when you add new elements it can easily unravel and spoil the whole thing. I love speculative fiction. You talk about Asimov and I, Robot... and yeah... those films weren’t translated very accurately from the original work. I have such a love for those authors, particularly Heinlein. I try not only to have his voice, but to stay true to the visual style he worked in. Particularly to stay true to his period. He wrote the short story in the ‘50s and everything projected forward to his version of the ‘60s and ‘70s. That was a lot of fun to do.” The unusual nature of the story did present a number of challenges. “There was a lot of technical complexities, especially with Sarah Snook having to play two characters, two genders, in the same scene. We really pre-planned everything carefully together – the storyboard, the animatics... we talked through everything in great detail, so it was about execution when we shoot rather than trying to figure everything out.” The twin brothers have been working together for years, but they have also assembled a crew around them that they tend to work with from movie to movie. Hence even with the complications of the stories temporal jumps, and differing roles for the same actor, the shoot went smoothly. “We spend a lot of time in pre-production planning. So when we get on set we are trying to execute our plan, so it is very rare that there would be confusion. So we split the duties 50/50. It’s very much a collaborative effort. We work with the same crew, so it is very much a family environment.” P re v i o u s l y wo r k i n g i n h o r ro r, Predestination represents the brothers’ first purely science fiction work. “We are attracted to good stories, whether it is sci -i or horror. Above all, is the story new? Is it original? That will attract us no mater the genre.” DAVID O’CONNELL
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Joel Edgerton in Felony
JOEL EDGERTON AND MATTHEW SAVILLE Felony The new Australian thriller, Felony, opens in cinemas this week. We spoke to director Matthew Saville and star Joel Edgerton about the film’s morally ambiguous world, and what it took to bring it about. As well as playing the central role of Detective Malcolm Toohey, Egerton also wrote the script. Essentially about a celebrated police officer being involved in a serious traffic accident and covering up his culpability, the idea arose when Edgerton became fascinated by a question of moral fibre. “I like to think I am a decent person and have moral integrity,” he says. “But I never have been truly tested. So the question of if I was sitting in the car and the situation happened to me, as it happened to my character – then to involve the audience in that feeling, too. What would you do? Would you handle it with integrity or would you save your own bacon? Mal’s a human being. By that I mean he is trying to be a good person, thinks he is a good person, is trying to do good things and has a major slip up and finds himself in the aftermath. He’s an otherwise good man that finds himself in a moral dilemma. “A lot of this film is about empathy. You can’t judge a person unless you walk in their shoes. When you’re with Jai (Courtney - playing the newly promoted Detective Jim Melic ) you empathise with him, when you are with Mal you empathise with him.” However, there are no pure heroes in Felony and all the characters are portrayed in nuanced shades of grey. “Jai has almost too straight a moral line, but even he has something going on there, this weird 14
attraction to grief. He has a crusading mentality, but even he crosses the line. He starts to enter the grey zone. Malcolm is behaving from a place of fear, of what that act will dismantle in his life. My favourite stories are always the ones where someone is trying to dig their way out of trouble. I feel like that’s the story of my life.” Director Matthew Saville has some previous form with this subject. His debut film, Noise, also was a study of the police force, but looked at it from the perspective of a uniformed officer. “The constabulary and detectives are almost a two tier society. It’s a different world. Felony is a companion piece, but different in a lot of ways. There’s some thematic similarities, as they are not police procedurals, but rather character studies. Yet the two protagonists couldn’t be more diametrically opposed. I couldn’t see them getting along too well at all. They are both staring at a moral compass and no one has true north.” A lot of the extensive research Saville performed for Noise was able to carry over into this film. Augmented by consultations with detectives on set, he was able to create an incredible sense of veracity, down to the tiny details (like the four digit extensions above each desk in the LAC). Felony truly immerses its audience in that world while it plays out its moral dilemma. DAVID O’CONNELL
FELONY The Thin Blue Line Directed by Matthew Saville Starring Jai Courtney, Joel Edgerton, Melissa George, Tom Wilkinson While driving home after a night of drinking, Detective Malcolm Toohey (Joel Edgerton) hits a child on a bike. In a moment of panic his actions launch a cover up that draws in two other detectives. One is Detective Sergeant Carl Summer (Tom Wilkinson), a senior detective that sees his duty to do right by the force. The other is Jim Melic (Jai Courtney) a junior detective trying to earn his stripes and doggedly driven by a sense of what is right. As the child’s life hangs in the balance, it is the conflict between these three officers that will determine if he will get justice. Felony is very much an actors’ movie. The plot is there, it is internally consistent and realistically handled, but overall it is a little slight, although adequate for its needs. It is not narrative drive that is propelling this movie along, rather it is much more of an extended character study of what happens to extensively good people when they are forced by circumstance and self interest to do bad things. As such all the actors are given enough room by the film to move, to breathe, to really inhabit the character, to convey by nuance what they are feeling, rather than
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bang out lines of dialogue laying out every emotion or resorting to histrionics. It is little surprise to find out that an actor, Edgerton, also wrote the screenplay (as well as the story for the post apocalyptic drama of The Rover) giving it this subtle tone. However, this comes at a price. There is a slow boil to this thriller as the actors are allowed space to demonstrate their craft, and in places it seems to drag a little. By contrast the ending seems rushed, with some events seeming more deus ex machina than arising organically from the script. Finally, with such subtle performances amongst a plot filled with such moral grey areas, the ending is a little ambiguous and open for interpretation. All of these are minor nuisances, but it is hard to shake the feeling that this makes Felony only a solid film, rather than a great one. Yet there is no doubt it is a movie filled with great acting. Edgerton gives an understated performance as a man wracked by guilt, but unsure of the right action to take. Courtney projects a quiet intensity, keeping it to a simmer through the movie, while Wilkinson manages to pull off the nigh impossible trick of an overseas actor actually affecting a genuine Australian accent as the grizzled and more worldly senior officer. Immaculately shot, beautifully constructed, well acted and stunningly scored, Felony is awash in high production values. With a slightly tighter and punchier script it may have been a more memorable piece of Australian cinema, but as it stands it is a fascinating character study well worth a viewing. DAVID O’CONNELL
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PREDESTINATION Time After Time Directed by The Spierig Brothers Starring Ethan Hawke, Sarah Snook, Noah Taylor “What if I could put him in front of you, the man that ruined your life? What if I could guarantee you could get away with it? Would you kill him?” With these words starts the wonderfully twisted and complex tale of the latest Spierig Brothers offering. Unlike their previous works, Daybreakers and Undead, this is a much more narrative driven piece with science fiction elements (and no horror). Stronger in drama, Predestination becomes one of the neatest studies in the paradoxes of temporal travel since Primer. The premise starts simply enough. A young writer, working under the pen name of the Unwed Mother (Sarah Snook), engages in a wager with a barkeeper (Ethan Hawk) that his actual life story is one of the strangest and most tragic he has heard. However, in a 1970s New York terrorised by a random bomber, nothing is quiet that simple, and gets even more complicated when time travelling police are thrown into the mix. This is one of those films where it is best entering into the plot with as little foreknowledge as possible, and letting the strange and twisted journey reveal itself. Suffice to say it is also a strong enough script to warrant repeated viewings, with new elements being revealed each time you watch. At heart Predestination is an adaptation of a short
story by one of the giants of Golden Age science fiction. Unlike other adaptations the Spierig Brothers haven’t simply bought the title, placed it on another script and emblazoned the dead author’s name above the credits (like I, Robot). Instead they have taken great care in expanding the work while keeping the feel and internal consistency of the source material, only mentioning the story it is based on in the final credits. As such, Predestination is more than just a good genre piece, but a strong dramatic work in its own right. That level of care is something that carries through the entirety of the piece. Each individual decade is given a distinctive look, not just down to the costuming and the period details, but down to the lighting and the colour palette. The visual production also throws in a few nods to films that have been influential in the look, most notably Serpico and 2001. Ethan Hawke does well as the Barkeep, switching from geniality to quiet intensity as required, bringing just the right combination of sympathetic ear and zen mentor for the role. However it is Sarah Snook that is the real revelation, tackling the challenging role of “The Unwed Mother,” she gets to showcase her acting talents in a variety of ways. There is a believability about her portrayal that goes beyond mere make-up, marking her as someone to keep an eye on in the future. A slick modern take on a classic sci-fi story from the golden age. Complex, stylish and engaging Predestination is time travel done right, even without the aid of a DeLorean or a Police Box. DAVID O’CONNELL
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MAGIC IN THE MOONLIGHT It Ain’t Got That Swing Directed by Woody Allen Starring Colin Firth, Emma Stone, Jacki Weaver Celebrated illusionist and cynic Stanley Crawford (Colin Firth) is asked by an old friend (Simon McBurney) to help debunk a young spiritualist, Sophie Baker (Emma Stone). Unmasking Miss Baker does not go as smoothly as Stanley hoped, when she demonstrates an uncanny knowledge about his past that she can have no way of knowing. Eventually Stanley’s cynicism starts to crack and he struggles with the notion that Sophie may actually be the genuine article. Directed by Woody Allen, Magic In The Moonlight is very much of the period (1920s). This is not Allen’s first time setting a film in the Jazz Age (Purple Rose Of Cairo, The Curse of The Jade Scorpion, etc.) but Magic, more than any of the others, feels like it actually was made in that era, colour and high definition notwithstanding. On the positive side the period details are immaculate, and it is ably propelled along by a soundtrack that mixes both jazz and classical. However the downside is it is dealing in tropes and archetypes that seem stale and unimaginative
to modern audiences, made all the more obvious by some deliberately forced performances. The motivation of the characters also seems somewhat troubling in this regard. Removed from the cultural mores of the time, they are often baffling when compared to modern expectations and, as such, jarring. This leads to the feeling of something being curiously awry with Magic In The Moonlight. The flow of the plot never sits quiet right, almost as if there has been entire sections cut out of it. Instead the characters seem to lurch from one realisation to the next, almost on a whim. That Stanley transitions from hardened sceptic to ardent believer during the course of one test, and later back again (all with very little build up) seems entirely unbelievable. This is even more egregiously exploited in the love story, with neither character given sufficient reason to fall in love, other than it seems expected at this juncture of the plot. Indeed both characters have multiple reasons not to fall for each other, a fact that the film attempts to explains away with it just being a “magic chemistry” between Stanley and Sophie. Unfortunately Magic In The Moonlight is never able to show this, as Firth and Stone lack any degree of on-screen rapport. Stuck in the formality of the period it all comes across stiff and leaden, with neither witty enough dialogue nor engaging enough acting to overcome that hurdle. Instead given the age difference (emphasised by many of Stone’s wardrobe choices) and Stanley’s misanthropic pompousness and constant belittling, there is more creepiness than enchantment about the whole romance. The end result is an underwhelming trick from a master of movie magic. DAVID O’CONNELL WWW. XP RE SS MAG.COM. AU
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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.
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The Brain From Planet X: Phoenix Theatre Dark Psychic Productions present an off-thewall 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. 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. 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.
EAT AT: MIDORI TEPPANYAKI AND BAR
FESTIVALS
Top notch teppanyaki in the heart of the ‘Bridge, plus ala carte fusion dishes and wood fired pizza.
2014 Perth Winter Arts Season This seasonal celebration of art and culture is back once again, showcasing a dazzling array of performance, visual arts, film, literature, fashion, food and more. It runs until August 31. Go to perthwinterarts.com.au to start planning your winter.
Midori
The Glass Menagerie
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: LOT TWENTY This recently opened Northbridge watering hole does drinks, coffee and food, plus it’s adjacent to the State Theatre Centre, making it a perfect place to stop before a night of culture. Lot Twenty
What I See When I Look At Sound: PICA An exhibition of sound works from artists Lyndon Blue, Lauren Brown, Matthew Gingold, Cat Hope and Kynan Tan, curated by Leigh Robb. It runs until August 31. Go to pica.org.au for more details. 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.
SHOP AT: STREETX Sophisticated street wear boutique that offers a range of high-profile labels, including Raised By Wolves, The Decades, Fuct and more. StreetX
Adjustment: Emerge Art Space Felicity Sivewright’s new exhibition explores the changing face of WA in the name of “progress.” It runs from August 27 - September 20. Emerge-art. com.au has more details. Le Vol: Turner Galleries Melbourne artist Valerie Sparks creates largescale works in the style of 19th century French scenic wallpapers, conflating multiple perspectives and locations into one landscape. The exhibition runs from August 29 - September 27. Go to turnergalleries.com.au for more.
THEATRE/DANCE/ PERFORMANCE The Seagull: State Theatre Centre Anton Chekhov’s masterpiece comes to the Heath Ledger Theatre courtesy of Black Swan State Theatre Company and director Kate Cherry. It runs until August 31. Go to bsstc.com.au for details. Concussion: The Blue Room Theatre A man is beaten so badly he suffers complete amnesia. He is cared for by a son he doesn’t remember and a doctor who may be his girlfriend. Surreal, funny, violent and explicit, Concussion runs until August 30. Go to blueroom.org.au for tickets and session times. 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. Picasso’s Women: Chrissie Parrott Arts From Blak Yak Theatre comes this collection of eight dramatic monologues that examine Pablo Picasso’s life from the perspective of the women who shared it. Each monologue runs for 30 minutes, and so the eight are spread over two nights, with the whole season running until August 30. Go to blakyak.com.au for more info. 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 from August 28 - 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.
GO TO: JOHN CURTIN GALLERY
Beer Drinking Woman - Photo by Arianna Bosi
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Make the time to check out their current exhibitions, Ben Quilty’s After Afghanistan and Shaun Gladwell’s Afghanistan for a look at the conflict through the interpretive lens of art. Ben Quilty’s After Afghanistan at John Curtin Gallery 16
AICE Israeli Film Festival From August 28 - 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
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YO U R G U I D E TO W H AT ’ S O N T H I S A U G U S T
DONNELL RAWLINGS Ashy Unchained Rottofest, Vulture Culture’s annual weekend festival of comedy, film and music on Rottnest Island is back for its sixth year with over 25 comedy performers and 12 music acts set to perform across five venues on the island from Friday, September 19, through to Sunday, September 21. TEGAN JONES chats with headliner, US comedian, Donnell Rawlings. As a massive comedy nerd, I was nervous about interviewing Donnell Rawlings about his latest show, Unchained, which he is bringing to Australia in September. I’d been following the veteran comedian’s work since his days as Ashy Larry on Chappelle’s Show, and was fully prepared to make an arse out of myself. Despite my trepidations, what ensued was one of the funniest conversations of my life, which included everything from the “Great Barrier Reef getting shit on” to his unique and hilarious comedic beginnings “I used to go to comedy clubs with my co-workers and I started as a heckler. I was the guy who was trying to take the piss out of you,” he laughs. “I started to build an audience and a following and people would be like ‘Is that asshole guy going to show up, because he was funny last week’. Eventually, I was challenged to go on stage and what they thought was going to be a horrible show turned out to be a good one.” I take a chance with Rawlings by stating how much I love that he got his break by being a jerk to people. He laughs and replies, “You don’t know the level of jerk I was. Before I’d even told a joke I tried to work a door deal with the club. I was like, ‘Listen, there has to be a fee for somebody being a jerk at the level that I am’.” Rawlings continued to take chances in order to establish a career as a comedian. In fact, one might argue that he had to have giant figurative balls to pull off his foray into television. “The first television show that I did was Def Comedy Jam. A friend gave me this business card for the talent executive of the show. So as the cocky
person that I am, when the receptionist answered the phone I acted like I’d known the dude for 20 years,” the comedian laughs. “When she answered I was like, ‘Where’s Bob? Put Bob on the phone. Is Bob there?’ She was so nervous and scared that I was somebody she was like, ‘Oh I’m sorry, one second!’ Two weeks later I was performing in New Jersey and my friend told me that I’d booked Def Comedy Jam.” Besides scaring the shit out of administrative staff, Rawlings states that he doesn’t have specific brand when it comes to comedy. “If there’s something that happens in pop culture that’s really relevant, something that’s excited me about politics or something that upsets me about race, I’ll try and put my spin on it,” he explains. “I think that comics are the best people to take you to a place that you wouldn’t normally go, or you’d be afraid to go to. One of the beauties of working on Chappelle’s show was that we talked about racial issues, but we did it in a funny way. You can laugh people into anything. I don’t consider myself to be a preacher, but with my style of comedy I want people to leave with some kind of message.” This idea is certainly relevant for his latest show title, which was inspired by Quentin Tarantino’s Django Unchained. “The movie is about a guy that’s breaking away from the norm, breaking tradition and going to avenge something because he wants to prove a point. For me, that title just resonated with what I do. “I’m an outspoken person; I want to take chances and I want to break away from what you think is normal. How do you do that? You gotta break the chains.”
WHAT DO THEY CALL ME?
Clancys Fish Pub is excited to announce its early reopening after renovations. Situated in Fremantle, adjacent to Princess May Park, its outdoor renovated alfresco and new stage and live music area provides a venue for all ages. The pub sees a mixture of local and international acts and attracts customers alike from all walks of life. Mains range from $20 - $30 and now open for breakfast Saturday and Sundays.
The Blue Room Theatre in conjunction with TEEM productions are showcasing a classic indigenous theatre piece, What Do They Call Me?, from September 9-27, at 7pm. The production explores Aboriginal culture and diverse sexuality through the lives of three very different women. It provides a personal insight on minority ethnicity struggles and how sexual orientation impedes on heritage and culture. It previews Tuesday, September 9, at 7pm at The Blue Room Theatre. Tickets available through blueroom.org.au, $15- $24. For more info call the blue room on 9227 7005
Clancys Fremantle
What Do They Call Me?
NOTHING FISHY ABOUT CLANCYS
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A preview of everything happening in the perth scene this November! advertise: advertising@xpressmag.com.au
Courtney Barnett | Pic: Leslie Kirchhoff
COURTNEY BARNETT We’re-Home-And-It’sReally-Nice-To-Be-Home After an extensive international tour, Courtney Barnett speaks with AARON BRYANS about her return to Australia and what ahead next year. Catch her at the Fly By Night on Friday, September 26, supported by D.D. Dumbo. Courtney Barnett has seen it all and done it all in one of the smallest timespans in Australian music history; playing guitar in numerous musical projects alongside the likes of Brent DeBoer’s (The Dandy Warhols) band Union and Jen Cloher. However it is her solo work that has garnered her rave receptions. “I love playing just guitar in bands,” she enthuses. “Like I still play guitar in Jen’s band and sometimes we do duets and I love doing that. I love singing my songs and saying what I want to say as well; it’s nice to get stuff off your chest sometimes, but it’s also nice to step back and watch someone else so close on stage it’s really amazing. It’s a special feeling playing guitar in someone else’s band who you really respect as a musician and a songwriter.” The last few years have been huge for Barnett, releasing two EPs through her own label Milk! Records which she would later combine into a
double EP A Sea Of Split Peas which was internationally acclaimed for its incredibly engaging and thoughtful lyrical content about everyday events and themes. “It is just kind of everyday stuff,” Barnett concurs. “I just make notes in my little book and then collect them all together until they make songs, sometimes it takes ages, and sometimes it doesn’t take long at all. The music and the lyrics are their own separate things, they both get created and put together and if they don’t work together then they get swapped around.” “Running your own label is not very difficult at all; anyone could do it. It’s not the most traditional record label in the world but I imagine that’s how a lot of indie labels run. Anyone can do it, that’s the beauty of it. You write music and release it yourself and it connects with people and they want to buy it you don’t have to sell it to them.” Her international success sent Barnett off on a string of UK and US shows, with the singer/songwriter returning for Splendour In The Grass back in July. “Splendour was amazing. It’s funny we only played one festival in Australia, Meredith, and then we went overseas and did all these huge festivals and then Splendour was the first thing we did when we got back after four months of being away and it was kind of scary. Before that we’d only played to 200 people max in Australia. It had that kind of finally-we’re-home-andit’s-really-nice-to-be-home kind of feeling about it.” With an Australian tour kicking off in late September, Barnett has her eyes set on a 2015 release that has already been recorded with producer, Burke Reid. “We will probably release it early next year; we’re trying to decide a date but it’s pretty much all finished and sounding cool I’m very excited. The sound has kind of evolved a little bit; it’s generally the same ideas and the same songwriting concepts, but hopefully I’ve grown as a person and a songwriter in the last year or two.”
FUNKY FRIDAYS AT THE WEMBLEY The Wembley hotel is bringing back Funky Fridays with the boy/girl producer duo, Liquid Culture DJs. Get down early to some electro house/ mash ups in the back bar from 5-8pm and keep on getting down with DJ Samuel Spencer ‘til close. Get in on the real liquid culture with $10 long island ice teas and $5 Alien Brain Hemorrhage Shots all night. The Wembley, Funky Fridays
PUNCHING ABOVE THE LINE
EMERGING ARTISTS AWARD
Making a return 17 years after its original debut, King Hit is striking back with its timeless theatre piece presented by the Yirra Yaakin Theatre Company. From a unique Noongar perspective comes the life story from the writer Geoffery Narkle. Amidst the turmoil of the Stolen Generation, the play discusses the irrevocable damage on relationships and his own culture and how, through boxing, Geoffery finds peace and reconciliation with his broken family bonds. Previews September 18-19 at 7.30pm and runs from September 23 to October 4 at the State Theatre Centre of WA. Bookings through ticketek. com.au. For more information please call the Yirra Yaakin Theatre Company on (08) 9202 1966.
Are you an aspiring artist looking for the chance to exhibit your work? Then the city of South Perth may have your answer. The annual Emerging Artist Award presented by Brierty is in its 12th year and providing the opportunity for selected works to be exhibited to the public in the City of South Perth Community Hall and a chance to share in $7,000 worth of prizes. Registrations open Monday, August 11, and close Friday, September 19. Entries are limited to one entry per artist. General admission entry fee is $20 and Youth admission is $15. For further details on how to enter and full terms visit southperth.wa.gov.au/Services/ Emerging-Artist-Award email events@southperth. wa.gov.au or contact the City of South Perth on 9474 0777.
King Hit
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Client Liaison are two very consummate Melbourne musicians dedicated to reimagining the pop of George Michael and INXS. As overwhelming as their Alan Bond, Australia II aesthetic is, they’re very, very serious about the music they make. ZOE KILBOURN talks to Monte Morgan (vocalist, mullet) and Harvey Miller (producer) before they bring their national EP tour to The Bakery on Saturday, September 6. It’s easy at first glance to mistake Client Liaison for parodists. Their sound, for one, can seem faux-innocent in the light of the last 20 years - there’s a seductiveness, a sound quality that shouldn’t translate to 2014. Then, of course, there’s the American Psycho spirit of their corporate name and image, their professed interests in alpine sports and diplomacy, listing Ansett Australia as one of their key influences on Facebook. But their sound, if postironic, is deadly serious. “For us, it’s kind of second nature, because we’re just making groovy pop music,” says Monte. “We don’t think about it as making a certain sound from a certain era. They’re the instruments we use. We like early digital synthesizers. It’s more about trying to write the best pop song. “It’s not that calculated. That’s just the era that informs our music, just like you’d have the rock person who’s been informed by the ‘60s, ‘70s. Just because there’s less people making music that’s informed by that era, that question usually comes up. It’s sort of a given. We don’t think about it too much. That’s the era we’re born from, and we happily like the style and sentiments of that time.”
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Throughout our chat, Monte reiterates that it’s misleading to say that they’re about the ‘80s. “I think the main thing we’d like to stress is having an outlook on music from the framework of a decade is inaccurate,” he says. “It’s like, from 1989 to 1990 everyone took off their leather jackets and started putting on their cardigans with holes and turned to grunge music. We like to look at it from ’85 to ’95, that’s a better lens for us to focus on.” The years ’85 - ’95, then - what is it about the Gen X, Yuppie, George Michael period that attracts Harvey and Monte? “The sensibility. The sonics of the sounds,” says Monte. “The ability to have a theatrical nature to performance with the seriousness - being able to perform wildly with a seriousness. When you look at Prince wearing outrageous outfits on stage, you’ll see he does it with conviction. And because he does it with conviction, there’s a seriousness to it. Sophisticated sound with a sophisticated performance - it’s not like bedroom hip hop or dirty rock n roll, and it’s all just loose. It’s a piece of theatre - it’s colourful, it’s a well-arranged kind of sound.” It is. The tracks from the upcoming EP - from 2012 Great Southern Land-esque Australiballad End Of The Earth to latest Triple J hit, Queen - are so immersively, thoroughly, subtly new jack swing in production, there’s no way you could mistake it for parody. A thousand pads, synths, vocal samples, whispered hooks, horn and guitar lines prove Client Liaison’s meticulousness and serious talent. Monte explains. “After we’ve finished with our tracks, we like to add all these Hollywood atmospheric sounds laced throughout them. That’s another part of the process. We like that high fidelity production values which we feel were at their peak in the late ‘80s.” Harvey pipes up: “I guess Monte doesn’t avoid the cheesy samples, the film score sounds. There’s no, ‘Oh, amazing vintage analogue synths’ kind of obsession with analog and old-school gear. Continued on page 22.
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TRICK ME TWICE ROUGH LOVE’S FIRST BIRTHDAY
Continued from cover. Monte’s palette is so diverse, and he’ll take from the cheesiest. We put a lot of time and effort into the Client Liaison aesthetic, and sometimes people fail to make the distinction between that and the sonics.” There’s a recurring lyrical femininity, even if it is in the second person - prominent lyrics include ‘When you were queen’ and, in That’s Desire, the identification of the wealthy female love-object as ‘She’s everything that you want to be.’ Is it conscious, or part-and-parcel with the kind of music Client Liaison make? “I’m definitely interested in cross-gender relationships - androgyny itself and the effeminate male, crossing the boundaries of sex, things like that,” says Monte. “It’s hard to say what’s conscious, lyrically. “You want to inject yourself into that narrative. And we do - we want to inject ourselves into that narrative of that time.” It’s clear these guys have a fierce love of Australia, as well as a solid appreciation of its shortcomings and cringiest aspects. The End Of The Earth video is a hard-edged nostalgia trip John Howard jogging, cane toads, XXXX feature prominently. With lyrics like ‘Bless this asbestos island’ and ‘skin-cancer sun-kissed shores’, the track romanticises and skewers the country in one broad stroke. “There’s undertones of satire there, but then, that’s all contained within the video clip,” says
Monte. “If people watch the video clip they might find something satirical and that might humour them. But you’ve got to then realise that when people are in the club listening to End Of The Earth, no one’s humouring them at all. They’re all dancing, they’re listening to the melody. It’s important to understand how our music functions.” They’ve rejigged their stage show for the national tour, complete with set changes - “Wait, you’re from Perth? We might bring a few props and stage elements, but sadly not as many as Sydney or Melbourne” - and enthusiastic. “Oh, we love Perth! We’re buying up some land, doing some prospecting - mining is one of our many hobbies. Wasn’t it Lang Hancock who wanted to secede? We wrote a song about Gina Rinehart one of the lines is ‘Carving up the Pilbara/Lazy laws will feed the poor.’ Actually, can we keep that one off the record? That might offend people.” As for the current state of Australia? “We feel we’d like to reinvigorate a sense of national identity, we’d like to highlight the differences between nationalism and patriotism. We’d like to encourage people to be more patriotic. But we don’t have a doctorate in sociology, and we don’t pretend to have all they answers.” CLIENT LIAISON NATIONAL EP TOUR SATURDAY, SEPTEMBER 6 @ THE BAKERY
Rough Love, the tech-house event legends behind The Carnevale, The Factory, and The Collective, have announced their first birthday party plans. Held at regular Rough Love haunt Geisha Bar, the night features Moscow/Bali resident Rodriguez Jr dropping a set inspired by people as diverse as Stockhausen and Satie. Support has been locked in from Shaddow Brothers, Beto Quintero, Erick Namorato and Nando Cesar Music. In true raver spirit, the party starts at 11pm on Friday, September 19, and winds up at 5am the next morning. Tickets are available from eventbrite.com.au.
Kele Pic: Aaron Corkill
Rodriguez Jr.
I DIDN’T BELIEVE
BUTCH’S CUTS Techno/house/“psycho-acoustic music” chartstormer Butch is coming to a rooftop party near you, namely Stables Bar, on Sunday, September 21. Only 24 yearsold, the last five years have seen 100 Butch releases, two consecutive ‘Producer Of The Year’ awards from Groove Magazine, and a third, more experimental album in the wings. Early bird tickets sold out in less than two hours, so if you’re keen, pick up your tickets ASAP from eventbrite.com.au. Butch.
SABLE The One And Only Historically, Jack Daniels has played a fairly significant role in the music industry – although it might be fair to say it has more often taken the role of provider of creative juice than patron of the arts. Recently however, with support from Jack Daniels Future Legends, local producer Sable has released a new track titled The One, featuring Kele Okereke of Bloc Party fame. SHAUN COWE speaks to John Dewhurst, aka Sable, about being on the fast track to fame. “Currently, I’m just getting a project to sent to someone,” John Dewhurst says. “It’s just an idea at the moment. I just send ideas to people and I’m like ‘Oh, do you want this?’” Dewhurst seems quite relaxed, considering the biggest single of his career was just released on Monday. When questioned about it, he admits he has been feeling the hype lately. “It’s going crazy, actually. It’s going off pretty fast. I guess I’ve got to attribute a lot of that to the Pilerats team – they’ve been really good about it – but yeah, people are listening to the music as well. I guess sometimes, coming up to the big shows, I feel nervous about it, but in my head I’m still doing the same thing; I’m still making music because I want to make music. It’s just snowballing into something else.” 22
Kele Okereke has been busy flexing his producer muscles since Bloc Party’s 2013 releases. Not only has he just released track The One with Perth producer Sable, he’s just dropped Doubt, the first single off his second album. The Boxer’s follow up, Trick, is set for release on Friday, October 10, via Kobalt Label Services. Both newly released tunes feature Kele’s distinctive songwriting style, and The One demonstrates Sable’s more introspective side - for all its big beats, it’s a far cry from Mt. Moon. You can download The One for free from soundcloud.com/ sablemusic
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Having built up a collection of Hottest 100-slamming nudisco hits since 2009, pop prduction duo Flight Facilities have finally decided to release an album. Down To Earth promises 10 new tracks (plus a proper release for Claire De Lune and Crave You). One of them features comedian Reggie Watts. Of course, a national tour is in order - you can catch the boys at Capitol, Saturday, November 8. Tickets from www. bandsintown.com.au. Flight Facilities.
FLEX COP On a nudisco note, Brisvegan Flex Cop has released the Placebo EP and announced a national tour. Flex Cop, who debuted with Hed Kandi-approved single I’ve Been Looking back in 2012, had huge online success with his first free-to-download EP (garnering 280,000 plays and a #1 track on Hypemachine). You can catch him on Saturday, September 6, at Geisha Bar when he kicks off his national tour.
Of course, a lot of the hype comes from the guest producer and vocalist, Kele Okereke, who is better known as the frontman of Bloc Party. For Dewhurst, the chance to work with Okereke has been a mind-blowing experience. “It’s surreal. I’ve been a fan of Bloc Party since way back. Just meeting him was a little weird in itself, but then we got in the studio and we both had the same ideas with the track – in terms of where we wanted it to go – and it was really smooth. I mean, he’s a professional, so he knew exactly what to do and it was a really good process. “Jack Daniels has been pretty good – they organised the whole thing. I got to meet him at Circo and we hung out for a while there and had a chat. Then they sent us to a studio to record a song. They’re basically the messenger between us. Like sending demos his way and sending feedback mine. It’s been really good.” When asked about the actual process of recording with Okereke, Sable admits that it was more complicated than he’d anticipated. “The original idea sounded completely different to what it does now – at least I think it did – but you’ve got to write around the vocals. I’ve done it before with band music but it was definitely writing the song to his vocals, rather than just writing a song.” What he’s referring to, it seems, is his history playing funk bass and guitar for bands. As Dewhurst talks about it, it becomes clear that his music history has a big affect on how he sees himself as a producer. “‘Producer’ is kind of a loose term these days; it’s almost kind of songwriter/producer, in most cases. So the songwriter element is still there, it just took a long time to learn the production side. It’s still getting there but I’m still trying to be a songwriter first. “I’m more geared towards sound designs, so I’ll try to make sounds – like synthesise and stuff. I really like instrument samples, so I try to use instrument samples when I can. I just think electronic music – this is hard to describe – it opens you up to any instrument within a bedroom. It’s just infinite possibilities.”
NEWS
KIM Klose To You Kim Moyes is a busy man. Despite working on a new album with fellow The Presets producer Julian Hamilton, the DJ and musician has just released his solo EP Kloser, which he’s bringing to Perth with Motorik. PENNY LANE catches up with the percussionist, producer and Preset. In a time when retro rock was mainstream and Wolfmother rode the radio wave, two Sydney musicians strayed away from the pack. After forming The Presets in 2003, producers Kim Moyes and Julian Hamilton began injecting their brand of electronica into the minds of clubbers and dance music lovers alike – with some amazing results.
KRISTIAN NAIRN Stark, Raving Kristian Nairn made it as a local DJ a long time ago. He found his niche (house), he found a residency (The Kremlin), he acquired some facial tatts (stars, above his right eye). Now, he’s travelling the world as Game Of Thrones’ gentle giant Hodor, as a ComiCon guest and enthusiast, and as himself, hosting a string of GOT-themed parties. ZOE KILBOURN has a chat to Nairn before he brings Rave Of Thrones to Villa this Saturday, August 30. Maybe it’s the distance and the two-second delay, but Kristian Nairn has a phone presence eerily like an articulate Hodor. He talks about his prime passion with deep love and innocent enthusiasm - “I’m a great DJ,” he says, with honesty and humility. He also plays World Of Warcraft, so there’s that.
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“When we started playing in clubs we’d have really small crowds, and I feel like we really built up a world around us that people sort of became interested in very naturally – we weren’t jumping on any bandwagon, we were really creating our own path and carving our own niche,” Kim says. It’s a niche that has rivalled even the best of pop and rock – in 2008 The Presets reigned supreme at the ARIA Awards, taking out Best Dance Release, Best Group and Album of the Year. So what’s their secret to success? “I guess for us we sort of stick to what we believe in,” says Kim. “The main thing for us is just producing good songs. A good song will last the test of time no matter what trends come and go.” Kim says those trends, including breakbeat, DnB and trip hop, will no doubt have their day. “We don’t really try to rely on just cool sounds or technological tricks because they generally become dated really fast,” he says. “Hopefully that’s what sets us apart and hopefully that’s the reason why we’ve been able to have a decent career. We’ve been doing it for 10 years and it doesn’t seem to be dying down anytime soon.” Kim’s side project, which he first produced under the alias K.I.M (Kimberly Isaac Moyes), has been around for just as long. His first album, Selected Jerks 2001-2009, was released in 2009, and since then – in between producing and touring with The Presets – he’s managed to create a range of solo tracks and collaborations. “I’ve been doing a lot of production and collaborating with a larger array of artists in this last four years,” Kim says, “and I guess the reason why I even got around to doing [the Kloser EP] is because I just had a bunch of tracks sitting around that I thought went really well together. They were kind of spread out over a number of years and I just kept coming back to them thinking that they had something good about them.” The subsequent EP, featuring tracks Kloser, Casiopea and Frozen, is an entirely different breed of electronica – think cosmic outer space, with a more subdued mood then anything from The Presets. “It’s music I’d like to listen to on the plane,” explains Kim. “I mean, you can dance to it, it’s definitely got a groove to it, but it’s more thoughtful an I guess it’s music to get lost in as opposed to music to lose your shit to.” Kim takes his solo show to Perth in September, and in the meantime, will visit South Africa, America and a number of festivals in Australia with Julian. KIM KLOSER TOUR FRIDAY, SEPTEMBER 19 @ PARKER SATURDAY, SEPTEMBER 20 @ METROPOLIS FREMANTLE
“The Kremlin’s an amazing club, the first of its kind, really, in Belfast. Also a time when Russian themed clubs were something different, 16 years ago,” Nairn says of his 16-year residency at the Belfast gay nightspot. “It was a really underground club - it was in a bunker - and it was all about the music. It’s gotten more commercial these days, but I think that’s a sign of the dance scene as a whole. It’s really where I cut my teeth. We had a difficult crowd, and that’s a really good way to learn. You have to learn how to react to the crowd and not.” His mixes elude the Top 40 and exude a cool, distanced elegance you could expect from an impressive nightclub. “I’m very much a house purist. Everyone’s all about deep house these days, but I’ve loved deep house for 15 years,” he says. “House is a very big, broad - from EDM, progressive house, right down to broken beats, really commercial stuff. I don’t see why you can’t play a bit of everything in your set. My sets very much pan across house, but they very much work together - it’ll go from piano house to EDM, to deep house, to everything, really.” He’s an incredibly capable musician, having studied DJing at music college (with drama as a second major). He hasn’t used real instruments in sets for a while, though. “I used to do vocals, and sometimes I had guitars,” says Kristian. “I used to add extra basslines in there. I haven’t done that recently. “I was a mad heavy metal fan, and I studied guitar for years and years and years - that was my first goal, I wanted to be a heavy metal guitar player. Truth be told - if someone offered me that now, I’d drop everything. If Poison or KISS got in touch and said, ‘We need a guitar player,’ I’d just say ‘Screw this’, I’d be straight on stage. “I was a very shy kid, very introverted,” he says. “My mother started me on piano when I was three years-old, so I’ve always had music in my life. Being so shy, I really learnt how to express myself through my instruments.” Hodor, too, is a particularly vulnerable member of the Game Of Thrones universe. Is Nairn’s portrayal of Hodor drawn from real experience? “Very much so. I definitely fall back on when I was a younger kid. It’s funny you pick up on that, it’s definitely a resource for me. It’s quite emotional in many ways. “No one really knows who he is or his backstory. I like that about him. I hope one day people will find out. He’s a pure reaction character. He doesn’t have any motives. He doesn’t have any self-interest, he’s purely giving.” WWW. XP RE SS MAG.COM. AU
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Peking Duk. Photo: Jack Lawrence, Slice Of Life/Speakeasy. The Ape - Photo by Cole Maguire
THE APE KISStake/The Painkillers Mojos Bar Saturday, August 23, 2014 Tex Perkins assembled a line-up of old mates to celebrate the first visit West of his newest outfit The Ape, starting off with The Painkillers, featuring his old Beasts Of Bourbon mate James Baker on drums and a pure rock n’ roll vibe distilled from listening to hours of ‘70s Rolling Stones and Velvet Underground records. Next up, KISStake, in all their wobbly, costumed & grease-painted glory. Introduced by Tex as the ‘nottest’ band in the world, Poor Stanley, Fake Frehley & co (rechristened in Simian fashion for the occasion as Paul Panzee, Ape Frehley, Gene Simian and Peter Chimp) ran through a crowdpleasing set of early KISS classics. It’s high camp tongue-in-cheek fun foreplay for the highlight of the night, and most of the crowd lapped it up like the cats that got the cream. Tex’s The Ape is as rawsome a ragtag collection of rockers as we’ve seen from this most prolific underground icon – no mean feat when his legacy includes The Cruel Sea, The Beasts Of Bourbon and much more besides. Raul Sanchez from Magic Dirt coaxes slab-sized riffage from his
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guitar one moment, atmospheric noise the next, while Pat Bourke and Gus Agars – both alumni of Tex’s solo and Dark Horses projects and a host of other acts – hold down the rollingest rock rhythm section since The Stones. Bourke also impresses on electric piano for a couple of tracks. Tex himself swaggers and staggers left of stage, stabbing at his guitar and growling like the big Ape he is, leading the band through their debut album and a couple of extras. Few bands can rock this hard, but The Ape aren’t a hard rock band: they have more groove, feel and throb than that. The music oozes sex, and the players are so good they hold that intensity, teasing way past the anticipation level – but crucially, before the point of climax – all night long. This Ape is a Don Juan. Rockers rocked, dancers danced, lovers grinded closely – hell, one guy dressed in an outfit that The Sweet may well have worn and forgotten to wash 30 years ago even gyrated on a table for a few songs, and no-one got hurt. Rock n’ roll power: Ape Power! Finally, the night ended with a rousing encore rendition of Kiss’s C’Mon And Love Me, performed by both The Ape and KISStake – APEtake, if you like – Tex duetting with Paul Panzee and having a great time in the process. It was a helluva way to end the funnest, sweatiest night we can recall in a very long time. SHANE PINNEGAR
PEKING DUK Tina Says/Time Pilot/Yeo/LDRU Villa Nightclub Saturday, August 23, 2014 Riding on the success of their ‘festival within a festival’ live set at Splendour In The Grass earlier this year, it was only natural for Canberra-siders Peking Duk to embark on a national tour of similar crowd-pleasing proportions. So began a month-long clubbing onslaught that would end on the other side of the country, shirts off, tits out and fans peaking. The second-last show of the 99 per cent sold-out Peace, Love & Sweatiness tour hit Villa Nightclub on Saturday, with Perth homegrown talents Tina Says and Time Pilot opening the night while the numbers streamed in. As it edged closer to 1 am, Melbourner Yeo took to the stage donning a synthesizer and a microphone. The DJ emitted one hell of a good vibe, which had everyone from the alternative beanie wearers to the Bob Marley lovers swaying. Despite performing some ridiculously catchy beats that had all three tiers of Villa packed, it was clear the audience was hanging out for the main act, with one disrespectful punter throwing a glass on the stage during Yeo’s set – bad form, if I do say so myself. LDRU pumped the crowd up with his remix of Broods’ Bridges, had them dropping to Ball So Hard, and played some older tracks that had ‘80s and ‘90s kids feeling the love.
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By this time it was getting reasonably harder to move, with every inch of Villa crawling with Duk enthusiasts. Insert a cosmic beam of light that filled the entire dance floor – the Dawn Of Man blasted through the sound system – as the Duks made their dramatic entrance. The boys’ versions of Blitzkrieg Bop and Shout! got everyone ready for an erratic set featuring heavy drops and Beyonce’s Crazy In Love, Outkast’s Hey Ya! and Drake’s Started From The Bottom, while sound grabs from the The Lion King (wimoweh, wimoweh, wimoweh, wimoweh) melded throughout. It wouldn’t be a Peking Duk gig without a few guests, so it was no surprise the Duks came with a cavalry of friends. Along with Yeo and LDRU, secret weapon Culture, dressed in bright white high-waisted jeans and one boobalicious bralette, joined the boys for an energy-injected rendition of Feels Like. It escalated from there, with Adam, wielding a cordless microphone, proclaiming that the security guards would kick out anyone who didn’t take their shirts off, before getting down on one knee and proposing to one of the high vis staff members in the middle of the stage. By the final song – no other than the double platinum record High – everyone was on everyone else’s shoulders, tops were off and bras were flying. With the power to make grown girls undress, Peking Duk’s live show was the perfect end to one jam-packed tour, and a staunch reminder that Peking Duk not only tastes good, but sounds even better. PENNY LANE
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THE DANDY WARHOLS Coming across time and space to deliver a care package of delicious music, The Dandy Warhols were nothing short of magical as they hit the Astor as a part of their bash around Australia before returning home for a rigorous North American tour. The Dandy Warhols are practically iconic. They represent that part of the ‘90s where genre titles meant nothing and exceptional, experimental music connected a new generation of music lovers. They’re my new favourite old band. Joining the Dandies, and cracking the stage wide open in anticipation of their set, were the alltogether too cool Melbournian neo-psych posse The New Pollution. Hailing originally from dardy P-Town, TNP filled the theatre with heavily resonant and drone-y sounds, the cavernous space becoming awash with ghostly frequencies. Vocals called out vaguely over a wash of mellow, yet sometimes incredibly dark, constructions. Without getting too morose here, there was a real sense of despair to some of these pieces; a depression in sound, accentuated by flashes of beautiful hope. Like all good psychedelically-oriented music, the emotions seemed to come in rolling waves, only to softly ebb away as the set came to a close. This was the epitome of a well considered opening set. The Dandies warholled around a little but soon enough their set began. The first beautiful,
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Apache - Photo by Michael Caves
APACHE
The Dandy Warhols - Photo by Rachael Barrett
The New Pollution The Astor Theatre Thursday, August 21, 2014
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drone-y note rang out and silenced the jittery crowd. Over the mesmerising hum, a thumping break-beat broke the sonic soliloquy and I was immediately lost. Suddenly, they broke out into the classic anthem We Used To Be Friends, and everyone seemed to remember where they were. Hands were raised and what had to be three generations of music lovers began to move. This really is psychedelic music with no preconceptions of what it should be, forgoing the namastes and herbal teas for something direct and experiential. It felt like they knew exactly what the crowd wanted. At one point, a heavy and evolving drone was laid out over a picture perfect four by four beat. With the lights flashing and atmosphere sensational, it was almost impossible not to sway and stomp, eyes half open, lost in the epiphany. The perfect live experience should involve particular measures of bodily ecstasy and mental invigoration. This was that perfect live experience. Coming from the intersection where grunge, psychedelia and electronic music meet, whatever it was about that time and place have created a diamond. In a world where popular music is dominated by those with the money to build the perfect image, The Dandy Warhols are the reminder that what we’re really searching for is the perfect music – and it does exist. Trust me, I felt it. JAMES HANLON
Hideous Sun Demon/Pat Chow/FOAM/Ricky Maymi Mojos Bar Friday, August 22 Keeping in the Fremantle tradition of great music and the generous application of more benign forms of recreational substance abuse, Mojos Bar became the sonic epicentre of local they’re-really-cool-butI-liked-them-before-you rockers, Apache, and the launch of their cacophonous new single, Vultures, to a completely sold-out venue. Big Splash winners, Hideous Sun Demon, took time away from rolling naked in their giant pile of prize money to perform a set of dark, frantic punk. The epileptic, drawling stage presence of frontman, Vincent Buchanon, smiled as he sung over shrill guitar lines pumping jumping the notes and a distorted wall of sound augmented by washy, cymbal-driven rock beats from songs like Glue. The band radiated charisma that washed over the already swelling early bird crowd. Pat Chow were next up, kicking off with the Mersey Beat driven song, Outside. Growling vocals rumbled on nightmare grunge tracks of Big Muff guitars and rumbling bass lines. The band’s songwriting built enthralling vocal melodies over muddy, understated instrumentation, though the band did find themselves the victim of a glitch vocal fallback that occasionally threw off frontman, Ben Protasiewicz, as well as causing the vocal harmonies
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of bassist, Andrew Meredith to be flat. Three-piece, dissonant, garage grunge act, FOAM, moved away from the dark sonic textures of the night’s earlier acts and brought something rougher and more rustic to the stage. Frontman, Joel Martin, had a vocal style reminiscent of the great, howling frontmen of ‘90s grunge, powering through repeating vocal hooks that fit well over the simple, well-crafted riffs the band churned out – though timing tended to wax and wane. By now, the venue had completely sold out and punters were being turned back into the cold night, with nothing but a gourmet hotdog stand to console their efforts. Headline act, Apache, returned from their songwriting hiatus to give the full rock star experience to a packed crowd with the chunky rhythm guitar of Jake Chaloner backing up the howling lead melodies of Lee Napper, which merged seamlessly with the vocal style of Timothy Gordon. The set was big and commanding, with new single, Vultures, causing the audience to erupt within crowded confines of Mojos’ interior, in a fit of crowd-surfing fervour. The band were able to transition through different styles well, shifting seamlessly between more aggressive numbers, such as Just A Little Bit, to smoother, catchier tunes. As the night closed up with a DJ set from Ricky Maymi (of Brian Jonestown Massacre fame), fans hung around well past midnight before dispersing to single launch after parties to continue the debauchery. SHAUN COWE
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CLANCY’S FREMANTLE REOPENING Clancy’s Fish Pub, Fremantle Friday, August 22, 2014 It’s been a long time coming, but finally the renovations are over and Clancy’s Freo is back in the game, delivering up the fine food, chilled beverages and hot local music we’ve come to expect.
THERE WILL BE BLOOD RUBY THURSDAY After traipsing around the country for the most part of this year supporting the likes of The Waifs and Kris Kristofferson, Ruby Boots will play a one-off show at The Mustang Bar next Thursday, September 4. This show will see her previewing the solid band line up for her album tour in early 2015. Joining them on the night is Perth’s folk/roots act, Little Lord Street Band. The show starts at 9pm and entry is free.
Photos by Dana Weeks
They didn’t take out the top slot at The Big Splash band competition, but arguably no other band drew as much attention - and contention - as blues rock purists Old Blood. See what all the noise is about this Thursday, August 28, when they’ll be rocking The Rosemount Hotel with help from The Morning Night, Sprawl, Necter and Moth. Doors open at 7.30pm, entry is a mere $8.
Heidi, Carl, Morgan
Old Blood
JOIN THE CONSPIRACY
Ruby Boots
C o m p o s e d o f m e m b e r s f ro m U s u r p e r O f Modern Medicine, Mayor Dadi and Injured Ninja, Reptilluminati play what they term “conspiracy mind control rock.” Not sure what that is? Find out this Saturday, August 30, at The Bird, when they launch their debut album, Voodoo Cowboys. Support comes from Man The Clouds, Brown and Kaan. Doors open at 8pm, entry is $5.
Aman, Nash
John, Scotty, Carl
GRAPHIC IMAGERY Rock trio Graphic Characters launch their EP, The Finest Hours, this Saturday, August 30, at Amplifier, with help from Tired Lion, The MDC and Windows To The World. Doors open at 8pm.
Kiran, Ale
Graphic Characters
FEEL THE GRIND Mandurah metal maestros Facegrinder will be unleashing their impressively-titled debut album, Unstable Mentality And Convulsive Theories at The Civic Hotel this Friday, August 29. Also along for the ride are Population Control, Kaan, Fetus Fertiliser and Epileptic Shit. Doors open at 8pm, entry is $10 - $15 with the album - and the first 20 paying punters will score the album for free!
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I AM THE ONE WHO ROCKS Breaking Punk Episode II goes off this Friday, August 29, at YaYa’s. Catch Scalphunter, Blindspot, 88 To Yesterday, Ascending Fall, House Arrest and Trip Hazard And The Rude Boys from 7pm. Entry is $10. Scalphunter - Photo by Rachael Barrett
George, Marty
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Ben, Jessica, Liv
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What country are you most looking forward to visiting? I ’ ve n eve r b e e n to E u ro p e s o I ’ m looking forward to it all. The main tour is through Germany and I’ve been told how much they love their live music there and that they really get into Aussie artists. I hear its an amazing country and I can’t wait to check it out. We’re travelling in a van so that’ll give me a good chance to have a look around. I’m then heading to the UK and looking forward to checking out the audiences there and the live music scene in general, as well as doing the touristy thing if I get time. H ow d o e s to u r i n g a n d t r ave l af fe c t yo u r songwriting? Touring gives me more inspiration to be honest, because threes so much going on and I’ve been pretty lucky so far with not running out of ideas. There’s always time to sit and write even if it’s five minutes. Planes and airports are great places to write songs, luckily, and I’ll have lots of time in those. What’s your departure routine? I really have a lot of gear these days and I’m probably getting better with my gear when I tour, but heading to Europe is a whole new experience and I’ll have to be creative with what I pack!
MORGAN BAIN The Bain OF Europe Before he shoots off for his first ever European tour, Morgan Bain will be doing his thing at The Indi Bar this Friday, August 29, playing cool alt-blues tunes alongside Old Blood and Teischa Jones. We caught up for quick chat. Tell us about your European sojourn. It’s something I’ve been thinking about for probably a year now and its finally happening and I’m really excited about it. I’m touring with the amazing Hussy Hicks from Queensland, who are great friends of mine, so its gonna be so much fun. They’ve toured there heaps of times already and have fan bases there so it’ll be an instant crowd for me, which is awesome.
Given it’s your last local show before the tour, what can we expect at the Indi Bar? We’ve got some new songs to try out that I’ve written and some amazing guests in Old Blood and new comer Teischa Jones. I’ve recently got a new bassist in Adam Springhetti, who’s a monster musician. Its just a great excuse for a big old party and a good time so come down and get into it ! What’s up after the tour? As soon as I get back I’m touring with Benjalu (NSW) while they’re in WA and then we’ve got Blues At Bridgetown, which is so huge this year and has some amazing artists on the bill. We’ve also got another exciting show on at that time that I can’t announce just yet and hopefully there’ll be a new single out soon after that too. The plan is to take the band over East early in the New Year so it’ll all be full steam ahead!
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Robbie Jalapeno & The Fabulous Band Of Faceless Bureaucrats
ROBBIE JALAPENO Nothing To See Here Robbie Jalapeno & The Fabulous Band Of Faceless Bureaucrats launch debut LP, Carmina de Nihil, at the Astor Lounge this Friday, August 29, with support from Elk Bell. BOB GORDON checks in. Releasing a debut album is a big step for any independent band. When that debut LP is also a concept album, that’s a considerable leap. That’s what Robbie Jalapeno & The Fabulous Band Of Faceless Bureaucrats have done with their debut, Carmina de Nihil. “It was a very organic process. I think setting out to do a concept album as a debut would be as presumptuous as doing a ‘greatest hits’. So it definitely was a case of being led down a particular pathway. “Actually, at first, it was almost a bit of panic, because I thought I had written all these songs with similar themes and I thought it would all be too boring! But as you go through the process of arranging the songs, then recording, mixing and so on, each song takes its own shape but the original themes remain. From then I guess it’s a question of honesty - the album is called Carmina de Nihil because it’s Latin for ‘songs about nothing’ which is what all the songs are about.” The album is described as being about ‘Existentialism, feminism and the frustrated inertia of
modern times’ - one wonders what has led Jalapeno to this place? “In my songs, I try not to be allegorical or judgemental. That’s all pretty old school to me. I don’t think I have any right to preach to others. But I do think I have a responsibility to be honest as a songwriter. I have views. I have feelings. The best I can do is try and express them musically and see if others can form some form of connection with that. That’s where the existentialism comes from. The feminism is simply all about equality - I believe in equality. Full stop. And I don’t think you can do that without being a feminist. It’s a word that seems to have taken on all these ugly meanings, but really it comes down to whether a person’s gender should determine their opportunities. “As for the frustration part, I don’t know if it is just me, but it does seem we do seem to be collectively suffering some sort of frustration. There’s an irony in that we have so much information available to us but the quality of discourse seems to be dropping, and there seems to be an increasing anxiety that things are getting worse and we can’t change things and make them better. You can either surrender to that and become one of the chattering whingers, or you can try and do something ... I guess the songs on this album are my effort at doing that.” Unsurprisingly, the band chemistry at this point in time is excellent, especially in how they worked to bring Jalapeno’s lyrical themes to life musically. “The chemistry is fantastic!” he enthuses. “I am humbled by the quality of people that have worked on this record. It’s almost like an orchestra, in a way everyone doing a little bit to make a greater whole. And that includes me too! “Sometimes one or other person will ask me, ‘What do you think?’, and I’ll say, ‘Me? What do YOU think?’, and we’ll work it out from there. It’s very important to me that others express themselves too, even if they are my songs.”
THE RAILWAY HOTEL This Friday, August 29, catch Spacehound, Toxic, MFC and Powderworks. Doors 8pm, entry is $8. Saturday night it’s the second annual Rock For Cancer show with live tunes from Random Axe, Audio Time Machine and Cool Hand Luke. Doors 8pm and entry is $10.
ROSEMOUNT HOTEL This Wednesday, August 27, sees Bury The Heard, Battle Of The Planets, 13 Circles and Hamartia hitting the stage. Friday the Rise tour hits town featuring Mantra, Briggs, Remi, Jaytee, Cypher, Mistress Of Ceremony, Dylan Joel and Wisdom2th while Saturday it’s Good Company’s Short Notice Discotheque starring Maria Mendes, Ben Taaffe, Willy Slade, Salut Barbu, Rex Monsoon and Nik n’ Andy. Sunday night UK legends Pop Will Eat Itself roll into town with local support from LYTS and Like Junk, and on Tuesday Bex and Turin’s open mic night continues from 8pm.
SWALLOW BAR
YAYA’S
Thursday Night Live welcomes back Jessie Gordon, fresh from Europe and even sassier than ever, kicking off with two sets of jazz and frivolity from 7pm. The fabulous Charlie Bucket hits the decks on Saturday night with his collection of soul, funk, blues and disco vinyl from 8pm. Wrapping up the week, The Jook Joint Band are back in Swallow Town on Sunday at 5pm for an afternoon of roots and blues.
Wednesday and Thursday nights see YaYa’s play host to the State Semi-Finals of the National Campus Bands Competition, with each band duking it out for their chance to represent the state and win $5000! Zoe Ryan and The Dandy Lion top off the week with the Perth leg of their national tour on Saturday.
Pop Will Eat Itself
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FACEGRINDER Unstable Mentality And Theoretical Convulsions Album Launch @ The Civic
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SACRED FLOWER Union Afternoon Reflectors Album Launch @ The Bird
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THE AUTUMN ISLES A Bird Called Cognition Album Launch @ The Bakery
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GRAPHIC CHARACTERS The Finest Hours EP Launch @ Amplifier
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REPTILLUMINATI Voodoo Cowboys Album Launch @ The Bird
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GIRL YORK Body Lies Single Launch @ The Odd Fellow
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RAG N’ BONE Wood & Wire Single Launch @ Flyrite
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KIMURA Uncaged EP Launch @ The Civic
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THE LOVE JUNKIES Blowing On The Devil’s Strumpet Album Launch @ The Rosemount
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THE CABALLEROS Another Day Single Launch @ Devilles
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JOSH JOHNSTONe Half A World Away EP Launch @ Indi Bar
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THE PAINKILLERS Garage Sale Girl EP Launch @ Mojos
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SKULLCAVE Acid Tone Single Launch @ Four5Nine
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VILLAIN The Other Side EP Launch @ Flyrite
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VARIOUS Stormrider 2015 Compilation @ The Civic
THE BAKERY This Friday, August 29, catch New Zealand reggaeroots heroes Cornerstone Roots with support from Jahmoko. Saturday night catch The Autumn Isles launching their new album, A Bird Called Cognition, with special guests The High Learys, Thee Gold Blooms, Gunns and Jeff’s Dead. Doors 8pm both nights. Cornerstone Roots WWW. XP RE SS MAG.COM. AU
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TOURS THE WONDER YEARS 7 Amplifier Bar MAN IN BLACK: THE JAPANESE FILM JOHNNY CASH STORY FESTIVAL 27-31 Regal Theatre 7 – 10 Sun Cinemas, INDIAN SUMMER Broome 27 Newport Hotel SHARON JONES & THE 29 Mondo @ Ginger DAP KINGS Nightclub 8 & 9 Astor Theatre GEORGE GARZONE CANNIBAL CORPSE 28, 29, 30 Ellington 9 Capitol Jazz Club PROTEST THE HERO THE AMITY 10 Amplifier Bar AFFLICTION DUNE RATS 29 Red Hill Auditorium 10 Dunsborough CORNERSTONE ROOTS Tavern 29 The Bakery 11 Barbados Lounge KAV TEMPERLEY Bar, Bunbury 30 Settlers Tavern, 12 Players Bar, Margaret River Mandurah TIJUANA CARTEL DOUG ANTHONY ALL 29 Diver’s Tavern, STARS Broome 9, 10 & 11 Regal 30 Pier Hotel, Port Theatre Hedland LIOR POP WILL EAT ITSELF 11 Albany 31 Rosemount Hotel Entertainment Centre THE OWLS ROBBIE WILLIAMS 30 Prince Of Wales, 11 & 12 Perth Arena Bunbury BIFFY CLYRO 31 Indi Bar 12 Metro City LA COKA NOSTRA BAM BAM 31 Villa Nightclub 12 Amplifier Bar DIEGO EL CIGALA CASEY DONOVAN 1 Regal Theatre 12 & 13 Ellington Jazz Club REECE MASTIN SEPTEMBER 12 Astor Theatre ANBERLIN & THE 13 The Lakes Theatre GETAWAY PLAN ONE DAY 3 Metropolis Fremantle 13 Capitol TIJUANA CARTEL UNCLE JED 4 Mojos Bar 13 YaYa’s 5 Settlers Tavern, 14 The Indi Bar Margaret River GRACE KNIGHT 6 Capitol 19 & 20 Ellington Jazz 7 Indi Bar Club CORNERSTONE ROOTS 360 4 Prince of Wales Hotel 19 Metro City (18+) 6 Mojos 20 Astor Theatre 7 Indi Bar (Licensed all ages) KANYE WEST ANDY BULL 5 Perth Arena 19 The Bakery MINISTRY OF SOUND: STICKY FINGERS SESSIONS 11 19 Settlers Tavern, 5 Villa Nightclub Margaret River TIJUANA CARTEL TCHAMI 5 Settlers Tavern 19 Ambar 6 Capitol ROTTOFEST KAV TEMPERLEY 19 – 21 Rottnest Island 5 Players Bar, TIKI TAANE Mandurah 20 Settlers Tavern 6 Prince Of Wales, GARETH LIDDIARD Bunbury 20 Rosemount Hotel 7 Rumours, Albany MEG MAC 12 Divers Tavern, 20 Amplifier Bar Broome JOE BONAMASSA MARINA PRIOR 21 Perth Concert Hall 5 Albany Entertainment SWOLLEN MEMBERS & Centre MADCHILD 6 Astor Theatre 21 Amplifier Bar 7 Mandurah GABRIEL IGLESIAS Performing Arts Centre 23 Riverside Theatre HOWLING BELLS ANGUS & JULIA STONE 6 Amplifier Bar 23 & 24 Perth Concert CLIENT LIAISON Hall 6 The Bakery ANDREA BOCELLI VELOCIRAPTOR 24 Perth Arena 6 The Causeway INGRID MICHAELSON 7 Newport Hotel 24 Fly By Night Club
THIS WEEK
FEATURED GIG
THE AMITY AFFLICTION RED HILL AUDITORIUM FRIDAY, AUGUST 29
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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 COURTNEY BARNETT 26 Fly By Night 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 LISTEN OUT 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 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
TORCHE 17 Rosemount Hotel 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 LIL JON 26 Metro City THE ROLLING STONES 29 Perth Arena
NOVEMBER THE ROLLING STONES 1 Perth Arena THE SCREAMING JETS 6 Capitol THE BEAUTIFUL GIRLS 7 Rosemount Hotel RODRIGUEZ 7 Kings Park & Botanic Garden MADDEN BROTHERS 7 Crown Theatre BLACK VOICES 8 Perth Concert Hall KATY PERRY 7 & 8 Perth Arena RADIO BIRDMAN 9 459 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 14 Centurion Hotel 15 Charles Hotel 16 Ravenswood Hotel JOHN DIGWEED 14 The Stables Bar DUSKY 14 Ambar BEAUFORT ST FESTIVAL 15 Beaufort Street 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
NICK CAVE 27 & 28 Fremantle Arts Centre ILLY 28 Astor Theatre BEN FOLDS & WASO 28 & 29 Perth Concert Hall COLAB FESTIVAL 29 UWA Oak Lawn STEREOSONIC 29 & 30 Claremont Showgrounds
OHAYO, AUGUST 27
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 NE OBLIVISCARIS 6 Amplifier SLEEP 8 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 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
MAY 2015 RICKY MARTIN 8 Perth Arena
JUNE 2015 5 SECONDS OF SUMMER 29 Perth Arena
WHY GEORGIA?, AUGUST 27
WEEKLY WEDNESDAY 27/08 THE ALBION HOTEL Quiz Night AMPLIFIER BAR The Academy ft. Boris The Blade Iconoclast This Existence Impaler THE BALMORAL Randa And Soul Kingdom THE BIRD Chicken ‘N’ Beer ft. DJ Yung Lion DJ Big Seats DJ Mystery Debut BRASS MONKEY Backpacker Night DJ Vicktor THE BROWN FOX Acoustic Chill Out CAPITOL Harlem Wednesdays ft. Genga Benny P Philly Blunt JS CAPTAIN STIRLING Blue Party! Lokie Shaw THE CARINE Open Mic Night Shaun Street CHARLES HOTEL Funky Bunch Trivia CITRO BAR Ben Merito CLANCYS CANNING BRIDGE The Kiss List Duo Tony M CLUB RED SEA Cheek THE COURT Wicked Wednesdays ELLINGTON JAZZ CLUB Jangoo Chapkhana Trio Night Cap Sessions FLYRITE Northbridge Nightly Now GOLD BAR Famous THE GOOD SHEPHERD SocialXProjects Launch Party HULA BULA BAR Island Nite INDI BAR Why Georgia? Lauren Arthur Bronte LLAMA BAR Akuna Club LANEWAY LOUNGE Adam Hall & the Velvet Playboys LOBBY LOUNGE (CROWN) Decoy Duo THE LUCKY SHAG Howie Morgan MALT SUPPER CLUB Margeaux Wednesdays – Michael Jackson Tribute METROPOLIS FREMANTLE Next Gen
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MOJOS BAR Trainer Wheels ft. The Fruity Whites Bad China Dennis Commetti THE MOON CAFE Going Solo ft. Steve Bailey Laurel Fixation MUSTANG BAR Backpacker & Student $5 Fest PUMP! DJ Giles NEWPORT HOTEL Indian Summer THE PADDO Dove PICA BAR Laura Corney Ashley De Neef REGAL THEATRE Man In Black: The Johnny Cash Story 459 ROSEMOUNT HOTEL Ohayo Eloise Ashton Verge Collection Mai Barnes Elkwood Beau Jones ROSEMOUNT HOTEL Bury The Heard Battle Of The Planets 13 Circles Hamartia ROSEMOUNT HOTEL (BEER GARDEN) Best Years of Your Life DJ Anton Maz ROSIE O’GRADY’S NORTHBRIDGE Laugh Resort Comedy Open Mic Night ft. Dave Fyffe SOVEREIGN ARMS Britty SWINGING PIG Open Mic Night Greg Carter UNIVERSAL BAR Virtual Insanity VILLAGE BAR Village People Wednesdays YAYA’S National Campus Band Comp. Semi Finals #1
THURSDAY 28/08 THE BIRD Beatlounge #20 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 THE CLAREMONT HOTEL Toga Toga Toga! Ft. DJ Tina Says CONNECTIONS NIGHTCLUB Bingay hosted by Hannah Conda
THE CRAFTSMAN FIVEO DEVILLES PAD Rock n’ Roll Karaoke Magnus Danger Magnus DUNSBOROUGH TAVERN Open Mic Night Kris Buckle ELLINGTON JAZZ CLUB Australian Art Orchestra Hard Core On The Fly George Garzone Scott Tinkler Night Cap Sessions THE GATE Greg Carter GRAND CENTRAL PARK Adrian Wilson GROOVE BAR (CROWN) Dr Bogus HULA BULA BAR Hi-Fi Lounge INDI BAR Open Mic Night LAKERS TAVERN Dove LANEWAY LOUNGE James Flynn Trio LEISURE INN DJ Misschief LOBBY LOUNGE (CROWN) Jack + Jill LOST SOCIETY The Collective LUCKY SHAG Mike Nayar MOJOS BAR Kat Wilson Curtis & The Insatiables MOON & SIXPENCE Bob & Clem THE MOON CAFE Jacob Diamond Trio MUSTANG BAR Beers N Bands #2 ft. The Shakeys Hussy DJ James MacArthur NEWPORT HOTEL The Newport Record Club NORTHSHORE TAVERN Nathan Gaunt Duo OCEAN ONE BAR Turin’s Open Mic Night PEEL ALE HOUSE Open Mic Chris Kinna PLAYERS BAR Bombshells PRINCE OF WALES Third Gear REGAL THEATRE Man In Black: The Johnny Cash Story 459 ROSEMOUNT HOTEL Fat Shans Comedy ft. Greg Fleet Sean Conway Colin Worth Sam Cribb ROSEMOUNT HOTEL Old Blood The Morning Night Sprawl Necter Moth
KAT WILSON, AUGUST 28 ROSIE O’GRADY’S FREMANTLE Clayton Bolger RUBIX BAR Adam James THE SAINT Thursday Music Quiz SETTLERS TAVERN Open Mic Night – Claire Warnock THE SHED Midnight Ramblers SWALLOW BAR Jessie Gordon UNIVERSAL BAR Off The Record YAYA’S National Campus Band Comp. Semi Finals #2
FRIDAY 29/08 AMBAR Fresh Produce ft. Invoker Jordan Scott Bea7Craft Lids De.Bug AMPLIFIER NOBUNNY The Hussy Methyl Ethel Kitchen People Fridays Are Back Jamie Mac ASTOR LOUNGE Robbie Jalapeno & The Fabulous Band Of Faceless Bureaucrats THE AVIARY Paradise Paul NDORSE THE BAKERY Cornerstone Roots Jahmoko The Nightcap Sessions THE BALMORAL Blackbirds Pasha BAR ORIENT Reggae Club THE BAYSWATER DJ Atlus BEAT NIGHTCLUB (UPSTAIRS) STEREO Friday Night Live BEAT NIGHTCLUB (DOWNSTAIRS) PLAY BELGIAN BEER CAFÉ Mike Nayar THE BELMONT Light Street BEST DROP TAVERN Driven By People THE BIRD Sacred Flower Union Mei Saraswati The Flower Drums Tourist Kid THE BOAT Ben Merito BOHEME BAR Rough Love DJs BRASS MONKEY DJ Vicktor James Ess THE BRIGHTON Frenzy DJ Misschief BROOKLANDS TAVERN Siren & Assassin CAPITOL Capitol Fridays Roger Smart
CAPITOL (UPSTAIRS) I Love ‘80s & ‘90s Darren Tucker THE CARINE J!mmy Beats CHASE BAR & BISTRO Jonny Dempsey CITRO BAR Jeanie Proude CLANCYS CANNING BRIDGE DJ Boogie CLANCY’S CITY BEACH Angus Diggs Trio CLANCY’S FREMANTLE Free Friday Fiesta ft. Shotdown From Sugartown Beleza Dancer Minky G Solo CLUB KAHUNA Safari Nights Perth DJ K.S. DJ Tee Millz DJ Blacknight DJ Eddie THE COMO Jay Lloyd CONNECTIONS Paula Parore CORNERSTONE ALEHOUSE Rock Candy THE CRAFTSMAN Dazman CRUISING YACHT CLUB Gee Whiz DEVILLE’S PAD Rockin’ A Go Go Fridays Tenderhooks DJ Razor Jack DIVER’S TAVERN, BROOME Tijuana Cartel DUNSBOROUGH TAVERN Cuddles EAST 150 BAR Adam James EDZ SPORTZ BAR 2 Tenors ELLINGTON JAZZ CLUB George Garzone Suite 191 EMPIRE BAR Howie Morgan EVE NIGHTCLUB Recharge Fridays FLY BY NIGHT Kav Temperley FLYRITE Surface Tension Family Jam ft. Nino V Code Red No Mad Dueler MDDM DJ Racaille FLYING SCOTSMAN MattyTWall THE GATE Chris Gibbs GEISHA BAR 2014 Habitat DJ Comp. Heat #2 GILKISONS DANCE STUDIO USA pres. Methods of Movement GINGER NIGHTCLUB Mondo Fridays ft. Indian Summer
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
SHOTDOWN FROM SUGARTOWN, AUGUST 29 GOLD BAR Fox Friday’s THE GOOD SHEPHERD Throwback GOSNELLS HOTEL The Gypsy Minions THE GRAND Jay Mackay THE GREENWOOD Justin Cortorillo THE HERDSMAN Shades of Indigo HULA BULA BAR Shakin’ It HYDE PARK HOTEL (COURTYARD) Stu McKay INDI BAR Morgan Bain Old Blood Teischa Jones KALAMUNDA HOTEL Wesley Goodlet Jamboree Scouts LAKERS TAVERN Grizzly LANEWAY LOUNGE Astrid Ripepi Quartet THE LEISURE INN DJ Peta LIBRARY Sneaky LLAMA BAR Honey THE LUCKY SHAG DJ Richie G MALT Nu Disco Hip Hop M ON THE POINT Retriofit MAHOGANY INN Alex Canion THE MANOR Motel Six ft. James Ireland Aslan Sleepyhead Benny P x Genga Clunk Dupa MARKET CITY TAVERN Rob & Luke Drawn in the Dark Kane Dodd Nathan Mayers Dynamic Quadro Courteney Mitchell Martin Jaylee METRO CITY Animal House: 2nd Birthday
MATTY T WALL, AUGUST 29
METRO FREO C5 Sin City – Mexican Theme ft. Still Naked Woody Chalk & Cheese @King Owl 20 Hz METROPOLIS FREMANTLE Lloyd & Omarion Red Hot Bikini Babe Final MINT Club Retro MOJOS BAR Maurice Flavel’s Intensive Care Los Porcheros MOON & SIXPENCE Soul Corporation MULLALOO BEACH HOTEL Jam Jar Friday’s Ladies Night MUSTANG BAR Adam Hall & The Velvet Playboys Flash Nat & The Action Men MY PLACE Karaoke NEWPORT HOTEL FLUKE Fridays NORMA JEANS COCKTAIL LOUNGE Singles Night ft. DJ Damo NORTHSHARE TAVERN Two Plus One Chalk ‘N Cheese THE ODD FELLOW Sugar Shack ft. Craw Daddy PO Boy PADDY MAGUIRES Easy Tigers PARAMOUNT Paramount Party Crew PARKER Trancition ft. SUAE PEEL ALE HOUSE Siren Song Enterprises PIRATE BAR Dean Anderson PLAYERS BAR HOOCH PORT KENNEDY TAVERN Steve Spouse Duo PUBLIC HOUSE Neil Viney
FEATURED GIG
LA COKA NOSTRA
LA COKA NOSTRA VILLA NIGHTCLUB SUNDAY, AUGUST 31
THE QUEENS 3manuel DJ Reuben RAILWAY HOTEL Spacehound Toxic MFC Powderworks RED HILL AUDITORIUM The Amity Affliction REGAL THEATRE Man In Black: The Johnny Cash Story RENDEZVOUS HOTEL (LOBBY BAR) Kelly Read ROLEYSTONE COUNTRY CLUB Bernardine 459 ROSEMOUNT HOTEL Vanity Ratking Losing Grip Alex The Kid Cursed Earth ROSEMOUNT HOTEL RISE Tour ft. Mantra Briggs Remi Jaytee Cypher Mistress of Ceremony Dylan Joel Wisdom2th ROSIE O’GRADY’S FREMANTLE Gunshy Romeos SAIL & ANCHOR Howie Morgan THE SAINT Danny B SETTLERS TAVERN Dallas Royal THE SHED Crush DJ Glenn SOVEREIGN ARMS Thank God It’s… Funky Lounge Fridays DJ Az-T THE SWAN LOUNGE Crow Jones Gravity Punch SWINGING PIG Greg Carter TOUCAN CLUB DJ DURRA UNIVERSAL BAR Nightmoves VELVET LOUNGE Doctopus The Pissedcolas Shit Narnia Cool Band Dennis Cometti Apples VERNON ARMS TAVERN Greg Carter THE VIC Nathan Gaunt VILLA Villa Country Sertanejo & Forro Night! THE WHALE & ALE Jawsh WINTERSUN HOTEL Kane Lemin YAYA’S Breaking Punk Episode II ft. Ascending Fall Scalphunter Blindspot
KAV TEMPERLEY, AUGUST 30 88 To Yesterday House Arrest Trip Hazard & The Rude Boys ACE Fridays DJ Pup
SATURDAY 30/08 AMBAR Japan 4 ft. Parakord Philly Blunt Benny P Meet Mark EZ PZ AMPLIFIER Graphic Characters Tired Lion The MDC Windows to the World Pure Pop Eddie Electric THE AVENUE Lokie Shaw THE AVIARY Paradise Paul NDORSE THE BAKERY The Autumn Isles The High Learys Thee Gold Blooms Gunns Jeff’s Dead THE BALMORAL The Wire Birds BAR ORIENT Saturday Night Fever BAYSWATER HOTEL Acoustic Saturdays BEAT NIGHTCLUB (UPSTAIRS) CANVAS BEAT NIGHTCLUB (DOWNSTAIRS) Runaways THE BIRD Reptilluminati Man The Clouds Brown Kaan BOAB TAVERN James Wilson BOHEME BAR Carte Blanche DJ’s BRASS MONKEY DJ Peta Grizzly THE BRIGHTON DJ Misschief CAPITOL (UPSTAIRS) Death Disco presents LUEN Cream Of The ‘80s DJ Roger Smart THE CARINE Craig Ballantyne THE CAUSEWAY KLP CHASE BAR & BISTRO Stackjammer CIVIC HOTEL Four Corners ft. Daniel Ray Macshane Jacks Emcee Joely CLANCY’S CANNING BRIDGE Minky G & Roscoe CLANCY’S FREMANTLE DJ Jiminy Kickit THE CLAREMONT HOTEL Antics Tim from Tim & Jean
CONNECTIONS Beyond The Wall CORNERSTONE Danny B THE CRUISING YACHT CLUB INXS Tribute Night DEVILLES PAD Black Magic Disco JO19 DJ Moogy ELLINGTON JAZZ CLUB George Garzone Sophie Foster FLY BY NIGHT Declan O’Rourke FLAWLESS LQ Saturdays FLYRITE Father THE GATE Greg Carter GEISHA BAR Rob Sharp Darren Maz Luke P. Jamie Goddard Jay V THE GENEROUS SQUIRE Defanutly GILKISONS DANCE STUDIO Bassment – 003 ft. Sen-Seii Dead Again! Grimlok Livid Bace Cadet It Ain’t Herlude Heavy Division Slylies Maker GINGER NIGHTCLUB Collateral ft. Sphere Snipe Torsion Aaron P Syrus GOLD BAR Pure Gold GOSNELLS HOTEL Third Gear THE GRAND DJ Atlus THE GREENWOOD In The Groove GROOVE BAR & LOUNGE (CROWN) Decoy HERB GRAHAM REC CENTRE The Mustangs HULA BULA BAR Sailor Saturdays HYDE PARK HOTEL Shake and Bake INDI BAR Blue Shaddy The Fallen Poets KALAMUNDA HOTEL Celebrations Karaoke LAKERS TAVERN Celebrations Karaoke LANEWAY LOUNGE Retriofit Why Georgia? LITTLE WING CORNER GALLERY Pickled LOBBY LOUNGE (CROWN) Juliana Areias Duo LOST SOCIETY Chalk
ENTRAILS ERADICATED, AUGUST 31 M ON THE POINT Rhythm 22 MELBOURNE HOTEL Get on Beard Charity Event ft. Madam Montage MERRIWA TAVERN Celebrations Karaoke METRO CITY HYFR Launch ft. Sly Kid D’Vauz Brothers Midsole OliThaGod N-Fx Whytehype METRO FREO Metropolis Saturdays METRO FREO C5 I Love ‘80s & ‘90s MOJOS BAR Silver Hills Childsaint Dream Rimmy Rabbit Island Gunns MOON & SIXPENCE Damien Cripps Band MUSTANG BAR The Continentals DJ Holly Doll Milhouse DJ James Mac NORMA JEANS COCKTAIL LOUNGE DJ Daz NORTHSHORE TAVERN Adam James Band THE PADDO Cheeky Monkeys PARAMOUNT Felix PARKER Parker Saturdays Reece Low Axen Lukas Wimmler Not So Hot PEEL ALE HOUSE Siren & Assassin PIER HOTEL, PORT HEDLAND Tijuana Cartel PLAYERS BAR OMAC PMONEY PORT KENNEDY TAVERN Kevin Curran PRINCE OF WALES The Owls THE QUEENS Kenny L Tastes Like Chicken RAILWAY HOTEL Rock For Cancer #2 ft. Random Axe Audio Time Machine Cool Hand Luke REGAL THEATRE Man In Black: The Johnny Cash Story RENDEZVOUS HOTEL (LOBBY BAR) Domonic Zurzolo ROSEMOUNT HOTEL The Short Notice Discotheque ft. Maria Mendes Ben Taaffe Willy Slade Salut Barbu Rex Monsoon Nik ‘n’ Andy
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THE SEALS, AUGUST 31
ROSIE O’GRADY’S FREMANTLE Flava SAIL AND ANCHOR The Gypsy Minions THE SAINT FIVEO SETTLERS TAVERN Kav Temperley SHAPE BAR Throwdown #2 ft. Truth Big Ape vs. DDWYT THE SHED HUGE DJ Andyy SOVEREIGN ARMS Jawsh SWALLOW BAR DJ Charlie Bucket SWINGING PIG Frenzy TOUCAN CLUB Vice UNIVERSAL BAR Soul Corporation VELVET LOUNGE Liquid Lounge VILLA Rave of Thrones ft. Kristian Nairn AKA Hodor THE WOODVALE HI-NRG YAYA’S Zoe Ryan & The Dandy Lion Max Hutchings The Tin Man ARCADIA All-Nighter DJ Cookie
SUNDAY 31/08 THE BALMORAL Light Street THE BELMONT Justin Cortorillo BENTLEY HOTEL Jeanie Proude BOHEME BAR Tod Woodward solo THE BRIGHTON James Wilson BROOKLANDS TAVERN Frankie G THE CARINE Luke O’Connell THE CAUSEWAY Acoustic Sunday CHASE BAR & BISTRO Jonny Dempsey CIVIC HOTEL Kizzy Ethereal ManiFEST ft. Entrails Eradicated Obscenium DeathFuckingCunt Amidst The Broken Facegrinder Dawn OF Leviathan Fetus Fertiliser CLANCY’S CITY BEACH Sunday Brekky Sesh The Limelights Jazz Trio CLANCY’S FREMANTLE Junkadelic Brass Band CLAREMONT HOTEL Sunday Driver CLUB BAYVIEW Lokie Shaw COMO HOTEL Two Frets Down
CONSERVATORY ROOFTOP BAR Club Paradiso Rooftop Sessions ft. Weiss Nathan Francis Aarin Fraser Josh Ryan Zel Basic The Winter Brothers DUNSBOROUGH TAVERN Kris Buckle ELLINGTON JAZZ CLUB The Seals Ivan Zar FLINDERZ HILLARYS Chris Gibbs FLY BY NIGHT Toby THE FLYING SCOTSMAN Infinite Jest August: High Crime THE GATE Mike Nayar THE GREENWOOD Glen Davies HULA BULA BAR Tiki Time Sundays INDI BAR The Owls INDIAN OCEAN BREW CO Retriofit KALAMUNDA HOTEL Ragdoll LAKERS TAVERN Wesley Goodlet Jamboree Scouts LANEWAY LOUNGE Ricki Malet Quartet THE LAST DROP TAVERN Barry Gee LOBBY LOUNGE (CROWN) Thierryno THE LUCKY SHAG DJ Richie G MOJOS BAR The Weapons Is Sound Galloping Foxleys Surf Rabbits TALE Delay Delay DJ Scrapbook Sam DJ Lovemark M ON THE POINT Nathan Gaunt MULLALOO BEACH HOTEL Sunday Sesh NOBLE FALLS TAVERN Alex Canion THE PADDO Matt Angell & Band PEEL ALE HOUSE Kim Thair PIRATE BAR Owen Measday PORT KENNEDY TAVERN Greg Carter QUARIE BAR & BISTRO The Gypsy Minions THE QUEENS FIVEO Sam Spencer REGAL THEATRE Man In Black: The Johnny Cash Story THE ROSE & CROWN HOTEL Blackbirds
THE WEAPON IS SOUND, AUGUST 31 459 ROSEMOUNT HOTEL Lindsay Vickery Max Vickery Sam Gillies Matt Cole Ron Pollard Quintet ROSEMOUNT HOTEL Pop Will Eat Itself LYTS Like Junk ROSEMOUNT HOTEL (BEER GARDEN) The Get Down ft. DJ Charlie Bucket DJ John Safari Klean Kicks ROSEMOUNT HOTEL (CARPARK) The Golden Days Vintage Markets THE SAINT Howie Morgan Project DJ Reuben DJ Az-T SETTLERS TAVERN The Brothers Thin Sunday Sess THE SHED The Healys Blue Hornet SOUTH ST. ALEHOUSE Open Mic Night SWALLOW BAR Jook Joint Band SWAN LOUNGE James Bosley Residency SWINGING PIG Siren & Assassin UNIVERSAL BAR Retriofit VERNON ARMS TAVERN Kevin Curran VILLA La Coka Nostra WANNEROO TAVERN SeleStial THE WINDSOR Acoustic Aly X-WRAY CAFÉ DJ CYA
MONDAY 1/09 BRASS MONKEY Monday Madness Student & Industry Night CLANCY’S CANNING BRIDGE Quiz Night
MOJOS BAR Wide Open Mic PARKER Manic Mondays REGAL THEATRE Diego El Cigala ROSEMOUNT HOTEL Comedy Trivia YAYA’S Big Tommo’s Open Mic Night
TUESDAY 2/09 THE BIRD Raw Industry #1 BRASS MONKEY Open Mic Night Shaun Street CLANCY’S FREMANTLE Quiz Night CONSERVATORY ROOFTOP BAR Rooftop Comedy ELLINGTON JAZZ CLUB Sarah Ramsey Quintet Jamie Oehlers Gabriel Fatin Ashley De Neef Daniel Susnjar LANEWAY LOUNGE Open Mic Night Josh Terlick LUCKY SHAG Leighton Keepa MERRIWA TAVERN Celebrations Karaoke MOJOS BAR Muzzle Branch Circus Amidst the Broken BORC MUSTANG BAR Danza Loca Salsa Night OCEAN ONE BAR Overgrowth Open Mic Night THE PADDO Quiz Meisters PERTH BLUES CLUB Pretzel Logic The Nervous Investors ROSEMOUNT HOTEL Bex & Turin’s Wide Open Mic SWINGING PIG Siren Song Enterprises YAYA’S
FEATURED GIG
SUGAR HILLS
SUGAR HILLS
CHILDSAINT DREAM RIMMY RABBIT ISLAND GUNNS MOJOS SATURDAY, AUGUST 30.
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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
ACADEMY @ AMPLIFIER BAR
CAPITOL
DEVILLES PAD
CAUSEWAY
DELICIOUS @ ROCKET ROOM
THE SHED
MUSIC GEAR & TECHNOLOGY
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CLASSIFIEDS
THE TAXMAN COMETH
Radical Son
AWME ANNOUNCES MORE ARTISTS The Australian Worldwide Music Expo has released their second round of artists who will appear at the 2014 conference. Frank Yamma, the Melbourne Ska Orchestra, Glenn Skuthorpe, Bongeziwe Mabandla, Bonjah, Bustamento, Black Indie, Finding Albert, Santa Taranta, Louis Barker, Tha Feelstyle, Radical Son, Leah Flanagan, Timberwolf, Hailey Cramer MArlon Williams, Benny Walker, Mighty duke and The Lords and The Ska Vendors will be joining the previously announced Ash Grunwald, Hiatus, Kaiyote, Frank Yamma and more at the four day event, which runs from November 13 - 16 at various Melbourne locales. For more info, hit up awme.com.au.
MUSOS WANTED CHANNEL 7 MANDURAH CRAB FEST MARCH 2015 seeking buskers, soloists & groups? Register to perform at this free iconic event, attracting over 140,000 ppl with a $300,000 + marketing program. Exposure huge + keep 100% merchandise sales. http://mandurahcrabfest.tv/crab-fest-2015/ OPEN MIC NIGHT every Thursday night at Indi Bar. Email Trojan_johnmusic@yahoo.com.au for a spot. Laneway Lounge Open Mic every Tuesday night. If you’re keen for a spot text Josh on 0430313577 OPEN MIC NIGHT Peninsula Tavern, Maylands. Bands needed and solos/duos. Call Damian 0411 367 783 OPEN MIC NIGHT Solo acoustic open mic Thursdays at Ocean One Bar. Scarborough. Call or text Brett on 0447 597 179. OPEN MIKE NIGHT/ARVO South St Alehouse Hilton, original songs, solo/duo, sorry no bands. Come on down for a play on a Sunday to round off the weekend..TEXT..Gus 0409101688 UNDER COVER BIG BAND seeks trombone/ trumpet players. 0451 458 533 Chris. 30
How good is your accountant? Musicians across the country had better hope theirs is up to scratch, as it seems the Australian Taxation Office is going to be taking a long, hard look at royalty taxes in the near future. According to a piece in the Herald Sun, the ATO, under their Music Industry Royalty Payments Data Matching Program, recently collected the details of somewhere in the region of $800 million in royalty payments over the last three years and aim to compare that data with the taxation records of music industry individuals and companies in order to ensure we’re all above board with our tax and super contributions. Ultimately, over 15,000 individuals and north of 1,000 companies are being examined. Steve Aoki
SO LONG SONGL
SYDNEY ELECTRONIC MUSIC CONFERENCE LINE UP EMERGES
Streaming services may be viewed by many as the future of music distribution, but that doesn’t mean the market isn’t a tough and crowded one. As evidence, consider that Songl, the service backed by Sony, Universal and Southern Cross Austereo, is shutting down operations on September 25, a mere 18 months after launching. This is the second service to fail find traction in the Australian market recently, with Deezer having pulled out from Down Under earlier this year.
The Asia-Pacific regions premier dance music industry event, the Electronic Music Conference is set to take place across a number of venues, chiefly The Kings Cross hotel and Eternity Playhouse in Darlinghurst. Well over 1,000 industry members will take part in a range of panels, classes, round table events, performances and gigs. Confirmed attendees thus far include Steve Aoki, Peking Duk, Will Sparks, Nina Las Vegas, MaRLo, Joel Fletcher, The Aston Shuffle, Sampology, Nick Thayer, Kilter, Amba Shepherd, Basenji, Kristy Lee Peters, Indian Summer, Gary Richards of Hard Events/Destructo, Johnny Shockey of LED Presents, Luke Udorovic and Kieran Dole of Lucky Ent, inthemix editor Nick Jarvis, Neil Jacobsen of Interscope Records, Moshtix CEO Harley Evans and more. The EMC runs from December 2-4. For further information, head to electronicmusicconference.com.au.
PRODUCTION SERVICES C D & DV D M A N U FAC T U R E C h e c k o u t our latest CD & DVD specials online at www.procopy.com.au 9375 3902 MATRIX PRODUCTIONS AUSTRALIA Lighting, staging, sound systems, smoke machines, night club FX, intelligent lighting, strobes & mirror balls, crowd barriers, video projectors. 9371 1551 RECORDING STUDIOS ALAN DAWSON’s WITZEND RECORDING STUDIO Prof quality albums or demos, large live room, experienced engineer, analog to digital transfers, mastering.. Alan 0407 989 128 or Jeremy 0430638178 www.witzendstudios.com ANALOG MASTERING VINTAGE TAPE, TUBES & TRANSFORMERS with the latest state of the art digital converters. Clients include: Melody’s Echo Chamber, Pond, Gossling, Knife Party, Felicity Groom, The Floors, Jeff Martin & The Panics. World class facility, World class results. www.poonshead.com. 9339 4791 ANDY’S STUDIO International multi award winning songwriter / producer. No band required. Broadcast quality. A songwriter’s paradise. Ph 9364 3178
GOLDDUST Production Mixing, recording and composition. Leederville $80 p/h. 0408 097 407 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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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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