Archive for November, 2012

Summadayze 2nd Lineup Announcement

Friday, November 30th, 2012

summadayze 2013The oh-so sunny Summa season is just around the corner and with just over a month to go Summadayze has officially hit boiling point! The countdown is on and, with a second instalment of international and local artists confirmed to […]

Opinion: It’s Not The Most Talented Bands That Make It, It’s The Most Persistent

Friday, November 30th, 2012

Rob NassifArticle by Rob Nassif Most bands never achieve their goals for one very simple reason. They break up. Longevity in a band’s career is highly underrated. I think this stems from the romantic notion of an unknown band being plucked […]

Mitzi Play Perth Next Friday

Friday, November 30th, 2012

MitziHaving blown audiences away with their 2011 debut EP All I Heard, MITZI are back with the first single from their forthcoming debut album. Released through Sydney-based indie dance record label Future Classic, ‘Who Will Love You Now’ showcases Mitzi’s […]

A Minute With Shy Panther

Friday, November 30th, 2012

We spend a minute with Shy Panther and find out what’s going on…

Describe your music in five words or less.
Hard for press to describe.

What’s going on right now in the world of Shy Panther?
Just polished off a couple of pieces of Vegemite toast, and hung out a load of washing… We were getting a little restless, so it seemed fitting that Abbe May knocked on our door and invited us on her Karmageddon Tour in December — 4 shows in a week. Bunbury, Sydney, Melbourne, Perth. The Mayans have warned us that the world stops on December 21, which is conveniently the last leg of the tour at the Bakery. Abbe is an incredibly talented and kind human, so the ‘end of the world party’ she has planned for you, sounds like it’s going to be “to-die-for”. We can’t wait. We’re also playing at RTR’s Seriously Sound System Festival, which is mental, and providing we pull through the apocalypse, we’ll be back at the Bakery for the Life Is Noise NYE bash – hey, kudos on that lineup, Life is Noise! Amongst all this, we’re gonna load up the basement with nonperishable goods and spend some more time down there, post-apocalypse, working on some new recordings n things… Hopefully there will be some people left to listen to them.

What are the worst and best gigs you’ve ever played and why?
Worst: most of the gigs we’ve played have been a lot of fun. Parklife was a bit weird though… I think we just ended up confusing a lot of people that day.
Best: Our Erving launch night at the Bird, was a lot of fun. Any gig at the Bird is a lot of fun, because of how welcoming the venue is, and how much of a genius the sound-guy there is… Can I say that? Given that their sound-guy is in our band now? Also, the Chet Faker gig at Mojo’s was the first show we’ve played to a full room of nearly dead-silent patrons — it’s a bizarre and sweet experience to hear a pin rattle’n’ding on the ground.

Tell us something about your music that we might not know.
Apart from us all coming from country-rock backgrounds, did you know that there are brothers in our band? Kynan and Rhien. And one of those brothers, Kynan, actually dates my sister. Which is actually how we all met. And did you know, our second drummer, Chris, is the sound guy at the Bird? Shy Panther — a feel good story.

You’re putting together your perfect local gig? Who would you get to play, why and where? Feel free to include acts/DJs/bands/venues that no longer exist.
I’m guessing, now that Felix Baumgartner’s “leap from space” stunt is over, there may be room for a new headline: “Music Daredevils, Shy Panther, host first ever festival on Mars”

I know we cheated a bit with the “local venue”, but here’s the local lineup:
Ku?ka + Ben Witt + MMHMMM + James Ireland + Savoir + Leure + Diger + Sugarpuss + The Growl + Abbe May + Kynan Tan + Ta-ku + the {MOVE} DJs +many more to be announced.… Did I mention that all these musicians will be accompanied by The Mars Symphony Orchestra..? The gig will be FREE too… Bang for your uncle buck!

Aarom with a View: Shitty Behaviour

Thursday, November 29th, 2012

In the first of an ongoing series of rants, man-about-town Aarom Wilson gives us a piece of his mind — it’s Aarom with a View (the whole existence of the column is really just an excuse for that gag). Anyway, article number one is about, um, number twos.

Poo StereosonicWhen Life Is Noise sillily accepted my offer of a column where I would just talk about shit that annoys me, I certainly didn’t envisage writing the first one about, quite literally, shit. But as it turds out, Stereosonic landed in Perth last Sunday like a solid one dropped from an aeroplane through (stinking) hot weather, some rather disgusting antics lodging firmly in our brains. Cutting through the festive atmosphere of the day, the post-festival media circus’ crap-flinging saw Town Of Claremont Chief Executive Stephen Goode alleging the council has photos of festival goers ‘defecating, urinating and vomiting’, outside the venue.

Well, look, out of 30,000 plus people and no bathrooms on the outside of the venue, you’re probably going to expect a few trees watered and maybe the odd vomit or two. Not that it should be condoned, but it’d be a more than decent bet ol’ Goode two shoes has at least been involved with mates at some point in the past where these things have occurred in public after a few too many. Sure it may have been before cameras were invented, but here’s again betting they didn’t make a new story about it. And considering only eight arrests, 60 move-on notices, 27 drug busts and two convictions actually resulted from the 30,000 potential gurn horror stories, it’s actually not too bad a result. Not good, but admissible.

But ‘people’ (not one person) crapping for all to see, really? Whilst the Claremont Council are a particularly prickly bunch when it comes to having fun in their hood (take Soundwave’s battle with them as a perfect case example), if these allegations are actually true then, holy shite balls, it’s difficult not to wonder whether humanity may actually be devolving. What’s next, dumping loads on James St before hitting The Paramount?

Now, this scribe doesn’t so much mind if people defecated in such venues because they’ve basically elected to go to a venue that really has nothing interesting about it. Thing is, despite the laws of logic pretty much always dictating there will be more dick/shitheads the bigger any festival is, there actually are people who are actually interested in seeing many of the acts at these festivals. In fact, if you look at the upcoming line-ups, no matter what your thoughts are on the festivals (or least their reputations), there are some pretty good options for those whose tastes are aligned with the sorts of delicacies proffered by Life Is Noise. Southbound has the likes of The Flaming Lips, Flume, Beach House, Best Coast and Sbtrkt; Big Day Out has Foals, Animal Collective, Hunting Grounds, Sleigh Bells and Deathgrips; Laneway has Alt-J, Shlohmo, Perfume Genius, Nicolas Jaar and Yeasayer; Summadayze has Disclosure, Hudson Mohawke, Carl Craig, Scuba and Araabmuzik; and so the list of examples goes on, each with at least the most part of a day’s-worth of worthy ear options.

Stereosonic this year also had the likes of Nina Kraviz, Adam Beyer, Joris Voorn and more playing, but it’s shit like this that puts people off attending such festivals. While some aspects of the barrage of abuse covering Facebook on the day of ‘Steroidsonic’ was hipster bullshit (why do you care if punters are wearing fluoro singlets – shouldn’t they be free to wear whatever the fuck they want?), once you start shitting on the dancefloor or the surrounds, well, we have some serious issues.

So please poople people, stop giving festivals a bad name. If you can’t control your poo distribution, you’re not the kind of person who should attend festivals, where toilet lines are sadly the norm. And in case you’re still not quite getting it, here are a few golden (brown) rules:

1. Don’t shit where people can see you.

2. Don’t shit anywhere that you shouldn’t.

3. Don’t act like a shit.

It’s that simple people. There’s no excuse for not understanding, even if you really do have shit for brains.

Vinyl Retention: Alice Russell

Wednesday, November 28th, 2012

Every Wednesday, Sardi lets us know what’s tickling his eardrums in the world of dance music…

Soul singer extraordinaire Alice Russell is set to release her fifth studio album next year on the mighty Tru Thoughts label. To tide us over and give us a taste of what to expect from To Dust, the first single ‘Heartbreaker’ has just been released and it’s… sublime.

Produced by TM Juke, ‘Heartbreaker’ oozes soul and brings to light Alice’s roots with it’s Gospel overtones. The single features remixes by the mighty FaltyDL and Yakine, both bringing their own beat laden touches to the original as well as a live acoustic version.

A nice little teaser. Bring on February 2013.

If you like what you hear, be sure to tune in to RTRFM’s Full Frequency between 3pm and 5pm, as Sardi and Dart explore the world of Drum and Bass and beyond.

Moondog J hits Denmark (Live Review)

Tuesday, November 27th, 2012

After a long drive to Denmark I thought it would be a good idea to hear some live music. Not too much was on but the Denmark Hotel had a blues band called Moondog J. It was pretty quiet at the start but it didn’t take long before the band got its groove and the place filled. It’s only a small place with a TAB on the side. We had already eaten at Boston Brewery, but they only have live music every second Saturday and the Denmark Hotel has live music most Fridays and Saturdays. The menu seemed pretty good however. Pretty standard pub grub. We had a couple drinks and just chilled out. The band was pretty tight, with a wild harmonica and slick guitar while the drums and bass were solid. They got a friend from another band to get up and do a guest spot (Moondog J mostly sang and played harmonica) he pulled out his own guitar and gave it a hammering. All in all it was a good night and Moondog J were a great blues outfit.

Interview: 65 Days of Static

Monday, November 26th, 2012

65 Days of Static are a hard band to place, musically speaking. Touching on various genres, including post/math-rock with an electronic tinge, the UK group have seen their profile gradually growing over the 11 years since they formed. On the brink of their first ever Australian tour (65DOS play The Bakery on Saturday January 5), Jack Midalia caught up with Paul Wolinski from the band to discuss their new record, crowdfunding, beards and particle physics.

65 Days of StaticHow’s the new record sounding?
It’s sounding different… in a good way finally. It’s taken us a long time to get here. We’ve sort of done the same as the last record where we wrote loads of songs, maybe 20 songs, and ended up throwing almost all of them away because we were repeating ourselves. That’s the thing that always scares us… we try to find somewhere new to go.

What stage of the process are you at now?
Some days it feels like we’re almost ready to go into the studio, some days it feels like we’re not even halfway there. Right now, there’s probably about 30 songs written on the big board in the rehearsal room, so in theory there should be an album in there somewhere.

How do you go through the process of turning all that stuff into an album. Is it just a painstaking process of culling it down, or is there some grand plan?
It’s varied from record to record. This time, it’s taken us a long time to work out what sort of record we wanted to make.

We’re always careful that we don’t start making a record for the wrong reasons. For a band like us, we need to keep releasing records and touring to be able to make a living. If we stop we have to go back to the real world and get jobs. But that alone shouldn’t be the reason for making records, it’s the wrong reason. You should make a record because you’re compelled to.

When we made Exploding in 2010, it felt like that was the record that we had been trying to write for a decade and finally pulled it off. It felt like the end of an era I think… in a good way. We’d been hearing hints in what we were doing to this next step. It’s like looking for the Higgs boson or something… you can’t see it exactly, but you can see hints of it in the songs you’re writing so you’ve just got to write blindly and not get too precious about that stuff because if it doesn’t work, it doesn’t matter because it gets you a step closer to the next thing that you’re going to write.

You briefly touched on the financial imperative for making records and touring. With the whole crowdfunding thing you did, what was that experience like?
It was a really nice experience. We’re not really very money orientated. The profit margin on that was almost non-existent. We did it as an experiment to see, on the one hand how the crowdfunding model worked, and secondly because that record was never part of our master plan — it was a soundtrack record for a project. We really weren’t sure if there was significant interest in people hearing the record. We didn’t want to go off on a tangent only to find out that it was a specialist thing that only a few hardcore 65 fans would buy and nobody else was really interested in. So putting it on Indiegogo was a good way of saying “look, if enough people want this record to be made, we’ll make it”.

And because that’s what was in our heads, the figure that we put down, I can’t remember what it was… six or seven thousand dollars or something, it basically covered the cost of making 300 to 400 limited edition vinyl and then the cost of posting them out and recording the record in the first place. The response was so wonderful that we hit that target in about four hours, by the end of the month that we’d put it up there four we must have raised four times as much. But the only reason we’d raised four times as much is because so many people wanted it, we raised the quantity of the limited edition stuff we were making. So the costs went up, so it remains non-moneymaking.

I was just trying to describe your music to someone who hadn’t heard you, and it ended pretty badly. It kind of ended with me just throwing around a bunch of genres and saying “it kind of sounds a bit like this… but not really”. How do you go about describing your sound?
Oh God, yeah… equally badly I think. I suppose the old favourite is Mogwai meets Aphex Twin, that’s been following us round for 11 years really. I can see where they’re coming from — I don’t think it’s quite accurate but it gives people an idea.

The term “post-rock” as well, I don’t know what that means in America because I know it’s different in Europe to in the UK. In the UK these days, or for a while now, it’s kind of shorthand for bands who are very quiet and then very loud and then go very quiet again and want to sound like Mogwai but aren’t as good. So we try to avoid calling ourselves that. But then again I know that in Europe it doesn’t have any of those negative connotations, it’s just a descriptive genre.

For Australian fans that haven’t seen you live before and have only heard you on record, which is probably most of them, how does your live show compare to 65 Days on recorded form?
As much as I’m proud of our records, I don’t think we’ve ever been able to capture our live show at its best. We’re all really proud of our live show and I think that’s where we’ve always represented ourselves most clearly. It’s incredibly loud. We try our best to get everyone involved, I mean we’re not rockstars about it, but we don’t want to play to an audience of serious looking people stroking their beards, we want to get people moving and having fun. Or, if not fun, then get a bit of catharsis going or something. We play as hard as we can and play loud and make it as relentless as possible, because why would you want anything less?

It’s funny that you mention the whole beard-stroking thing… a friend of mine calls that move the “post-rock beard stroke”.
[Laughs] Right, ok. I mean, I don’t want to force people to dance or have fun. I’ve been to plenty of shows… I don’t know, the number of times I’ve seen Godspeed You! Black Emperor and probably been standing there doing something similar. But that band sort of demands it, it’s just overwhelming isn’t it?

People should go to the shows and do whatever they want to do. But we don’t want to be so standoffish… we try not to add any pretentiousness to what we do.

Besides playing the shows, is there anything else you’re looking forward to doing in Australia?
Well, we don’t have much time off. Simon, our bass player, has been on holiday, but the rest of us have never been. We’re all just going to be running around before soundcheck seeing as much as we can see. And meeting people. That’s what’s great about being in 65, we kind of operate on this fairly underground strange level. So people that have taken the time to seek us out in the first place are usually really cool, interesting people that it’s a pleasure to meet.

Beach Coma

Thursday, November 22nd, 2012

Beach ComaSometimes that link between name and sound is so incredibly spot on that it all just makes sense. Beach Coma is a pretty fine example of this.

Summer is usually portrayed in music as an upbeat, innocent, rollicking good time (see, for example, The Beach Boys, et al). While this is true in reality, you’ll live a quarter of your life in summer, and there’s somewhat of a distinct lack of music to soundtrack the plethora of food comas, hangovers, lethargy and general apathy that summer is also full of, mixed in with a lovely pile of ambience, verb-washed melody and detuned synths. So, here’s Perth’s Beach Coma’s excellent Bohemian Crystal EP (it’s kinda almost a mini-album), perfectly filling that void.

Stream the record below, or download it on a name-your-price basis from Bandcamp.

Vinyl Retention: Ylem

Wednesday, November 21st, 2012

Every Wednesday, Sardi lets us know what’s tickling his eardrums in the world of dance music…

YlemHaving recently won the WAM electronic song of the year, local producer and DJ Ylem is set to unleash his sophomore album Disk.151 on The Community Records imprint.

Following on from his 2010 Urban Grey LP, Ryan Burge, better known as Ylem gives us 11 tracks of seriously intense production. Extremely electronic, yet overwhelmingly organic sounding, the album is an excursion into low-slung beats, pumping synth textures, pitch bending bass and glitchy vocal cut ups. The production is second to none and musically, the vibe is sometimes haunting but always lush and beautiful.

This is a well thought out and executed album, and one of the finest releases I’ve heard all year. Served best with a bottle of cough syrup.

If you like what you hear, be sure to tune in to RTRFM’s Full Frequency between 3pm and 5pm, as Sardi and Dart explore the world of Drum and Bass and beyond.