THE FERGUSONS - "Never too Young to Hitchhike"
WAM Featured EP

The Fergusons' have created something of a storm in the Perth music community over the past 12 months, and it's easy to see why with this, the release of their second EP. "Never Too Young To Hitchhike" both expands on and moves forward from the promising sounds of their debut "Hurting The Washing Machine", this time with stronger songs and better production. Once again credit here is due to producer and recording engineer Shaun O'Callaghan, who's proving quite the master of different styles, having worked with artists as varied as John Butler, Eskimo Joe and the more recently electronic-rockers Rollerskates.

But the success of this EP is due to something stronger than just production values. In "Everything's Gone Bad", both the first song and single from this release, The Ferguson's have given us one of the best West Australian pop songs of the year, right up there with The Sleepy Jackson's "Good Dancers". It's a simple formula - clean guitar leads a melancholy verse to a huge distorted chorus - it's just that when you get a chorus hook right, it can quickly turn from bedroom noodling into sing-along radio anthem. And with "Everything's Gone Bad", The Ferguson's have got just that. Complete with a thoroughly glam 80's guitar solo, and an all-star perthonality final acoustic chorus (featuring members of Eskimo Joe and Fourth Floor Collapse among others on backing vocals) this is, to my mind, the perfect pop song.

But hang on, I forgot, this is an EP, not a single! And even though "Never Too Young To Hitchhike" is worth buying for the first track alone, the following four tracks hardly disappoint. Live favourite "Napalm Waltz" is all pummelling drums and ever-changing rhythms, and along with "Blue Screen" provides the songs fans of "Hurting The Washing Machine" will probably fare best with. "Cream Chargers" and "Great Barrier Reefers" tread closer to the more melodic charms of "Everything's Gone Bad", tones that were only hinted at on the previous EP's with "Perfect Company". "Great Barrier Reefers" (clever title, great song) particularly highlights a newfound maturity in their work, and the final crescendo can't help but leave you interested in when exactly The Fergusons will be following this up with a full length album.

Harvey Rae.

THE FERGUSONS & RED JEZEBEL - CD LAUNCH [all ages]- HQ LEEDERVILLE 1.6.02

The Critics

Even with the punctual 2:00 start, the small room at HQ already had a fair support group to welcome local rookies Ramjet to the stage. Delivering a fresh set of the melodic pop sound that Perth is famous for, they seemed suitably happy to be gigging. Most enthusiastic was their highly animated lead guitarist who invited the good humoured taunt from their vocalist, "are any of us trying too hard?". Unsuprisingly, this only seemed to spur him on.

Red Jezebel

Next up, a band that has had no shortage of gigs lately, The Critics. Weaving their tight upbeat punky riffs around the distinctive high pitched wail of their vocalist, they seemed unperturbed by the undrunk underage crowd. As nice a touch as the ever-present bubblegum is, the criticism (excuse the pun) that must be levelled at The Critics is that they can lean their sound a little too close to that of US punksters The Offspring. This however, is a problem they will surely iron out with time.

Red Jezebel then came on to bring the sound back to the pop side of things. Playing tracks from their new release 'Homecoming' (as cleverly advertised on the wrist stamps), they raised the excitement level with their bass and drum driven builds and rock riffs. Their lengthy set was well received, as was the Pearl Jam cover of "Mankind" (the only Pearl Jam song Eddie doesn't sing) they threw in for good measure.

The Fergusons

The Fergusons then finished up with their contribution to the world of guitar pop. Offering three minute pop ditties with skinny white boy vocals and plenty of fuzz to go around, they launched their EP 'Never Too Young To Hitchhike'. Running through tracks new and old, The Fergusons showed why they are probably the heir-apparent to the path previously travelled by Jebediah, and more recently Cartman.

Dominique Blackburn

Even on a rainy night, it was good to see a respectable turnout joining me at the Amplifier Bar last Saturday night to see some fine bands - Wax Tadpole, Greenroom and Kerb. Musicians that love surfing and good times and the good ol’ Aussie larrikinism comes across on stage with pride. With these boys, their hearts lay down south.

Up first for the night was Kerb, winner of the 1999 Kiss My WAMi Award for “Best Punk Band” who, shortly after that, split up for about two years to reform only a couple of months ago. Having played with the likes of “Frenzal Rhomb” and “Rancid”, these guys know how to rock a crowd. And that they did with their hard radio punk style and high energy show. Pumping out a huge drum sound was Justin on drums and Steve and Chad playing feel good punk rock rhythms and singing powerful vocals even with the flu. These guys have a lot of fun on stage, “Ordinary Day” displaying very diverse mood changes and very fast beats. Being together since '94, their sound might be getting a little old but still rocks just the same and goes to show punk will never die. Be on the lookout for their new CD “Beneath the Same Sky” out soon.

Wax Tadpole hit the stage next to bring their own blend of groove and hard rock to the little Amplifier Bar. They began touring about 18 months ago and had a lot of success over east. The members of the band are scattered all over Australia but all have one thing in common, they love music and surfing. Being back in Perth, for a couple of gigs here and down south gives them a chance to rest up a bit. With more clean tone vocals from Marcus (who has a solo, more mellow CD: “Songs About Water”) and epic drumming from Hobsie (from Greenroom) these guys display remarkable tightness on stage. Rob, from Full Scale, broke a bass string in the first song but it was fixed in a matter of seconds and pumping out sic bass in no time. Their vast style of punk, cruizy surf and hard rock blended together to form a really good sound. Wicked complimenting vocal harmonics from Marcus and Rob had the crowd nodding away in appreciation. “Spiderman” went off, as did the rest of the set. Look out for their debut CD “McLarnon” out early 2003.

Last up for the evening was the guys from Greenroom. These boys also have done very well over east with their radio friendly hard rock. ("They just love us over there!") And with a new bass player and relatively new drummer they were a bit shaky at first but got right into it. The tightness of guitarists Jezmond and Mambo (the original members) had to be admired. Once again Hobsie was going off on the drums, filling the air with perfectly timed fills and rolls making it look all too easy. With five new songs in their repetoir they fuelled the atmosphere and brought the night to a close with style. They will be gigging in Perth over the next few months so check them out before they tour over east in October, and buy their CD “In The Red”.

Dan Evans

Tonight was an especially rare treat for lovers of tasty soulful tunes and professional musicianship. Soul Aquarium's long awaited live recording took place inside the majestically transformed Pit Theatre in Midland, which after weeks of hard work around the clock was a lush live studio den, complete with fully separated recording booths, raised seating, soundproofing and an impressive lighting rig.

The purpose of tonight was to get a live recording and video done at once, before the band undergoes a change of line-up. A few last-minute sound issues held proceedings up to begin with, but Soul Aquarium soon smoothed into the first of two sets of their original funk/jazz/experimental rock, amidst descending bubbles and the undivided attention of all present.

Though not used to playing with headphones as a live recording entails, Soul Aquarium shone through their finest, including "Field of Flowers", the Pink Floyd-esque "Serious Trousers", "Shit Job", "Mama Fun"? and a version of "Get Up Stand Up"? that was true to its roots. These guys all have copious amounts of both passion and skill, needed to make music work.

It seemed a shame that the purpose of weeks of hard work was over in less than three hours, and that the lush recording studio that took so long to build would soon be pulled down, but the night had fulfilled its purpose and hopefully before too long there will be a recording released that we can cherish from this talented family of soul children.

Review: Saritah

A rare but most welcome point to be noted about tonight is the fact that half the bands were fronted by women, and rockin' kick-ass women at that. The sistas are getting out there. Aluria was one of these acts, also boasting a chick drummer who didn't miss a beat. This band looked and sounded great, with powerful vocals delivered amongst red velvet and a rockin' rhythm section. Intense, emotional rock.

2nd place winners Sweet Ordeal were impressive, with a dynamic vocalist delivering beautiful melodies that were at times very sweet, but had the guts to get rougher as well. They were confident, with the guitarist and bass player seriously getting down as they played, and leaving plenty of space for the soaring vocal melodies. One of their songs was a chorus or two too long, but it was catchy, and I guess sometimes a little epic goes a long way...

There is something hugely important about the on-stage vibe of a band, their communication and their compatibility. The Wah Trees shone in this department. The strong bond between the trio was obvious as they grinned their way through their very grooveable funky bluesy rootsy tunes, even bringing out the panpipes for a phat slap-bass number. They were completely relaxed and at ease on stage, and many got up to boogie to their infectious, energetic grooves. These boys have a lot of fun, and their lyrics are straight from the heart. They have something important to say and one gets the feeling that many will listen.

El Horizonte, the winners this evening, had many mums blocking their ears right from the word go. They literally burst onto stage, with a frontman who had all the right crazy rock n' roll stage antics thrashing around and setting the scene for what we were about to witness. The microphone got a good spanking, and there were collisions with band members and involvement of foldback speakers. Distortion and feedback were popular with guitarist Eddy, who did his fair share of backing vocals. There were however moments of passion amidst the frenzy, when the mic stayed in its stand and we could strain to listen to angst-ridden lyrics. El Horizonte definitely stood out in the line-up and are very good at what they do.

Jubal finished the line-up of Taste hopefuls, looking tres suave dressed all in black as they treated us to their eclectic sounds. Starting off with a cruisy jazz/blues number, they went on to delve into everything from comedic country to folk to celtic rock, bringing out such revered instruments as the kazoo and the tin whistle along the way.

To take us out were last-time winners Macano, featuring members of hugely successful Perth bands of the past and present. They showed us why they took out the last Taste trophy, with their fine display of heavy, phat n funky hip hop rock.
Very Tasteful, indeed.

Review: Saritah

THESAURUS REX CD LAUNCH - RECHABITES HALL 8.6.02

Of the recent string of INXS reworkings, by far the most effective has been Myrtle's take on "Johnson's Aeroplane". They opened with it on Saturday night, with a rendition that not only easily supassed the original (as they always have), but also outdid their own recorded effort. This haunting and enticing opening set the tone that was to be maintained faultlessly throughout. As the video screen floated through a mix of computer animated graphics, satellite photography and a live stage feed, the seamless merging and complimenting of Nadia Nassif's agile vocals and Mel Robinson's cello invoked a meditative and intimate atmosphere.

This intimacy was of the calibre achieved on those rare occasions when an act can lull and move an audience with a less-is-more philosophy (Low's Watershed performance earlier this year was a definitive example). Listening back to Myrtle's 2001 release "Walking Sitting', it seems they have since been through a period of significant growth, focussing and refining the emotional core of their work, for, as fine as the recording is, it pales in comparison with the slow burning power witnessed by those lucky enough to be present on the weekend.

From emotional intimacy to cold calculating intellect. Thesaurus Rex took the stage to launch their debut album "Electropolis', to reconfigure the minds of their audience, and to deliver a presentation that is a little difficult to describe in a few short paragraphs.

The video screen flanked by a pair of long white vertical Nazi-rally inspired banners branded with their trademark encircled R logo, Henry Lenny and Gregorian Chant introduced us to their sound and vision scape. Sitting at their consoles, the two black suited white masked protagonists began building their inter-textual layers with sparse keyboard melodies, mechanically precise live electronic drumbeats and occasional samples.

For the next hour or so, the audience found themselves caught in an artistic feedback loop where mime and kabuki met science-fiction and cabaret, where electronica played along with live instrumentation interacting with images and written text. Although the cultural sampling net was cast far and wide, a motif of German influence threaded its way through both visually and sonically. From the afore mentioned banners, to sounds reminiscent of outfits such as Kraftwork and Einsturzende Neubauten, from a general nuance of early 20th Century expressionist cinema, to the specific appearances of swastikas and Mercedes emblems in the montages on screen.

The cast of characters expanded and contracted ; Melodious Medley (Black suit, white mask) materialised to add bass to tracks such as "Black in Back" and the eclectic "Insertions"; female vocal duo the Rexettes (formal black dresses, silver masquerade masks) lent a forties croon to the mantra "Rotten to the core" to great comic effect, and lead the clap-along title chant of "Give me an E for Electropolis"; Miss Kaaren (red dress, red masquerade mask) added some mischievously arranged keyboards; and Myrtle's Craig Tracy supplied some guitar cameos and the costuming punchline with his Phantom of the Opera mask. On a couple of occasions, when the entire entourage was on stage, it resembled something akin to a David Lynch dream sequence shot in Stanley Kubrick¡¯s dining room. This, in the end, was the refreshing and unexpected element of the Thesaurus Rex experience. With all its intellectual intent and often dark philosophical musings, much of the work is grounded in satire, and hence often absurd and wickedly funny. An inspired performance.

It was then left to Rawbone (aka Roly Skender) to deliver the dessert to the audio-visual feast. Mixing his motivated beats with video sampling and repetition, Rawbone let the audience's eyes do the dancing as they were bombarded with moonlandings and Elvis, fifties dancing and football, and honourable John Howard being made to look the fool (as if he needed the help). Rawbone's set was indicative of the evening's quality, an evening where the behind the scenes crew (mixers, camera operators, designers etc) could take a well earned bow along with the performers (some wore both hats), for a collective virtuoso performance where everything went right.

Dominique Blackburn

Its back! The Next Big Thing is back! What? I hear you say? Well, if you haven't heard about it than you must be from another planet. The Next Big Thing is an event that brings community and youth organisations together to find out what new music talent is out there. The focus is on giving bands and musicians (especially those from regional areas) an opportunity to show what they've got to some of Perth's and Australia's big people in the business. It gives bands an opportunity to make a name for itself while promoting local music supporters like venues and production companies. Many excellent bands and artists have come out of NBT like: Kerry Anne Cox (who is doing very well in USA), John Buttler, 4th Floor Collapse and more.

This year there has been a record 229 entrants to the competition all eager to win that East Coast tour with $7500 grant. Unfortunately only 49 bands made it to the heats. Last Saturday night, the Grosvenor Front Room played host to 5 of them including Rift, Charlie Company, The Giant Steps, Core Element, Zeta Theory and Jodie Tess.

Alex Manfrin (Ian from tha Hills) a local comedian and drunken hobo introduced the event and without too much delay Rift took the stage in their five piece brilliance. Only 18 months old as a band (they go way back as mates), these guys delivered a fast metal oriented rock set opening with ¨¬Repeater? with singer Rob displaying his vast vocal range and style. Some fine-tuning may improve their tightness but the crowed loved every bit of their crunching cool heavy rhythms. The Mad guitar solos from Paul showed his showmanship and passion for metal. They ended with the well known 'Rift' with the loud bass that sounded sic and contained one of the maddest live drum solos I've ever seen. Thanks Marim. My ears are still bleeding.

Up next was 3 piece Charlie Company with their smooth melodies. John Brooksby played perfectly suited synth, Ben O'Brien played superb rhythms on guitar and vocals and Henry Grover filled the trio with some groovy beats. Their sound is packed with emotion and it is evident that these guys put a lot of effort into their music. They come across on stage with a big tight mellow sound with all instruments playing in harmony that you can't just pull off but needs time and work and above all feeling. The only thing they might be missing is another guitar to give them that extra power in their emotional build-ups. Never the less, the talent is obvious.

With the night well under way, and the Front Room getting pretty packed, The Giant Steps took the stage. Another five piece but with Pablo playing acoustic bass and Kristy on electric synth, these guys have more of a twist than your general five piece. Opening with 'Delicate', their sound gained lots of crowd appreciation. The music was a lot like Charlie Company's but with a bigger sound, with all the instruments and a more varied style. With their cruisy melodies and groovy beats, their modern grunge rock style could go down well anywhere and lots of stage energy is always appreciated. They are touring very soon so check them out quick.

Core Element stepped up next with some dancy club beats for the electronically inclined. With only two of them, Susan Daws on vocals and Ben Chase producing, they would want to impress. And that they did. With Ben producing very modern funk beats and grooves and even playing live guitar, he would go well in any club with his excellent quality of samples and production techniques however, more live production would give him a more live feel which is what was needed. Along side him, the beautiful Susan displaying her vocal talents with a bit of a swing of the hips and a flick of the hair. Her singing suited perfectly and the vocal effects were impressive. Collectively, their sound was very modern and professional which is not so common these days in live music. Good to see.

Bringing the mood back to rock were Zeta Theory to give us some of their heavy surf rock style. Singer Blair Dwyer showed us his vast vocal range from Eddie Vedder to Linkin Park rap / rock style. Toney and Steffan played wicked surf rock guitar riffs to an awesome beat supplied by Chris Mascat on the drums. The crowd went off to songs like Gunshot with its off beat rhythm and drowning guitar riffs. Displaying heaps of energy on stage and delivering an overall wicked set, these guys appeal to the masses and may have been the crowd favourites.

Last but certainly in no sense the least, with their massive array of fellow groovy music providers was the Jodie Tes crew. A new line up included Arun on percussion, Sam on bass, John (from Flux Capacitor) on keyboard, Ant on guitar and as always, Federico (from Jungle Theory) supplying the beats. A more improved sound that needed no improving. Jodie Tes being the perfectionist that she is gave us the sound of the night with no frills. Just pure talent in all the members of the band, collectively delivering raw funk, excellent singing and unmistakable jazzy overtones and beats. It was easy to pick Jodie Tes as the winner of tonight's heat. Congratulations.

Congratulations go out to Zeta Theory for coming second and The Giant Steps coming a close third. Also to all the bands that made it in to the heats of the Next Big Thing for that in itself is an achievement to be proud of.

Dan Evans

Someone unfortunately misjudged the running order at Mojo's on Saturday. Early arrivals were treated to a colourful and entertaining set from The Burgers Of Beef. These four instrument swapping wags related their tales of whimsy and woe, including Linda Ronstadt is ready for you?, a Tom Waits-meets-the-Pixies-like ode to the Bunyip, and the devastating story of a rock'n'roll penguin's yearning for opposable thumbs.

Poppy, eclectic and very funny, The Burgers Of Beef come from the They Might Be Giants school of musical humour, and as much as they like to pull the piss out of their musical competence, they're actually pretty damn good. And that's not even mentioning the Mickey Mouse ears, the presents for the crowd, or the Nosferatu dance lessons.

Then the running order problem arose. The Burgers Of Beef had played to a small but receptive audience, but by the time the evening's solo act, Cain from Cartman, came on, Mojo's was packed with a charged and vocal mass. Presumably they were Gigantic supporters, and therefore had arrived at the right time, however, with all due respect to Cain's seniority, it seems the opening spots should have been reversed.

Apologies to Cain, as most of his music, and all of his lyrics, were drowned out by the noise. This seems a shame given that what could be heard of his acoustic pop guitar and sweet melodic voice (which he later harmonised with Tom Dangerous for a couple of tracks), merited a good listen. Hopefully we'll be able to catch him in a more appropriate setting some time soon.

Mojo's was well and truly chockers by the time Gigantic kicked off their set to launch their debut EP My Friend Radio. Having had a quick, quiet listen to the CD the night before (which, despite the obvious pun, it must be said, is extraordinarily radio friendly), I was a little taken a back by their live sound. Seems the CD should be listened to a little louder.

Gigantic's sound would probably lean more toward the pop side of the rock/pop equation, were it not for Paul DiRenzo's thumping drums. Brother Mark's voice shifts between weepy pop and a more forceful rock delivery, while the look on his face on the night showed that Gigantic were as appreciative of the turnout, as the turnout was to be helping christen their first recording. Judging by the reaction, it probably won't be their last.

In selecting their companion headliner, Gigantic couldn't have done much better. In a town awash with pop bands, The Panics are widely considered as one of the very best, and with good reason. Whereas much of Perth's pop scene is populated by overly modest and demure performers, The Panics look and sound like they are fully aware of how good they are.

As usual, their show was flawlessly slick, in fact so slick and professional, that it's starting to look like they could do it in their sleep. This is not to imply any level of apathy on their part, quite the opposite. Their tracks are sounding as crisp and fresh as they did on their stella self-titled EP. The crowd was unanimously pleased to be finishing off the evening with a good dose of The Panics, and with a second EP about to be completed, and a UK recording trip on the cards, it seems there'll be plenty more opportunities for a fix.

Dominique Blackburn

There is something majestic about an event that sees crew of all ages and from different sub-sectors of the youth movement coming together for an eclectic day of tunes, beats, information, and action. HQ regulars were in for a treat as tasty tunes pumped out across the ramps from midday to midnight. The skate park/youth venue in Leederville is fast making its name as Perth's most cranking all-ages venue, with its combination of skate ramps, kiosk, band room and other space making it extremely versatile.

As well as an array of Perth's top bands and DJs, Little Mis-Demeanor featured an art exhibition, lowrider exhibition, delicious tofu burgers and information stalls on Ningaloo Reef and the Anti-Nuclear movement. Junkadelic were there throughout the day with their percussive instruments made from recycled junk, and everyone was free to jam. And jam they did! Bantus Capoeira gave a demonstration of the soulful dance/fight that is Capoeira, with movement and music that echoes the plight of African slaves brought to Brazil hundreds of years ago. Spin FX treated us to a slinky acro-balance/fire performance, displaying strength, skill, spunk and humour
in a series of impressive balances.

The bands kicked off after 5pm, with Varial first up. With it still being a fine day for action outside, it was always going to be difficult getting a crowd into the band room for this early timeslot. Varial handled it well however, with their sounds carrying through most of HQ. They even treated us to a Beatles cover done punk rock style.

Playing their first big gig, Aluvium took to the stage, with their guitars covered with Save Ningaloo Reef stickers. These boys make no secret of the fact they are heavily inspired by the JBT, both in lyrical content and musical style. Between a lot of guitar swapping it became evident that they do however have their own sound, and made use of keys and percussion. Despite a few nerves, these guys played a strong, passionate set, and we can look forward no doubt to nothing but goodness to come from them

Dyslexic Fish

Sure to be making a huge splash on the Perth music scene any time now are Dyslexic Fish. As well as having a cool name, these guys are seriously infectious and got everyone's booties a shakin' within minutes with their original funk/rock sounds and cheeky youthful energy. Evidently stoked to be playing to such an enthusiastic crowd, these guys had heaps of fun whilst putting on an impressive performance. Think a young Ozomatli meets James Brown, with a sprinkle of RAGE thrown in, all the while maintaining true originality. Complete with horns and a crowd singalong, this set rocked everyone's socks and we look forward to doing it again soon.

Saritah was up next with her soulful folkpopworldhiphop inspired set of mainly solo acoustic tunes. One of the foremost young talents to come out of Perth in the past couple of years, Saritah mixes passionate lyrics of self-empowerment and responsibility with acoustic grooves and funky melodic tunes. A particular highlight was "Safe Again" (from her soon to be released debut album), accompanied by the expressive djembe of Michael Boase - a journey of a song with the passionate conclusion of "Life will bring you what you want, if it's for the good of all?". It'd also be great to see more of the funkin' hip hop we got when, for the set's finale, Saritah put down her guitar and rapped accompanied by only djembe. Top stuff.

The B Movie Heroes are an intriguing phenomenon indeed. With no less than nine members, they create a sound that is unparalleled by any other act in Perth, and possibly in the country. Reminiscent of a younger Buena Vista hailing perhaps from San Fransisco in the early seventies, complete with sunnies and loud shirts, these guys have an undeniable bond on stage, and move through countless time and feel changes hardly even looking at one another. Each song is a seemingly endless journey that moves through cruisy blues, jazzy grooves and sporadic percussion jams, accompanied by the husky, soulful vocals of Reece. A memorable lyric to be noted: "want
you to be my pistachio, gonna crack you open and eat you out¡­" Hmmm. With acoustic 6-string and 12-string guitars, acoustic bass, cello, mandolin, percussion, keys and a synth that occasionally rises out of the mix to surprise us, these guys create a full sound that is uplifting and soothing to the soul.

For those survivors who had made it through the entire day and still had two legs to stand on, Perth's premier funksters Flux Capacitor were on hand, providing the grooves for one final booty shake en mass. Easing into their set with a couple of soul numbers, including "Back in the the Day", the funk soon kicked in and the dancefloor went nuts. "It's our duty to make you move your booty", they assured the crowd, and move us they did. Flux just seem to get better and better, obviously enjoying each other's energy on stage and the crowd's tireless boogieing. Called back for an encore, the boys seemingly reluctantly left us with some final funk before calling it a night, for after all, there does come a time when a monster gig needs to come to an end.

DJ Neri

And all this for a good cause. All profits from the Little Mis-Demeanor gig will go directly towards the Students and Sustainability conference taking place at Murdoch Uni from July 7-13. The conference is an annual event, and this, its 11th year, marks the first time it has visited the West Coast. The conference is a celebration of life and sustainability, inviting people to come together to begin to create the kind of world we want to live in. With forums, workshops and actions on every issue facing humanity and the planet today and in the future, it will be an inspiring, informative and empowering week that will bring together students, activists and anyone who is or wants to be involved in creating a sustainable future for the planet and its people. For more information, visit www.asen.org.au/ss2002(.) See you there!


Review : Saritah and Harvey
Photos: Saritah

Last Friday night, despite the shite weather, the Amplifier Bar played host to a couple of Perth's favourite bands: Friends of Brian and Tragic Delicate. Supporting was Adam K from Turnstyle and Glenn from Showbag. The night was dedicated to the screening of the new film clips from the headlining acts that will be shown on RAGE and other music television productions.

To begin the night in a smooth acoustic style was Glenn and Adam K playing a tag team performance with Adam K opening with a mellow ballad about ¨¬living in Bassendean' which went down well with the locals from the area. Glenn stepped up to give his own style of acoustics and a vocal style similar to the likes of R.E.M. playing much the same style as Adam but with a noticeable increase in the feeling and passion of the music. When they joined forces on stage, (calling themselves "Turnbag") their sound was defined and unique. These guys have been jamming together and supporting each other's bands for quite some time as they are all part of a local music family, which is great to see. Glenn will be releasing a solo album in December so keep on the lookout for that. Showbag are looking for a new bass player and will be gigging round the traps soon.

Time to dim the lights as Friends of Brian took the stage to present their new film clip 'Pretty One'. A dramatic view of the band playing in what looks like someone's lounge room, the production was great and the crowd was impressed. After that they began their set with some sweet chorus tones from singer Kat (who sounds heaps like Beth Orton) and guitarists Ben and Nick. Their style was mellow to passionate rock with lots of muffled guitar that got the point across and good drumming that kept it all together and clean. They have recorded an EP: ¨¬Similar Kiss' with a song that is also on the WAM CD compilation and will be releasing a 3 song single (with production help from Matt De La Hunty) at the end of Winter.

Up next was Tragic Delicate to present their own film clip and grace us with their musical treats. They began powerfully with their superb drum sound (thanks to Adam and his super kit) and emotion filled vocals from Aaron. Pounding out the low tones was Anthony on bass who together with Aaron on acoustic guitar and Miriam on cello, seem to get themselves into a musical trance. Playing perfectly and complimenting each other with feeling and then pausing just briefly to let Adam go off with his metal influenced drumming, they filled the Amplifier Bar with all that makes music great, delivering a perfect sound. The crowd seemed to be more impressed with Friends of Brian but my favourites were definitely Tragic Delicate who are only just over a year old but are tight as fuck. They are recording for an EP: Moon and Crucifixes, which will be out in October / November.

Dan Evans

PRAWNS WITH HORNS BON VOYAGE SHOW - MOJO'S 21.6.02

Freo's finest played their home ground on Friday night. Outside Mojo's it may have been cold and wet, but the Automasters were having none of that. Adorning their stage with relics from a desert truck stop (car doors, tyres, cacti), and their heads with an array of hats in search of horses, they provided the soundtrack for us to shake the dust out of our six shooters.

The Automasters sound like they look. A couple of cowboys on Guitar (Dan Dugan, Alex Archer), a gas station attendant on bass (Justin Castley), a harmonica sucking the life out of a human being (Rodney Cheuk), and an immaculately preened 50¡¯s rocker vocalising (Brendan Hutchins), all backed by drums played by an enormous Mexican hat with limbs (Ben Crappsley).

The usual loose description for these guys is country/funk. The country part is true enough, but the rockabilly influence can¡¯t be ignored, and the description of funk is really selling them short. The Automasters are not a funk band, they are far more interesting and grimy than that, and their roots run much deeper. It does seem a little odd to be dissin' funk at this point however, given what was about to happen.

The occasion for this gig was to wish Prawns With Horns well for their upcoming European trip. Judging by the energy they displayed on stage, they're not going to need a plane to get there. If you could see inside the head of a madman as his life flashed before his eyes as he was dieing of a caffeine overdose, it'd probably resemble the Prawns With Horns live experience. The Prawns are a just-add-water-instant-party that explode onto the stage and continue doing so throughout the set.

Not being a Perthling and being uninitiated in the ways of the Prawns, I asked around about them before the gig. The consensus was something along the lines of, "You'll love them, they rule". Being intrigued by any act that can inspire such articulate adulation, expectations were high. A recipe for dissappointment, but not on this occasion.

Bands who work under the funk umbrella are often expected to be eclectic, but the Prawns go further by jumping genres and seeming just as comfortable and solid wherever they end up. Depending on when you walk in, you could be excused for thinking you were at a metal show, a Latin show, a hip hop show etc etc. This is all tied together by a constant barely contained kinetic energy. Wether it be the precision horns (James Landers - trombone, Ben Collins - sax), The guitar of musical instigator Dan Jarvis, or frontman Marty Hellman swapping vocals and theremin with his rhythm section (Peter Miller - bass, Peter Finkle - drums), Prawns With Horns operate like a high performance vehicle pushed beyond it's recommended limits without ever loosing traction.

Whilst on the subject of Hellman ; the theremin is on of the most underused instruments in modern music, for one very good reason - most people can't play the thing, and incidentally many of those who think they can are pretty unimaginative, to put it diplomatically. Hellman has no such worries. He interacts with the instrument in a way that implies he sees it as an entity rather than a collection of circuits, one minute punching percussive squeals out, the next coercing out atmosphere. All this while his personal energy threatens to propel him over the crowd and through the back wall behind the bar.

With a history stretching back over a decade, multiple releases, tours with acts such as Magic Dirt and Pornland, as well as shows in Europe and South America, Prawns With Horns are taking the next steps in their extensive career over to Italy and Spain. Their brand of reckless abandon will surely be just as well appreciated there as it is in the familiar surrounds of Fremantle. I mean, they have beaches there too.

Dominique Blackburn

For those of you who don't know, the Fly By Night Club in Fremantle has a smaller function room available for more intimate gigs. With plush drapes, comfy chairs, dim red lighting and candles, this was the venue for tonight's showcase of fine fingerstyle guitar players.
Those who came early were treated to a set by Peter Clark, who shares a similar style of intricate, emotive finger-picking guitar to Simon Fox. Simon even opened his set remarking that they must have a similar CD collection!

This music is dreamlike and soothing, and if you close your eyes it can carry you away to the fields and lakes of the celtic highlands. The fluidity of the fingerwork flows over and uplifts you. As far as atmosphere, it doesn't get much more intimate than this, where a squeaky chair or a withheld sneeze don't go unnoticed.

Simon's playing allowed his Lowden guitar to live up to its name as one of the finest in handmade acoustics in the world. At times using alternate tunings to deliver his two sets, they included "Mapping the Paddock", named after a book of the same name, "Airwell", and "The Fisherman", which has been featured recently on the TV show Fishing WA. To everyone's delight he finished off the evening with an enchanting version of "Rainbow Connection", that beautiful song that Kermit the Frog played to us all those years ago on his banjo. With a well-attended bar, this night of luscious music was dreamily enjoyed by all. Simon Fox is currently recording his second CD, due for release later this year.

Saritah

Being a Scramblah fan who hasn't seen them in a while, I was eagerly anticipating their support spot for the Headstones CD launch. I was triply disappointed to hear that a) one of them had injured himself (get well soon), that therefore b) this meant they weren't going to play, and hence c) their entourage wasn't going to show up. This factor conspired with a rather cold Thursday night to make for a rather dismal turnout at Mojo's. A shame given the fresh crop of Perth pluckers, bashers and squealers strutting their stuff up on stage.

The 4th Official are a five piece rock band headed straight for radio. Lead vocalist Dan Williams opened with a solo acoustic piece that instantly showcased both his flowing lyrical style and smooth, powerful voice (think Counting Crows with more guts). He was then joined by the band for a set of polished and distinctive numbers ranging from weepy ballads to hook-filled guitar rock, with touches of U2 and the Beatles via pop riffs and harmonies. As impressive as the individual songs was the arrangement of the set list, which troughed and peaked to lead up to the final two killer tracks. 'Clarity is an Alignment' is a pop rock monster with gradual builds into glorious chorus explosions, which has mega-hit oozing from every note, while 'Ol' Girl Gamble Queen' is a pumping closer which would sit very comfortably between the Strokes and the Hives in the new wave of up beat retro punk. A performance that was even more impressive given that it turns out their current line up is only eight weeks old.

Fuser are a four piece with one foot in metal and the other in old school punk. Bass-playing vocalist Antony Benetti has a most effective and intriguing delivery in the higher register, which is rather difficult to describe. It's not falsetto, it's not a screech, it's much more interesting than that, it's idiosyncratic - check it out for yourself. Rhythm guitarist Jason Santoro rumbled alongside him while drummer John DiBartolome cracked and smacked at the helm. I'd like to ramble on about these guys a lot more but an apology has to be made at this point, for I was heavily distracted while they played by the virtuoso rock pig beast on lead guitar (David Gullini).

This guy wears his Hendrix t-shirt like he means it. Looking innocent enough playing rhythms during verses, he burst into lead breaks and riffs and all those other guitary things like a man possessed. Invoking the gods of axe-wielding heaven, his mutant left hand that must have had seven or eight fingers ground and tickled the fretboard at a ridiculous pace that must have had the sound mixer with one hand on the fire extinguisher just in case. Hoots, hollers and whistles rose from the small but mesmerised audience experiencing moments of purest rock n' roll bliss. Excited yet? You will be. At the next available opportunity, grab Beavis off the couch and get your ass down to a Fuser gig. Satisfaction guaranteed.

Keeping it heavy, albeit at a somewhat slower pace, the Headstones launched their debut self titled four track CD. A little history; a few months ago Craig Dean wrote, recorded and produced a CD on which he played most of the parts under the moniker of the Headstones. He then sought out a band with which to play his tunes live. This he found in the form of bass aficionado Chris Dimo and drummer Nick Johnson. Six gigs later they arrived at Mojo¨ªs to launch the CD.

Dean's unassuming presence makes for a bit of shock when his band cranks into action. His melodic angsty vocals float along buoyed by the powerful three-piece guitar sound. Essentially pop songs, the tracks are beefed up into something more intimidating with sheer volume and force. Dimo gives the impression of being one of those players you can throw anything at, and have him process it and ask for more before you¨ªve even finished your sentence, while Johnson¨ªs drumming can only be described as an act of extreme violence. The unfortunate turnout was the only thing to detract from their launch, they will no doubt have a larger crowd to deliver their CD to in the near future.

PS - The 4th Official will be playing at band comps they have organised. The ?Indy & Rock¨ª shows will run for five consecutive Sunday afternoons from 4 o¨ªclock starting July 21 at the Leederville Hotel.

PPS - Scramblah were personally reprimanded for their short notice cancellation by three drunks at one in the morning.

Dominique Blackburn

Heads We're Dancing CD Launch
Mojo's Saturday June 29
With Harem Bug One and the King Wasabi Trio

The air was clean and the tunes eclectic at Mojo's tonight, for the Healthways sponsored Fresh Blast launch of Heads We're Dancing's new Cd, Jagaavo.

Harem Bug One, an exotic instrumental duo with an intriguing name, had the early set of the night, drawing all present in to their intense but delicate sound that takes the listener on the deepest of emotional journeys. Comprising of Simon Perroni on 12-string guitar and Kingsley Reeve on percussion, it is evident that this duo have a deep musical bond with each other. It is the kind of music that would be equally at home on the soundtrack to a film as here in front of the red velvet of the Mojo's stage.

Performing with half their usual numbers on stage were the classy King Wasabi Trio, who nevertheless wove an intricate tapestry of sounds, layering double bass and clarinet with guitar and vocals to create a rich sound. Guitarist/vocalist Martin Moon has an intriguing stage presence and a dramatic style of vocal delivery, which demands attention. Sensual gypsy-esque rhythms and melody with a bit of eastern-European waltz and latin jazz thrown in is an attempt to describe the King Wasabi sound, which moves through many time and tempo changes, questions and answers. They certainly warmed the crowd up, with a few brave bodies taking to the dance floor.

The crowd needed no persuasion from Heads We're Dancing to get moving. Their on-stage energy got the place grooving immediately, with their combined energy and up-beat tunes radiating right from the word go. This group stand on their own in the WA music scene, playing an original blend of folk-rock with dubby basslines, soaring sax solos, electronic beats and a percussion rig in place of a drumkit. They share the songwriting, and each member has at least three roles, switching between instruments and vocals like it's the normal thing to do. A bit longer out of high school than most bands, it is obvious they are playing music they love for the love of it. They are down to earth, singing about family and swimming with dolphins, with Alan Dawson (vocals/bass) bouncing around in his socks on stage. The 5-piece were joined at times by guests Jean-Guy Lemire on harmonica and Roy Bailey on sitar. As well as tasty covers of "Summertime" and "Light My Fire", their set tonight included some ancient Sanscrit chants (5000 year-old covers!) the catchy "That's Life" and "Greatest Hits", a song which rightfully has a dig at commercial radio stations and their pre-programmed play lists. Throughout the evening vocalist Karla Dawson made a point of thanking Perth's RTRFM for supporting local music, and all the bright-eyed warm-hearted groovers who made it down for their special night. Check out Jagaavo, available now.

Review: Saritah

Headshot - [Rooms Within Rooms]
WAM Featured EP

Headshot's debut EP is certainly a breath of fresh air in a worldwide metal scene dogged by so-called nu metal acts. Taking their influences from the hardcore end of things both musically and lyrically, this is heavy shit indeed. In fact, you get the distinct impression that if Rollins hadn't wussed out and discovered that comedy is sometimes the best remedy, this is what could have followed on from his band's classic "The End of Silence". A little more modern and politically aware, this is, however, Headshot's own baby.

The EP kicks off with title track and current single "Rooms Within Rooms" - easily the catchiest thing on offer. The only track coming in close to the four minute mark (with the rest taking on more epic proportions), it features trademark Headshot churning riffs and a compellingly brutal chorus, interspersed with lulling and hauntingly melodic verses detailing the repressed paranoia inside a world of self confinement. Karnivool's Ian Kenny makes a welcome melody inspired appearance on backing vocals for the bridge, until the chorus extends the stark lyrical themes with kaleidoscopic-like imagery ("rooms within rooms - floors within floors - locks within locks - doors within…). It's punchy, catchy and it has a great video directed by local guru Andrew Ewing, which if you haven't seen recently on prime time rage, is available here as a bonus multimedia component.

Ex-iNFeCTeD lead vocalist Joe Kapiteyn's throaty ravings are undoubtably intense and well suited to the music, but it's his lyrics that truly shine. With a heavy emphasis on breaking out of fear based moulds, it's the simplicity of tracks like "Hunger" ("walking the well trodden line, you won't get lost but you won't find") and the cleverly titled "Undergod" ("moralise = more lies") that really give this EP its place among the finest heavy releases of the year. On "Burning Flag", Kapiteyn's telling political statement against the US bombings of Afghanistan, we get to hear the side of the September 11 story that is rarely well presented - "what went down was insane no question, families torn apart… welcome to the world of a middle east dissident" and "ground zero - tribute to the heroes, turn it all into one big tv show".

At 25 minutes over five tracks this EP is the length of some short albums, and perhaps the only criticisms you could level at Headshot is that there isn't enough in the way of variation and ideas being given truly original conclusions. These are, however, minor issues in the greater scheme of what this EP achieves in getting its point across. Leave it to the lyrics to have the final say: "i hunger for intelligence, i hunger for experience" ("Hunger"). If these are qualities you admire and identify with, "Rooms Within Rooms" is for you.

Harvey Rae.

OK Tokyo - "Staples and Glue"
WAM Featured EP

Hidden away a few hours drive south of Perth is a little town with my very own name, Harvey, who lay claim to one of those little WA musical treasures that not as many people are aware of as should be. Going by the name OK Tokyo, main man Matt Roesner (vocals, guitar, keys and sampling) is the mastermind behind this often very experimental hybrid of funked up, jazzy, yet darkly chilled out mix of tunes. With an undoubtably cutting edge style encompassing everything from progressive rock to abstract electronica, "Staples And Glue" is a fine sample of something a little more groundbreaking for those willing to step outside the bounds of the traditional three minute pop song.

Having said that, opening track "Jazz Up Your Life" certainly won't give up on getting stuck in your head, and should serve OK Tokyo well as the promotional leading track with its ultra funky rhodes and saxophone care of Seahorse Radio's Ronan Charles. But diving in further there's no shortage of interesting material here as the dark and appropriately titled "Broadcast 2020" makes way for the more minimal instrumental track "Keep Upright". It all finishes off with the progressive ten minute epic "Stepping Stones", a fitting finale that'll have you reaching out to press play again as soon the disc ends.

There's an embarrassment of riches here, and it's as clear an indication as any that it's impossible to pigeonhole or define the types of music produced here in the West. Anyone with an inkling for the experimental or simply in need of something fresh should fight to get their hands on a copy of "Staples And Glue" - I'd be disappointed to have missed this.

Harvey Rae.

Over the past few months, the Perth electronic scene has been emerging from the depths of underground dens and garage studios to the dying venues of this excellent city to “try something new and fresh” as they say. A colossal mix of Perth’s electronic artists have been gathered to add a contribution to a CD compilation that shows the world some of the fine beats we have to offer. Last Saturday, the Flying Scotsman and the Velvet Lounge played host to these and more artists to launch this colossal CD.

With a massive line up in both rooms, MaxWell started the show in the Velvet Lounge with their hoard of musicians on stage playing a big dance set followed by Noobis filling the air with freak drum n bass and electro beats with some ambient bass loops. Ele Mental followed with his opening track “Cyborg Angel”, a slow trans electro tune. Playing guitar through his PC programs and using beat boxes and synths, he delivered some cool deep beats.

Over to the Flying Scotsman for a second, to catch Waltzing Walker to open with an abstract set which was not his usual and still needed some breaking in. Up next was the lovely Myrtle with their smooth infectious grooves followed by DJ Audio Cephlon to give us an ambient mix of easy flowing music and the lovely Miss Kaaren with her slow “rainy day” songs.

Back to the Velvet Lounge to catch Evil Paul standing on top of his rig, clad in chemical suit and alien mask with distorted mic attached. Giving out a mad experimental sound using re-wired toy guitars, light sticks and other bits and pieces – very weird but appreciated. OK Tokyo were next with southern boys Matt and Jeff giving us their rock electro sound and ending with a cool jazzy number, making way for Bozo with his ninja style beat production on his PC playing an interesting mix of electro, samples and breaks with deep bass lines.

DJ Millan, a well-known DJ around Perth, offered the Flying Scotsman a taste of his funky breaks and dance tunes. Playing a solid club style set and ending with Groove Armada’s “Superstylin” to make way for my personal favourites for the night: Theasarus Rex, playing electronic instruments they seem to have built themselves. Having a clean, phat n chunky hard beat sound they went off in their suits and masks. Up next was DJ fluid with his own style of fresh beats then to make way for Leon Anon with his interesting mix of country and electronic influences.

After that were Krazie Kraze and Rawbone - also supplying interesting and entertaining visuals with B-Nik. Rawbone took the Velvet Room stage with beautiful vocals and slow electro drum machine beats. Finally, ending the night with fast paced techno with an edge was Rollerskates' Lo Key Fu playing his addition to the compilation “Style of The Rising Filter” and many more pumping tracks on his sampler and synth. Topping off the night with style.

Dan Evans

With a bill as good as tonight's there was never going to be any problem filling up the front room of The Grosvenor - the only question was whether or not many punters would be willing to arrive early enough to catch the singer-songwriter stylings of early bird Bob Evans from 7:30. Fortunately our hosts on this evening, The Fergusons, had generously thought about the possible plight of poor Bob in advance, and put on a keg of free beer from 7:30 til 8:30. Needless to say, I've never seen so many people at Perth's longest serving venue for local original music in a long time - what was more surprising was just how many people continued to walk through the doors as the night went on.

Thankful for having a sizeable early crowd to play to, Mr Evans (aka Jebediah's Kevin) played a soothing country-pop set of lyrical songs (the fact that he trades the more complex guitar playing many solo performers feel is necessary for open chords somehow adds to the charm and simplicity of his set). Featuring songs about his car (apparently it was some sort of metaphor for a relationship…) and going on a date as a teenager, there was a distinctly Tim Rogers solo feel to the set, although without the complete self assurance of the You Am I frontman at this stage. Still, it was impressive to hear an original batch of songs from one of Perth's most respected songwriters with no token Jebediah material thrown in - a refreshing alter ego to the rock shenanigans of his band.

Adora were up next, and came out with a rockin' punch as they launched into a kick arse opening track possibly called "Style". The following song traversed similarly early 90s alternative rock territory reminiscent of early Nirvana or perhaps The Lemonheads. Ten years on and that deliberate song writing drenched in characteristic distortion seemed somehow refreshing again - it certainly made me want to go home and put on my Hottest 100 compilation volume one! Unfortunately the rest of the set was a little more hit and miss, treading dangerously close to commercial rock territory in some places, but it would be fair to say now that the members have collectively risen above the names of their other bands, both former and current.

After a short break the Tucker B's arrived on stage to deliver a not-long-enough set of their psychedelic experimentation with guitars, voices and drums. Enjoying a resurgence in popularity currently due to their more frequent live shows and an imminent album release, Tucker B's are without doubt Perth's most exciting band at the moment. There's a buzz around a Tucker's show I've not felt since early Fourth Floor Collapse gigs, and though the bands are quite different emotionally and stylistically, it's that feeling they're doing something truly different that sets them apart. With song titles like" Bish Bosh II - the Bosh Bosh" you can tell it's going to be a hard road to commercial success for these guys, but so far as playing intelligent and groundbreaking indi rock goes, this is the real deal kids.

Speaking of Fourth Floor Collapse, the recording of their next album appears to be a refreshing experience for them as they are currently churning out some of their most dynamic live to date. Whether impressing with new tracks ("Dirt Side") or giving a fresh burst of life to now classics like "Made Believe" and "Resigned", tonight's set had all the emotionally wrought cathartic intensity of a great Fourth Floor show, combined with the now hot and sweaty atmosphere of a packed Grosvenor Front Room. Top Stuff indeed.

And so it was left for the night's (token) MC to introduce that band everyone was eagerly awaiting. The Fergusons have truly set the Perth music scene alight over the past 12 months or so with their simultaneously catchy and quirky pop songs given elaborate conclusions thanks to a highly creative three pronged guitar and dual vocal attack. Opening with "As Time Goes By", still fresh in our minds from the "Hurting The Washing Machine" EP, they went on to highlight a set featuring the recent, the new and the very new, belting out each track like they were "Seventeen Again". First up from the their sensational new EP "Never Too Young To Hitchhike" was "Napalm Waltz" - its pounding drums have an even more pummelling effect on the psyche when it's performed live - from here they moved through memorable tracks like "Perfect Company" and "Waste Of Time" to newer songs like "Great Barrier Reefers" , one of the new recording's finest moments. The highlight came at the end of the set with the soon-to-be-classic "Everything's Gone Bad", which you've probably heard all over radio both local and national recently. A killer pop song with a huge chorus to get everyone singing along, The Fergies, never content to do things the obvious way, tonight highlighted the acoustic ending with a whole bunch of Perthonalities getting up on stage to join them for one last chorus.

Of course, they were never going to get away with not doing an encore, and, after an interesting idea turned into a song that didn't quite work sung by our MC, the set was finished off proper with "Cream Chargers" from the new EP. There was a sense of fun to the occasion tonight - it was nice to see that despite the fact that they are so highly touted The Fergusons don't take themselves too seriously, but rather enjoy what they're doing completely. Surely the key ingredient to any great band?

Mullets, ‘nails’ or ‘pole spikes’, twin fins, pigtails, plaits, undercuts and quiffs. A hairdresser would have had a heart attack at some of hairstyles of the audience. A mixture of beer burps, cigarettes, gel, hairspray, BO and glue filtered through the air. Leather jackets, denim jackets, Doc Martens, Rollers, spikes, badges, patches, piercings among 'flannies', 'connies', trakki daks and even stone washed denim and ski jumpers. Yet there was no animosity between them as they all came to see bands and say goodbye to Steve, who unfortunately for all is leaving us.

Dead By Monday were first up on the stage in the back where the pool tables normally live. They're loud, fast, furious, explicit and energetic, sort of typical for punk rock. With songs like ‘You’re a Fuck Head’, ‘Sycopath’, and ‘Dead By Monday’ you can’t help but think that these boys are angry young men indeed. With frontman Ajax screaming and pushing the audience around, I’m just glad I was sitting in a quiet corner with my glass of Coke.

Apologies to The Tricks for missing a fair chunk of their set. Due to some drunken patron blabbering in my ear. What I saw and could hear was impressive enough however.

Moving from the front room floor (as I shoved and pushed) to the backroom stage, we had the goings on of Cutthroat. I’d never seen these guys before. Their tunes were very catchy, ‘Six Foot Two’ being one of them, and watching some members of the audience sing along with them almost brought a tear to my eye. Or maybe it was just the cigarette smoke.

The Dose? My advice if you haven’t seen them is go do so, but drink some beer while your at it. These guys are nearly as shocking as Marilyn Manson. With their heads bleeding, and ‘Zieg Hail’ salutes, there was chaos down the front and I was getting out of there. I thought their song titles were rough enough - ‘Lets Get Fucked’ and ‘I Hate You’ for example - I think these guys are going to get very popular, very fast.

One of my favourites, the Local Pricks, performed their usual ‘cheeky’ business, although nowadays Tom Prick bears all when he peels off his red footy shorts. With they’re own style of catchy rock tunes, I tried my best to bop soberly to ‘Pig Skin’. These guys are always well worth watching, whether you’ve seen it all before, and who doesn’t enjoy watching spunky Tash moaning and playing with herself onstage?

Capital City started up and my ears silently thanked them for playing my favourites ‘Little Town Blues’ and ‘Jackhammer Swing’. Whether you’re drunk or sober you can’t help but get sucked into Sam’s sexy guitar playing and start swaying/grooving/bopping. At least with these guys you can stand in front and not get attacked by drunken louts.
As always it will take 3 days for my ears to recover from a dose of Closet Panic Sniveller. Their high pitched, unhuman screams made my head vibrate in a way that I thought it was going to implode. I’ve only seen these guys play a few times before - I’m guessing they are an acquired taste.

As I’m sitting madly scribbling in my notebook I hear ‘Pull My Finger’ - the Jed Whitey boys always make me smile and sing along with that one. I look up and see half the audience yelling ‘I’ve got a magic finger, it makes me lose control’ and that’s the way it should be. None of this standing-with-arms-crossed-crap. These boys are experienced, tight and well received by the crowds.

If you add pale blue, tight denim jeans and jacket, baseball cap you’ll get the singer from the M16’s. This band is pulling more crowds everytime I see them. They ARE the loudest band I have ever heard. As for the usual question I hear sometimes before they play: ‘M16’s - are they good?’ - ‘Yeah, but Fucking Loud’. These guys are fast becoming one of my favourites.

Overall I think $3 for entry was extremely cheap for the calibre of the bands that played. It was a bloody good night out even with the fact that this little cookie didn’t drink or smoke. At least I went home early and slept and didn’t have a hangover the next day. Meanwhile, Steve spent most of his time running jugs and middies of beer to performing bands who so kindly shouted ‘Where the fuck’s Steve?’ and ‘Steve where’s my fucking beer’. He will be sorely missed by all.

Lindsay Coyne

Last Sunday May 19 at the Paddington Ale House saw Perth rockers Kingpin headline their last Perth show before heading over to the UK for a decent stint of gigs. Joined by Team Jedi, there was certainly no lack of rockin tunes, but a bit of a lack of rockers on the dance floor.

Team Jedi however took to the stage nonetheless enthusiastically, and pumped out a dynamic set of their catchy tunes. A few listens to these guys and you’ll be singing along for sure! They included their latest single, as well as recent single ‘Expecting Planes’ in their set, which with its intense, soaring vocals and full sound should do well.

Kingpin had all heads turned when they blasted into their set of foot-stompin rock. Vocalist Frankie G has all the elements of a true rocker – an impressive, grunty voice, heaps of stage presence and a unique dance style that sees all limbs flailing as he belts out the tunes. To their credit, Kingpin managed to get even this post-weekend crowd enthused by the end of their set.

Kingpin’s UK tour will see them grace the British stage alongside fellow Aussies Midnight Oil, Regurgitator and Magic Dirt. What initiated the tour was an invitation to play at the Fierce festival, a prestigous event that is principally a showcase of Australian, New Zealand and South African bands. Their UK management team has lined them up a series of gigs around the festival, including an appearance at the British Surfing Masters in Cornwall (the equivalent perhaps to our Margaret River Masters). Following their UK tour the lads will return home, where they will continue to rock locally.

Kingpin have locally released a self-titled full-length album, and have more recently recorded 5 brand new tracks which are currently being mixed in the UK. Keep your ears open!

Saritah

In the mood for some hardcore industrial electronic sounds? Then make your way to the Hyde Park Hotel on Wednesday nights and catch Sub Level 3. A new event on every Wednesday at the Hydie, hoping to catch on around the traps. Organised by Wayne Gent of the Noistruct crew, they are providing Perth with a taste of the hardcore underground scene with experimental breaks, electro and drum n bass. Opening the event on Wednesday 22nd were some of Perth's finest industrial sound mixers and producers including DJ Cyborg Ninja Assassin, DJ Adz, Orange Dust, K-Dio, and of course, Noistruct.

DJ Cyborg Ninja started off the beats with an unmixed blend of distorted electro and breaks with tracks from Atari Teenage Riot and beginning the night with the f*#ked up sound we’d all come to hear. Being his first time using turntables, it was a bit messy but none-the-less pumping. Next up was DJ Adz with a more professional mixing style and even more industrial distorted hardcore that fuelled the few that gathered to hear just that. The sound was big n phat n f**kt up! Appreciated by all! Phat n distorted hard house beats rolled through your guts like a compactor. With tracks from the likes of Aphex Twin, its good to see Perth DJ’s with experimental tastes in music.

Now to turn the tables, off that is, and bring on the PC for some original live beats from Orange Dust, a relatively new producer to the Perth scene but one of a dying breed of hardcore in taste and style. Pumping out phat, more clean tone, breaks and down beat drum n bass with fast, olskool happy hardcore melody’s on his Fruity Loops program. Local support went off as did yours truly. Unfortunately, due to technical difficulties, a few cut offs and pauses interrupted the seamless set but no one cared too much.

Bringing on the main act Noistruct, another live performance on PC and moving the beats back into the more fast paced, industrial sound with waves of piercing treble and subtle house and drum n bass beats. As the name says, some of Noistruct’s music did sound like noise after a while and even sounded like the equipment was stuffing up but he assured me “it’s all part of the track” - this man knows what he’s doing.

Unfortunately, I missed the last artist K-Dio, my apologies. However I am told he plays a live pumping set with many styles that change every show and apparently, he went off and ended the night in good fashion. Sub Level 3, check it out Wednesday’s @ Hyde Park Hotel or visit http://8BITRECORDINGS.CJB.NET

Dan Evans

As more and more bands and artists are forced to flock to the front room of the Grosvenor these days (as per management's decision), the little room has been flooding Perth with a vast range musical styles all of excellent quality, fine taste and original talent. Keeping up the tradition last Thursday was Tragic Delicate, Confused, Undermind, and Aluria with some musical treats of the heavier acoustic flavour.

To begin the night with a powerful acoustic act was Undermind. With a raw Aussie acoustic sound, this three piece delivered some good sounding tunes that was heavy in bits thanks to the two Scotts on bass and drums and filled with emotion from singer / guitarist Grant Christiansen.

Now with the night well under way and the punters sippin their beers and enjoying the proceedings, Tragic Delicate took the stage. This four piece gave us a powerful intro with Miriam on cello, Anthony on bass and Arron on guitar and vocals all complimenting each other superbly with Adam thumping an excellent off beat rhythm filled with metal fills and rolls. Their sound is one of the best of its kind in Perth with influences we all know and love like Jeff Buckley, Radiohead, Tea Party and maybe even Tool. Their third song “Ultra” showed the tightness and passion for the perfect melodies Anthony and Arron put into their guitar and bass. Be on the look out for an EP coming soon.

Up next were the hosts of the evening Confused - the event was organised by their manager Mark Sutton. Their DJ opened with a slowed down version of a Plump DJ’s track which the rest of this four piece played into and converted into a Heavy Weight Champ cover “Melancholy Overture”. Nicely done. With a more energetic live show and heavier rhythms these guys rocked the little room. Spun out vocal range from Dave Lynch from throaty death roars to nursery rhyme high pitch squealing. Toney Bowlin playing a filthy drum intro in “Memory Loss” and moving to a heavy bouncing beat, you could see the emotion and you had to admire it.

Last up for this evening was the very radio friendly Aluria with their 'chick pop' sound to end the night with a feel good vibe. All the artists tonight displayed incredible talent and vast appretiation for different styles of music and all are not to be missed. We are sure we will see them soon and many more of Perths fine talents here or there. Make sure we see you too.

Dan evans

Amplifier Bar –17/5/02
Gyroscope/The Critics/
Adora/Ikey Mo

Considering I’d only ever seen The Critics play out of all the bands billed tonight, I was quite impressed with the talent on offer. Ikey Mo caressed the stage first, with their ballad-esq songs that you want to sing along to, as I wanted to but did my best mouthing vowels back to them. I found these guys catchy, talented and slightly Weezer-ish, (and the Amplifier DJ played Weezer when they finish thus confirming my thoughts). After finishing with ‘Beginners Guide’ an obvious crowd pleaser, they left the stage very quietly. I wouldn’t mind seeing them again.

Adora hit the stage after a short pause and time for a beer. These guys surprised me - they were sultry, mellow but with heaps of variety thrown in for good measure. Including a fantastic version of Split Enz’ ‘I Got You’, I sang and bopped along with the rest of the crowd who loved it just as much as I did. I looked away for a second and heard the crowd making more noise than usual, so I looked up at the big screen to see a Ricki Lake show and I’m sure that was one of the boys from Adora on there. Watching these guys makes you feel like the world is a great place, and I’d only had one beer so far.

For five minutes I stood and stared at the three girls dancing drunkenly in their high heels without falling over. They were grooving to The Critics and so was I. I’ve only seen this band once before but their songs are so memorable you feel like you’ve seen them 20 times before. I suggest you go see them if you haven’t, they’re catchy, play like a well-behaved punk band, very experienced and well worth the entry fee.

Gyroscope took to the stage like professionals and with the release of their new CD ‘Take Time’ why not? It was their night and they could cry if they wanted to. I’d never seen this band before but something kept me watching them. They’re onstage theatre sports were captivating, and their punk-pop tunes kept my ears pointed towards the speakers. One song that stuck in my head for the next day was ‘Distance With You’ and I’m glad I wasn’t the only one out of rhythm trying to dance to it. The singer's voice carries a lot of emotion, and mixed with punky guitar and bass makes them a very popular band. If I’d only had more money, that night I would have bought the guys a few drinks, as they looked bloody buggered at the end.

Lindsey Coyne

Some of Perth’s finest electro producers and mixers were gathered at Headquarters Skate Park last Friday to give whoever happened to be lucky enough to be there, a treat of fruity loops and funky grooves. With the help of like minded D.J. talents such as Cut n Nice, Tresby, J-Man, Hawkeye, Twiddle and Elemental, Elvis Penis came with a mission: to funk tha place up no matter what! To provide further thrills, a huge inflatable ball was filled with little skaters and pushed and pulled over the skate park along with an inflatable projector screen with psychedelic Elvis Penis 3d models blazing over it inside the main room.

Cool huh?

The day started very late which no one seemed to mind as few were there for the actual gig. But, after setting up the 6 meter long table filled with all sorts of electrical goodies like mixers, turntables, samplers, grooveboxes, sequencers, effects and basically all that is Elvis Penis, an ambient warmup began to flow out of the main room and spill out into the cultured streets of Leederville. Behind the decks of this almighty rig, was Tresby, starting off the beats playing funky disco breaks and smooth house. Next up was J-Man to bring us on a bit of a trance journey and adding a tribal tech feel to the atmosphere. Meanwhile skaters are going off in the park and people are learning how to breakdance on the dance floor, its all fun n beats.

Back to the main room to catch Hawkeye (who opened for Chris Liberator oz tour “96”) who mixed us a nice blend of house and big beat breaks to tantalise our tastebuds. Cut n Nice was up next to bounce the place up with a bit of hip hop while some freak was doing “the robot” on the dance floor. After that, D.J. Twiddle broke it down with some much needed drum n bass and breaks with a few cool tracks from Micky Finn. The veteran D.J. Brendon Slaven AKA Elemental took the floor next and pumped out a very diverse mix of tech, house and funk.

Formalities aside, it was time to make way for the true showmen: Elvis Penis. All three clad in rubber masks and although they didn’t break shit, they managed to have a little breakdance now and then in between beat changes and still put on a good show. With an ambient and extremely diverse sound Mega Mike insists “we are straight tech. Don’t get us wrong that’s what we are.” Others might disagree but really who cares? Their sound is original with fast fusion beats and weird sounds mixed into rolling grooves that collectively form a sea of music, alive and untamed. They put on a great show and are very creative showmen, their attitude towards their music should be admired “I want to stay away from too much technology.” Says frontman Mega Mike, “away from computers and crap. Gota keep it real you know keep it live. For the fans” my thoughts exactly.

Dan Evans

OK, this is a review done by default due to nominated reviewer’s unfortunate absence. Apologies therefore to all bands who played before the departing Turnstyle, for I am unable to comment on your undoubtedly impressive performances as I was not there to catch them.

There was a massive turnout of Turnstyle fans at the Amplifier tonight, who had come to bounce around and bid farewell to a band that has given heaps to the Perth live music scene over the past six or seven years.

And bounce they did! After being introduced by Genge at this Fresh Blast Smoke Free gig, (yay for the absence of smoke!) the lads launched into some of their earlier tunes including “I’m A Bus” and “Cologne”, continuing through a setlist of catchy pop tunes amidst an impressive light show.

Growing to a four-piece when joined by Stuart Loasby for the majority of their set, further variation was added when vocalist/guitarist Adem K proved his multi-talents, getting behind the kit for a tune or two. There was definitely a big ‘up’ vibe to this gig, as the lads left us with “Purple Crown”, creating a great buzz for both band and fans alike to go out on and propel them through whatever their next pursuits be. WAM wishes them all the best and thanks them for the memories.

Review: Saritah.

Steve & Jon @ The Hydey

Tonight’s big gig was part of the farewell series for Steve from the Hydey, who also organised the gig and thus spent it running around doing everything. Tonight was also the second last Perth show for the lovable huggable Kenny Bartley. As punters mingled and migrated between the two rooms that were set up, unfortunate lack of ventilation combined with way too many smokers resulted in near asphixiation for many.

Apologies to Andrew Horabin , who unfortunately had to deal with playing way before most people got there. Looweeze de’Ath kept the early crowd entertained with her tunes and chatter, playing many old faves including the infamous ‘Titties’ and the potential RnB hit “Sadness to Gladness’. Then it was onto the couch with Greenroom, who played a rare acoustic set of their usually heavier numbers, producing a rich sound with two acoustic guitars and strong, melodic vocals.

By the time relative newcomers Rickety took to the bottom stage, the Hydey was on its way to being well packed, but if these lads were at all excited about playing to this crowd, they certainly didn’t show it, and the bad joke didn’t help matters. Maybe they should have a guarana or two before their next appearance.

Perth gig veterans Adam Said Galore then delivered the most diverse set of the evening, incorporating flooded soundscapes and emotional musical journeys into their original brand of kooky pop. With lyrics like ‘we were like rabbits on our first night’ (!), they were entertaining to all, including the two drunk friends/fans on the couch who knew every word.

Kenny Bartley

The eastern states bound Kenny Bartley opened his set solo, with many singing along to ‘Fuck the World’, ‘$10 sunnies’ and ‘WA song’. Kenny is warm and fuzzy in more ways than one, and his energy radiated tonight, filling all present with a great vibe. Later joined by friends on blues harp, drumkit, acoustic bass and vocals, he shone through many other numbers, including a song about getting pooed on by a pelican as a child. Clearly no-one wanted him to get off stage, and he was cheered through two encores, before stating “you’re all too beautiful”, and leaving the Perth stage for a long time. A memorable last gig, for sure. By now the smoke levels in the sadly unventilated Hydey were becoming unbearable for those of us who choose not to willingly shorten our life-spans by giving tobacco companies heaps of money.

Amidst the smoke, 5-piece Friends of Brian continued the folky-rocky vibe, with their catchy harmonies and honest pop. Despite lack of vocal foldback, these guys played well. It should be noted that vocalist Kat was one of only two women performing tonight, in the absence of Halogen.

Though they have been around for years recently The Tucker B’s have been gaining quite a lot of interest again. Their set included ‘A Tonne of Bricks’ , which if you imagine the bricks falling on your head, is the ideal description of their sound. Really fast and really loud, in a sometimes intricate way. The PA could have been turned down half-way and would have still been too loud. Some loved it, whilst others valued their hearing.

Those who survived the Tucker B’s experience then had the opportunity to see Stickfigures, though it was getting late and the crowd had definitely thinned. This 6-piece made use of many sounds including synth and keys, as well as a theramin which is always good for something to spin out at.

Last but definitely not least were The Panics, who delivered a set of well written and arranged songs with melodic vocals. A present, charismatic performance to end a huge night. Onya Steve, and best wishes on your journeys.

Review and photos: Saritah

Rhibosome CD Launch, May 10 2002 - The Globe

Friday May 10 marked a special occasion indeed. It will not only be remembered as the night Rhibosome finally launched their eponymous debut, but also the night that one of the grandest CD launches that Perth has seen graced our senses. A night that I dare say will represent a benchmark for parties and electronic gigs for a long while to come. For this credit goes to Rhibosome, not only for their choice of tracks on the night, but also for knowing exactly what their audience wanted to hear - and giving it to them in droves. The recipe for such a success story? Ingredients and method as follows…

It's important when choosing support for a party of this magnitude to enlist some of Perth's finest and funkiest DJ talents in the opening slots: the Explosive talents of Gamblin vs Brother B, the Milk Crate assortment of Bebo vs Rok Riley, and the Crash & Burn breaks of Chad vs JJ, for instance. Insist that the quality of the tracks on offer be of a high party standard - enough in the way of classics to keep the crowd dancing, but plenty of fresh sounds from the underground to keep 'em guessing as well.

To truly vibe the crowd DJs would mix in back to back classics. For example, Bebo vs Rok Riley might finish off their funky hip hop oriented set with De La Soul's "Ring, Ring, Ring", truly setting the audience's feet alight, only to have Chad vs JJ come on and immediately drop The Propellerheads' "Take California", encouraging a mass movement of bodies around 'The Globe'. Alternatively, as the Crash and Burn duo did, you might fluidly mix Coldcut & Hexstatic's gorgeous "Timber" into a smooth, funky breaks set, then drop a line from Pink's "Get This Party Started" ("yeah… I'm coming on, so you better get this party started") once (and only once) - appealing to the commercially brainwashed masses yet somehow still maintaining credibility. Indeed, it's the way in which the ingredients combine with the method that makes it all the more satisfying.

To ensure that momentum is maintained, limit each pairing to an hour. This way there's room for six individually talented DJs to each show off of their individual styles, whether they be inclined towards hip hop or funky house-y breaks. And of course, have the DJs on a different platform to the stage, which would be left set up for the only live act of the evening, they who started at the crowd capacity time of 12 midnight, the main course, Rhibosome.

While the highlight of any great party will of course be left up to the individual, I'm betting a vast majority on this particular night would have found their highlight pop up between the times of 12 and 1.30am, as there were just so many to choose from. Yes, the tastefully selected ingredients that went into making up Rhibosome's delectable smorgasbord of sounds on this particular evening are far too many to list all of. From drum n' bass to bass drums, break beats to beats breaking, percussive loops to looping percussion, tech-y house to in house techs, all bases were covered. And boy didn't we love it.

Opening the show with humour and head turning style, none other than "Eye Of The Tiger" was the introduction to their set. From here Rhibosome treated the crowd to most if not all of the tracks from the self titled album, which was selling like hotcakes on the door for the criminally low price of $20. Tracks like their African Music Congress remixes "Mutamba" and "Kuchembera" provided the less frenetic groove based moments, the latter inducing a very ragga swagger to each and every party goer's step. Other personal highlights included the vocal/scat sampling of Ann Sexton and Libby Hammer on "Impulse", and the very break-y remix of Jebediah's "Please Leave", each incorporated into the organic home-style stew of non stop live and original beats.

Of course, no live show is fully complete these days without some form of visual accompaniment to the beats - tonight there was something a little different in the form of a black video screen on which images of the band were projected. It was the icing on top of a cake that really needed no icing, but of course tonight Rhibosome gave it to us anyway. From 1.30, a professional funk-meister like Bilsby was the obvious choice for the enviable task of keeping the atmosphere on high. It certainly wasn't his fault that some of the crowd slowly filtered out from that point onwards, it was more a case of only being able to dance so hard for so long. However, due to the incredible atmosphere created on this night of nights, most stayed and danced on, with Phil Cooker cookin' things up followed by Boogieman, who supplied the tunes well into the morning.

Review by Harvey Rae
Photos by Megan Sears

The Beverley Killbillies were first to threaten the Hyde Park with explicit lyrics, a LOUD psycho-billy sound, and a nice sized crowd for a first gig (which wasn’t just padded by friends). It was a little precarious down the front with all the prancing punks. With songs like ‘Sarah Spiers’ and ‘I’m In Love with Jane Mansfield’s Head’, you can add these boys to your list of must-see-punk-psycho-billy bands.

Well if you like Cradle of Filth style screaming and semi-thunderous bass lines then All In Deep Shit are for you. This band is an acquired taste, although they had us all packed up the front like sardines. There was a splendid amount of girls near the front wobbling and nodding about. ‘Banter?’ did anybody else understand what that song was about? At one stage there were three guys singing into one microphone, including members from Negative Reply. These guys were really well liked by the audience, they weren’t my cup of tea but if you like GROWL, energetic drum leaping singers then they are definitely yours.

Behind the Eight Ball, did I hear somebody shout ‘Madness cover band’? I did and I heard it quite a few times during their set. The crowd seemed to have whittled away to play pool by the time these guys started. Those that did stay loyal were a very static bunch with hardly any movement. Behind the Eight Ball is a very talented band but between the ‘Madness’ covers and ‘Sending out an SOS’, there wasn’t much left of them to appreciate.

Negative Reply was certainly getting some positive replies from the half-pissed crowd. These guys new they were billed last for a reason and played like it. They succeeded in luring all the punks up the front dancing and making some drunken quotes into Kim’s microphone. Scabrous- punk, rock, psychotic these guys had everything. It still amazes me how guys can screech and scream lyrics and still have their tonsils. I’m pretty sure one of Kim’s flew straight past me towards the end of their set. If in a bad mood, I would strongly advise against going to see this band as you may end up hurting the next day.

Lindsay Coyne

SUBTRUCK CD LAUNCH - GROSVENOR BACK ROOM 25.5.02

Bathed almost exclusively in red light, Headshot christened the night’s proceedings with the explosion of tightly contained aggression we’ve come to expect from them. Vocalist Joe Kapiteyn attacked us with his tales of torment and resilience, including those from Headshot’s recent release ‘Rooms Within Rooms’ [reviewed on this website as the current feature EP]. Amongst these was my personal favourite ‘Burning Flag’. An ironic repackaging of current headlines, it is a scathing expression of disgust at the chest beating rhetoric of George W and friends, a disgust held privately by many, yet all too seldom publicly voiced.

Next up, Heavy Weight Champ. Having never seen these guys before, I had certain assumptions just from their name. As suitably heavy as they were, with rhythms driven by drummer Dean Miller‘s tree trunk sticks, it was the versatility and melody of their music, and in particular Grant McCulloch’s vocals that were unexpected. Thrown in with the howls and screeches were many moments of vocal shading, rounding off their performance, which by the way was starting to stir the steadily growing mosh into a bit of an early frenzy.

Karnivool then jumped on to really whip them up. I have to admit that the whole Nu Metal 21st century stuff, whatever you want to call it, isn’t really my cup of tea. Having said that, Karnivool seem a fine and well-polished exponent of this particular sub-genre. Needing no time to warm up, they hit the ground running, and got the crowd jumping. The constant visual and musical colour, with the ever-changing rhythms of thumping strings and skins, were pierced with the breakneck machinegun verses and chanted choruses from vocalist Ian Kenny, at times aided and abetted by HWC’s McCulloch. The crowd also chipped in with some singalong choruses near the end, suggesting that Karnivool were responsible for a fair share of the turnout.

Then it was time for the main event. Subtruck descended to launch their new EP ‘Songs to Whistle at War’, and to show just how much noise three human beings and some very large amps can produce. These guys know how to find a groove and stick to it. Crashing down with the violence, bludgeoning precision, and volume of an industrial metal press on an aluminium can, they shook the room into an unrelenting grinding mantra. Through this burst a vocal sermon of defiance against the forces from above, a furious purge of frustration turned to victory from the pulpit of working class superheroes. Having finished up, just in case anyone had any energy left to stand, they returned for an unexpected two track encore at which point they managed to peak the set and level the room. That’s powerful stuff.

Dominique Blackburn

Loweeze De'Ath

On the solo acoustic front, Salim Omar Salim, who arrived in WA two years ago as a refugee from Somalia, moved his audience with his honest presence and vocals straight from the soul, and echoing his rich folk music traditions of Northern Africa. Hopefully we’ll be hearing more of him around town. Carus Thompson, back in WA for a tour of his hometown, was in fine form, as energetic and passionate as ever. Also making an appearance was Ms Looweeze de’Ath, who clearly had a much fun as ever and made many giggle with her on-stage banter and rendition of a song that may one day take her to the top of the RnB charts (watch out J-Lo!)

Some of WA’s finest in world music were present in Afrique Acoustique, with stylish frontman Zig Bey Jan treating the audience to exquisite vocals, percussion and mbira playing, accompanied by the exceptional talents of Ilan Zagoria on guitar and Troy Gennoe on bass. These guys plus more later combined to present the Zig Bey Jan Group, a fine example of Afro Funk Jazz fusion.

Lara Stephen & The Deep Dead Blue

Lara Stephen and the Deep Dead Blue were enchanting and luscious, their guitar, bouzouki and fretless bass resonating warmly, especially at their Chapel gig, where the acoustics would have put most live music venues to shame. The Sambanistas rocked the festival from end to end with a street parade of colour and samba to shake your booty to. Desert Child, from Broome, presented their acoustic guitar artistry - a fine blend of classical, latin, rock, folk and jazz, recruiting Bomba’s Nicky Bomba on percussion amongst others for one of their shows, who couldn’t find his drum so decided a water bottle would do the job.

Spin FX

This is one of the most enjoyable aspects of festivals such as Fairbridge – that musicians from different acts get up and jam with each other, and of course they enjoy the spontanaeity as much as their audience. Fairbridge is an uplifting experience, with people of all ages running amok. There are endless music concerts, music and dance workshops, stalls of local handicraft, buskers, street theatre, delectable food, and of course the bar, which was host on Sunday night to the biggest spontaneous jam/singalong this reviewer has ever been a part of. Musicians from all the headlining acts joined punters and organisers in a massive jam that went from celtic to Bob Marley to ABBA to middle eastern, and everywhere in between, and continued well into the early hours of Monday morning. All looking forward to next year!!

Review & Photos by Saritah

Ziggy Bey Jan Group, Mojo’s, Friday April 26.

A special treat awaited all those who ventured into the Mojo’s zone tonight. Once a month, RhythmFix Promotions brings WA’s finest in world music to grace the warm velvety stage of Fremantle’s favourite venue, as part of an initiative which aims to bring world music to the masses.

Groups featured so far include African Music Congress (four time WAMI award winners for best World Music act), Deredjeff Dubar and Afrique Acoustique. There aren’t many venues around that showcase world music, and those that do tend to do so exclusively. Tonight was a huge success, with a great turnout of all sorts of folk, shakin' their thing to the very danceable Zig Bey Jan Group, a sign that the world music scene here in WA has potential to go far and wide.

Those who came early were treated to the thunderbolt stick-drumming style of the six-piece Sabar group, led also by Ziggy Bey Jan. This unique Senegalese drumming style is fascinating, featuring complex ever-changing timing and rhythms combined with vocal harmonies.

Everyone was saving their energy, it seemed, for the Zig Bey Jan Group, who played two sets of high energy dance music fusing Senegalese Boul Fale music in the Mbalax Gwil style with jazz, latin and funk influences. Charismatic frontman Ziggy Bey Jan alternated between delivering soulful vocals, and playing intricate percussion, managing even to fit some dance moves onto the somewhat crowded stage (he performs with a five-piece band of awesome musicians).

A former singer, dancer, and percussionist for countryman Baba Maal, Ziggy is a seasoned performer and delighted all with his passion, inviting the audience to sing with him on many of the songs, which they did with enthusiasm. We are lucky to have him here in WA and should look forward to many more gigs like this one, which left Mojo’s buzzing.

Review and Photo by Saritah

JUNKSHIP, SVA, END OF DECEMBER, IRIX, ILLEGAL - ANZAC DAY, 25th Apr

Given that you're reading the WAM website, you probably won't be surprised to hear that I don't make a habit of hanging out at army barracks. So when a mate and I went to the Shenton Park Barracks on Anzac day, the whole thing was very 'Beavis and Butthead join the army'.

A couple of military trucks backed into each other made for a good makeshift stage. Junkship opened with their own brand of rock/metal with a pop heart, their triple guitar interplay providing a hard edged foil for their heartfelt love song lyrics. Maintaining a sense of humour, they threw out the occasional ironic "how you doing out there" to the largely unresponsive crowd.

The few hundred army personnel and family enjoying a barbecue and copious amounts of cut price beer, were largely uninterested in paying too much attention to the bands, with the exception of one very enthusiastic (and drunk) punter dancing (ie stumbling) in front of stage. One other rather intoxicated fellow displayed the fruits of his training by launching a couple of precisely accurate bottles at SVA. SVA carried on under fire, mixing up originals such as 'Come Undone' with some readily accessible covers ('Blister in the Sun', 'Gloria'), in an attempt to win over the violently disinterested crowd.

As End of December started, so did the rain, helping to tame things a little. The set was a smooth pop affair, a slick sound largely achieved with the inclusion of acoustic guitar and Casio keyboard. They built their understated set reaching an up tempo funky conclusion, without sustaining any injuries.

Irix then came on with the cleverest move of the day, getting a rousing reaction to their opening chants of "Aussie, Aussie, Aussie…". Their good time metal sound was matched by the gravelly vocal delivery of delicate poetry such as "I want your body, I need your body, I wanna love you all day". They rocked through a set of two-minute thumpers, untroubled by any adverse conditions, even when they lost their lights to the rain.

Illegal finished the night off with some straight-up metal, complete with screeching vocals and no-shit song titles ('Hear Me Out', 'I'm Not Hanging Around'). They wrapped up the day in much the same fashion as the others, rocking out regardless of the fact that they were playing to no one.

Dominique Blackburn

The Taipan Room, known for its diverse range of music tastes, played host to some of Perth’s finest raw talents tonight with Broken, 4th Official, Money Shot and Lender as well as the nationally successful Crawlspace.

With a disappointing turnout, Broken took the stage first to deliver a fresh (and sometimes awkward) new sound with Jarred and Lloyd strumming phat, heavy melodies on guitar pumped by even phatter bass from Ben Christransen and smooth vocals from Jason Maxlow. With the percussion section coming from a sampler, these guys pull of a very emotional sound blending industrial, off beat percussion with lots of bass heavy rhythms topped off with perfectly suiting vocals and stunning effects. They ended with “Forfeit”, filling the room with rolls of phat rhythms, which everyone appreciated. Like to hear something new? See these guys.

Up next, for their first gig, was 4th Official. Still green to the Perth scene but, none-the-less up to Perth standards, this young 4 piece gave the small crowd a taste of their own blend of pop grunge. Opening with an “Oasis” cover, “Morning Glory” you could tell these guys wanted airtime on 96fm or 92.9. Richard Cardy and Michael Klaver ripped out happy rock on guitar and vocals in songs like “Stare at Me” and “Insane” with little appreciation from the crowd. Mellowing it down with “Steph” and “Ordinary Lives” didn’t seem to win them any points either.

Pumping it up a bit was Money Shot with a heavier rock set. Performing an interesting stage show, they are the type of band you go off to when you're drunk with easy-to-like rock riffs and bouncy beats. “Sold” and “What Does it Mean?” went off with a “big”, enjoyable sound and Kelly Bercia playing guitar skilfully behind his back. They ended with “Empty Bottle in Bleeding Hand”, a hardcore number to finish a good, heavy set.

Now brings us to Crawlspace who have recently re-formed with Dan Bowels and Chris Webber gone to make way for Matt and Travis Franklin on drums n bass, and Joe Sivak on guitar. They opened with “I’m The One” which sounded even more commercial 80’s than their old stuff but proved they were even more tight and professional than before. With a fast rock sound, they demonstrated they still have what it takes to pump a crowd with tracks like “From Now On” and “Be Like You”. Their new skool rock rhythms and complimenting vocals from Russel and Matt will be back on the commercial scene very soon with the band working on a new album and joining the live scene with various gigs around the state. Look out for these guys.

We are pleased to see the Taipan Room supporting local original music and hope more venues follow suite. What is needed is more crowd support. C’mon people get off your ass and go see a band! It’s all very good and a lot of effort is made for you so take advantage of it and go enjoy yourself! No excuses. Without you there would be no music and where would you be then? Stop neglecting your interests and be part of it!

Dan Evans

We've been a pretty privileged bunch here in Perth over the past couple of weeks, what with 'In The Pines' not two weeks ago (a sell out), and recent hometown heroes John Butler and Eskimo Joe playing an all ages outdoor gig last weekend (also a sell out). A Perth music feast indeed, but of course it wouldn't be complete without a show from the one Perth band who've held the torch for WA music higher than any other over the past five years - Jebediah, tonight in support of their (damn fine, actually) new, self titled album.

Tonight the Jebs chose to highlight another Perth band who have just released a fine album, and things were already starting to fill up at the Globe by the time Cartman hit the stage, churning out "Today". The album "Go!" is a testament to the melodic singer-songwritering Joe Hawkins and co. strive to perfect, and tonight they took the opportunity to play to the big crowd (probably no smaller than the one they headlined 'In The Pines' to) with arms open wide. Whilst a cover of Madonna's "Justify My Love" half way through the set was, perhaps, not as sexy as the original, Cartman hit overdrive from there - the big chorus of last year's Kiss My WAMI CD contribution "If I" making way for the sing-a-long highlight that was "Nobody", complete with Beach Boys-esque back up vocals. Finishing up with current Triple J fave and single "Shock", Cartman went out in a blaze of rockin' glory, with the dancing up the front proof enough that the best live pop music is rockin' pop music.

Making the trek over from the eastern states, One Dollar Short played the sort of tight and entertaining set visitors to their previous WA shows have become accustomed to. While they certainly originate from the slightly formulaic So-Cal punk-pop stereotype, One Dollar Short put their own spin on things. With more dynamics, catchier choruses and an amusingly crowd interactive stage show, they had their fans singing along to every word - and everyone who didn't know the words wishing they did. Now that's an accomplishment.

Of course, Jebediah didn't have to worry about who knew the words to their songs tonight, because it was their show, and if you didn't know it already then by the time they hit the stage with "N.D.C." it was absolutely obvious. As they raised the atmosphere, current fave "Nothing Lasts Forever" was powered out at deafening volumes, before the bubble was burst on the build up of tension by reminding us of what we loved about them in the first place with "Military Strongmen". And whilst front man Kevin let us know early that they were going to "play heaps from the new album… which a lot of people don't have yet", it didn't stop us getting all the old favourites as well. And boy what a fine assortment it was.

"Jebediah", the self-titled new album, shows a more mature side to the band and is (in my opinion) their best album to date. However, until the rest of the world discovers it, it's always going to be the big singles from previous albums that get the biggest reactions & create the most atmosphere in concert. And as the crowd warmed up with gems like "Leaving Home", "Ferris Wheel" and "Animal", Mr Mitchell warmed up with us, prowling around the stage like an untamed, well, animal. Things slowed down very occasionally for the likes of "Harpoon" and "Please Leave" (with each and every angst ridden fan chanting "screw up your life again"), but never for long, as "Fall Down" and an epic "Teflon" kept the energy on high. For "Teflon", we got a Tim Rogers like introduction of all band members - "…and on my left side… we're not sure who likes her more, the boys or the girls… Vanessa!" - keeping the crowd well and truly amused.

And at the end of the day, what made tonight a great gig was the incredible energy and enthusiasm that goes into the Jebediah live show. Going well over an hour and a half, but never lagging for even a second, they kept their eyes on the crowd, and gave them everything they wanted. With an encore that kept giving, the crowd got everything they could have asked for with "Benedict" and "Puckdefender" from album number one. "Jerks Of Attention" then finished the night off proper in fine sing-a-long style with the chorus that never grows tired. Still, as the sweaty bodies made their way out of the Globe there were plenty of tired looking faces, however, if there were any jerks of attention from the crowd tonight, I certainly didn't notice them.

Harvey Rae

"Rip it Up" is a local, non-profit, community based organisation that has been orchestrating youth events in Perth for about six years. The Pit Theatre played host to some of Perth's finest musical, circus and electronic talents last Sunday along with plenty of fun and food for all!

A respectable turnout gathered in the midst of Midland, the day was bright and a carnival atmosphere fuelled the music and good times. On the outdoor stage, Kordova started the show with a solid set of punk with heavy beat changes and thrashing guitar riffs. Playing tracks like "Downbeat Rhythm" and "Gimmie a Scratch", they had the crowd loving it all. They ended with "Skank" which can be found on their CD: "Skank". After them, Kappila Zoom took the stage with an awesome presence, beginning with an instrumental. Then into the "hard shit" with filthy guitar riffs from Justin Low, "big ass" beats from Paul Archibald on drums and complimenting bass from his brother Brad. The crowd rocked to songs such as "Torn", "Desire", "Drift" and "Psycofigus". Check these guys out very soon!

With the day well under way, and the young'ns enjoying themselves with bubbles and circus stuff, Change of Face brought their own blend of "pops punk" with an impressively heavy sound. Their drum sound was superb however their overall sound was nothing new but went down well anyway ending with "Drive On". Then, to amp shit up, came those krusty Karnivool boys to rock the crowd with their well-known tracks like "Da-Reka", "Fade" and "Headcase". Pumping out hard beats and rolling bass was Ray Hawking on drums and Jon Stockman on bass with Ian Kenny going off on the mic and Andy Goddard blitzing the effects on his guitar, the crowd mouthing every word. These guys ROCK!!

Cartman were up next with their pommy pop rock style to soften things up a bit, opening with "Today" and playing other tracks like "Drive", "Shock" and "Go". Scot Nichols played decent melodies on guitar and the unique vocal stylings of Joe Hawkins suited the atmosphere around the Pit Theatre. Finally Downsyde took the stage (minus two MC's: Optimus and Dyna-mics who were stuck in Kalgoorlie!) and with a makeshift band, they freestyled their way through a scratch / hip hop bouncing set with Daz-astah on mic, DJ Armee on the decks, Cheeky on sampler and wicked beats from Sal on drums. Look out for their EP "Eponymous" out now and an upcoming album: "Land of The Giants" coming soon!

Hyper Youthfest has been another successful event in the "Rip it Up" Calender. Part of the "Rip it Up" music program is to give young musically inclined people a chance to meet, jam and perform at gigs as well as learning production aspects and a whole range of cool stuff and to be involved in festivities such as this. For more info on workshops and jam sessions, call Alex Roper on 9295 0643.

Dan Evans

John Butler Trio

Tonight, in the cool night air on the UWA Oak Lawn, with a few drops of late summer rain on side, a couple of WA's finest got it right. Anybody who's spent much of the last couple of year's at John Butler Trio (JBT) gigs would know how lacking a venue Metropolis Fremantle has been for his huge Perth shows. Personally I willed him to do an outdoor gig in order to deal with the massive (and all ages) crowds without compromising on the atmosphere completely, so you can imagine I was pleased to see this double bill appear. Especially with the knowledge that it was all dedicated to an important cause, with one dollar from every ticket sold going to the campaign to save Ningaloo Reef. And boy did the kids - big and little - show up for it.

Eskimo Joe

Unfortunately I missed Victoria's Bomba due to the obscenely early starting time (I arrived just before 8) - I say unfortunately because I hear they were fantastic. So it wasn't long before Eskimo Joe arrived on stage with a blaze of glory, thrashing out the opening strains of "Election" to the ecstatic cheers of the (mostly young) crowd at their feet. It wasn't long before the hits and favourites started pouring out either - Triple J favourites "Wake Up", "Turn Up Your Stereo", and "Headhurts" all appearing early. In fact, it's not until you see these guys live that you realise how many hits they've had - we moved into the quieter middle part of the set with "Planet Earth", "Liar" and "Driver", the latter providing one of the set's highlights with its dual microphone effects driven chorus. And whilst there was no "Sweater" tonight, it all finished in a rocking finale with more radio faves - "Sydney Song" and "Ruby Wednesday" - making way for "Who Sold Her Out". Eskimo Joe are certainly some of the country's most interesting songwriters at the moment, and though their live show could possibly use a little more excitement, they certainly didn't let their fans down tonight with the songs.

There was a long wait before JBT made their way to the stage. On my way out of the bathroom during the interval I heard one drunken lad singing at the top of his lungs "…and you don't even understand…" (a line from "Take", off last year's album "Three"). We've come a long way from the time when JBT gigs were packed out by sober, forest loving hippies dancing their way through every track and connecting particularly with the environmental sentiments Mr Butler wears so proudly in his lyrics. The crowds now seem far keener to identify with the angst driven sentiments of songs like "Take" and "Pickapart", which is a sure sign of how most of the world identifies with fear sooner than inspiration. Strange, because the nature of the gig was a positive action against the careless attitude prevalent toward Ningaloo Reef - I figure most people considered this an uninteresting aside to getting well drunk, and then losing themselves in the music. Fortunately once the music started, the latter became the more favoured option.

Opening solo with a newy called "That's Life", it was easy to get excited about the prospect of a new John Butler album in the not too distant future. A trademark soaring chorus and thoughtful lyrics made for an interesting and slightly ambitious start to the night that paid off. The "packt like sardines in a crushd tin box" atmosphere had a couple of youngsters climbing up trees for a better view early on, but when a falling branch nearly knocked someone out, they were nobody's friends, with JB announcing from the stage that they were "not welcome". Minor distractions aside, tonight we were treated to some amazing virtuoso performances from all on stage, new bassist Rory proving once and for all that he is a permanent part of the trio with his mind blowing, show highlighting solo on a fifteen minute plus rendition of "Colours". Other highlights included an interesting little track featuring the refrain "Bad boy, bad boy, what you gonna do…." - you couldn't help but feel it was directed at PM (Little) Johnny Howard - and a slightly indulgent but always entertaining version of "Valley", which also featured much virtuoso soloing. It all culminated in a transcendental, musically dense instrumental finale to "Take", leaving any non-believers converted and the rest screaming for more.

As we slowly made our way out into the parking lot, many people dug deep into their pockets and gave the tin rattling 'Save Ningaloo Reef' volunteers their loose change out of respect for the gig's purpose - to raise awareness and funds for the Save Ningaloo Campaign. Ningaloo Reef, the longest fringing coral reef in the world is sanctuary to a vast diversity of threatened marine wildlife and migratory species. In the heart of this wild place, just north of Coral Bay, developers are proposing to build a resort to cater for over 2,500 people, as well as a marina for hundreds of boats. Among other problems, this would destroy turtle nesting grounds, kill, injure or frighten away dugongs, whales and whale sharks and cause pollution and erosion. The Campaign is working to have the resort stopped and replaced by appropriate, sustainable forms of development which would cater for tourism and generate wealth in the local communities without putting at risk the very reason people go there. So take the time to help save Ningaloo Reef. Whether you write a letter to the Premier, attend a public event, donate funds, or place a sticker on your car, it will all count. For more info, visit the Save Ningaloo website at: http://www.saveningalooreef.org/, email Ningaloo@wilderness.org.au, or call (08) 9420 7255.

Harvey Rae

The Automasters had the honour of opening the day, and got an hour long set (as opposed to the usual half hour) for the privilege. One of Perth's most colourful and entertaining live bands, they impressed the early arrivals (and there were a few) with their heavily stylised wild-western-country influenced rawk'n'roll. Look out for an album launch around June/July. Thrust then played a set of old school funk with, as you might expect, plenty of bass and wah wah guitar. Seemed that much of it (especially the lyrics) was improvised.

Up next were Spokaine, who were the perfect accompaniment to the light afternoon sun & cool breeze. This 'nu-country' five piece make the most of lead singer and main songstress Simone Hagemann's gorgeously heartbreaking voice, with subtle arrangements based around her acoustic guitar. Highlights included last year's Kiss My WAMI CD contribution "Beat Up" and the simply divine dual vocals of "Cold Nights". Certainly one of the day's highlights.

Head to toe black, bandannas, dark sunnies, finger lickin' masturbation, Marshall amp badges rearranged to read 'all arse', bright orange footy shorts, wailing guitars, spumante over the head, lots of rock with a touch of roll, a voice screeched to breaking point. #$%* me, it's the Local Pricks. Offering a little relief, Harry Smith then gave us half an hour of sweet sounding, cleverly constructed pop.

Bearded lads Still play smooth, laid back pseudo-country. One of four country tinged bands to be playing today (we think there's a bit of a revival at hand), the low key slide and acoustic driven songs were a real pleasant way to spend a lazy Sunday afternoon. The B Movie Heroes then arrived playing their trademark soulful acoustic groove despite being one guitar down (Reece injured his arm, confining him to vocal duties only). The array of percussion, combined with the dual vocals of Reece and Todd, produced a warm and varied sound that proved a pleasure on the ears.

Pete Stone

K surprised us all with a jazzy and sometimes crazy sound. Opening with a saxophone solo and moving into a slow jazz groove, the band quickly changed course, gaining momentum and intensity on the way. "Speed Down" had it all - frantic drums and keys toped with funky sax and sporadic samples. What a ride!

Pete Stone and the Assistance then entered stage left and played a varied set ranging from country pop to bittersweet ballads. "River Boy" was a particular highlight, with Pete handing vocal duties over to keyboard player Kate Kelly. "Melt Away'" - an oldie but a goodie - was also a stand out track.



Audio Response Group came on at 5, and in throwing down some funky beats couldn't help but get people up and grooving. With a fresh line up including mc Singh and new bassist Paul, ARG mixed break-y hip hop with 70's cool (and cheesy country!), even managing to introduce new female vocalist Rhanda to the fold for a couple of tracks at the end of the set. Mukaizake are largely the same line up as Still, without the country. Calming down an energised late afternoon crowd, they injected a little minimal spaciness into proceedings, not unlike that other band they share members with, Adam Said Galore.

King Wasabi

King Wasabi played as the sun set on Somerville. Their eclectic blend, combined with Martin Moon's crooning, is certainly not predictable, and always guaranteed to be entertaining. The Cossack inspired "A Pickle On The Side" was only surpassed by "Salmon Mousse" - a crazy multi layered song that certainly got the crowd dancing. Fourth Floor Collapse then welcomed the evening's dark surrounds with a lush set of old favourites and a couple of newies. Currently in the midst of recording their second album, FFC sounded and looked fresher than we've seen them in a while, and were all the better for it. Classics like "Sorry One" and "American" provided the evening's cathartic emotional release while new songs "Dirt Side", a powerful ballad propelled along by a driving bassline, and the rockier "Suspicious" justified where the newfound enthusiasm stemmed from - look for the new album around July this year.

Flux Capacitor

You could feel it in the air as Flux Capacitor hit the stage - this was a band a whole lot of the feel good Pines crowd had been looking forward to all day. And no one was disappointed, in fact it's my guess a lot more fans were made. With the 3 piece horn section on fire, and all manner of funky-ass drum, bass, guitar and sax solos, Flux had booties shakin' & toes a-tappin', and even managed to fit the smooth soul swing of "Back in the Day" (sung by keyboardist Jon Fernandes) into their all too short set. Sexy stuff.

Cheater 5

Think the Kinks meet Iggy Pop. Add surfboard smashing and burning, liberal amounts of nudity, and some good old fashion rock'n'roll. The Cheater 5 definitely received the biggest reaction of the day, from a crowd now well on their feet and watching. Realising what a tough act they had to follow in order to keep the crowd's attention, Halogen lead singer Jasmine continued with the revelry by calling on Cheater 5 members to "take it all off!". But with Halogen it's all about the songs, not the stage show, and though they were a little flat tonight (and the mix perhaps wasn't up to scratch), with such fine tunes as "Hole Around My Heart" and "Walkaway" it's difficult to go too far wrong.


The Ku-ling Bros are somewhere out on a plain all by themselves in the Perth music scene - indeed in Australia - and with new face Chad (ex-Rhibosome) on decks and percussion, they've now got all their bases covered. Driven by the pumping bass of Steve Mallinder, the live breaks flowed freely as Shane Norton let rip with one crankin' beat after another. Despite the heavy breakbeat orientation, there was plenty of variety, as the Bros moved from tracks like their horn driven collaboration with Shaun Ryder right through to their final track, a mix of some of the phattest, fastest and funkiest beating breaks these ears (and feet) have heard. Nice one brother.

As many punters with dancing on their minds made their way back to Hackett Hall, Cartman were left to finish proceedings under the pine trees. You could tell the 'burden' of playing last was weighing heavily on main man Joe Hawkin's mind with his comment "yeah, we can't believe we're headlining either". But we think the band dispelled any notions of nerves from there because they went on to consistently churn out a mighty impressive array of pop songs, highlighting tracks from their recently released album "Go!" (which comes highly recommended from the WAM office). "If I" and "Shock" provided the highlights.

And so it was over for another year (although many punters did continue to party for a while over at Hackett Hall - see our review for that below). Many thanks go out to RTR for their continued support of local music, and we here at WAM would like to congratulate Pete Carroll and all the staff and volunteers at 92.1 for yet another successful Pines. Cheers indeed!

Harvey Rae, Kath Robinson and Dominique Blackburn
All photos by Saritah, except Pete Stone pic by Rick Ociepa

In The Pines - April 7 2002, Hackett Hall - UWA

What we Aussies love to do on a Sunday is to relax with some friends in the sun, have a drink (or twelve) and listen to some good tunes. What better place to do it than in the chilled atmosphere under the green canopy of UWA's luscious pine trees. Yours truly was assigned to review the electronic side of "In The Pines" which also went live to air on 92.1 RTR FM.

The day started with Dart, Devo, General Justice, Milk Crate Crew, Gamblin and Wrightious all bringing together a seamless mix of slow groove / hip hop / funk and with a touch of jazz which seemed to fit the mood perfectly. Scattered groovers swung their hips to the smooth, but big, beats as the mood changed to a more jungle hip-hop tempo.

The beat changed once again as Gear and Martin L stepped up to the tables to spin a more tech / house groove to the people of whom most had come to join the energiser bunnies on the dance floor. The grounds of the small courtyard seemed to act as a sub woofer and deep base lines filled the air as the mood changed to disco. As the sun went down and the lights went up, Reid and Stinton moved the crowd to some classic cuts, deep grooves and commercial soul. Next up was Saxon and Mallinder bringing the soul to a more deep, phat level to make the dance floor go right off and ending their set with a more hard house feel.

Picking up the music a notch was Echoic with some big beat 2 step and drum n bass that got us all pumping. He started his set with Ils track Next Level and pounded through with penetrating basslines so crisp they spat big chunks of bass at you. The growing dance floor ate every bit of the fat n fruity drum n bass and big beat tunes then licked their lips for more, I don't blame them, undoubtedly Echoic was my highlight of the day and many others too.

Bringing the music back down a notch were Bilsby, Dan the Man, and Nathan J with a bouncy, jazzy, hip hop set bringing a good vibe to the floor. The final DJ's Declan, James A and Matty P brought the party to a cranking climax with a huge hard house, hip hop and straight tech set.

It was a great party for all I'm sure and the people seemed to enjoy the whole lot immensely. Another excellent Sunday and another success story for "In The Pines".

Dan Evans

Tonight the Grosvenor opened its doors to a fresh sort of gig not often seen in Perth. Perhaps this is because headliners OK Tokyo are based in WA's south-west, but also due to the fact that support acts Seahorse Radio and Rawbone are more often seen in Fremantle's funkier night spots such as Mojo's than in the comfortable indi surrounds of the Grosvenor. Unfortunately this made for a fairly modest turnout on this occasion, but those who did make it saw a varied and experimental line-up of some of Perth's more innovative and artistic acts.

Seahorse Radio opened the night in their usual funky style, even getting a few of the members of the small crowd on their feet and grooving along. An original on the Perth music scene, this three piece (made up of rhodes piano, a drummer with a penchant for tweaking a sampler, and fronted by the passionate lead vocals of singer Keren), swing between soulful groove and manic onstage jamming to produce something altogether different, best highlighted by the thoroughly danceable "Valley of the Dole".

Roly Skender took to the stage next, tonight under the guise of his solo project Rawbone. The Rawbone show is certainly an entertaining experience. Skender incorporates visuals projected onto a screen on stage to give image to his trancy, breaky live sounds. An innovator in every sense of the word, tonight we were treated to everything from a magnificent ostrich running across on open plain to humorous clips of John Howard pisstakes and AFL biffs. The audience spoke for themselves, with as many people up dancing as spaced-out by the images. With the Rawbone show off to Europe soon, I recommend you check it out soon.

But it was OK Tokyo's night, and this was obvious if for no other reason than the number of their new "Staples and Glue" CDs that were floating around throughout the evening. The EP, their second, is without doubt a step into fairly groundbreaking and experimental, yet very listenable, lounge/chill out territory. And their live show, in its own individual way, follows suit.

A two piece consisting of a percussion and synthesised tweaks and trills on various keyboards (as well as occasional vocals and guitar), OK Tokyo led us on a hypnotic and sometimes mesmerising ride through their experimental headspace. At times verging on indulgent, the live show is still in the process of finding its identity, however, this makes for an interesting journey. Moving through minimal instrumental improvisations to mantra like songs such as "Stepping Stones", with its provocative environmental themes, the set certainly peaked in the more songwriterly and structured moments. Think recent Radiohead jamming with, well, Seahorse Radio, and you're getting close, but there's still something individual being developed here, and it's worth checking out the very cutting edge "Staples & Glue" to hear it for yourself.

They finished off the main of the set with the simple yet beautiful "Texas Theory", turning off the synthesisers in favour a simple guitar strum and vocal as if to prove there's nothing they can't do. And with a little fine tuning added to the rest of the set there's no doubt OK Tokyo could prove to be one of Perth's most innovative acts, steering away from the conventional and into uncharted territory.

Harvey Rae