Thursday 31 January 2013

Common Bond : Transitions EP Review


Hailed as the hardest working band in Australia by Michael Crafter, the lads of Common Bond have come a long way from that small band from the town of Karratha all the way to Perth and boy have they made a name for themselves. From the humble beginnings of their EP featuring a rabid Pikachu as their cover, which hit the Perth music scene like a tonne of bricks, making the songs off the original EP the stepping stones for what is now know as Transitions.

The original EP was heavy, which is what made it so good. But believe me Transitions is heavier, this being evident from start of the Intro and I emphasize this because this intro is something different from most, setting the mood for the album,
the seemingly eery opening with the sound of footsteps instantly reminding me of Slender Man combined with the dark sounds from the guitar, its full speed ahead When Leaving drops. With the heavy hard hitting drums of Bohdi and Corey's instantly recognizable vocals which are noticeably heavier from the first EP which came much to my delight making this song all that more better to listen to.

Home although with its soft start hits you smack bang in the face with its heavy vocals, big thumbs up to you Corey. The guitar rhythms being the second best park of the song, this song is almost perfect which I almost never say in a review. Creepers is a rather curious track, its a song that goes in dark and heavy with its high scream and heavy guitar seeming, it is almost more a progressive track, this being quite enjoyable. The only knit pick being with this song is that it could have been longer, not too long just an extra minute for some more instrumental. Which exactly is what EP title Transitions did, a relaxed sound of chilled strumming and bass guitar, with the sound of some light high hat symbols. Once this is over the listener is eased into Disconnect. Immediately the sound of Bohdi's drums hits you and boy is this some good shit from him. The lyrics being quite a meaningful tone here with the lyrics that caught me most “Lets go back to the start”, I found my self rewinding just to part because it was just so good, the song only just getting at 2:42 with its combination of just everything, I once again found myself rewinding my Ipod just for this section of the song at least 4 times. The final track of the EP Changes is a great way to end the EP, the track just goes all out here, its heavy everything and that's what makes it so much better, making it the absolute standout song for me.

The boys of Common Bond have indeed have come a long way and this EP is a true testament to this, the album is brimming with a new and improved everything, Corey's vocals, Bohdi's drumming, Jarryd's Bass & Devon & Jacko's guitars. Its not often I praise a perfect EP, the last time this happened was with Boris The Blades EP but this is EP is perfect in all ways to me and I cannot wait for when these boys drop a full lenth album.

Reviewer: Shaun Pulford

Monday 28 January 2013

Project Mayhem - Rock Up Fucked Album review

Project Mayhem embody much of their (fictional) terrorist namesake’s propensity for chaos and loud abrasive behavior exemplified in their new single Rock Up Fucked. Blasting ahead with raucous guitar and high octane vocals and break-neck drumming, I’m not sure if the track outlines  an awesome night out in which a most excellent time is had by all except for the straight laced bummers in the corner or the most epic party crashing of all time. Either way its a punk-rock party anthem in the same league of beer-fuelled destruction as Black Flag’s TV Party, no surprises but if you were expecting weebly wobbly bass lines and reverb drenched vocals then your in the wrong place, hell you’re on the wrong planet. Project Mayhem are a punk rock band and this song is straight up balls-in-your-face punk rock captured in one take, warts and all just like it should be. Somehow Project Mayhem have the nerve to make it ridiculously catchy as well, so do yourself a favour and go check out some home-grown rawk n roll.

by Tristan Mamotte

Monday 7 January 2013

Guthrie EP Review



Guthrie EP - Darren Guthrie's Debut EP
From the moment this EP arrived in my mitts, I could tell from this cover it was going to be a chilled journey through 4 songs of Summer, Life and everything that comes with it. From the word go, the listener, being me was greeted with the opening track Drawing Apart. I was thrown into what seemed like a musical road trip of the ears minus the visual montage of happy people cruising down a highway with smiles and all in a open roof top car. the lyrics “And so she left me, but I couldn't give a fuck” made me instantly like this song. 

All 4 tracks seem to be driven by personal experiences, emotional times, this blended with what I would call almost perfect vocals suiting the atmosphere of the songs, especially with Memories, feeling as if it was a tribute to a lost friend, either way, I felt deeply involved as it's intense and needless to say I enjoyed this track, a lot! It being that touching to me, making me want to listen to it over and again which is what I exactly did for 20 minutes, 

I found myself not sure what to think of Breathe (It In), as someone who has quite the distaste towards break up songs, which is what this seemed to be. I really liked the catchy guitar that was over laying with the vocals which made it quite enjoyable, never thought Id say that, so kudos on that Guthrie, the last song on the EP. Trouble Bound gave me quite the Flight Of The Concords Feel (If you don't who they are, rethink your life). The track to felt like it was all about Being young, doing dumb shit and seizing your day, something to respect. The song is quite uplifting and basically a musical tribute to weekends, 

The only nit pick I had with this EP is that is needed some more tracks like Memories, Some more intimate songs like that would have made this amazing EP, all that more great. The Gunthrie EP is a prime example of how good the Perth local music scene is and if it keeps bringing out more amazing stuff like this Im going to be thoroughly impressed.

Review by Shaun Pulford

Featured: Clashing Colours Interview + Review



Clashing Colours - You'll Always Know
From the Album, Summer Air.

You'll Always Know is the first Single from Clashing Colours' late 2012 release Summer Air. The track opens with a rhytmic fingerpicking that carries the beat of the song, accompanied by soft lead throughout that compliments the rhythm without overpowering it.

The song flows very well, keeping the rhythm consistent till the latter of the song, and instead using changes in chord progression to mix it up. Its only downfall is in the outro chorus where the piano becomes more prominent and makes it feel cluttered compared to the open ended melodies earlier in the track.

For fans of The Script, Coldplay & John Mayer.

Free download available at 
www.mediafire.com/?6ga5ou25bprl3zb

Album review at bottom.


Interview

How are we going guys? Congrats on being our first Featured Band in 2013! How does it feel?

Lane: Thank you! It feels great to have more people listening to us and hopefully gain some new fans!
Lorcan: This will be our first feature in any form of publication. So I'm excited and delighted.
Tommy: Awesome! It's something new for us and it's definitely a great opportunity for more people to hear about our music.
Luke: It is an amazing feeling, its good to know that people out there are interested in our music and this is a chance for even more to be able to hear us.

Congratulations on the new album. Tell us a bit about "Summer Air", where was it recorded?
Lane: We recorded majority of the albums at our homes. The instrumentals were made at Tommy’s house and the vocals were done at mine. Three of the tracks on the album were done at Griffith University’s studios though.
Lorcan: As 17 year olds, we struggle to get the recording gear but always manage to pull it off with Tommy's gear or Lane's or my own. But we are very fortunate to record in the studio with our manager and some of our friends.
Tommy: Majority of 'Summer Air' was recorded with a very limited home-setup. Being seventeen years old it's hard enough just to afford maccas let alone some decent recording gear. But it was a great experience using the Griffith University Studios on a few tracks.
Luke: I came in a bit late into this album, I started out just being a live drummer for the band, next thing I knew I was a full blown member recording at the Griffith university studios.

What do you love most about music?
Lane: I love how there is so much of it and there is something for everyone
Lorcan: Music, is pretty much what keeps my life going. If something good happens, I write a song. If something bad happens, I write a song. Its my way of letting myself go and listening to music is how I keep myself intact.
Tommy: It's hard to put into words but I love the fact that it's everywhere and the outlet from life it seems to create.
Luke: I love how music can change emotions, I love when we play our music live and I can see people deep in thought, dancing around or getting chills.

What inspires you as a band?
Lorcan: I can't really say who inspires us as a band because we have so many idols.
But we all love Kings Of Leon or Coldplay. Two different bands but that's just what we like.

Who are your main influences?
Lane: Kanye West and The Beatles, both musically and fashion-wise.
Lorcan: My main influences in music are Sir Paul McCartney, Freddie Mercury, Stevie Wonder and Michael Bublè. No I don't look or sound anything like them. But they are my biggest influences towards music just because of how they live their life through music and are all masters of the art.
Tommy: John Mayer, Ed Sheeran and Coldplay
Luke: It's hard to say, I love the loud rough roudy sound of kings of leon but then I find myself sitting down playing along to the bluesy John Mayer.

How long have you guys been playing together?
Lane: Since we were 14
Lorcan: I was in a band with Luke from 2007-2009 called the Naked Youth. Then I joined Dear Lucy with Lane in 2009-late 2010. Then was with Tommy in a band called White Shadows and in early 2011 Lane, Tommy & I created Clashing Colours. Luke joined us in 2012 and then we just went from there.
Tommy: We have played music together all throughout high school but only more recently over the past two years have we been really focused as Clashing Colours.
Luke: I have been in multiple bands with all the guys since the seventh grade but only over the last year or so have I been playing with clashing colours as a band.

What's your favourite thing about performing live?
Lane: The crowds. Each crowd is so different and I love it.
Lorcan: My favourite moment about performing live would have to be in the middle of a song when there are no vocals just instruments. The crowd love the music and we all turn to each other and laugh because we're just so happy and excited.
Tommy: There is nothing better than that flying sensation of being up on stage, it's just my favourite place in the world. I also love the idea that every crowd is unpredictable and it's a new and exciting challenge every time.
Luke: This is an easy question. My favourite thing is watching how the crowd reacts to our music and how their emotions can go from one extreme to another in only a matter of minutes.

What is your favourite venue you have played at and why?
Lane: The Elephant & The Wheelbarrow in Brisbane. The crowd sang along and we had a really great time
Lorcan: My favorite I've played at would have to be Elephant Arms in Brisbane. Due to the fact its the farthest we've played from home even though its only an hour drive. The crowd were great and our first time we played our new album live.
Tommy: The Loft, Chevron Island. I just love the local indie vibe of the venue and the positive and engaging response from the audience.
Luke: The loft in chevron, the people that are there are actually there to hear new music and the other bands are always helpful if you ever need anything, its nice and cozy. Creates the greatest atmosphere.

What is your most memorable gig?
Lane: Either that Elephant & Wheelbarrow one or performing at an End of The World party. We played songs we wouldn’t usually play like “Thrift Shop” and had a really good time.
Lorcan: Lane and I played a gig as Dear Lucy in 2010. We were told about half an hour before hand that we had the gig. I was very sick and we didn't have a working guitar. So we rocked up, and luckily we were given an acoustic guitar. Though we forgot lyrics, I couldn't sing or talk. Though in the end we had great feed back and that night was when we met our first producer.
Tommy: Definitely our Elephant & Wheelbarrow show in Brisbane. The crowd was so fun and it was great traveling outside of our local area for a change
Luke: I would have to say my favourite would be when we set up our own private concert at our high school and invited only a select few. Somehow we managed to pack out the entire theatre and our performance went off! We finished our set and the crowd were cheering for more.

What is the funniest muck up thats happened on stage?
Lane: We were doing a cover of Taper Jean Girl by Kings of Leon at The Loft in Chevron Island and Luke & Tommy started playing a completely different part of the song that Lorcan & I were playing
Lorcan: In 2008, Luke and I played a talent competition as our band the Naked Youth. Luke dropped his drum stick, our guitarist broke a string and his guitar pick. And I forgot the words. The adjudicator complained about our street clothes not being suitable for the show.
Tommy: We were playing our song 'Love Never Dies' at The Loft and I was soloing during the intro and my guitar just went completely out of tune; like every string somehow and I was trying to tune it while playing and it was probably the most unpleasant sound I have ever experienced in my life.
Luke: Wow... This takes me back to my first live performance ever. We somehow wound up with a trio performance at an eisteddfod... (one of those things with the girls who dress up in tights and sing along to show tunes) We rocked up in what the adjudicator called street clothes. Our guitarist had an out of tune guitar, broke his guitar pick and a string, Lorcan forgot the words to our song, and I dropped a drumstick. One of the best and worst days of my life.

What artists/bands would you like to play alongside in the future?
Lane: Right now I’m loving Ball Park Music, Seven & Allday. So hopefully we play with them soon & I don’t think there’s anyone better in music than Frank Ocean right now.
Lorcan: I would love to play by side John Mayer or Michael Bublè some time in the future. Though a definite would have to be Coldplay. I'd love to write a song with Chris Martin and Will Champion.
Tommy: Matt Corby would be pretty awesome. I'm obsessed with his stuff. I really want to play alongside The Temper Trap too. Can't get enough of their music right now.
Luke: Ball Park Music, Jack White, John Mayer and last but far from least Kings Of Leon.

What's your favourite song to play off the new album?
Lane: I Can’t Sleep or Love Never Dies
Lorcan: My favorite song to play off of the new album would have to be Nicola. It shows us as a whole band and all our skills. Either its Tommy's two eyes roll to the back of his head playing his licks, or Lane ripping up the carpet with his funky foot work or Luke tearing out of his shirt almost breaking his rainbow coloured sticks during the change from the harmonies to a very long rendition of Hey Jude.
Tommy: You'll Always Know or I Can't Sleep
Luke: My favourite song to play live from Summer Air has got to be Love Never Dies or Nicola with our crazy little mashup at the end that turns into Hey Jude that leaves the crowd singing along at the top of their lungs.

If you could sum up your music in one sentence what would it be?
Lane: Mellow
Lorcan: We play what we feel.
Tommy: Mellow, easy listening, Sunday morning kind of tunes that put you in a good mood for the rest of the day.
Luke: I couldn't.

What can we expect from you in the future?
Lane: Cats, lots of cats
Lorcan: A whole lot of good music. And some more colours.
Tommy: Definitely a lot of awesome live shows and some great new music on our next EP. I can also personally expect some psychiatric assistance for being so smart at life and for the general colour of my hair.
Luke: I assume a whole lot of birthdays from all of us...

Album Review
Hailing from the Gold Coast, Clashing Colours embody much of the sunny state's feel good vibes and surf culture. Combining lush acoustic guitar melodies and hushed vocal harmonies, the young lads demonstrate their strong songwriting and polished chops on their debut album Summer Air.

Beginning with the sounds of the ocean; gulls squawking in the distance, the waves lapping on the shore and people sitting back and relaxing James Street sets the scene, electric guitar softly noodling in the background. If, for whatever reason, these sounds would not be listed under “turn ons” for you, then this album probably isn't going to be either. Reminiscent of John Mayer at his AOR peak, album opener Three Leaf Clover introduces the band with smooth blues licks and shuffling percussion, gentling rocking along to love lorn vocals. The arrangements are essentially down to the guitar 'n vocal combo to drive the album along emphasising the lyrical content of the perfect summer. The textured sounds of summer are accompanied by the odd rolling piano chord and percussionist Luke Poidevin who shows well balanced restraint in the timing of his arrangements, alternating between kit and shakers.

Thankfully, Clashing Colours are seemingly oblivious to the textural monotony of some of their contemporaries, and are far from shy when it comes to orchestrating harmonies. Lead vocalist Lorcan Waugh, who can be favourably compared to Fleet Foxes front-man Robin Pecknold, grounds the groups compositions with his crisp clear voice, and guitarist Tommy Sheehan illuminate what can all too often turn into a dull sound-scape of acoustic guitar and quiet vocals, with shimmering yet intricate melodies. There aren't really any surprises here, except perhaps for Lover Never Dies, a brief diversion into a more up-beat avenue. Almost breaking into hip-hop, soulful vocals are blended with angst-driven guitar and laid-back rhymes to create a folk/hip-hop hybrid unique to this group.

The rest of the album continues in much the same vein up until closing track Summer Time's Over which takes Summer Air on an oddly dark turn. Alluding to the cold and merciless, the song transforms what was a seemingly pretty chilled out album of summer grooves, into sociopathic murder territory, it would remind me of Ween's Object, except I don't think Ween ever rapped about killing anyone. Deceivingly ambient Summer Air is very much an album to listen to while lying in the sun and hanging out. These guys do the whole summer time memories thing quite well mind you, each track leaves a fairly distinct impression and while its no genre bending masterpiece, Clashing Colours execute the staples of modern surf-folk with taste and skill.


Sunday 6 January 2013

Ball Park Music at Capitol


Ball Park Music greeted a sold out show at Capitol on Saturday night after local act The Voltaire Twins carved it up early in place of Melbourne band Loon Lake, who didn’t make it to the Perth leg of Ball Park Music’s National Tour.
Opening to a thunderous roar from Perth die-hards, it seemed only fitting that the opening track, Fence Sitter, off their latest full length kicked the night off. Quickly followed up by their breakout hit, iFly went down a treat with fans who had come hoping to hear a good mix of new and not so new Ball Park, their first album having only been released just over a year ago.
Reproducing their new songs to a live audience had looked like a mammoth ask, given the production quality of Museums, but the quintet never faltered, banging out song after song of the quirky, clever rock that they have become so well known for.
Just when it couldn’t have gotten any better, the crowd were treated to a Frankie Valli number, December 1963(Oh what a night), which was a true compliment to the evening and a fine example of what a polished and refined unit Ball Park have become since bursting onto the Australian music scene.
Rounded out by It’s Nice To Be Alive, the night was a hit and left the audience electric and wanting more. After a roaring chant, Ball Park came back on stage and busted out a final encore, during which front-man Sam Cromack dived out into the audience and crowd surfed, before alighting back on the stage and coming back in perfectly to conclude the night with a final burst of vocal brilliance and show why Ball Park Music are the band to look out for in your gig guide this coming year.

by Daniel White

PERTHQUAKE Review


When I first heard about Perthquake, I hadn’t heard of quite a few bands on the festival line up, what I expected was a few good bands, maybe some average ones too, boy was I wrong. What I heard was nothing short of amazing and Its not often that Perth gets a good shake, rattle & roll (sorry) but when it does, boy do the mosh lawds of Perth know how to come out in force. New all ages venue The Chamber with Perthquake provided exactly this, a 9hr harmonious gesture featuring some of Perth’s finest Metal & Metalcore acts who kept the crowd pumped before the festivals headliner, Mandalay Victory.
Opening up first was Our Fallen Legacy who know how to put on a performance, opening with what you would expect from them, a brutal opening high scream and great sounds that followed, making the crowd rowdy. The small crowd for opening didn’t stop them from giving a great performance.

There was no shortage of great performances from The Moment We Fall who were next bringing with them the bands unique style of Post Hardcore with their songs Pressures, Life As A Silhouette. Although at times lacking a little on the higher vocals, still gave a great performance.

Remember The South brought an unforgettable set, opening up with some light hearted banter and shaking the foundations with their heavy sounds, brutal screams and charisma, the bands performance being more memorable with the lead vocalist coming down to ground level singing and having a good laugh with the crowd.

by Shaun Pulford

It didn’t take much to get the small but enthusiastic crowd at Perthquake ricocheting off the walls, and in the case of Karratha natives Common Bond, all it took was one word: ‘sup’. 

As soon as picks hit strings and sticks hit drums, it was game on – and with beardy frontman Corey entreating the crowd, ‘come on, I’ve seen you guys, I know what you can do!’ there was no option but to play along. Within moments my partner in crime was whispering ‘The Acacia Strain…Bury Your Dead…THE BLED!’ in my ear, high praise indeed for a band that’s only been on the scene since late 2010. Praise well-deserved, however…with consistent vocals, unusual breakdowns and even – shock, horror – decent singing, CB are a tight, well-oiled machine of awesome. With Devyn and Jackson on guitars, Jarryd on bass and Bodhi on drums, they harness a contagious brand of energy; most notably in crowd favourites Disconnect and Break Yo Self Fool. Easily the fastest song of their set, Disconnect is furious, unrelenting and in my humble opinion, reminiscent of hardcore stalwarts The Ghost Inside (who happen to be one of their main influences). As Corey introduced Break Yo Self Fool – ‘this worked well last time we played it at HQ’ – the kids went so kerr-azy it left me wondering if AA metal shows had always been so acrobatic, or if I’d just been away for too long. Finally finishing with Chambers, which is something of a vehicle for Corey’s impressive vocal range, I was left wanting more. These dudes are a class fucking act. 

To wrap up proceedings in killer style, beloved Perth band Mandalay Victory was up next. Having shared the stage with the likes of Parkway Drive, Deez Nuts, The Amity Affliction and Enter Shikari, Mandalay’s reputation precedes them, and for good reason – they’re seasoned veterans of the scene. With Dane Warren on vocals, Byron Turner and Matt Falcon on guitar, Alex Earle on bass/backup vox and Matt Gerber on drums, you wouldn’t think that a band could display the level of professionalism and humility that they do and still manage to be BRUTAL – yes, in capitals – but these guys are living, screaming, sweating proof that it’s possible. With mega heavy guitar work, strong vocals and driving drums, a frenetic pit encircled them within seconds and wouldn’t let up. Luckily for a chosen few, Dane is generous with the mike shares and definitely made some young whippersnappers very happy as a result. Adding to the easygoing vibe of the set was the photographer who would sporadically appear on stage, roam around, take a few shots and then disappear again – which just cemented my opinion that in spite of their ever-growing popularity, they still have their Vans planted firmly on the ground. With their new material bringing to mind my favourite melodic masters Misery Signals (try saying that three times), you be the judge -http://www.myspace.com/mandalayvictory 

by Ellie Hutchinson

Spilt Cities EP Launch


I did have some trouble finding the Beat, having never been there before and unfortunately after being redirected to the Bird (“Do you guys know where Beat is?” Bouncer: “Yeah its just down the street couple of shops before the Train station” “Not the Bird.. the Beat?” Bouncer: “Yeah”) I arrived for only the end of Antelopes set. My advice for future navigators is don’t ask bouncers for directions cos you might miss out on some hectic, yet ultimately shit-balls awesome music. Combining your usual post-rock fair with tribal drumming and a fair bit of noise and samples Antelope created something somewhere between 65 Days of Static and Radiohead, without the latter’s predisposition to smooth licks and strained vocals. These guys set the bar high really early on and I would strongly recommend that you go see them.
Only Hope opened with ambient strains of guitar feedback driven in part by violin bow and in part by a supremely tight rhythm section, they burst into a wall of grinding power chords and searing guitar leads. Driven by the sort of live intensity that most bands aspire to, OH set out to command and conquer the Beat one break-neck track after the other. Front-man Jacob “Unknown Last Name” dominated the stage despite his relatively small stature (compared to his band-mates), spitting fire and brimstone on those unfortunate or lucky enough to be caught in his relentless onslaught. Howling and growling his way through the set, the man barely needs a microphone, despite the churning riffage and thunderclap beats. Shuddering to a halt amidst squealing guitars and a seemingly endless shimmer of cymbals Only Hope opened the night up to a world of hurt. 

Not content with the amount of dancing room the stage provided Foxes moved 60% of their personal off the stage and onto the dance-floor, embodying the phrase “up in your grill”. Short of actually jumping onto people Foxes’ live show is as close to the punishing antics of Dillinger Escape Plan as a band who list Sigur Ros in their influences is likely to get. DEP these guys are not, what they are is a pleasant strain of shoe-gaze mixed with the aggression and anguish of post-hardcore bands such as Eleventh He Reaches London and ATDI. Off kilter rhythms and angular noisy leads mix to create something set apart from your run of the mill hardcore groups. 

Spilt Cities took the stage amongst a packed floor, unassuming and quite polite (like Walter Cronkite) you could mistake these young fellows for an Indi-pop group. 3 minutes in though any doubts were  dissuaded from the room and while Spilt Cities have there fair share of melodic breaks, reverb drenched guitar and angsty vocals they hit as hard as they hug. Alternating between slow builds reminiscent of Bloc-Party and Mogwai and soaring choruses probably representing the heavier aspects of those bands and then some. Post-hardcore is a phrase that gets thrown around a lot, often to bands that would just as easily fit into punk or math-rock, however Spilt Cities embody the truest aspects of the genre sounding like a conglomerate of the genre’s early noughties heyday. Somewhat calmer than their forerunners for the evening the boys won over the crowd with a tight and earnest performance, launching their new EP onto welcoming ears. 

By Triston Mamotte

MC Lars - Edgar Allen Poe EP Tour


The night starts off at The Den, The Civic Hotel’s offering to the local music scene. The place is suitably small and nearly empty when I arrive, save for the first support band Faim setting up their gear and Mc Lars himself chilling out in the corner with fans, energetically discussing topics such as the local music scene and quokkas over boxes of Chicken Treat. This scene frames the entire night for me; friendly and intimate. Mc Lars stands front row centre for his support bands, watching with rapt attention and congratulating both on their performances afterward. He states later that; “I have no fans in Perth, only friends.” It’s all a welcome change from pretentious international acts, hiding backstage and limiting contact with fans to hurried, half hearted autographs and a few words. 

5 piece Faim kick the night off with entertainingly high energy antics and the surprising mix of the powerfully theatrical yet clean vocal stylings of frontman Noah Skape against simplistic, 70s/80s dirty punk-rock. Noah’s stage presence calls to mind figures such as Freddie Mercury, all eyes in the room are focused on him as he catapults through the crowd, poses on top of amps, somersaults, performs Charlie Chaplin impressions between songs and generally does everything except actually singing from the stage. The rest of the band create great contrast, although similarly interesting to view (the drummer’s hair is a shade of toxic green and the token female bass player is suitability cute and indie) the static backdrop they create accentuates the interest created by the frontman notorious for stripping off his clothes and destroying instruments during gigs.

10 past 6 are on first impression, quite a typical Australian pub rock act. However, their meat and potatoes approach to hard rock is livened up with boundless energy and charisma which certainly got the venue going. With a boyish charm, they powered through their set stopping only to discuss playing older songs, banter with the crowd and share the single delay pedal that they owned.  After reaching the top 8 (out of 60) in a battle of the bands competition at the Rockingham Hotel earlier this year and with a self titled EP set to be released later this month, these are four boys to watch out for. 10 past 6 are continuing their ‘Flying High’ Australian tour this month with shows in Melbourne, Sydney and Brisbane. 

Finally the headliner, rapper MC Lars took to the stage armed with his Mac laptop, homemade animations, a cocky, confident swagger and tracks sampling artists including Goyte, Teagan and Sara, Zebrahead and Iggy pop. His interesting new approach to music involves literature inspired hip hop which he calls lit-hop. Through his background as a 19th century literature major in college Lars tackles literary bigwigs such as Moby Dick; Ahab, and even Shakespeare; Hey there, Opelia, in his songwriting. The entirety of his new Edgar Allen Poe EP is similarly based on the poetry of Poe, taking on an educative role with lyrics which explain the fundamental mechanics of rhyme in a poetical sense through the form of modern day hip hop in the song Floe like Poe. Rather than standing at a gig, the feeling is created of being in class with the world’s coolest English teacher. 

The show is rife with audience participation, Lars makes the usual requests; hands in the air, jump ect but also brings out a raven puppet, featured in the music video for his song Floe like Poe which needs to be operated during Mister Raven and freestyles at one point about items found in the collective pockets of the crowd. It’s moments like this which reinforce the sense of frivolity prevalent through the whole set. Lars never seems to take himself too seriously; his songs poke fun at the music industry and popular culture in songs such as Hipster girl and Signing Emo, and even sci-fi with the darker Lars attacks.  The set is finished off with the popular single Download this song, a top 30 hit in Australia back in 2006 which seems to be the favourite of the night judging by the reaction from the crowd. MC Lars Edgar Allen Poe EP tour continues with dates over east and is definitely one to check out for tongue in cheek fun with a hip hop flair. 

by Alexandra Baker
Check out the photos on our Facebook page, courtesy of Chris Webster Photography.
http://www.facebook.com/media/set/?set=a.493519654005399.128005.248203365203697&type=1 

Perth So Far - This Is How Music Should Be Heard Live


“Welcome to our lovely Living room! “Announces Karin Paige our host, whilst 30 or so music lovers, friends and artists comfortably arrange themselves around the beautifully illuminated room, many found space on the floor with cushions and a glass of wine, others by a mantle over the fireplace, a beer in hand trying to avoid knocking any knick knacks off as they leant against it.

This was the setting for the 169th SoFar Sounds Event worldwide, held in Karin of Spoonful of Sugar’s North Beach Home.  The Event for the unfamiliar is a Global Movement founded in London, based on highlighting an artist’s natural talent, while remaining as stripped back, intimate and pure as possible.  The night is recorded and then later uploaded to be seen by a far wider audience of music lovers.  The rules involved are as such, the event remains a secret, even the line-up is kept secret from the performers themselves, and the audience remain absolutely silent during the artist’s performance, as to improve the recording’s quality and truly create a SoFar Sounds experience.
The first performer of the night was none other than Tim Hart of Boy & Bear, who is touring nationally to promote his first Solo Record “Milling the Wind.” His brand of Acoustic Folk while musically is not too dissimilar to his counterparts in Boy & Bear, in creating dramatic musical climaxes and peaks in melody to beats of silence that have just as much (if not more) impact. Tim’s skill as a lyricist is mesmerizing, his ability to draw you into the journey of the characters he creates makes you feel truly apart of the story.  He was then accompanied by Stu Larsen; his Tour Manager and Supporting artist to perform one of his songs together, Stu’s electrifying performance was just as impressive with pitch perfect control of his voice, and harmonies with Tim as he played Acoustic Softly beside him.  This is how music should be heard live.
Following on from Tim was Patient Little Sister, a brother sister duet, performing on acoustic and violin respectively.  Their performance while not as atmospheric was more upbeat while being steeped deeply in Irish Folk along with clear influences from Bob Dylan, the chemistry between the two was clear as they playfully bantered between each song creating a positive and uplifting vibe.
Spoonful of Sugar the hosts for the evening, kept the vibe going following on from PLS, They opened with “Not Today” from their current EP playing what I’d like to coin as Sunshine Acoustic Pop, being very uplifting and melodic acoustic songs.  They then went into a sadder song after Karin gave everyone some context around the lyrics, of a mother, and her daughter’s understanding of a tragedy, this deeply involved everyone drawing the crowd into the story and subject matter.
To close the night was Felicity Groom, who has built herself quite a reputation in Perth as an accomplished Songwriter and Composer, often Supporting John Butler.  Felicity was the most instrument heavy of all the acts, with guitars, bass, drums and electric harp.  Her performance closed the night dramatically with her brand of Melancholic, ambient acoustic music, her performance of “Oh Jesus” a piece from a soundtrack she’d written for a local play, was dark, emotional and spellbinding, anyone entering the room at that time would think they’d taken a wrong turn somewhere and stepped into a David Lynch film.  She finished her set with us chanting alongside her through the choruses creating an otherworldly vibe which left most stunned by what can only be the most intimate of performances.

The performances were all recorded by John Aliaga from Impartial Cameraman; one song from each of the acts will be edited and uploaded to the SoFar Sounds Website, and the artist’s respective webpages.
More details of this global community can be found at www.sofarsounds.com alternatively to be involved locally you can contact perthsofar@gmail.com if you would like to host an event, volunteer a space, or participate in performing.
Reviewed by Rhys Willoughby

User Review - Hyte


It is a rare expirience to be completely blown away by an entire album nowadays, more often than not there is some killer but also some filler… This album is the exception. Every single song on this album is …..brilliant. I had seen HYTE play on more than one occasion and had always been amazed by the musicianship that all three of the guys display, it’s very hard to rip your eyes from Grant’s fret board, lord knows you can’t focus on his fingers. Sticca, with drums set low and wide jumping off his stool, making sure everyone in a six kay radius knows he’s playing and Chace’s bass stitching the whole thing together, it is truly a sight to behold. It wasn’t however, untill I’d had the time to sit and listen to HYTE’s debut, self titiled release, that I really understood what I was dealing with. These guys are the best thing to happen in the Perth music scene since…. forever.
You know when you can’t be bothered listening to some songs on an album and so you skip through to the good ones, with this release, I had the opposite problem. I’d keep going back and re-listening to the last song thinking that it can’t have been a good as I thought. I was always wrong, it was. It took me six attempts to make it to the end, and then it had to start again, and again.
These guys are the next Silverchair, the next Wolfmother, the next band you should see while it doesn’t cost $150 for the back row.
The lyrics are smart and engaging, the bass is beautiful and bold, the drumming is perfect and the guitar sends shivers down my spine every single listen. Vocally, Grant sounds like Chris Cornell one minute then Daniel Johns the next, all the while remaining amazingly original. Overall it’s a release so mature in it ‘s sound it begs belief that it’s from a Fremanlte based band with a couple of hundred facebook likes.  If these guys don’t make it, there’s something wrong with this whole country
Please go see this band, buy their album and be part of history. There is literally no aspect of you life that won’t be improved by having a bit of HYTE in you life.
By Ryan Treby