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The best of Perth you've never read

Melbourne Post-Punk darlings Tom Pretty’s have released a cracker of a single titled ‘Slipping’, that deals with the nature of feigned emotion for the sake of social acceptance, a pertinent topic in the unpredictable cavalcade that is modern love.

“Lyrically, it’s about feigning interest in something happening to you to seem like you’re present”, says Matt Steyn. “I watched a friend go through what should’ve been a tough time, but they really just acted out the emotions they thought others wanted to see without truly feeling them”.

Sonically the track explores similar territory from their debut single ‘Shelf Life’ but with a more minor swing to it. The band are releasing their two singles on a double side 7″through their own record label Queeze Records – definitely one to watch in the future.

Interview By: Laurent Shervington

Like something out of a weird lucid dream or Make-A-Wish grant  we were able to get the one and only Shannon Noll on the phone from his family home near Sydney to have a great old yarn.

Hey Shannon, how’s it going? What’s the weather like on your end?

Yeah good thanks mate, it’s beautiful today! About 30 degrees right now but it’s meant to be pretty ordinary for the rest of the week – I’m looking out the window with wandering eyes!

So tell me, what’s a day in the life of Shannon Noll?

I’ve recently had a heap on trying to get an album recorded and touring. We’re in pre-production now and we’ve also been doing some promo for the new single, it’s all happening.

Great, are you able to see your family a lot during your busier periods?

Yeah mate, the best part of what I’m doing is that I can do a lot of it from home, the studio I’m working out of is in Sydney so I can go there during the day and drive back home afterwards.

So last week you released your single Who I Am about 5 years since A Million Suns, what made you want to come back to the spotlight and make new music?

Mate I’ve never really stopped making music! I guess I’ve just been out of the spotlight in the last few years with moving down to a property just out of Melbourne. I got to spend some more time with my family and catch some footy but the first year down there I played about a hundred and eighty shows. I also had the chance to write a lot of songs with Jon Hume [Evermore] which will be coming out on the forthcoming album through True Warner. I guess I just had a bit more quiet time in the bush, which was really beautiful.

Nice! Where’s your favourite place to camp in the bush?

Mate I love the river! The Murray River is an absolutely wonderful place to go, I go down there and water ski a lot. I actually went down there for my 40th birthday the other week and it was great.

Got any camping tips?

The best thing is getting a great fire going when you’re allowed to. Nothing better!

Tell me a bit more about that new single Who I Am? I heard you were shooting the video for it over the weekend?

Yeah that’s right mate, we put the lyric video up about a week and a half ago which got about 650,000 views, which was great. We shot the live video for it this weekend gone at the Deni Ute Muster. We should get it back in the next few days and I’m really excited to see it – I think we got some incredible shots! The single itself is about being true to be yourself and not trying to be anyone else. It’s also about the resurgence I’ve found with the younger people recently, it’s paying homage to them as well. It’s really about getting back in the game and going as hard as you can.

Awesome! You’ve got own “Nollsie1” Ute on the single cover, what does the Great Australian Ute symbolise for you?

Oh mate I’ve had plenty of Utes in my life – I’ve even had a Black XR8 at one point – I’m a bit of V8 petrol head so why not y’know?

You’ve certainly gained a lot of internet fame in the last couple of years – what’s it like to have such a huge following of fans who grew up with your music and have since become re-engaged with it?

Yeah mate it’s awesome, it’s really overwhelming the support that’s come through in the last couple of years – it’s dead-set reinvigorated my career and given me a second chance at it. I’m really excited about the new following and I’m looking forward to putting some new music out while it’s still there and hopefully they’ll get into it.

Of course there’s been a lot of Internet jokes surrounding you and your Australian Idol days, do you have a favourite?

Yeah mate! I would have to say the tweet to Channel 7 where someone reported a robbery. They [Channel 7] asked the guy for some more details about the crime and the guy tweeted back a picture of me. I thought that was pretty hilarious!

Do you think fame is something you think you deal with well?

Yeah I really leave it at the front door when I get home, when I’m with my family I’m a husband and a father and when I’m onstage I’m a performer – it’s all about separating the two as much as I can.

Do feel a sense of responsibility to portray a positive image for fans?

Yeah I think so mate, I think the internet does give people the chance to be a lot more engaged with the artist, whereas years ago there was a lot more mystique surrounding singers and artists and bands. They had assumptions but no actual facts, these days it’s all about getting right up close and personal – sometimes that’s a good thing and sometimes it’s not – it’s just how it is these days.

What a lot of people might not know about you is your incredible generosity towards charities throughout Australia – what role do you think charity plays in your life?

Aw mate, I think when you get to this stage and you’ve got the opportunity to give something back, I think donating time is the most special thing you can donate – you don’t get compensated for it or get a tax deductible donation – it’s a legitimately honest gesture I think which is a great thing to do.

You’ll be back over in Perth in November supporting Ronan Keating – are you excited for that show?

Yeah can’t wait! Really looking forward to it, I’ve met Ronan before in Sydney and he’s a lovely guy. Given a chance to do a show with him is very, very exciting.

Recently I’ve been able to some different songs to the live set list and have had more choice with what I can play. Now I can really fill the set up with songs that have been singles, which is really great!


Words By: Molly Schmidt

Back to the garden, back to the garden, back to the garden we will go.

Angus Stone reckons we all need to get back into the garden and plant some bloody vegies. He told me so, over the phone. I was holed up in the loft at the back of my house, and had previously set the mood by telling my housemates not to make a sound, and listening to Angus’s new Dope Lemon album all the way through. After a considerable amount of elevator music from his end, he answered the phone, and his voice was higher than I imagined, but I can confirm it was delightfully husky and folk-farm-boy sounding like I’m sure you’ve all dreamed it is too.

Angus Stone stole our hearts way back in 2006 when he first picked up his guitar and stood beside his sister, forming heartfelt, Australian folk duo Angus and Julia Stone. Since then he’s also branched off to produce dreamy but edgier music under the pseudonym Lady of the Sunshine, and a mellow, folk-rock album, Broken Brights, under his own name. But now things are getting zesty, as he teams up with old childhood friends and dons a new name, Dope Lemon. The Lemon are about to hit the road and tour our sunburnt country, bringing us an entirely new, very chilled out, coastal rock sound.

“It wasn’t a plan,” Stone says when I ask him how this fruity new project began. Turns out he simply invited some old mates to come stay on his farm property, near Byron Bay, for a bit. “We stepped into the studio and pressed record, we had a case of beer, and we just sort of played and laughed a lot while it was happening.”

“Three weeks later we canon-balled out with the record, and we had this name, Dope Lemon.”

Stone describes shooting a text to his mates, who were staying in little shacks all over his farm; “start at two, who’s bringing the case?” So the new album, Honey Bones, is the product of mates simply hanging out, and doing what they love.

The crew behind the Lemon are Stone’s old mates, including The Walking Who’s Johin Brown. Stone describes how they all used to ride their bikes around town when they were kids. “It’s cool that they’re old mates.”

The boys have been recording in an old cabin that Stone converted into a recording studio. They call it Belafonte, after a research vessel in one of Angus’s favourite films, The Life Aquatic. When I ask him if he has a favourite place to play, Stone considers this for a while.

“I really like getting the band playing outside. Especially at sundown, you get really nice, sublime sunsets.”

Some of the tracks were recorded in New York, whilst the others were captured right on the farm. Stone tells me his song Fuck Things Up is particularly powerful for him. “I was going through some stuff, and sometimes you don’t even really tell yourself what’s going on. And sometimes music is a way to share what you’re going through.”

That song is particularly special, because it was recorded on the spot – the tune we can feast our little ears on, is the first time it was ever played.

“It was amazing. We finished, and we were like, oh, that’s a song,” Stone says. “We were in my friend’s apartment in Brooklyn, and the sun was going down.

You know when you get that dust, sitting in the room that sort of floats really slowly, that real magic hour, well that song reminds me of that time, and it was really special.”

Stone says the new album is really the response of a bunch of musicians getting creative together, without a plan. “We didn’t really sit down and chat about the direction we want it to take. It’s really free in that way. I think there’s a lot of good stuff to be had, when you just sit down with a rough template of a song, come up with cool parts and just enjoy the music and being immersed in what’s going on in the room. That’s really cool.”

I didn’t think I could love Angus Stone anymore than I already did, until he said he was listening to a lot of J. J. Cale at the time of making the album. “Are you serious?” I shouted down the phone. I grew up listening to my Dad blast J. J. Cale, and I can sure as hell say Angus’ tunes are going to be my kids’ generation of Dad (or Mum) music.

“He’s so good hey,” says Stone. “It’s just his lyrics, and his intention, and the feels he puts out – he’s just got a way abut him. I’ve always been a big admirer of J. J.”

For those of you who don’t know J. J. Cale, I highly recommend blasting Call Me The Breeze this arvo, with a nice crisp beer to accompany. 

Stone says Uptown Folks, the first Dope Lemon track to be released, is about dropping our phones, slapping our hands into gardening gloves and getting the hell back into the garden. “It’s about all the materialistic things we don’t need – the age old story. It’s about trying to acquire all this stuff to get a better job, to pay for this and that, but really it’s all in your backyard.”

“It’s basically just saying to get back to the garden, to where the good stuff is.”

The album comes complete with some banging album art, with a bit of a seventies feel. Stone tells me he was freaking out because the album release was creeping up and he didn’t have any album art. Luckily his mate, Matty (MYC Surfboards), who shapes and paints surfboards out of one of Stone’s sheds, said he could do it.

“A week later I came down to the shed and he’d drawn these lemon heads on top of his girlfriend’s photos – she’s a photographer. I walked in and I was like, dude, this is so fucking sweet,” says Stone.

To finish off, I ask him, just in case he ever appears on my doorstep one sunny afternoon, how he takes his tea.

“Oh, ahh, I’ll take whatever is in the can,” he laughs. “English breakfast? Yeah, that one. With two sugars.”

And that, world, is how Angus takes his tea.

Dope Lemon at the Astor Theatre on Friday the 21st of October.

Tickets here.








by Smoko Henderson

Last weekend Stedman Ellis, the western CEO of the Australian Petroleum Production & Exploration Association (APPEA), attacked John Butler in an opinion piece in The Sunday Times, which was also partially copied to Perth Now.

At best, Stedman’s opinion piece is misdirected, at worst, it is absurd.

(I did not know John Butler was still around.)

He has taken issue with a facebook post from John Butler regarding a protest against some onshore gas establishment, and uses that facebook post to launch into an attack on Butler, haphazardly working in PR for WA industry and also existential considerations about the role of crude oil in John Butler’s career.

Some of it is predictable: “Onshore gas has the potential to be an important driver of jobs and regional development in WA.”

Other parts are somewhat less refined: “That’s right. Without petroleum, John Butler would most likely still be busking on a street corner in Fremantle.”

That Stedman Ellis isn’t a fan of John Butler isn’t surprising, and that he is capable of writing thoughts into a semi-structured rant like anyone else is not what I take issue with here.

The worrying thing here is the implications behind this opinion piece in the face of SevenWest Media’s acquistion of The Sunday Times. The owner of SevenWest, Kerry Stokes, has his own invested interests in exploratory petroleum operations via his separate company, Australian Capital Equity.

It isn’t illegal for a media CEO with mining investments to give a CEO mate in mining a word in the paper, and I’m not suggesting it should be, neither party have done anything wrong legally, but as someone who reads the news, endorses criticism of the state government, and isn’t a CEO, it’s honestly just fucking worrying.

To be fair, this isn’t the first time a fob opinion piece has popped up disguised as news, but the only legitimate news element is that John Butler posted something to facebook, and I would argue it isn’t really news that John Butler is against oil and gas. The worrying thing here is that clearly, an agreement has been brokered somewhere to publish Ellis’s piece in the first place. This is hardly conspiratorial, given that we are still ultimately a small town.

Running with the headline “Stedman Ellis: Why John Butler is off key over oil and gas exploration,” the editors at The Sunday Times were sensible enough to whack it into the opinion section, but that’s as much reserve as the reader gets. I should acknowledge that ultimately, outrage gets more views than integrity-bound journalism, and the fact I’m talking about shows that the strategy works – but it is a worrying reflection of the kind of interests that will be reflected in a WA media monopoly.

For the record, I’m not suggesting that if had crude oil never been refined, John Butler couldn’t play instruments and be famous, though I would advise Stedman Ellis to consider the longevity of wooden instruments throughout time.

Words By: Laurent Shervington 

It’s been a pretty big year for Gareth Liddiard, releasing his seventh album with The Drones, playing sold-out shows on the back of it, hosting rage, a cameo in Courtney Barnett’s music video and touring with members of Band of Horses as MK-Ultra – it’s been a wild ride.

I spoke to Gareth on the phone from rainy Central Victoria to have a chat before he and his band come back to WA for the Fremantle Festival. 

The release of Feelin Kinda Free in March feels like a long time ago, but there’s still a sonic freshness to the record that will no doubt keep it on many critics top end-of-year lists. The band however came out of the recording process expecting the worst and were awaiting pans from all sides – but it never really came. “Critics have been very nice to us over the years, you would think that would make us more confident but it almost does the opposite, you think “oh this next one will be the one they trash the shit out of us.” Liddiard explains. “We thought this would really piss people off, but we’ve only really had one or two lukewarm response.”

The band’s anticipation of negative reviews were perhaps more warranted this time; Feelin Kinda Free sounds nothing like any other album from The Drones – from it’s noisy, pitch-shifted guitars, drum machines and ever-present electronic element – it harked back to music founding members Liddiard and Rui Perrira made when they lived in Perth. “Before we left Perth, we were doing stuff like that anyway. It’s not really anything new for us and that stuff has been around for a while: Silver Apples, Kraftwerk, Stockhausen in the 50s. It was more a matter of getting around to it.”

While the young band definitely had an ear for “crazy whacked out noise” , when they arrived in Melbourne they found themselves under pressure to “be something” to play gigs, coupled with the high cost of transporting synthesizers and drum machines lead to them ditching their excess gear and focusing on a more punk-blues sound. Back to present day Liddiard’s decision to go back to their early sound simply came from him being “sick of this fucking guitar shit” and proclaiming, “let’s do what we’re capable of doing and want to do.”

While the sonic variation on the album is probably the first thing you notice, lyrically Liddiard is channelling a similar level of strange, thanks to his interest in works of Latin Magical Realism at the time he was writing. “There’s a really famous Argentinean guy called (Jorge Luis) Borges, he’s a short-story writer and poet who made a lot of fuckin’ weird poetic stories. It’s literature but it’s also science fiction in a way as it’s based on physics – you really need to look into it to find out what he’s talking about. It’s really bizarre shit, so hard to explain. It’s kind of like Franz Kafka but in a more sci-fi, Argentinean way.” 

Aside from the “dreamlike” and “weird philosophical nature” of his lyrics, he found himself equally influenced from reading the news at the time and being puzzled at the state of the world. I asked for his prediction of the state of Australia in the next ten or so years, a difficult question no matter the interviewee. “It’s always easy to see what’s going on now but hard to see what will happen. The whole Pauline Hanson thing – is it heralding a new epoch for the far right? Is it to do with the idea that Malcolm Turnbull took over Tony Abbott’s position so all of Abbott’s supporters voted for Hanson? Fuck knows. Every now and I again I have an idea but then I change my mind.” Despite the unfortunate “rise of the far right”, he sees light at the end of the tunnel, expressing support that “Feminism is on the up and sooner or later Aboriginals will be considered cool – like MIA is considered cool in England.”

Liddiard holds a lot of importance with tastemakers in the modern age, claiming that popularity has the ability to create social change among future generations. “Once upon a time people from India, Pakistan that weren’t considered cool but became cool [thanks to popularity in social media] – which holds a massive amount of social currency – to be cool is to be able to dictate what’s cool and what’s not. To be brown-skinned, that’s very handy – you’ll get the ear of a lot of kids, which has the potential to change things socially.” Liddiard feels this trend is occurring in Australia, which will lead to “more women in higher places” and “Aboriginals might being considered cool, and then therefore listened to.”

When asked whether he liked the current crop of Aboriginal rappers in Australia, he expressed his wholehearted support. “Yeah – it’s good! Briggs is probably one of the bigger ones, he is cool as far as people go. I imagine kids in the suburbs will say “yeah Briggs he’s fuckin’ cool”, in the same way they would say Kanye, RZA, GZA or Method Man is cool. It means that when Briggs will say something is uncool, kids in high schools know that it’s uncool, which can work for things like racism. People would think being cool doesn’t mean very much but it actually comes with enormous social-political clout because it means people under 25 – and there’s a lot of them- will listen to you and then they will think those things for the rest of their lives.

Going for a bit of a drive down memory lane, Liddiard discussed his relationship with his hometown of Perth (“The Bakery was fucking great – it’s a real shame”) and his take on whether he thought of The Drones as a Perth band. “It’s a weird one because you know on the flipside of that, are we a Melbourne band? There are so many bands in Melbourne who aren’t from Melbourne, they’re from Sydney or Brisbane or wherever. If you look at it that way well it’s like – well what are we? It gets confusing, at the start it was three people from Perth and Chris [who was from Melbourne] but it’s changed a lot since.

Liddiard found starting the band out in Perth incredibly difficult with the lack of internet and correspondence – hence the move over east – but feels that nowadays Perth bands are able to make it big without moving over to the east side. “90s Perth was just so fuckin cut off from the rest of the planet in that decade – there was no Internet, no nothing. There was literally nothing to do, we were out of touch and just had to make shit up off the fly. I’ve recently been going through a bunch of records we made in Perth and we really made some trippy stuff, cos we just had nothing to go on except our own imaginations. No scene, no social life. It’s not like we could reference current bands in LA or London because there was no Internet so we just made shit up.”

“Look at Tame Impala – they’re massive and they didn’t have to leave Perth. I can’t remember anyone who did that on that scale without leaving before. It’s simply the tyranny of distance – no amount of Internet will solve that really – although it improves it dramatically. Perth is night and day compared to when we lived there – it was fuckin’ midnight when we lived there. We were the only people who knew anything about music in Perth; it was hard to find someone who had heard of the Velvet Underground let alone Jesus Lizard or Fugazi. So it’s completely different now, everyone’s all up with it now because of the Internet. But then the tyranny of distance still counts as it counts between Melbourne and New York and Melbourne and LA. I would probably do better if I lived in LA, I just can’t be fucked.”

Liddiard is playing a solo set at St John’s Cathedral in Fremantle two days after the full band set, a curious location for any artist. I traced the elements of religion in the title track of his debut album Strange Tourist, finding references to the more abstract and eccentric interpretations of religion such as Heaven’s Gate, “harakiri weirdos” (as a sub-sect of Zen Buddhism) and of course the central symbol of the Bowerbird turning the birdbath black, all of which seem to present religion as a potentially corrupting force. When quizzed about this it became clear that Liddiard appreciates religion for what it is and believes that “to dismiss religion is to dismiss art, which includes things like Borges and deep psychological art – the really heavy subconscious kinda stuff.”

“It’s also to dismiss things like Freudian theories and political shit too like Communism and Nazism and the role religion plays in politics.“ “I think people are hardwired to be religious, y’know the cathedral is very different to the Louvre in Paris. If you’re looking at a Goya painting or a Da Vinci piece – the way your brain works on art is very similar to the way you perceive religion. Music too, is using the same path – I’m not dismissive of it but I’m not like Nick Cave, no “God is in the House” or any direct references.”

Concluding the interview I had to ask if there were any plans for a follow up to Strange Tourist, which led to Gareth talking a bit about viewing his oeuvre in all his projects as solo material. “I’m not comparing myself to Bob Dylan in talent but it’s like there’s Bob Dylan and the band he’s had for 20 or something years and there’s something like Wilco, it’s not just called Jeff Tweedy but Jeff Tweedy writes all the songs. Tweedy might write all of the lyrics and none of the music some days or some days he would write absolutely everything. What’s the difference – what’s the difference between him and Bob Dylan? It’s just one has a band name and one is an individual. It’s the Drones too – it’s me being helped by those guys.”

As for what lies in the future for Liddiard – a lap around the country supporting the album before a year off from The Drones to work a new recording project with his partner Fiona Kitschin.

Catch The Drones at the Fremantle Festival on the 3rd of November and Gareth’s solo set on the 5th. 

Words By: Erin Puccinelli

Where are you right now?

I’m at home watering my garden and trying to make sure my cat doesn’t jump over the fence. I’ve got a bit of a jungle in a small courtyard, which is my pride and joy, besides NOZU obviously. Both are very similar, got to keep them well hydrated.

A lot has happened since your February full-length release ‘Afterlife’, what have been some of the highlights?

It’d be hard not to say Europe. We went there after a really fun and exciting Australian tour. There are so many highlights; it was a really crazy time of the year for us. When we released our first full length record in 2012 it was all very DIY and very grass roots and we had to organise a tour ourselves and went around to a bunch of places in Australia. But after Afterlife, we kind of did things on a bigger scale and it was pretty overwhelming so we had to have a bit of a break after coming back so we did a single show in Tassie then chilled out for a while, so that’s what we’ve been doing before we head out again.

In Australia, it was definitely playing a show in our hometown of Melbourne, and that was a sold out crazy show with more people we’ve had at a Melbourne show and it just felt like a lot of love in the room with people who get us and get our weirdness.

Themes of astrology and astronomy are really prominent in ‘afterlife’. How did that come about?

It’s one of many things happening on that record. I guess myself, being the lyric writer and the person who comes up with the aesthetics and concepts behind the record, it’s just a metaphor for any kind of belief systems, which has kind of become and obsession with the NO ZU project and with me. Just kind of exploring superstitions, human rituals and also the existential context of human history. It suits the music because it’s quite a hallucination or a trance with spiritualism. It’s all quite natural.

Last time you where in Perth, I caught your show at Mojos in Fremantle. This is still my favourite show I’ve seen there not just because everyone was dancing their hearts out and sweating enough to fill an Olympic swimming pool, but because of how small the venue is and how big your band is and the energy that was feeding between the two. What’s the best part about being in an eight piece comparatively to making music on your own?

NO ZU is both of those things. In the creation process, sometimes its just me, sometimes it’s a few of us, but the full 8 piece thing is crazy when I think about it. It’s  just like an out of control monster with so much energy. And it’s hopefully the same as how the crowd feels. When you’ve got so many people on the same page, and just trying to lose themselves in the music and connect with each other in the crowd, you can’t help but feel a really heightened experience which is just unlike anything else in day to day life. It’s sort of like a crazy dream for me because you can’t get that same kind of energy with a smaller group and it reflects NOZU’s philosophy of wanting to be inclusive and have as many heightened vibes around us as possible.

It was never a deliberate thing (to have so many people) but it was just like “man getting some saxophone in there would be great” or getting some extra vocals would be great, so we get another person and so on.

What’s your favourite thing about Western Australia?

I think we’ve only played in Perth once, but we’ve played Camp Doogs too so I can probably speak more about rural Australia than Perth. I felt a real sense of openness at Camp Doogs, which is one of our favourite festivals we’ve ever played. The NOZU/ Western Australia relationship is defiantly hot and steamy. It amazes me that we can travel that far and be greeted with such openness. All of our shows in Australia or internationally have been ones who are very open. We had that in Mexico, Manchester, Rennes, and Perth has been that same vibe which is cool because it speaks to a common human trait, like getting themselves get lost in the sweat and the ‘Heat Beat’ as we like to call it.

What can we expect from your shows in Perth and Fremantle in November?

You can expect our relationship to develop further with you guys. When we did Babushka, Mojos and Doogs, that was a really good first date, and I feel like we are ready to move onto the next stage. It’s definitely going to be a bit deeper, and we’ve got a couple new members in the group and a more unique vibe. Our new drummer and bass player are going to be temporary so its going to be a short lived era and well be making the most of our time there. So prepare to hear some interesting Heat Beat vibes we will be pushing as far as we can.

Lastly, What are NO ZU’s plans for 2017?

We have a couple of shows booked already, but the biggest thing would be getting out third album out. We’ll defiantly be looking to do an extensive tour of Australia and coming back to Western Australia, and probably go to Europe again. We’ve got a very exciting release coming at the start of the year, which I cant say too much about, but it features one of our favourite bands and one of the biggest NO ZU inspirations doing a re-recording of one of our afterlife tracks. It’s going to come out on a 12”, which is really exciting, but our main focus is on the third record and pushing things into deeper and darker territories and building on what ‘Afterlife’ was.
You can catch NO ZU at Jack Rabbit Slims on the 5th of November, or playing Fremantle Festival on the 6th of November at Kings Square.

Words By: Erin Puccinelli

Where are you right now?

I’m in Gold coast at the moment; a guy called Kerry who works for us has got a studio here so we’re just using his equipment.

You’re about to play a show for the Fremantle festival this November. What can we expect form your set?

We’ve got some extra guests coming on stage, we’re going to play some stuff off our recent album Psycadelitessen and just the usual Tijuana cartel brings

We’ve got a guy called Eamon Dillworth from the band Caravana Sun & The Dilworths. We’ve also got a great percussionist from Melbourne called Nuinoon.

You guys just did a few shows here in WA, including two in the rural towns of Broome and Hyde. Why are playing shows in all these remote areas around Australia important to you?  

We go to Broome once a year and we have a good time whenever we play there. We always get a good crowd, everyone comes out and dances and people travel a long way for a night out there so it’s still worth it for us.  The one at Hyde was actually a boutique festival called Wave Rock festival. It’s just a whole lot of people in the desert partying with a great atmosphere so it’s hard to say no.

For those who where unlucky and didn’t catch these shows, How have your live shows evolved since your last tour of Psycadelitessen?

Lots of new songs. We’ve got some new visuals we’ve added to the show and I just think it sounds a lot better. When we just played over in WA we had a lot of people saying it sounds better than it ever has so I feel like were at a new level.

Who have been the biggest influences of your live shows?

We where huge chemical brothers fans back in the day and are heavily influenced by them over the years and it comes out particularly in our live shows. It’s kind of like our version of it but a bit more modern.

Any plans for upcoming releases? Have you been recording anything new lately?

We are working on a collaboration album but we haven’t finished anything yet. We’re aiming to produce for other artists and collaborate with people we admire.

Craziest thing to happen to you in Fremantle/Perth?

We played a festival in WA called Nannup festival. I managed to miss the my plane from Canberra and we basically had to get a last minute ticket and get a hire car but managed to get there 5 minutes before our set started.

Lastly, what are Tijuana cartels plans for 2017? Any new music?

We’re going to Europe, and that album release later in the year.

Sly Withers have been kicking around Perth with their grunge-pop sounds for a few years now and on October 7th the band are set to release their self-titled, debut album.

“Fuzzy guitars, pop hooks and heavy grooves litter the album that Sly Withers promises to be the first taste of a whole lot more to come within the next year.”

We’re proud to show off a early release of Sly Withers debut self titled album, be sure to have a listen and head to their free show at The Carine on Friday October the 7th with Dead Sea, Moon Puppy and Pot Plant House Party.

Words By: Laurent Shervington

Our next BarefootSight video debut features Shit Narnia drummer Albert Pritchard’s solo project New Nausea, playing his song “The Creek” in a room in Fremantle. Flanked by a daylight-struck curtain and Hail to the Thief poster, Albert delivers an emotionally gripping performance at times channelling Gareth Liddiard’s solo material as well as the early work of Elliott Smith.

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