PerthZine

Author: Paul B

  • Gig Review – The Devil & Abbe May with The Forever Party + Georgia Rodgers

    Gig Review – The Devil & Abbe May with The Forever Party + Georgia Rodgers

    Mojo’s, Saturday April 4, 2026

    Abbe May, Perth/Boorloo’s favourite rock-singing demon, returned to the incomparable Mojo’s Bar with her band of voodoo blues weirdos and hypnotised the packed house.

    Who better to start the night than fine blues guitar solo act Georgia Rodgers. With nothing but a Tele and just a hint of looper, the Melbourne/Naarm songwriter wowed the crowd with originals and her own version of Smalltown Boy by Bronski.

    Confident and full of twelve-bar jam-outs, originals like Cambodia came across as loose and laid back, but heavy when necessary. There is something spectacular about a person who can get up on stage with nothing but an electric guitar and a voice, with no band to hide under. When done well, it can be oh so powerful. Georgia did it right and it was a perfect opener to warm up the ever-growing crowd.

    Finn Alexander and The Forever Party next, and they delivered a rock set full of big moments. The Freo locals on the rise had a huge presence on stage, with violinist Elise Hiatt mobile and making the most of the space. Opening with Married to the Machine suited the night well, with the folky-rock track up there with their best.

    Playing good, hard indie-rock with that Freo twang and hints of The National — Finn and the band have been going hard lately, and it shows. With plenty of long hair flying about as they rocked out (special mention to bassist Patrick Nielsen’s knight-of-the-round-table, 70s rock band look), the room was now packed, sweaty, and ready to let The Devil in.

    Time for the main event. Abbe May is a well-known force of nature — masked up in a black Donnie Darko rabbit look, she did not disappoint. You could hardly get a more appropriate bunch of musos to play with than these rough and ready misfits.

    The band and crowd were in full party mode; the creek (Aussie swamp) voodoo tunes were perfect for the dancefloor. With hats not out of place in 70s era Dylan, and fiddle to match, the Devil band were tight and heavy and having a good time. Special mention to Todd Pickett who is a drummer possessed, if ever I saw one.

    Most of the tracks were taken from the Hoodoo You Do album, but the crowd was also treated to more fine Abbe songs — pony covers and a few new ones to entice the crowd, with Crush It, Snort It a standout. Loose and swampy with a catchy chorus, it hit the audience with a bolt-like connection. New album coming? Hell yes — release the devil. It’s been too long.

    All-round great vibes and a friendly audience in the mood for the party, The Devil and Abbe May killed it, resurrected it, and let it out into the night.

  • Single Review – Showbag!: All I’ve Got

    Single Review – Showbag!: All I’ve Got

    Showbag! are back! After a couple of decades on hiatus, the much-loved Perth/Boorloo indie-rock favourites are returning with shows—and a new album! Not stopping with the exclamation marks, aren’t you excited!

    The first single from the upcoming Waterhouse record, All I’ve Got is pure 90s indie-rock goodness. It’s short, hits hard from the first note, and full of catchy-as-hell guitar melodies. It’s both reminiscent of the past booming indie scene and completely at home in the 20s. Pocketed somewhere between R.E.M. and post-green-day punk, with threads of down stroke rock bands like Pavement, it also has that bop to it that screams 50s American diner.

    The lyrics show nothing has changed since the track first took shape in the 90s—we’re all still full of doubt and need to deal with it through self-deprecation and humour. Has there ever been a better medium than indie-rock?

    Showbag! will be launching Waterhouse on Sunday, April 26 @ Lyrics Underground with support from New Phono + Teen Angst + Ruby Pettit.

    Supported by Igloo Records

  • EP Review – Ullah: For Then

    EP Review – Ullah: For Then

    Wear It

    Rating: 4 out of 5.

    The debut EP from Ullah is here, bringing together a mix of previously released singles and a couple of live favourites. The Perth/Boorloo songwriter, now based in Melbourne/Naarm (yep, another one), makes a strong opening statement.

    Opening track I Want It All has been a radio darling since its release, showcasing Ullah’s knack for catchy, singalong songwriting. It’s a declaration of dreams and desire, balanced by the uncertainty that often comes with them. There’s a playful edge to the vocal delivery—especially in lines like “how did you know where to go?”—before the track swells into a climactic, emotionally charged finish. It’s pretty special indie-pop.

    If I Were A Fish leans into Ullah’s alternative-rock side. Full of interesting rhythms and weighty guitar riffs, it digs into self-reflection with lines like “tell me who you think I’ll be, even if it means dishonesty”. It’s a short track that erupts at the end, like a release of pent-up energy.

    Previously released single Shoulder to Shoulder is a gorgeous stripped-back alt-folk song, exploring the subconscious voice that wears away confidence. “I wear it” suggests an acceptance of that inner dialogue—learning to carry it, rather than silence it. It’s a quiet standout.

    How To Dance parts one and two offer a clear indication of what the band are capable of. Pt. 1 is a quiet, introspective exploration of the inhibitions that grow with us as we age, building into a short, anthemic release. Pt. 2 flips this—and is the most energetic and danceable track on the EP. The singalong moment “I’m looking through my own eyes” is punchy and memorable, with soaring guitar work driving it forward.

    It’s clear that Ullah uses music as a vehicle for self-exploration and healing, and the songwriting is raw and honest because of it. The ability to turn these feels into both compelling alt-rock noise and indie-pop hooks suggests there is something genuinely special developing here.

  • Movie Review – Project Hail Mary (2026)

    Movie Review – Project Hail Mary (2026)

    Space Rocks are Friendly

    Rating: 4.5 out of 5.

    What a ride Project Hail Mary is to kick off the blockbusters of 2026. Expecting something serious, the tone leans more into humour than most modern sci-fi epics. Think Interstellar with a cute cuddly rock creature.

    Written by Andy Weir of The Martian fame, we begin when Ryland Grace (Gosling in full goofy charm mode) awakens from an induced coma and discovers he is the only survivor on an interstellar spacecraft. With his memory gone, he must piece together what he is doing there and figure out how to rescue humanity.

    As the memories come back, Grace’s backstory appears in the form of lengthy flashbacks, as he went from gifted physics teacher to reluctantly leading the research into what is causing the sun to die. The culprit turns out to be a laser beam, and to stop it they need to travel light-years away for answers. So we arrive with Grace, alone on the ship and about to arrive at its destination. When he discovers an alien craft, the movie truly develops its heart. It becomes a playful buddy flick about Grace and a spider-like rock creature named Rocky.

    The film works on so many levels. Gosling holds the mostly solo role as well as anyone can, bringing plenty of emotion and humour. The flashbacks work for the audience to share with Grace, if overdone slightly in the 156-minute runtime. Sandra Hüller is a welcome presence as Eva Stratt, the agent tasked with the last-ditch hail Mary mission. Her character development is a standout – starting as a cold leader, ruthlessly dedicated to finding a way to save the planet no matter what. By the end some warmth appears, but don’t be fooled.

    With big moments throughout, it’s almost comparable with the Michael Bay over the top sci-fi end of the world thriller Armageddon – just when you think it’s ending, there’s more! Luckily there is a lot more depth here. The relationship arc between Grace and the loveable alien character for the ages keeps you engaged and caring more and more for them. Try not getting emotional.

    Project Hail Mary is the kind of sci-fi epic that demands the big screen, so see it at the cinema to get the full effect. Full of set pieces involving spaceships roaming the stars and dancing with each other, paired with lots of heart and enough interesting details to get online forums talking, it’s what a good space opera should be. Go see it.

  • Gig Review – Roomtone Live! With Time Out Corner Kids + Forget Me Not + Deep Beep + The Terror Adaptors

    Gig Review – Roomtone Live! With Time Out Corner Kids + Forget Me Not + Deep Beep + The Terror Adaptors

    Four5Nine Bar, Saturday March 28, 2026

    Drawing on their production background, Dale Nelson and Jacob Borgward created Roomtone, a platform spotlighting local music and emerging artists. The team hit a new milestone with the first live show at Four5Nine. Not just a gig but a celebration of the fast-growing scene around them, and yes, someone drank from a shoe.

    The men of the moment took to the stage – first for MC duties and then with their band Time Out Corner Kids. The first band to appear on the online program, they were relishing the occasion – bouncing around the stage and getting the crowd chanting.

    Sharing vocal and guitar duties, they powered through the emo-influenced set while getting everyone in the spirit of the occasion by threatening a shoey finale. With hints of post-blink-punk, the band were tight and mixed it up with big riffage and lighter numbers. There was a 12-string ballad full of sweet harmonies, and a drink out of a sweaty, post-set sneaker (yes, he did it).

    Now for the other bands who have graced the Roomtone lenses, and first up was Forget Me Not. Getting the crowd dancing and girls to the front (always a good sign), Luke Chandler and his band brought youth and indie-pop magic to the crowded room.

    Locked tight with chiming guitars, the band showed plenty of charisma and memorable tunes to match. It’s a winning formula with lyrics like “kiss me like the last time”, and a sound somewhere between R.E.M., Placebo, and The Wombats.

    Deep Beep, fresh off the release of their second album Soft Honk, opened with Diesel & Meth and wowed immediately. The songs are sonic journeys, intersected by big riffs and melodies. Even the bar guy was enjoying the wall of sound coming from the 5-piece.

    Atlantiss with two ss’s (what) was the set closer that brought the house down, and pretty sure it’s not about the sunken city but the abandoned theme park in the northern suburbs of Perth. Prove me wrong!

    The Terror Adaptors (or pterodactyls if you ask Dale) got headline duties and were full of heavy riffing energy as the crowd got rowdier.

    Playing a fine mix of post-rock and hints of everyone from Iron Maiden to Faith No More and System of a Down, they weren’t afraid to go weird with Beach Party on Uranus and plenty of other songs about aliens (at least one was about a demon). They even threw in an encore for the moshing crowd and smashed out Silverchair’s The Door for a huge finish.

    Dale and Jacob came back up and had a list of people to thank longer than Meryl at the Oscars. They threw out more merch (thought it was a tiny shirt, was a tote bag) and looked every bit like a team who’d just pulled off something special with Roomtone Live!

  • Gig Review – flood, Ursula, and lovemenot

    Gig Review – flood, Ursula, and lovemenot

    The Bird, Friday March 27, 2026

    It is becoming tradition now – Friday nights at The Bird – this time with storm threatening and courtyard soaked. How fitting then, that flood should launch their debut album Like Glass on such a night – like it was meant to be. With support from Ursula and lovemenot.

    Opening the night with lower-case love – lovemenot gave us post-rock intensity and got the crowd moving. Big sounds and singalong choruses carried through from start to finish. Eleanor Edwards was full of energy up front and commanded the small stage the moment the band powered up.

    On a night filled with a high standard of guitar playing, the riff work from Michael Bourguignon, spiced up with noise throughout, was exceptional. Definitely one of the most creative guitarists around. Add a tight rhythm section and Qayla Locke driving the synth and you’ve got a hell of a rock band. Ending the set with their latest single The Tower was a high point.

    Ursula was a perfect fit for the middle slot, shoegazing while bashing heavy rock riffage. The Perth/Boorloo supergroup sludged their way through a powerful set as the venue kept filling up.

    The switching guitar and vocal work from Robbie Rumble and Ashby Ranson kept it interesting, with riffs, noise and harmonies big and tight. If the aim was to get the place warmed up, they did that and then some. The sound is somewhere between 90s shoegaze and stoner rock but with hints of post in the busy beats and space-y lead lines. Keep putting out music please.

    The deluge did not stop all night and so came the flood (maybe too far with the imagery). Mixing intense math rock rhythms with post-rock catchiness, flood have stepped up their set with impressive new album tracks. Borders and Icarus in Amber stood out early, finding that blend of laid-back melody and heavy angular riffs. Sounding heavier than ever with the energy of the occasion, Jack Williamson and Max Lockitt’s guitars danced around each other with fluid ease while the rhythm section mathed out.

    Playing mostly tracks from the new record; the venue was as warm as a fireplace projected on the wall behind the stage. Meandermore was a peak moment as it worked up from clean rhythms to a big finish, going around a few times in the process. Jack Duffy’s hard-rock drumming was on full display and locked in with the outstanding bass work from Benjamin Vaughan. The band finished with a couple of older tracks, because of course the crowd wanted more, and Blue was as solid a finish as you could hope for.

    It was a well put together launch by flood – the mix of bands worked, all linked via a post-rock thread, while far enough away from each other to avoid post, shoegaze or math overload. The Perth/Boorloo live scene is alive and kicking and getting stronger with gigs like this right in the middle of the city. More live shows, more albums – more everything.

  • EP Review – Wack Mammoth: Wack Mammoth EP

    EP Review – Wack Mammoth: Wack Mammoth EP

    Mammoth’s, Yak’s, Cereal

    Rating: 3.5 out of 5.

    Wack Mammoth, who actually align with the church of the Yak, have just released their first EP and it’s a madhouse. The Perth/Boorloo band lurk in the space between fuzzed-out heavy riffage and full-blown weirdness.

    Let’s get down to the grit – these guys are something different. Think B-52s meets Queens of the Stone Age and you will be part of the way there. There’s definitely more though, and you can hear it in Alina Krasilnikova’s vocals from the get-go. Known as Potato, she sprouts out like a 90s punk-rock rebel girl in Family Dinner. The opener is short post-punk goodness personified.

    James Torpy takes over vocal duties for the riff-heavy, stoner rock Change My Mind. The slow, swinging bassline from Torpy, alongside crunchy, crunchy guitars, brings back memories of early Sabbath. Guitar man Scott Walker’s soloing gets a full display in the middle and could be described as a little Iommi-esque. The band’s originality comes from the weird, character-driven vocal play – with Potato doing excellent harmonies. Mix that with punk and stoner rock and you’ve got something.

    If you want the band’s quirkier side on full display, look no further than Mushrooms. There’s nothing subtle about this one as Potato paints vivid images of eating cake and bumping into poles. It’s humour-based post-punk that straddles a good line between serious rock and parody – the song is a fine chugging walk through the images, with muted guitars giving Torpy and drummer Rhett Robinson (is that his real name or is it Art) a chance to be up front in the mix. It goes full space sci-fi to finish after Krasilnikova sings “you said that aliens must be true”.

    Back to the other side of the spectrum with Broken Arrow, and we get more crunch and fuzzed-out guitar. You can hear the early 00s rock influence, but Mammoth give it their own kind of energy. Torpy sings “I’ll shake you out of your nightmare, and never question why”, in one of the catchiest chorus moments on the EP.

    If you wanted parody, you got it. Cereal is an absolutely ridiculous concept, but they own it and it works. Starting out sounding like Dracula’s Lament (look it up), Torpy walks us through his experience eating cereal in a Transylvanian accent, before the song hits the crunch and opens up. Potato sings “everyone is drunk, I am on the cereal”, while the band hits the fuzz again. You can’t deny the catchiness, and the yells at the end sound like something that wouldn’t be out of place at an Iron Maiden concert.

    You can’t knock these guys for putting it all out there and coming up with something different, this is what makes music great. Take a bit of B-52s, a pinch of Ween, throw in some QOTSA and Foo’s fuzz. Mash it, chop it, swirl it round, crush it. It’s chaotic, catchy, and unique – worth a listen if you like your rock weird.

    Wack Mammoth EP – produced & engineered by Ron Pollard @ Sleepwalker’s Dread Studio

    The band: Alina ‘Potato’ Krasilnikova – vocals, James ‘Turps’ Torpy – bass & vocals, Scott ‘John Smith’ Walker – guitar, Rhett ‘Art Vanderley’ Robinson – drums

    The Wack Mammoth EP will be launched on June 19 at Music On Murray

  • Gig Review – 40 Years Of Xpress Magazine

    Gig Review – 40 Years Of Xpress Magazine

    Astor Theatre, Wednesday, April 18, 2026

    There was a time when Xpress was the go-to magazine for music and culture in Perth. After 40 years since it hit the stands, former editor Bob Gordon created Rewind – a coffee table book documenting the history of the free magazine. To launch it and celebrate the anniversary, the team gathered musos past and present to play and have a chat.

    After a heartfelt intro from MC Gordon himself, the music kicked off with Dave Hole and band. The veteran guitar man, now nearing eighty, showed he could still shake it as he slid his way through a couple of blues classics and pulled out all the stops.

    Kav Temperley came next with acoustic renditions of Eskimo Joe hits sandwiching his solo song Pollyanna. The frontman read the room well and was happy to share anecdotes between songs. Kav contemporary, Katy Steele was next and gave the front row more than they were expecting. Aside from the view, her unplugged version of Rescue Boat from 2016s Human album was melodic beauty.

    Katy had a chat with MC Gordon and shared her stories about growing up in Perth with the mag, before founding editor Joe Cipriani took to the stage for a deep dive into how it all began. For an audience who grew up with the magazine this was insightful, and a little slice of local history worth listening to.

    Aside from the live performances, the night was really about getting together and celebrating the cultural legacy of the mag. The intermission gave everyone a chance to gather and reminisce, soaking up the peak-era nostalgia. It felt like a room full to the brim, flooding with memories of nights out in the nineties and beyond (I met one of my heroes in the lobby, 3-time soap box derby champion Mike Wafer, and had the sudden realisation that he and other writers for Xpress had a huge influence on my work).

    Bicton punk-rock royalty Dave Warner came next and played his ode to the suburb’s opus, Suburban Boy. Warner was as energetic and animated as ever, and gave way to the next generation of punks, Gyroscope, who went all out with a full-blown rock show.

    Next up was the younger generation rep, Cal Kramer, of Southern River Band fame. Cal played a few tunes on the acoustic then had a chat with Gordon. It was good to see someone from the modern era of local musos up there along with the oldies, and you can’t go past SRB for the hardest rocking band actively pursuing the rock n roll lifestyle.

    Donna Simpson had the crowd suspended as she sang Rowena and Wallace. She’s one of the best voices to come out of Western Australia and another who came up in the Xpress heyday. The section was a highlight of the night as fellow Albany royal family member Carla Geneve also had the house hypnotised.

    More memories flowed between Bob and the guests, and the audience were treated to another dose of modern WA music with Boox Kid; a Noongar star on the rise and showing the polish to prove it. To conclude, none other than Dom Mariani to share his stories and rip it up with the full band performance. The power pop pioneer has lost none of the creative energy that has possessed him since the 80s.

    With plenty of fond memories to fill the evening, the only question remaining is will Xpress continue on? Now owned by Vanguard Media, the mag has a strong online presence (physical stopped long ago) and still getting plenty of press passes and free stuff, so perhaps the future is bright. Or maybe it is time that someone else took the reins and offered up exposure and experience for artists in this remote city. Don’t worry, PerthZine is here, and we will take some of those press credentials thank you very much.

  • Album Review – Deep Beep: Soft Honk (2026)

    Album Review – Deep Beep: Soft Honk (2026)

    The Beeps are Deep

    Rating: 4 out of 5.

    Soft Honk is the latest from Perth/Boorloo space-psych rockers Deep Beep. Their second offering is developed, epic, and full of god-like riffage. The beeps go deep.

    The 5-track album is a step up in performance and production from the moment the chugging guitars enter in Diesel & Meth. The soundscape builds as the mix introduces each instrument, none overworking but all constructing something. It has Floyd feels, but vocalist Matt Rudas has enough Perth twang to make it local, and the vibrato guitar hits are inspired in both position and tone. Listen for the bap bap vocal breakdown in the middle. This is the Deep, so the song is soaring by the end. It sounds enormous.

    If you want good balance – add something catchier after the epic intro. You’ll Never Be My Baby is a good choice. It’s a post-rock pop song (sorry), not far from what Interpol were doing in the noughties, but proggier. The guitar lead line following the introductory “babys” is gorgeous. Cam Sims and Rudas’ guitar work – they got melody too, these lads.

    Atlantiss is another level again, out of the depths of the ocean where prog was born. The super heavy riff that repeats throughout the song is one of the best moments on the record, getting a little bit middle period muse-y. Super catchy and the airwaves agree, with the tune getting plenty of radio play. It’s a real journey.

    The epic-ness is well and truly underway by the middle, but the biggest is yet to come. For the true epic we must turn to Tell it to the Mountain. It’s about mountains (or one mountain) and runs the longest at nine and a half minutes. Don’t get the wrong idea, it’s not all prog parading, the song also has a hell of a singalong chorus – “take all your troubles, go and tell it to the mountain”. It’s another high point of the record and showcases the dynamics of the rhythm section, Josh Watkins’ drums ebbing and flowing until the ending explodes.

    Braden’s Lament brings the journey to a close in a descent into sample and noise jamming madness. The secret-song like track summarises the band up well actually. A bit mad and not unwilling to play around. Not all serious-musicianmanship progressive rock, this is a bit different. It seems a reasonable summary of Deep Beep, given how much fun the album is. The name says it all.

    Soft Honk was recorded at Rada Studios.

    Deep Beep play live this Saturday night at Four5Nine Bar.

    The band: Jerome Kennedy – Bass, Matt Rudas – vocals/guitar, Cam Sims – guitar, Andy Bartlett – Keys, Josh Watkins – drums.

    Album One: Mind the Brain (2023)

  • Album Review – The Psychotic Reactions: FeelinHealin (2026)

    Album Review – The Psychotic Reactions: FeelinHealin (2026)

    Feel it, heal it

    Rating: 4 out of 5.

    The latest offering from The Psychotic Reactions is full of psych goodness and a mix of longer jams and short hits across the fourteen-track album. Split into two halves – healin’ and feelin’ – the Reactions are gettin’ concept on us.

    Opening with a sample telling us to push ourselves to greater things, Intro sets the scene for the album, with a groove sitting right in the pocket, accompanied by dirty lead licks and vintage keys. It’s sparse and knows when to fill the little gaps.

    Ask follows the intro jam and offers the antithesis to the opener. Danceable, catchy guitar licks, and closer to the indie-pop sound Perth (Boorloo) is known for (let’s call it a little bit of late 80s Pixie-era indie-rock but also leaning on 90s indie-pop). It’s also an intimate portrait of the darkness that can lie deep in the mind, released at the end by a searing guitar solo.

    The immediate response is Answer. The band mellows momentarily as guitarist/singer Hannah Smillie ponders her inner self and tells her friends she’s going to open up and be honest about what’s going on inside, singing the hook “all you had to do was ask” as a signal to the future. There is a concept-like connection between the tracks, linking the songs in sound while shifting in mood. Clearing the Air keeps the tempo down with a mellow jangle, before building to one of the best guitar moments on the album in a slow-blues jam.

    How Can They Sleep? is acoustic psychedelic dreamscape with 60s/90s influence. The biggest moment comes when Smillie, backed by harmonies, sings “you don’t get it, we gotta change it”. It could be the album’s strongest track; it has everything that makes the band pop. Don’t Take My Side backs this with a real showcase of Smillie’s vocal range, moving from pop drawl to something more bar-room smokiness.

    It’s hard not to focus on the guitar work, as yet another tune delivers plenty of bluesy-psych lead work. A Minor Spoken Word (I’m a sucker for these spoken word jam tracks) sees the continued restraint from rhythm section Jacob McAneny (bass) and Rory Lowe McLoughlin (drums). The two are rock tight as Smillie riffs both verbally and with her axe, with some Echoes-esque noise work holding the tension.

    The album’s healin’ half starts with, you guessed it, Healing. Essentially the album title track with the chorus vocal hook “now baby I’m healin’, how’s that making you feelin’”. We’re almost in Portishead territory now, with synth loops and trip-hop beats from McLoughlin going for late night Rage feels.

    Growing Old is the single of the album with the gorgeous chorus “and I realise, I’m not mad about growing old” full of melody and harmonies. Did I mention Smillie’s guitar work – as sharp and soulful as ever here. The song is pure pop goodness with edges.

    We then enter classic 60s psychedelia with Take It Easy. The track is about as pop as the band get, and comparing to the 60s doesn’t do it justice, as there are touches of 80s and 90s indie-pop resonant throughout. If that wasn’t enough, country-pop barnstormer Chills & Fever comes along and says you ain’t seen danceable yet (this is pure early 60s rock n roll from 1961, originally by Johnny Love and His Orchestra). Punk, rock n roll (aren’t they the same thing deep down), country, catchy as hell.

    The Psychotic Reactions close out with Black Coffee, and the versatility of the trio shines again. It’s a nice approach having the jam-out songs early on and the happier, poppier tunes at the back, to go along with the conceptual split between feelin’ and healin’. Keep ending on positive vibes; if we all approached life like FeelinHealin, wouldn’t it be a trip.