PerthZine

Author: Paul B

  • Movie Review – Misgivings (2024)

    Movie Review – Misgivings (2024)

    Quirky Indie With a Twist

    Rating: 3.5 out of 5.

    Misgivings lulls you into thinking it’s a quiet coastal character study before gradually slipping into something far more offbeat. The indie feature-length film doesn’t give much away, but the deliberately quirky flick has plenty of twists and turns to keep you interested.

    Joanne Connor stars as Suze, a depressed housewife who isn’t sure what to do with herself while her husband Michael (played by Jeffery Richards) is away for work. She is encouraged to take off somewhere and heads to the small coastal town of Blueys Beach for some relaxation (the film was shot in NSW). It doesn’t take long for her to meet a series of recurring locals as she divides her time between wine (lots of wine) and idling around town. She becomes particularly intrigued by Gabriel (Mace Murray), a confident young man who drifts around her on a skateboard, snapping Polaroids.

    It would be a sin to give away more, but there are plenty of encounters with wacky locals (the husband-and-wife hotel owners are a laugh) as Suze wanders the beach, does her regular wine run and watches the local talent show. Let’s just say while her holiday unfolds, she learns some truths about herself and her marriage.

    The film has a voyeuristic vibe to it, with slow shots of skating around town and frolicking on the beach. This reflects Suze’s gaze – lost in her own world while quietly observing everything around her (like the camera). This hypnotic feel is accentuated by the soundtrack, which is the film’s strongest feature. The cinematography matches the tone, with classic overhead follow shots accompanied by laid-back folk pop that emphasises the haze surrounding Suze. The close-ups draw out emotional detail while also leaning into the film’s underlying quirkiness.

    It is amazing what you can do on a budget these days, but the cast are generally strong enough to match. Connor in particular plays the melancholic Suze very well. Murray also shows plenty of potential to take things further. The rest of the supporting cast do the job, with Julie-Anne Breen and Craig Walker especially memorable as the hotel owner and massage therapist.

    What stands out the most is how Duncan James has managed to achieve this with limited resources. Self-funded and clearly a labour-intensive project, Misgivings shows a filmmaker who knows what he wants to create and is willing to put in the time and effort to make it happen (he auditioned over two thousand actors). It would be fascinating to see what he could do with a bigger budget. His technique could translate well to something like a White Lotus-style anthology series.

  • Single Review – lovemenot: The Tower

    Single Review – lovemenot: The Tower

    The Tower, the second single from lovemenot, opens at full blast and makes it clear this won’t be a mild experience. It only escalates from there with things pushing further into the experimental in the mad middle section. Wait for the horns to kick in, it gets intense.

    Having been written for an 11-piece ensemble there is plenty going on, but it doesn’t feel overcrowded as the current 5-piece lineup has produced a heavy, catchy, post-hardcore tune.

    Eleanor Edwards’ vocals jump in immediately, driving the catchy melodies from the first beat. There are some genuinely big moments – edging into Muse-like territory (so when I say big, I mean big).

    The turning point comes in the centrepiece breakdown where the track moves into a looser, jazz-influenced section. The space opens up starting with some smooth, mellow keys and building to a string and horn frenzy. It’s the clearest nod to the 11-piece origin (I’m not going to list them) and the song’s most compelling stretch, before dropping to the core band to close in a mirror of the explosive opening.

    A strong mix of post-rock/hardcore and experimentation from the Perth/Boorloo band. Hopefully this isn’t getting trimmed down with a radio edit for the airwaves (I know RTR would never do that!). Keep it coming guys.

  • Gig Review – Bribes Album Launch with Parclo and Symmetrical Dogs

    Gig Review – Bribes Album Launch with Parclo and Symmetrical Dogs

    The Bird, Friday March 13, 2026

    Friday night at The Bird once again delivered a great night of bands and fans, this time it was Bribes launching their excellent second album Caught in the Corners, with support from Symmetrical Dogs and Parclo.

    First up Symmetrical Dogs with a very enthusiastic crowd relishing the banter from frontwoman Claire Stanwix and the band. Stanwix is one of those rare performers who ooze charisma and confidence, seemingly without trying. Pair this with some great guitar work on the acoustic from Michael Wooldridge and Boyd Jarvis’ tight drum work, and you can see immediately why they have established such a solid fanbase. The set was short and sweet and effective in warming up the packed house.

    Parclo arrived on stage next, bringing post-rock vibes with a bit of that wonderful genre of shoegaze. Zoe Koong front and centre on bass and vocals was a revelation, showing plenty of power from such a small package. Sharing lead vocal duties while blasting out synth, Izzy French stood in stark contrast to Koong, but it worked well alongside the tight, high-quality playing from the rest of the group. Some moments went to the stratosphere with shoegazing jam-out goodness, and by now the venue was well and truly full, and ready for the headline act.

    And so came Bribes, who pulled out all the stops for the launch of their latest record. The atmosphere was warm, the crowd were packed to the rafters (I don’t like to use the term literally but given the side benches and low ceilings in the place, there were literally people up to the rafters), and the band were keen to show off their hard work.

    Playing the album through (a nice touch), Head was the obvious choice for opener anyway, and it made for a big start. The crowd were onboard and on for the ride, which was extra special with guests joining in to play the string and wind instrument sections live. If the lovely violin on Pale Blue Bowl was not enough, by Gidge Ridge things had escalated with flute accompanying the strings. Ange’s voice has a fragility to it that came across really nicely with the backing.

    The bands experience came through with all members playing tight and clearly enjoying themselves up there. One of the best guitar parts, that riff in Carnage ringing through the venue was a real high point. Danyon, on synth and vocals, had plenty of great moments – Don’t Let It End being one in particular where the catchy synth shines through. We even got a bonus track for the encore, with the band going back to BBB, one of their first tracks released, and a great choice to reward the crowd’s enthusiastic response.

    So once again, Friday night at The Bird delivered, and reminded everyone there that the Perth/Boorloo scene is thriving. Let’s hope these bands can continue growing and putting out material of this calibre, and nothing beats the challenge of backing it up live.

  • Single Review – Clare Perrott: Philadelphia (2025)

    Single Review – Clare Perrott: Philadelphia (2025)

    Philadelphia is the debut single from Perth songwriter Clare Perrott, and she delves into that feeling many of us can relate to, when a relationship needs to move on.

    Backed by a great band and equally good production, the guitar work sets the standard. The fingerpicking sound is excellent with some nylon twang riffs thrown in for good measure. It rises as the song builds and the band comes in and don’t get the wrong idea from the softer start; the song works its way to a rocking peak.

    Once Clare’s vocals kick in it gives off an instant Laurel Canyon Americana feel that the likes of Joni Mitchell made famous in the 60s and 70s. The best part is it doesn’t get stuck in the canyon and the song keeps moving and has its own personality. On occasions it sounds like Perth (the last breath, I can hear it!), other moments could be compared to the 90s folksinger sound, it’s a good mix of influences.

    It’s also nice to hear a chorus that extends out and isn’t just dependent on a couple of lines, with Perrott singing “you had to go” being the closest to the hook but being delivered in a variety of ways.

    A strong start, Philadelphia marks Clare Perrott as another quality singer-songwriter emerging out of this remote little city.

    Be sure to catch Clare playing live at Kadidjiny Park this Saturday 21/03 in Melville. It’s a free outdoor all ages show 🙂

  • Gig Review – Basement Jaxx with Close Counters

    Gig Review – Basement Jaxx with Close Counters

    Fremantle Prison, Wednesday, March 11, 2026

    Basement Jaxx brought the party to a Wednesday night at Fremantle Prison and didn’t disappoint a crowd up for the fun. With a slanted stage featuring a DJ portal and elaborate costumes galore, they ripped through their songbook and blew plenty of minds in the process. The crowd were locked in all night (had to do it sorry), and the prison setting suited the rave atmosphere beautifully.

    Support came from the duo Close Counters and they warmed up the growing crowd with a nice blend of synth and samples. A very dancy vibe with some jazz thrown in for good measure. They were elevated for the second half of the set with guest vocalist Annalisa Fernandez, who brought her electro pop vocal prowess to the stage, if perhaps a little unsure how to deal with the stage setup.

    With the venue packed and the drinks line already snaking well beyond the bar, Basement Jaxx took to the stage in full theatrical mode, dropping the lights and letting the darkness hang just long enough to build anticipation. This was the full show so no messing around here. Live drums, percussion, guitars and trumpets, plus an array of singers, dancers and costumes. The band (I’m going to call them a band, rather than a duo, as there were about 10 performers) really made this event a spectacle, something everyone in the crowd was in awe of and no doubt walked away very happy with what was delivered.

    Kicking off with Good Luck and immediately getting the party going, the crowd were instantly reminded of the quality catalogue of songs the band have, and there wasn’t a body in the prison who wasn’t moving (I’ll admit right now I’m not a dancer, but a bit of head shaking generally does the trick).

    All the hits were there like Do Your Thing and Red Alert, and some of the best moments came from jams between the hits where they pumped hard techno music and everyone got to just keep on dancing. Mixing this rave style with the various performers on stage, it was a great atmosphere. The costumes in particular had some fantastic moments – at one point a dancer in giant flower costume appeared on stage, which couldn’t be done without the help of a couple of roadies. It was something you needed to see to believe.

    Naturally the crowd expected to hear Where’s Your Head At and of course they did not disappoint, bringing it out for the huge singalong finale that saw the whole crowd screaming the famous chorus back at the band, while they donned the monkey suits and brought the whole team out. There was no stopping there, and they came out for a three-song encore which included another favourite, Take Me Back to Your House.

    It was a fine evening all up, and this reviewer will admit he wasn’t really in the mood on arrival — being a school night and all — but once the show got going there was nowhere else he’d rather have been.

  • Single Review Times Two – Parclo: Loyal Dog (2026) + Not Today (2025)

    Single Review Times Two – Parclo: Loyal Dog (2026) + Not Today (2025)

    After discovering this great Perth post rock outfit recently, we thought we’d review both singles they have released within the last six months.

    Loyal Dog is the most recent single, released just the other week, and it’s a great showcase of the depth the band have to their sound. Starting with punchy guitar riff-offs that you could almost call reminiscent of first album Bloc Party.

    Izzy French’s vocals are sharp and catchy, shifting with the music from short bursts to full-blown explosions. The song mid-drop and ending both give the band a chance to get noisy, it’s obvious they relish a bit of noise making.

    Onto Not Today, their debut single released late last year, and we get a grungier side, but the same wall of sound with multiple guitars swirling around, moving front to back in the mix. It’s got a bit of pumpkins about it but with more post rock feel.

    It’s a modern sound though, and you can hear the bit of Perth in the accent and phrasing from Zoe Koong (I’m still not quite sure how to explain that Perth sounding sound, but it’s often present). Her lead vocal delivery is more restrained than Izzy’s, but equally effective. Chanting “I told a lie it was white it didn’t matter” while the guitars screech and Ebow around her.

    The first two singles from Parclo are both excellent examples of what the band are capable of. With top quality production and great performances, they can back it up live as well. Expecting smashed guitars at the end of the final noise-off at some point, do people still do that?

  • Movie Review – Hamnet (2025)

    Movie Review – Hamnet (2025)

    To be, or not to be

    Rating: 4 out of 5.

    Hamnet is an intriguing take on the Shakespeare legacy, inspired by Maggie O’Farrell’s novel that imagines the death of Shakespeare’s only son and its possible influence on his work. Mixing fact and fiction, it focuses on the death of Shakespeare’s only son, Hamnet, and in doing so doesn’t pretend to be a true biopic about the bard but instead focuses on grief and coping. Whatever the inspiration, it is compelling cinema.

    It’s the late 16th century and William (Paul Mescal, and like the book, his name is not stated outright) is courting woman-of-the-woods herbalist Agnes (Jessie Buckley) in Stratford, England. He’s working as a tutor and falls for her after she appears out of the forest with her pet hawk. The two have an instant connection and end up sneaking off and getting pregnant, forcing the class-divided families to agree to wedding terms.

    William tries to provide for the family by working in his abusive father’s glove-making business, but he is overwhelmed by a desire for something greater. This leads to drinking and depression, and his volatility causes Agnes to plot his exile to London under the guise of selling more gloves, so he divides his time between Stratford and the city.

    Fast forward a few years and Agnes has birthed twins, Hamnet and Judith (alongside first-born Susanna), while William is getting successful in the theatre world. From here things get darker, and we won’t be spoiling anything by giving away that Hamnet dies, and the rest of the movie deals with the grief the parents face.

    Despite the tragedy at its centre, the film is less about the shock of Hamnet’s death and more about the different ways Will and Agnes process grief. Will goes away and continues his theatre work, leaving Agnes to stew over the loss. She can’t understand how Will is now more absent and seemingly not grieving, which is where the focus on the famous play comes into the fore (we are told that Hamlet and Hamnet are the same interchangeable names in this period).

    It’s an out-there concept, but it works, mainly because of the strength of the performances, particularly Jessie Buckley who seems destined for major awards recognition, and is outstanding as the woman-of-the-woods who becomes a grieving mother. Mescal plays the bard well in what would be a difficult role to fill. He’s picking the right roles for an actor approaching, or perhaps already in the peak of his career.

    What makes the movie work so well though, is the technical elements. The cinematography is incredible, with a number of breathtaking shots, from forest to city settings which, combined with Max Richter’s excellent score, give the film the edge. Even an extended shot of Will drunk and struggling at his desk in the middle of the night just looks incredible. There are many moments like this where you can’t help being absorbed in the moment.

    Which leads to the other element of the movie that is perhaps not quite as obvious a focus – it delves into the struggles Will faces trying to live a normal life as a glove maker but yearning for more and turning to depression and alcoholism. This is a highly relatable element that many artists would sympathise with and eventually intertwines with not just Will achieving success through following his dreams but also becomes his outlet for grieving.

    A last comment on the movie versus the novel. Director Chloé Zhao (who has already won the best director gong for Nomadland in 2020) co-wrote the screenplay with O’Farrell and the pair keep quite true to the novel for most parts. Smaller characters like Agnes’ stepmother and brother have larger roles in the novel, as well as William’s parents. Will himself seems to be a much more caring and respectful husband and father in the film, and we get some direct Shakespeare quotes that are not present in the book. The quotes are the clunkiest change to the adaptation, seemingly included to remind the wider movie-going audience that they are watching the bard himself.

    The film is already winning awards and will go in as one of the favourites for best film at the academy. It’s definitely a step up from the last Shakespeare movie that bizarrely swept the Oscars in the nineties, Shakespeare in Love. It’s worth a watch for Buckley’s performance alone.

  • EP Review – Symmetrical Dogs: Birthday Rabbit Foot Wish (2025)

    EP Review – Symmetrical Dogs: Birthday Rabbit Foot Wish (2025)

    Woof

    Rating: 4 out of 5.

    The debut EP from Symmetrical Dogs is here and the creative three piece deliver a hell of a first look at what’s going on in their heads. When a live show and studio sound can be different while still displaying the personality of a band, you know there is something special going on.

    The tone is set from opener James, with singer Claire Stanwix going spoken word. It seems sparse but over the duration the synth sounds build from sweet chords to outer space in a gorgeous minor melody. The backing spoken vocals are a nice touch.

    With Americana we get a chance to hear the guitar drums and vocal songwriting, and the band keep it minimal but intense. Is laid back punk rock a thing? Think a nineties Big Thief (I’ll refrain from any more comparisons as the sound is very original). Hang around until the end for a great little guitar lick from Michael Wooldridge – is there anything finer than a riff played just a couple of times at the end of a track?

    Bossanova follows the sound, and the simple stripped production suits Stanwix’ laid back, confident vocals perfectly. It’s another example of the engaging acoustic guitar work from Wooldridge. Boyd Jarvis’ percussive chops should not be discounted either, especially when we hit the short soundscape that is Birthday Rabbit Foot Wish. Nice choice for the title track.

    Apologies and Grapes is a great song name, and Stanwix shows off she can do more than laid back. It may be a hint only, but I suspect she’s got a pretty serious range. She sings “I’m so sorry I’m too much, I am so sorry I’m not enough” in some of the starkest and best lyrics of the record.

    I suspect closing track 2000 is the sound this band will keep producing more of, finding themselves somewhere between nineties acoustic grunge and modern alt rock (no direct comparisons this time :). The synthscape behind the drums and acoustic guitar is another world, and there is a great vocal back and forth between multiple Claire’s. By the end of the song/EP they get as close to the rock-out sound that makes the live show so energetic.

    The EP is a great first effort from Symmetrical Dogs. Imagine what will happen when they get hold of even catchier hooks. I say when, not if, for a reason.

  • Album Review – Bribes: Caught in the Corners (2026)

    Album Review – Bribes: Caught in the Corners (2026)

    Sophomore Effort Delivers

    Rating: 4 out of 5.

    Caught in the Corners is the latest offering from Perth band Bribes. The four-piece’s second album is a mature and polished effort, capturing just how far the band have come since their debut.

    Opening strongly with Head, the sound fades in and quickly rises with synth-backed energy that explodes into one of the strongest tracks on the album. Ribcage follows with a nice little bassline hook opening the track, and moody organs keeping things mellow before the track builds up to a stop start chorus with some fine harmonising just a tiny bit reminiscent of a certain 90’s classic involving crash test dummies.

    It is then time for a change in lead vocal duties on Pale Blue Bowl. The acoustic driven track featuring string accompaniment is short and punchy. Joined by Gidge Ridge which features lovely horns and fine guitar work, the tracks pair up nicely, starting slow and building towards a crescendo. Looking forward to seeing if the band adds the strings and horns for the album launch at The Bird (I’ve heard rumours 😉).

    This middle section of the album has some excellent production – great guitar sound in particular from Ange and Aaron. Carnage works nicely with its percussive intro and excellent subdued riff. Undiagnosed goes deep into symbolism in Danyon’s youth, with a clear message many can relate to these days.

    Imbue changes things up with an almost post-rock feel, if it was played at a carnival. It’s a great song to bring things back up. Paired with As a Vice we can call this the quirky section of the album, with the rhythms and arrangements getting a bit further out there than the rest of the album; it’s a nice change up.

    Don’t Let It End could be called the single of the album (there are a few that could meet these criteria to be fair), and is catchy as hell with the pop synth hooks and dancey chorus. We are then hit with the punk rock of Deceased Estate, also laden with plenty of synth hooks behind Ange’s vocals and crazy horn solos.

    Rounding the album out is the fine Spider and the Glass, which has a nineties alt rock feel to it that brings to mind the bands of the late nineties Aussie rock boom. It’s the longest track on the album and worth listening through to the frantic ending, sounds like a song that would translate well live.

    Caught in the Corners is out now, and I strongly suggest not missing the launch at The Bird tonight which promises to be a special one with guest performers and an excellent line up of support acts.

  • Gig Review – Stella Donnelly with Ullah and Anna Schneider

    Gig Review – Stella Donnelly with Ullah and Anna Schneider

    The Rechabite, Friday, March 6, 2026

    The Rechabite was heaving with good vibes all round as Stella Donnelly returned to her hometown for the last show touring her latest and greatest album Love and Fortune. Stella captivated the packed room with many singalong moments throughout her now well-stocked catalogue of songs.

    Opening the night was Anna Schneider and her band playing some beautiful ambient, dreamy pop. The four-piece warmed up the crowd nicely with a soundscape centred around Anna’s acoustic guitar and vocals, backed by a tight rhythm section and excellent synth work. The crowd were onboard and won over by the time the set finished.

    Time for Ullah and the packed room to really get going. With an ever-growing list of quality tunes coming from the Perth songwriter and band, you could really get a sense that big things are coming. Mixing the very catchy, radio friendly pop songs like What Nightmares Are Made Of (the softer acoustic breakdown in the middle of the song is a gorgeous masterclass in songwriting, and another level live) and I Want It All (with a brilliant, crowd-ready singalong chorus, and the crowd obliged) with the more introspective songs like latest single Shoulder To Shoulder. The performance showed confidence and a bit of cheek, and the crown-wearing singer showed she can handle the big stage.

    With the room buzzing and everyone feeling the love, Stella Donnelly arrived on stage and didn’t stop smiling. From the early cuts like Standing Ovation, Stella set a standard that kept up through the night. Synthy sounds to set the mood, then kicking into the guitar driven indie pop she is so good at. The maturity on the album came through in the live show, with Donnelly beaming and looking like she and the band were really enjoying being up there. This was absolutely reciprocated by the crowd, with plenty of singalong moments coming from songs new and old.

    Other set highlights included the wonderful album title-track Love and Fortune, Mosquito and Baths. Stella kept it interesting by moving between the full band, just her and guitar, and a tight keyboard group; a great way to keep the crowd interested and guessing how she will present the songs. Boys Will Be Boys was particularly stark and emotional, one of the moments where the room took on a more sombre tone. Good art is about taking any subject matter, be it difficult or easy, and turning it into something people can absorb, think about, enjoy, hate, whatever emotions come out. The other side is being able to present it amongst a variety of other topics and moving from serious to lighter themes without losing the room. In Donnelly’s case, she has mastered the art perfectly, and the whole set blended because of this.

    A great evening of music all up, and it is wonderful to see these extremely talented songwriters continuing to release high quality music and back it up with engrossing live performances.