Don’t Tell Me is a bonkers little electro punk-rock song from Official Partners, and it’s a fun few minutes of mayhem. It’s the debut from the Perth/Boorloo solo act, and good luck trying to predict what comes next.
The style is known as egg-punk, and it’s all frantic tempo, lo-fi energy. Guitars are coarse and catchy, the synth gives it a bit of space, and the vocals are pure punk attitude, railing against being told how to be — “Don’t want to hear about it / Refuse to care about it”. Do not be misled though, listen closely and it’s really talking about someone who won’t accept some home truths. Don’t tell me you know I lied / Don’t tell me to read your letter / Don’t tell me we’re not together now.
It sounds like Ween when they do punk, mixed with interesting details like woo-woos that could have wandered in from a Rolling Stones record. It works well, and if you’re into the weirder side of punk, this should be right up your alley.
Back down the steps to Lyrics Underground on a Friday night, and nothing beats going in blind and seeing what you get. Having not seen any of the bands before, we were in for an interesting night, and some real revelatory moments.
Walking into the venue, with lights flecking through smoky wisps, it was quite an experience hearing Black Swamp Sinners’ atmospheric guitar with lap-drum percussion. It was quiet, absorbing, and a really fine way to start their set. The drummer then switched to the kit and the duo proceeded to jam, in swampy Jimi Hendrix style, for the remainder of the set. Whatever that lap-drum thing was, more please.
Coldspring brought things back down to earth with a classic four-piece alt rock sound. With a sound somewhere between late-90s punk and the Aussie vocal-led bands like Camp Cope, they had some catchy tunes and a tight sound. And here’s me seeing the name and thinking they might have been an Offspring tribute. They were not!
The young lads of Figgy Tuna took to the stage next with some excellent songwriting. With vocals and bass handled up front, and a couple of guitars sharing lead and rhythm duties, the band had a full, energetic sound. The main thing that shone through above everything else was the quality of the songs. The band have been together for four years, forming in high school playing covers at first. Knowing this, we can only say keep at it with the originals and get more gigs under your belt. The potential is well and truly there.
To the headliners: Jacobin Caesar. The three-piece have a good balance between quirky stage presence and solid songs, with their frontman donning proper over-ear earmuffs for most of the set. Plugged straight into the PA without a guitar amp in sight, the guitar sound was unusual and helped by the excellent songwriting. Imagine a quirkier Creedence mixed with the modern rock acts like Kings of Leon. Definitely keeping an eye on where these guys take this sound. If this is anything to go by, expect bigger things to come.
Lyrics Underground is a fantastic venue, and good to see some of the younger, up-and-coming bands up on the stage showing us the shape of things to come.
lovemenot have been busy lately, rising up into the Perth/Boorloo post rock scene rapidly. Following the release of a couple of solid singles, they now have their first EP on the table. It’s an intriguing snapshot of the band.
Opening with Waltz, we immediately get hit by the guitar work of Michael Bourguignon and the scene is set for an album full of punishing riffs. The rest of the band quickly join in the fun and we’re in full swing. The first thing that becomes apparent is how well the band play together; it’s clear they have been playing together for some time. The dynamics are on full display here as well, with the band dropping to quieter parts, letting singer Eleanor Edwards show off her vocal range before the band explodes in the heavier parts.
The Tower comes in heavy and is relentless in its attack, and probably the strongest song on the record from a radio-friendly perspective. It’s big and heavy with a catchy chorus. It gets interesting in the middle, where it breaks down into gentle keys before going into a jazz freakout.
The most interesting track on the EP has to be As Above… It’s an unexpected turn from the heavier post rock making up the rest of the record. It’s a gorgeous, stripped back song that sounds like it was recorded in someone’s backyard. With soft acoustic guitar and birds chirping for the intro, the song then proves a showcase for Edwards vocal abilities, with pleading lyrics singing “I’ll try, I’ll try, try again”.
This is lovemenot, so of course the track doesn’t end with this. The second half of the song has a movie-soundtrack-like build-up as the rest of the band come in. The noise builds to a crescendo that seeps into …So Below. The fourth track is a continuation and clocks in at only forty-seven seconds long. It presents as a bridge between the quiet middle track and the epic finale. The washed-out distorted guitars are reminiscent of Interpol at their most post.
The EP finishes with the just-under-eight-minute Void. The tune is probably the most punk-rock-influenced and is awash with big guitars, vocals, synths and pounding rhythm work. Extra mention to Qayla Locke for the frantic synth work on the song. It moves at a non-stop pace for the first half, peaking in the middle before the band settle back into a steady jam for the finale. A descent into noise concludes the record, with one little flourish to finish, almost teasing how much further the band can push this sound.
With everything from hard, fast post rock to quieter, contemplative moments, the Strike !! Between the Teeth EP is a great showcase of what the band can do, and the live show is equally dynamic.
Another Friday night of live music in Perth/Boorloo and options aplenty. We were at the Freo Buffalo Club for the Didion’s Bible PS DB EP launch, and it turned into one of those warm, good-vibe local shows that reminds you why the scene is thriving.
First up, brand new band Botany kicked things off with their first ever gig. It hardly showed, aside from a few mix-ups in the stage banter (the bass player had it covered). With an excellent rhythm section, the three-piece played with confidence and put out a noisy brand of rock. Throwing in a Townes Van Zandt cover for good measure, they powered through a quick set and showed plenty of potential in the racket they are making. Keep an eye out.
New Phono were next up, and despite being a bit cramped on the small corner stage, they put on a fine show full of intricate little guitar and synth parts, and a very catchy catalogue of songs. Pulled mostly from their album Troubleshoot the Rain, songs like Static are just damn fine examples of Perth/Boorloo songwriting. Symmetry Is Dead is a highlight of both the album and the live show. The chorus is super catchy and sing-along worthy. With band members overheating, the set absolutely cooked (outdone myself with the puns here).
And then to the band of the evening. Didion’s Bible jumped on stage with instant energy, and even a busted guitar amp didn’t break their rhythm. Kicking off with the songs from the newly launched EP, the band’s frantic new-wave chaos didn’t let up as the party atmosphere swelled.
Songs like Mona Lisa (Never Let Me Go) got the crowd into the set, and Panorama is a fantastic showcase of what the band can do. With band members at times rolling around on the ground with glee, it’s hard to find a band in the city who exude such infectious joy. It translates well through the music and out into the crowd watching.
The Buffalo Club was a great choice of venue for the EP launch, giving off old-school, small-stage venue vibes that make for fantastic local band gatherings.
Bespoke Touring put together the Planet of Sound gigs regularly at the Milk Bar. They are a chance to showcase a diverse selection of Perth/Boorloo’s most exciting, emerging artists on the big stage. This event was number thirteen and no bad luck here, with old-school rock, hip hop and a bit of jazz for good measure.
First up, apologies for arriving late and missing the set from Dreamline. We saw them playing The Bird a few months back so here is a built-in flashback. The indie dream-pop four-piece have a big guitar-driven sound that lands somewhere between the Smashing Pumpkins and dreamier bands like Mercury Rev. They are tight and have some solid originals including first single Dear Louise, so we’re expecting to hear more from them soon.
This reviewer arrived to see Moondyne taking the stage with an enthusiastic crowd up front. You could see why they were popular already, with a sound sitting in that 60s-influenced rock n roll space — frantic rhythm section complemented by Hendrix-like guitar riffs, and a danceable energy coming from the songs. Singer Taya was oozing charisma, and you could tell she has studied in the school of Janis (great to see these greats are still influencing the next gen). They finished the set with a couple from the era – Whole Lotta Love with plenty of energy, and Hotel California for a laid back, singalong finish. Keep loading the set with originals guys, the current bunch have set the standard high.
Time for some hip hop next, with six-piece Spearwood on stage (assuming they are from Spearwood). The music mixes laid back, jazz rap with a touch of more aggressive, almost Rage Against the Machine-like tunes. Band and MC were confident and tight, and it’s great to see a full live band for this genre. We’re keen to hear what they can put down on record (word is they are in the studio). They got the dancefloor busy and even had some break-dancers busting out moves during the set. The hip hop is strong in the city.
Champion Sound kept us in hip hop territory, the instrumental group leaning more into funk and electro. Some of the tunes wouldn’t be out of place in a Cruisin’ USA or GTA video game. The band are high energy and make the most of the vocal-free performance with interesting licks and time changes. It’s always going to be a challenge keeping things interesting with instrumentals, and there were enough moments throughout the set that made you pay attention. With bands like Grievous Bodily Calm currently dominating the Perth/Boorloo live scene, there is definitely room for more of this.
Closing the night were Cargo, kicking things off with a cover of Stacy’s Mum that immediately got the crowd into it. The band have a solid modern rock sound, sitting somewhere between radio-friendly alt-rock and straight-up pub rock energy. Original track Turn Cold was a highlight, showing the band are strongest when leaning into their own material. Cargo felt like a fitting closer for the evening, bringing things back around to big riffs and singalong choruses after the funk and hip hop flavours earlier in the night.
A nice showcase of young talent in the city and more reason for us to be hopeful Perth/Boorloo will continue to produce high-quality bands.
PS DB EP is the latest from Didion’s Bible, and the six piece friendship-rockers continue producing music that is both out there and grounded in post-punk, new-wave and electro-pop goodness. The songs were recorded alongside their album Yours Truly, DB and just had to see the light of day.
What’s A Name is a quick, catchy ditty that sets the tone nicely. The lyrical tongue-twister uses its pop frontage to address self-perception and identity, with an almost nursery rhyme-like pre-chorus followed by catchy harmonies backing the positive chorus: “no one’s not like you like you.”
This Heat moves further into the classic Perth sound but slows things down. The song starts with droning synths before relaxing into near-spoken word verses, surrounded by Go-Betweens-esque guitars. The chorus turns a corner into lovely front-and-backing melodies, with lines like “I’m begging for mercy” and “hindsight is a twenty / twenty.”
Mona Lisa (Never Let Me Go) is another fun-time tune and wouldn’t be out of place on a B-52s record, with shoutouts of “let’s go” and group chants. They used to call this new wave — now we can just call it fun-rock. Should be a good one live.
Panorama, at 4:36, is the EP’s epic — you can’t spell epic without EP. The drums drive the track along in something that sits somewhere between Talking Heads and Arcade Fire. It builds brilliantly past the halfway point, with the repeated “I am searching for a panorama” becoming the focal point of the rise. Instruments and backing vocals keep joining until the whole thing reaches boiling point — and then we’re there. Nice finish.
The band manage to balance fun and musicianship well on PS DB EP, creating a very listenable record that goes a bit deeper if you listen carefully.
Didion’s Bible are launching PS DB EP this Friday, May 8, at The Buffalo Club in Fremantle. Tickets available here.
Sascha and the band balance understatement with intensity — an interesting juxtaposition that works well with Ion’s vocal stylings and the general vibe of the band. The main chorus hook is catchy and memorable, built around the line “bring me light / bring me thunder / all day long.” There’s a slight scowl in the delivery that gives her voice a real edge. Special mention to bassist Liam Coffey for some excellent lines that wrap around the guitar work.
The trio have found a nice groove pocket, and this is another example of the blues-influenced alt-rock that hits the spot.
Sascha Ion and The Elements launch Cross Your Bones (Bring Me Thunder) this Saturday arvo (May 2) at The Bird. Get down early.
We’re at Lyrics Underground going down to the basement to get out of the rain. This Killing Frost hosted a warm night of stripped-back songwriters that suited the low-lit setting. It’s great to see so much variety in Perth/Boorloo — we just can’t stop discovering new music.
Opening the evening was Chris Mason, with help from fellow Lunettes alumni Kerry Fletcher. While Fletcher held the rhythm on her acoustic, Mason was free to play a bit looser with his hollow body guitar, and the combination worked well. The songwriting carries a heaviness you wouldn’t necessarily expect from a semi-acoustic duo; the songs would work well with a full indie-rock band. The hooks were unusual, but wrap themselves around you and lock in.
Elk Bell up next, and she was not afraid to open up and lay herself bare through the music, singing personal songs about loves lost and other battles. The fact she’s not afraid to tell you all the gritty details makes it all the more poignant.
The singer/songwriter was able to entertain with the music and add plenty of interesting insights in between. She has a couple of strong album releases under her belt, with another on the way. After seeing her play the latest songs live, we’re keen to hear the next chapter.
Onto the hosts, and the basement setting was perfect for This Killing Frost. Dressed all in black, with Julian Bolleter on piano and Andrew Ewing singing, the pair were engrossing to watch. There are shades of Nick Cave or the likes of Antony, but the sound goes further than any direct comparisons. The piano melodies get very cinematic, and the lyrics follow suit, moving between love songs about secret crushes and grander themes (if love isn’t the grandest).
Conquer and Divide is a perfect example — the piano sounding almost exorcist-like before Ewing croons about a relationship fading. From a literal beginning (“I think maybe it’s over, we’ve done our 10 years”), the lyrics ascend to gods and iconography like the tower of Babel (communication, that usually gets relationships). The music is intelligent but isn’t afraid to twist and play with its themes.
Special mention to the between-set music, which kept the mood right throughout. A strong showcase of songwriting talent, and one that more than delivered.
Interflow are making serious noise in the Perth scene with some proper rock n roll, and they continue releasing strong music, this time with Dirty Money.
The tune is bangin’ from the start and leans heavily into post-Zeppelin ’70s rock styling. Hats off to drummer Charlie Pascoe for some ridiculously tight beats, including a couple of perfectly placed fills to punctuate key moments. This kind of music demands big, tight, simple beats — and he delivers.
Also shouting out a live version of Old Ways, included as a B-side to the single (people still do these, hallelujah). The acoustic track is no less powerful, with guitar and vocals just as intense as any of the full band cuts.
Keep it up fellas — the Perth/Boorloo scene is strong, and always needs the classic rock representatives flying the flag and shredding stages.
We’re out in the suburbs on this rainy Djeran Friday night and luckily, we are inside and dry with a strong lineup of bands gracing the mammoth Milk Bar stage.
First up, The Off Set and the rotating 4-piece delivered the melody-rich jangles they do so well. The rotation is seamless between the three frontmen — switching instruments and singers while maintaining a great flow of catchy tunes. Zac Yusof’s turn was a particular highlight of the set, and the ear worming single The Places She Only Wished That She Could Go.
Next up Lake Mammoth, playing the lock-in jam-session-style psych rock we love them for. Some of the guitar sounds from the back-and-forth conversation between Jason and Steve are out of this world. Lighter on the usual percussion, the band were tight and suited the larger venue and lightshow. There are so many pockets through the sprawling set, the guys clearly relish jamming, and it comes across on stage
Little Things were a new experience for this reviewer, and once again, thank you Perth/Boorloo for continuing to turn out quality acts. These guys have some serious supergroup credentials, and it shows in the grungy, 90s rock-ish songs. The edge comes from Chris Cruickshank (krʊkʃæŋk) with his violin, playing it about as close to punk rock as the stringed instrument can be. It’s always nice to see a violin up there tearing it up with the rock band.
It was left to Sascha Ion and her Elements to close proceedings, and the diminutive riff demon did what she does best — firing off lick after lick in her understated but powerful way. The band played heavy and tight with an ease that camouflages what is seriously intricate instrumentation. With a range of songs from the folkier Lilliana to the grooving, riff-based The Groove, they just kept coming at you and building that bluesy alt-rock wall.
A seriously good lineup on a Friday night, and it’s good to see these bands out there playing regularly and putting out a steady flow of records. It shows, with a combination of bands, friends, and fans filling the venue. Stay off that dancefloor!
