ERROL H TOUT Of Time And Space

Errol H Tout in his “modest but tidy studio”

Acclaimed West Australian guitar virtuoso Errol H Tout has released his new album, Dancing About Architecture, a labour of love recorded over a period of three years.

And he knows what he’s dancing about. Tout was Head of the Department of Architecture & Interior Architecture at Curtin University of Technology until 2008, then was more latterly a Senior Lecturer and Chair of the Science and Technology Stream. Then again, he’s also a graduate of King Crimson icon Robert Fripp’s Guitar Craft school.

For the one-time career architect and long-time musician, many things lie within the name of the new LP. Variously attributed to the likes of Frank Zappa, Elvis Costello and comedian Martin Mull, Tout dug further for this, the perfect album title.

“The first quote that I’ve been able to track down from 1931 in the New York Times,” Tout explains. “It was a journalist who actually said it in the context of writing and music being two different artforms and you shouldn’t try doing both at the same time. So writing about music was as stupid as dancing about architecture.

“Laurie Anderson used it too, I think,” he adds. “It’s been used and abused! For me, it just made a lot of sense. Once upon a time, being an architect and now I’m being a musician. So it fits well.”

Similarly, while music and architecture may be regarded as two different disciplines, architectural concepts play into the way Tout thinks about music…

“Very much so,” Tout says. “There’s a perception as you move through something. The perception of space is that you see it as you move through it. The perception of sound is that sound moves past you. So things move though each other and there’s should be a level of being able to discuss clearly about how it actually does it.

“You certainly have to do that in Architecture school. So architecture is about moving through space, and music is about moving through time.”

Dancing About Architecture follows up 2013’s The Post-Tumour Humour album and 2017’s Luminous. These three albums have been written, recorded, and released during Errol’s 10-year battle with cancer and are testament to the drive, creativity, and good humour of the man amidst that challenge. The new LP has been on the go since 2018, between surgeries and various hospital visits.

“I did it a very long time ago, some of it was done three years ago. There’s definitely one song on there that’s about me squaring up to the C-Bomb, a song called Seconds And Moments.”

The song features a rare vocal by Tout, complemented by an unexpected collaborator. “I sampled Bruce Lee talking about how he deals with an opponent in a martial arts competition,” he explains. “And it kind of made sense with what I was doing. So I took the sample and popped it in. I then wrote away and asked permission to use it, but they never wrote back so I assume it’s okay. So there’s one piece about the C-Bomb, the rest are about all sorts of different things.”

All sorts, indeed. Backed by a dynamic music video directed by Tout’s son Sam (who also contributes keyboards and bass to the album) The Black Dance recalls the alternative nightlife experiences of Tout’s musical past, when he was an emergent post-punk guitarist in the ‘80s.  

“There used to be a nightclub in Perth called The Red Parrot,” he recalls, “and in this den of iniquity people used to wear black and they had a certain way of dancing. This reminds me of that. It’s kind of a Cabaret Voltaire kind of vibe, but with guitars. It’s a really old piece and I feel it sounds fantastic in this version that we’ve recorded.”

Album opener Spiders sonically evokes the arachnid onslaught that terrified Tout’s wife in their kitchen. “So I made something that has these little things that scatter and run across the stereo picture,” he says. “It also fulfils my objective of trying to make bright, cheerful, and sometimes witty guitar music without sounding like a complete tosser. So it’s a funny little thing about spiders that get bigger and nastier as the piece goes on. It’s got a real groove to it that I really like.”

Slice Me Up Baby, meanwhile, “is a really old piece about my first visit to hospital to have various things cut out of my body. There were so many people in the theatre and so many bits of gear. I thought, ‘is that all for me? Well, slice me up baby!’ It’s about trying to get on top of things and not let things get on top of you.

“It’s really hard to find a sample of someone cutting a piece of liver, because it doesn’t make much noise. I had to compromise and use bits of timber being cut and chopped around!”

Dancing About Architecture also sees the return on the inimitable rhythm section of Roy Martinez (bass) and Ric Eastman (drums) whose tracks were recorded in an impressive two-day session at Lee Buddle’s Crank Recording Studio (the rest of the album was captured in Tout’s own “modest but tidy studio”). Fellow guitarist, Mike Gorman, a player who complements Tout’s playing in a very niche manner, is also back. They come and go from places that many haven’t been before.

“Mike brings all sorts of stuff with him,” Tout says. “He’s done courses with Robert Fripp and all kinds of stuff as well, more than I have done. That’s how we connected. He kind of came over for a cup of tea and stayed ever since. He brings a lot to the table, there’s ideas that I had – on Secret Agent Theme and Surf Action – that Mike could execute better than I could.

“So it’s really nice working with another guitarist because we’re kind of on the same page. I worked with lots of other guitar players and thought differently to them, but the fact that we’ve both been to Guitar Craft courses keeps us on the same page.”

Tout states that he had 45-50 pieces from which to choose from for a place on the album. Given that it’s predominantly instrumental music, the 14 tracks chosen made their presence felt due to an interesting set of selection criteria.

“The selection criteria was that you should be able to sing most of the pieces,” Tout explains. “Which was a good kind of benchmark. Some of the pieces are really catchy, and I was really trying to do that. There’s other ways that guitarists do things, and they all have their merits, but I was after something that sticks and maybe has a little bit of humour and wit.

“It’s an area that I like to inhabit, and I don’t know an awful lot of people who would have done stuff like that. It’s slightly outside of the rock mainstream, but still with a fair bit of energy and fun in there as well.”

Dancing About Architecture is available on vinyl for the first four months of its release and will thereafter be accessible on all major streaming platforms. With his eye already on his next release, Tout is well pleased with how his latest chapter has turned out.

“It’s a part of a continuum of one’s life work,” he considers. “It’s another chapter, and there’s lots more to come. I kind of like that – doing stuff and moving on, then moving on and moving on. Doing something better and different and in other ways than before… but it’s nice working with these same people because they’re just so bloody good!”

Errol H Tout launches Dancing About Architecture at Ellington Jazz Club on Tuesday, September 7.

THE LONESOME LOCAL LOCKDOWN

FeaturedTHE LONESOME LOCAL LOCKDOWN

(First published on Facebook – July 3, 2021)

I’ve spent the last fortnight staying in a room upstairs at The Local Hotel on South Terrace, South Fremantle. I’ve been in the throes of moving house, and as a new place fell through just before my exit date, my dear friends at The Local sorted a room for me to stay at in the interim.

I practically live there already. I’ve hosted a weekly talk/performance event on Thursdays off-and-on (mostly on, 28 shows to date) since last October; regularly find a spot to write on my laptop there, and constantly enjoy drinks with folks from the wondrous Freo musical scene. I dearly love the creative community around South Freo, and The Local Hotel is both a heart and hub for this.

In the last week it’s been oh-so-quiet everywhere along South Terrace due to lockdown. While my first week staying at my favourite pub was incredibly social, the second lot-of-seven-days has been a contemplative experience, to say the least.

Week-2 has seen lockdown and the realities that hit a venue such as this. The constant murmur of bubble and squeaks and beats and basslines from DJ sets squirreling from downstairs-to-up; the tales and riffs from local musical heroes, the laughter of fond friends and even the hints of early romance in the front bar have made way for radio silence. It’s all rain and wind outside and faraway footsteps within. THE LOCAL HOTEL HAS BEEN CLOSED.

At times I’ve felt as though I’m the only person in the whole pub. There are other people staying here, but no-one is doing anything or going out. I only hear people and never see them. It’s like they’re ghosts. Which means I am also a ghost. In a Ghost Hotel.

I endeavour to be Casper (The Friendly Ghost, if you recall). It helps a bit as early in Week-2 I develop minor cold symptoms, resulting in a refreshing day trip to Fiona Stanley Hospital.

Turns out she’s not even related to Paul Stanley. Even so, I’m open to being thoroughly doused and dubbed then directed to go home and self-isolate. In a closed pub, during a lockdown. Quiet stuff. My test result comes back within 12 hours and is reassuringly negative. Such a mild experience compared to the scenarios of so many.

But I’m left with this playground. This lovely/lonesome Local Hotel which has been so good to me. So I take a mid-morning to take a walk-around (masked, mind) to capture the quiet, closed moments. It will open its arms and doors to its charming, salt-of-the-earth staff and clientele, but for this moment and all the moments (and the new memories, and the old ghosts), it literally has become my favourite haunt. And I love it now more than ever.

Pandemic or not. Support your Local. Whatever it’s called, wherever it may be.

(Vax, also).

THE REDUCTORS Intellect, Imagery, Humanity And Humour

THE REDUCTORS        Intellect, Imagery, Humanity And Humour

As the ever-elegantly-suited Robert Palmer (RIP) once noted, ‘the proof is irrefutable’.

And it is indeed an irrefutable truth about art – there ain’t nothing like the classics. Some songs, books and films have never finished saying what they have to say. It’s this kind of bedrock that Perth band, The Reductors, are founded upon.

To begin (the beguine), singer/songwriter/guitarist, Luke Nixon, has harboured a deep love of classic punk and post-punk since his earliest years.

“I grew up in Wales, and spent my teens listening to Manchester punk and post-punk bands,” he recalls. “In particular Joy Division, The Fall, Buzzcocks and The Smiths which, as it happens, also had a big impact on the other band members.”

Classic literature has also played a part in Nixon’s continued artistic development. The characters and themes in his songs are borne of a lifetime of reading.

“Philip K. Dick, David Foster Wallace, Martin Amis, Dylan Thomas,” he notes, “variously for intellect, imagery, humanity and humour.”

These flavours and inspirations motivated Nixon to create his own music and write his own songs. Not from a punk-fuelled need to act out, but at various points to explore his feelings both within, then beyond.

“Originally, the motivation was to retreat and immerse myself in my own private world,” he recalls. “At the time, music was the key thing that enabled me to achieve that.

“I stopped writing songs for a long while, and when I started again, it was from a desire to create connections to the outside of that world, for artistic and personal reasons.”

Having landed in Perth, the seeds of The Reductors began about a decade ago. In scientific terms, a reductor is an apparatus for conducting a type of experiment to reduce a substance. “It seemed appropriate for creating social commentary in song form,” says Nixon, bringing it back to the art of the matter.

“Honestly, this band seems to have been a subliminal process in which the current members each materialised into the line-up, through one means or another, over a number of years. A series of happy accidents.”

Those ‘happy accidents’ are Aidan Gordon (lead guitar/backing vocals – ex-The Autumn Isles/Tenderhooks); Gareth Bevan (bass/backing vocals – Will Stoker & The Embers) and Erin Gordon (drums – The Quivers). Occupying the lead vocalist/guitar podium is Nixon, who previously trod the boards with The Horseless Cowboys.

“I write our songs – music and lyrics – and bring them to the band with a form and structure,” Nixon says of the band’s creative dynamic. “We work on the arrangements together, with each of us contributing and developing ideas. The other band members are all seriously talented musicians, who bring vital elements of their artistry, personality and enthusiasm to the creative process, and to our live performances.”

The Reductors released their debut album, Caboose, in 2017, followed by a double-A-side single, Practical Girl/Tremors, the following year. Across the output is an edgy melange of melodic punk and rock sensibilities. It’s not hard to tell that Nixon knows what he wants out of his songs.

“The important thing is to make songs that the audience can connect with, whether through the music or the lyrics,” he explains. “As a band, we all have an affinity for post-punk music, so we are influenced by everything that contributed to that milieu, including American bands such as The Stooges and Richard Hell and the Voidoids, as well as those Manchester bands I already mentioned.”

With that in mind, the band’s new single, Body Scan, shines the light ahead for kicking against the grain in (hopefully) post-COVID times. Already nominated in the Punk Category in the 2020 WAM Song Of The Year Awards, Body Scan fights the future and cracks like The Clash. The song shames body shaming and punches the air in the most satisfying way. 

“The song addresses the illusory and damaging focus in society and popular culture on body image ideals,” Nixon notes. “I have a number of friends who have been negatively affected by perceived norms and ideals relating to body image. The raucousness and pace of the music makes for an effective contrast to those ideals by signifying vitality over perfection.”

The song was recorded with Rob Grant (Queens of the Stone Age, Death Cab for Cutie, Pond) at Poons Head Studio in Fremantle.

“We love collaborating with Rob,” says Nixon, “he is so knowledgeable and experienced, and terrific company. There is also real magic to Poons Head… it is quite unique.”

Body Scan is the first taste of The Reductors’ forthcoming second album, due in 2021. Another single release is scheduled for the end of the year, whereupon the band will increase their local shows and pursue a tour of the South-West.

Despite the downtime of WA’s version of COVID-19 isolation, The Reductors are in a good place to build on the momentum set in the last few years. For Nixon, his initial outlook for the band is evolving very nicely indeed.

“The original vision was to create something unique through a sort of organised chaos,” he says. “We had plenty of chaos, but not much else, so I decided to rebuild, artistically, from something a bit more elemental – the first album is really a record of that rebuilding.

“Now we are liberated from that process and producing our most energised and authentic music.”

In the meantime The Reductors will launch Body Scan on Saturday, August 22, at Lyric’s Underground in Maylands, teaming with The Limbs, who will also be launching their new single, Do Not Help Me, which was also nominated for a WAM Song Of The Year award. Also along for this amazing double-launch are special guests Will Stoker & The Embers and Tanami. Bookings via Oztix.com.au.

Facebook Event Pagehttps://www.facebook.com/events/683873885498057/

Photo credit: Elle Borgward 

Life Grows Where Rosemary Goes (In Memory Of Tim Underwood, RIP)

Life Grows Where Rosemary Goes           (In Memory Of Tim Underwood, RIP)
Pic: Tim Underwood and Gretta Little, Courtyard Club, December, 2016. cr Damien Crocker

It took The Rosemary Beads 24 years to release their debut album, Shine. The journey within has often been dark, but the future looks bright indeed.

Driving through Northbridge along Roe St, on the way to see The Rosemary Beads, the lulling yet gritty tones of Swervediver’s Rave Down on the radio provide a fitting soundtrack amidst the traffic, not to mention one’s pre-gig mindset.

Both bands have been favourites on Perth community radio station, RTRFM, for some time now.

Two decades in fact; for this isn’t April, 1994, but December, 2016, and ‘90s specialist program Siamese Dream has taken over the Friday Drivetime airwaves for a live broadcast of The Rosemary Beads’ Courtyard Club appearance at the State Theatre Centre.

Time sure flies, except when it doesn’t (and let’s be frank, it hasn’t). Yet here we are, out of the carpark and into the warmth of gentle evening sunlight in the Courtyard, with kids playing all over the shop, watched over by strangely familiar-looking-middle-aged parents. They look like people who may have been at The Rosemary Beads’ second EP launch at the Grosvenor Hotel on that Saturday of April of ’94, shaking their heads at the day’s headline news that Kurt Cobain had taken his own life. Oh yeah… they were.

But these here are gentler times. Not that the world is kinder by any stretch of the imagination, but the people gathered – including the band – are tempered by two decades of real life and new life to boot. This is the real life.

Between 1992-95 The Rosemary Beads were perhaps a little too tension-driven to be the darlings of the Perth music scene, but they made a damn good fist of being its prodigal sweethearts. There were several incarnations, but the celebrated/classic line-up of Gretta Little (vocals/bass), Tim Underwood (vocals/guitar) and drummer Cam Munachen motored through three excellent Citadel Records-released EPs in those years (Dog, Breath, I’ll Come When I’m Good And Ready). Little and Underwood had been in bands together for almost a decade by this point and for most of the band’s tenure they were a couple. Until they weren’t.

Little eventually left the band. During 1995 a four-piece line-up briefly trod the boards until Munachen tragically died of an overdose in the spring of that year. He was a good, young man whose demise betrayed his true character and whose loss spelt the end of The Rosemary Beads. Underwood lost his best friend and his band in one cruel swoop. Munachen’s funeral saw a grief-stricken Perth/Fremantle band scene turn up in droves and as his coffin was wheeled out of the chapel it was to the (loud) strains of the Rosemary Beads’ last single, Worried About Fucking. Rock and pop tension to the last.

It really was agonising for all those anywhere near it. The end of The Rosemary Beads wasn’t just a band break-up. People were broken.

Rosemary-Beads-620x347

Rosemary Beads circa 1994, Cam Munachen, Gretta Little, Tim Underwood

Which makes their reformation, in early 2015, something of a fairytale ending… no, make that a beginning. With different lives, partners, paths and children occupying the two decades in between, Little and Underwood connected again via what brought them together in the first place.

It was music.

Doves cried.

Joined by drummer, Warren Hall (The Drones, The Volcanics, The M-16s), a one-off gig was arranged at the Astor Lounge in February, 2015. Their three Eps were conjoined into a single CD edition and a video tribute to Munachen was played before their performance.

It clicked.

The only thing that could happen next was more of it.

“It just kind of happened,” says Little. “At first, we were just gonna do the one gig, then after we’d been jamming together for a little while I think everyone started to go, ‘this is fun’. On the day of our reformation gig I said to Tim, ‘I want to keep doing it if it keeps working out like this’.”

“Gretta and I rediscovered our love for playing music with one another,” Underwood adds. “We’re in tune with each other’s songs… and it just sort of snowballed, I guess. A rehearsal turned into another one, which turned into a gig, then another gig. It was all pretty organic.”

It’s a special, unprecedented reconciliation and as such is being treated with due care. Appearances at marquee events such as the Nannup Music Festival and RTRFM’s iconic In The Pines have been complemented by selected venue shows. After this many years, no one’s in a hurry to wear this out. The beating heart in all this is unveiled as the band’s debut album, 24 years after they formed.

Released in November 2016, Shine features unrecorded gems from the past and independently-written tunes borne since. It sounds like what might have followed back in the day, but doesn’t echo as a mere time capsule. It truly sounds like an essence of then and now, for today… and tomorrow. Because the band’s very existence now, proves that despite the evidence, tomorrow is always a possibility.

“I’m glad you think that,” Little responds. “We don’t sit back and go, ‘let’s make this the next Beads sound’ or anything but it just turned out that way. We sound like The Rosemary Beads but… further along. I did listen to an old recording the other day and I do think that I sing a little differently. I didn’t think that I did, but I do. And I play bass a little differently, too.”

“You can’t plan that kind of thing,” Underwood says. “Even when we were choosing the songs that we were going to do again, the same ones kept popping up. For instance, General Franco (from 1993’s Dog EP), which we still play, that song is 24 years-old, and it’s such fun to play and always gets such a good response. It’s turned out to be kind of timeless in a way that, for example, She Ain’t Around hasn’t remained timeless (laughs).

“You can’t plan it; the songs are either there, or they’re not. I always thought we had a great album in us; and I really like this album, but I think the next one will be killer.”

A new album looks a probability in 2017, but in regards to Shine, songs of yore that were resurrected include She Said I’m Dead, Crack It Wide Open and Torture & Jealousy. Little had a brand-new tune, Comet, and some older songs that hadn’t been done with the Beads – Stars, Denial and The Driving Song, the latter about her old border collie, Blossom, a fixture at the band’s gigs back in the day.

Other memories aren’t so happy. It’s a complicated history.

“I wrote a song called Stars,” Little says. “I had a rather unfortunate run in my 20s. People obviously know that Cam died and Tim went off on a different journey, and unfortunately, for me, there were numerous people in my life having numerous troubles. Stars is kind of about that period of time where lots of really sad things happened in a really short space of time. And that often makes me think about those days as well, which weren’t happy for me, unfortunately, through no fault of my own, but you can’t really do anything about that.

“Those songs are a part of my life whether I wrote them or not. They hold time. I remember things like certain gigs when we play, but mostly I just remember what was happening in my life. I don’t know if other people do that.”

Underwood’s brand-new song is Ain’t Nobody Else Like Me, and it’s the newer stuff he is enjoying playing the most.

“We were always pretty lyrically dark,” he says, “but now I think 20 years later that the lyrics are even darker. We’ve got 20 years under our belts of things we’ve been through and experienced and all that kind of stuff that the lyrics are even darker than they used to be. That’s the main difference. That’s not about the group dynamically, but the lyrics are definitely getting darker.”

Both Little and Underwood speak highly of Hall, the Beads’ new drummer.

“Probably one of the best things about being in a band is fiddling around with a new song and working out what to do with it,” Little says. “We all like that and all sit well with each other creatively. In a band, you need, personality-wise, people who are all going to go okay together and he’s both of those things, as well as being a really good drummer. I’m glad he’s happy working together with us.”

“Waz is quite comfortable stopping a song and suggesting something that could go in at that part,” Underwood explains. “Which is quite interesting, because he’s doesn’t play an instrument, so he’ll say something like, ‘I think we should have a guitar twiddle there’, or ‘I think the bass should run down there’ so Gretta and I will take that input. He’s really committed to the structure of a song.”

Since the album was finished, Cam Sim (Worm Farm) has come on board as the band’s second guitarist, to bring those extra recorded flourishes to the stage.

“That’s interesting because Cam and Waz devised that idea between themselves at the start,” Underwood recalls. “And they had to sell it to me. I was apprehensive at first, because I quite like being the guitarist in The Rosemary Beads. Another guitarist? Another guitarist? But when Cam walked into the room and set up, it wasn’t even an audition. He just slotted in really well, so it was great.”

“It’s going to evolve the sound a bit more and give us a few more options going forward,” Little adds. “It’s good to have someone else in the band to mix things up a bit.”

The Courtyard Club gig goes off with a few hitches (the PA cuts out twice, but everyone is ever-so-calm about it all), yet the band itself are truly sublime. Memories come flooding back, but it’s very much about how it works in the present. And with kids running around everywhere during the show, it’s a touching reminder that there is a future to behold for this band.

“It’s pretty exciting and I just find it really good fun,” Little smiles. “I was at home with twins for four years. You go out and play a gig and people clap you. Nobody claps you at home!”

“It’s not surreal anymore,” Underwood concludes. “It’s one of the most interesting band histories I can think of, where you break up and 20 years later you get back together and start playing again. Basically, the new songs are great; and the rehearsals are great; and the jams are great; and the songwriting’s great.

“Gretta’s still got a set of pipes on her and she’s still playing interesting basslines. It’s great. We’re not getting the crowds that we did in the ‘90s, but I don’t think anyone is. We’re just having fun and enjoying it.”

Tim Underwood passed away on June 27, 2020. RIP.

NORTHERN BACKYARD EXPOSURE

NORTHERN BACKYARD EXPOSURE
Pic: Dan Howls and Julia Weller perform in Tania Hennah’s backyard

Local music ultra-fan, Tania Hennah, brings live music on home with iso gigs in her backyard.

While venues and artists alike have turned online to stream in the COVID-19 era, music fan Tania Hennah opened up her own backyard to live performances once the Level 2 Restrictions played out, hosting live gigs at her Padbury home to small audiences of friends and fellow aficionados.

Word goes out via her Facebook page and a small door fee is charged, which goes directly to the artists.

“I actually got on the front foot with this as soon as restrictions were set at 10 people,” she says. “On the day of the 10 peeps announcement I contacted four artists and asked if they’d be interested in a live backyard, socially-distanced gig at mine, as soon as the restrictions were lifted to allow 20 people. I had all respond positively by the end of the day and lined up for the next our Saturdays as soon as the Government made the call.”

Last Saturday, Dan Howls with Julia Weller kicked off proceedings in just the kind of fashion that Hennah knew they would.

“It was amazing,” she says, happily. “It’s been so long since we’ve been able to see and hear live music and have a beer together. The weather was a balmy 26 degrees, so perfect too, to kick back on the lawn and chill and enjoy local live talent. We even danced too! Dan and Julia delivered as always and had people in the palm of their hands.”

It’s all a step in the right direction, but it’s not a first for Hennah, who is no stranger to hosting gigs in her home in the pre-iso past. She especially loves the Fremantle music scene and has never subscribed to the North/South divide.

“Myself and my friends have such a love of local, live and original music and want to support our artists,” she says. “And I have the room. So, it’s no-brainer really. It’s a relaxed environment, my neighbours are awesome and happy for me to do them. Plus much of our local talent, and speccy venues, are in Freo, but I live in Padbury, so very selfishly it’s also perfect for me because I don’t have to drive or uber and can party on!”

Hennah originally hails from Guernsey, an island in the English Channel that lies off the coast of Normandy. She felt deeply connected to music at an early age for reasons that reflect the experience of local music fandom here in Perth.

“Guernsey, although only a small island – 45 ml square, and 62,000 people – has quite a lot in common with Perth, really. They are both very isolated places, Guernsey being just off the coast of Northern France and a long way from the UK. This made it very difficult for UK and international bands to play there, logistically and financially.

Tania in Guernsey

Tania at Castle Cornet, Guernsey

“So it’s much like Perth’s relationship with the Eastern States, especially going back a few years. We couldn’t get those bigger artists to the Island, or to WA, so Guernsey, although small, pretty much had to create its own local, live music scene, performing at small local venues. And damn we had, and still have, so much talent there. I think Perth had to do the same thing, create its own live music scene as it has been, in many ways ignored by the East Coast due to logistics.”

Hennah is as passionate a live music fan as this writer has ever met. Why has that passion never waned, when for so many people it often does?

“The calibre of the music, I guess,” she notes. “When you hear a new track by a favourite artist or discover a new band that you just dig… I just have to see them! As for so many people, music takes me to another place, and being part of the gig is so much more authentic to me.  I think also that I’m lucky to be very healthy, get by on six hours sleep a night, and I’m not a fan of growing up!”

Hennah’s plans for the rest of iso – and beyond – revolve around her continued obsession with live music. There’s more to come from her backyard and more to look forward to when the world hits upon a new normal.

Jack Davies is gigging in the backyard on Saturday (May 30) evening. Can’t wait for that. How can someone that young be so talented?  Not only musically, but lyrically too. The guy’s a genius!

“Then for the third show on Saturday, June 6, we have Joe Corbin. He isn’t local to Australia, but he’s local from my home of Guernsey, so that counts! A soul, blues, folk singer/songwriter, who should’ve been travelling over East by now, but he also got iso’ed in Fremantle. For the fourth show (June 13) it’s another of my favourite Freo artists. Lincoln McKinnon, with James Elliot doing some percussion. Very excited for that, too. It’s a good thing, I think, that these amazing Freo musos get some ‘Northern Exposure’ too.

“After iso, me and the ‘gig fam’ – a bunch of mates who equally love our live music – will be back supporting the scene wherever we can, and usually will be found dancing at the front of the stage or at the bar. A positive from all the ‘Rona stuff, is that there will be new music to hear too, written in isolation.  And. We. Can’t. Frigging. Wait.

“And on a side note, if you have the room, and want to support our artists in this financially crippling time for them, organise a bunch of guests/mates to come over and request they make a donation to the artist. Everyone can BYO drinks, nibbles and rugs… too easy!”

 

NICI WARD When Doves Fly

NICI WARD When Doves Fly

Perth Singer/songwriter Nici Ward has worked through a few musical aliases and band names in her time, but her latest venture as Lonesome Dove seems more than a little suited – in name at least – to this isolated era.

“To be honest, we are doing okay,” Ward notes of a life lived well in terms of family and creativity… and iso. “We live up in the hills and for once living away from everything is serving us really well. Our kids (Ward and her husband Ben have two young boys) have a lot of space to run around and that makes things a bit easier.

“I had a major freak-out after the first two weeks, really missing my friends and all the normal things everyone is missing and I hadn’t fallen into a rhythm yet, but things seem to have become a new kind of normal and that’s okay. Just taking each day at a time.”

While having two boys in a row a couple of years apart understandably took Ward away from the creative focus she had known in the preceding years, she felt its return as they’ve both grown older. For some time Ward shared songs she had written as posts to her Instagram account, but that soon proved not to be enough to match her true productivity.

“I started to feel like the material was building into something more and my brain just started going into overdrive with the whole concept of what it could be. I had that name for a long time, it’s actually a mini-movie series from the late ‘80s I remember watching as a kid. Although the name hints to a country vibe, it’s not at all. It’s my ‘90s pop baby (laughs).

“I took a trip to Los Angeles last year and it cracked open a whole creative place in my brain; it really helped me to push myself and realise not to worry about what other people thought about what I was doing and to just make it my own. It’s so cliché, I know, but it was a really pivotal experience for me, personally.”

Though it’s primarily a solo project Lonesome Dove sees Ward collaborating with husband Ben (guitar/bass – Rinehearts, ex-Screwtop Detonators) and his bandmate Ross DiBlasio (drums, piano). Al Smith from Bergerk! brought his mobile studio for recordings to be made at the Ward residence. “I want to use Lonesome Dove as a platform to do things how I want,” she says, “but also to collaborate with other artists.”

Ward has just issued Lonesome Dove’s second single release, Parallel Life, a poppy number that draws aural images ranging from Julianna Hatfield or The Bangles to Gabriela Cilmi (to these ears, at least).

“It’s is basically about the hope that there’s someone out there living your perfect version of life and the hope that you’re going to find them to live that together,” Ward says. “Pining over someone through your phone and having an idea of what it’d be like to be with that person but it’s all caught up in your head. It’s not about the reality of it.

“I like to make up characters a lot when I’m writing, it’s not always about personal experience, but I guess I did tap into that teenage notion of romance and what that meant compared to what was probably the reality of the situation. I guess the girl in the story is kind of sad in a way, she’s lonely and fragile. But she’s also sassy and has a lot to give.”

The accompanying video clip is simple and so very effectively direct. Shot on phone camera at her home, and featuring cameos from her cat and dog (‘my pets are in everything. I’m obsessed with them, I think they just added to the charm of it. Also, they’re cute’.) it was an afternoon well spent.

“I wanted people to see the character in that video,” Ward explains. “To feel what’s going on in her head. It’s a bit manic, I had about an hour where the kids were watching a movie and Ben was away working, so I shut my bedroom door and just got stuck in. I wanted to use the same angle and get as much out of that as I could which I think gives it a bit of a claustrophobic feel. Not to mention I really like the DIY aspect of the project and it’s just me doing everything. So I just set my phone up on a tripod and ran the song a bunch of times and tried to just relay to the camera what I was trying to get across.

“I wanted to show her different personalities and emotions. And the process of her thinking, which is where it goes from ‘fun, happy girl’ to ‘I’m a crying mess’ pretty quickly. I think my boys were pretty confused when I emerged from my room with a face covered in smeared make up, I looked like The Joker!”

Growing up in a musical household herself, it was possibly a full circle moment for Ward. The daughter of Perth singer/songwriter/musicians Boyd Wilson and Denise DeMarchi, as well as the niece of Baby Animals singer/guitarist, Suze DeMarchi, she witnessed both the glam and grim of music life from an early age.

“Music was everything,” she recalls. “My upbringing was bright, colourful and transient. I was an only child up until the age of about 14, so I was around adults a lot. I think I went to a dozen different schools which luckily suited my personality as I’m pretty adaptable. I learnt to be very independent. I liked making new friends. I had very strong female role models.

“My mum is an excellent singer and she and my Dad were always playing and writing and touring. We moved to Sydney when I was about six. We lived in a flat in Bondi. It was very buzzy. We had beautiful friends as family there, all the kids growing up with parents in the industry. One kids parents were touring, the others were the catering for Michael Jackson, another doing makeup for the next big thing. I remember my Aunty Suze picking me up from school with Deni Hines, it was the ‘90s and the song L-O-V-E Love was a big deal at the time (laughs). I learnt a lot from people around me, not just about the industry, but about the value of relationships.

“But also it was a different time, you really saw how much it took and how hard people had to work to get where they wanted. I saw the sweat. Without sounding old, things just didn’t happen at the pace they do now, and it wasn’t expected to. You were expected to work. I think that set me up for having pretty real expectations of myself.”

Unsurprisingly, Ward was compelled towards, if not a music career, then a musical life. She followed in a certain amount of footsteps but was clearly intent on making her own.

“As a late teen I did a lot of commercial/pop work, working with other writers, my Dad, Boyd Wilson, Nuno Bettencourt (Extreme) and tried for a few publishing companies. I was also getting put forward for auditions for TV soap kinda stuff. I loved it all. I played a few solo shows and did some fill-ins for existing bands.”

It was fun and all, but as Ward puts it, a degree of teenage rebellion kicked in and she wanted to make her own moves. Welcome to the stage, Nici Blue Eyes…

“Nici Blue Eyes was something I started in about 2001,” she explains. “I went to Melbourne and played for a long time there in a band where I was writing the material. It was country, I loved Wanda Jackson and Dolly Parton and it was heavily influenced by that vibe. It was a lot of fun and I learnt so much. Just constantly playing so much teaches you a lot. And I had a lot of great opportunities playing up in Sydney, Big Day Out, supporting some great bands… The Super Suckers, Six Ft Hick, Graveyard Train and more.

“I loved that in Melbourne if you played country you’d still get put on the same bill as punk and rock’n’roll bands, it’s very inclusive there that way and I made some lifelong friends because of it. The band evolved with different members but I just got to the point where I wanted to do new things, change of scenery, whether that meant musically or otherwise I wasn’t sure at the time.”

Ward and Ben packed everything they hadn’t sold off into their ute and drove around Australia for six months, eventually making a return to Perth.

“After a few years of working out where we wanted to be and deciding to have a baby I was feeling pretty lost,” she reflects. “I think a lot of mums go through it, having a baby is such a sacrifice mentally and physically, and you end up just being this other person that you have to get to know. I knew I wanted to be playing again but I didn’t know how to go about it, really.

“I contacted Joe Bludge from The Painkillers who I’d known for years and we sat down and went through a bunch of songs I’d written. I love Joe as a songwriter, he’s very clever. We formed Petticoat Junkyard which was Joe, myself, his wife Sarah Norton playing bass and Adem K (Turnstyle) on drums. It was a cool little unit and I was just so grateful to be creating again. We put out an album and played some shows and then…. I had another baby (laughs). I took a long time out after my second child.”

Now, several years on, Ward says that home life is a balancing act. “The main goal always is that everyone is happy. Ben is a carpenter and runs his own business. I’m studying personal training at the moment and we have two kids in primary school. So, music for us is our joy, it’s our hobby and it’s something we are both passionate about.

“Only recently have we collaborated together and it’s been very interesting seeing how each other works in that way. I love that it’s constant learning. Being able to put your personal feelings aside and just learn from other people, creatively, is the best. I think we are both learning a lot from our kids too. Our youngest is music-obsessed and that’s been hilarious and incredible to watch, just letting him find his way and find the joy in it, and our oldest is a total mystery, he might end up being a zoo keeper or owning a pet shop he says (laughs) which is great! But there’s always music playing or being played.”

As for Lonesome Dove the future looks bright. Ward has several new songs in readiness for an EP release, including a track co-written with Ben Protasiewicz from Perth indie punk rockers, Pat Chow. The fulfillment that comes from playing and creating music is much its own reward when the world, in general, still faces unsteady times.

“I’m hoping Lonesome Dove ends up just being a constant vehicle for me to put music out and keep working with other people,” Ward reflects. “And as far as everything else goes it’s just day-by-day at the moment. We are so lucky where we live and it’s all about just working hard for what we love and enjoying it I think. So yeah, I think that’s it. Like us all I’m hanging to get back to live gigs! But it’s cool, it’ll all happen when it’s supposed to.”

FB – https://www.facebook.com/Lonesome-Dove-109312573803211/

VISA LAS VIRUS Advice For Temporary Visa Holders

VISA LAS VIRUS Advice For Temporary Visa Holders

As the population of Australia awakens each morning to new and often confusing updates about the coronavirus, permanent residents are clearly wondering what’s ahead. What hasn’t yet been widely broadcast or considered, however, is the impact that the virus may have on the 2.2 million temporary residents currently living here.

 While panic seems to continue in Australian supermarkets, both the Department of Home Affairs and the Immigration Department are operating on a business-as-usual basis. Each department expects Temporary Visa Holders to maintain a lawful status. For those with a visa that is soon to expire, it is important to address the situation so that their status in this country remains lawful.

“Australian visas don’t have the facility to be extended, so you need to apply for another visa,” says Jessica Edis, Principal Lawyer of Perth-based specialist migration law practice, Putt Legal.

“What you need to do is plan ahead and look at what your visa options are. It may be that the only option you have is to apply for a visitor visa to allow you to stay on. If that’s the case that’s fine, you’ll get a bridging visa to cover you in the interim, but whatever you do, don’t let your visa expire.”

Temporary Visa Holders should also bear in mind that even if an application is refused, the potential remains for reviews of onshore applications. This will enable the applicant to remain in Australia with a maintained legal status as their application is reviewed. The important thing is to source the right advice and be prepared.

“Once your visa has expired it makes life very difficult for you,” Edis says. “Even the Migration Act says that you might end up in a detention centre. Just make sure you get advice well before your expiry date.”

Concerns have also arisen for those holding a Travel Pass, otherwise known as a Bridging Visa Class B. This pass is made available to people who are waiting in Australia for a visa to be processed, but for some reason have had a need to travel offshore.

“They have a finite travel period,” Edis notes, “so you may find that you’re stuck offshore after that travel period expires. The Immigration Department has indicated that if you’re in that position then you will be able to apply for a visitor visa to come back. They’re well aware that there may be individuals who are stranded in that situation. So as long as you apply for a visitor visa and explain the circumstances, I feel comfortable that the Department will let you back in.”

With the number of foreign students on Temporary Visas in the Australian tertiary system, there is also a lot of concern within that sector in regard to the possibility of lockdowns. If universities and schools are shut will student visas be affected by a lockdown?

“In this respect I understand that the Immigration Department is working together with the education institutions,” Edis explains. “They haven’t advised of any new policy yet, but I expect there to be a great deal of flexibility.

“I don’t anticipate that there will be any cancellation action taken because you end up in breach of your student visa conditions. I think that the department is likely to publish new policy, to cover students who are affected by the coronavirus situation.”

With the increased demand on supermarket retail at this time, many overseas students who are employed in the industry may be offered additional hours. The worry here is that extra working hours may be in breach of their temporary visa.

“My understanding is that it’s very clearly confined to students who are already working for the large supermarkets, so that would be Coles and Woolworths,” Edis says.

“I understand that some supermarkets will be able to apply to the Immigration Department for their employees to have their hours extended, but at this stage it really is only if you have an existing employment contract with a large supermarket. However, I would suggest that you check directly with your employer rather than making the assumption that you could start to work over the hours that you’re normally allowed to.”

From students to those on working holiday visas, the uncertainty reigns. This is especially so for the many European travellers intending to work while in Australia who are unsure if their applications will go on hold or if the Government will refuse them.

“I don’t anticipate the applications being refused,” says Edis, “but I do anticipate that obviously you won’t be able to travel at a time that suits you. You’ll have to wait for the travel ban to be lifted.

“Working holiday visas have a generous entry date on them, so from the date of grant you actually have 12 months to enter Australia and the period in which you are allowed to be in Australia is 12 months from that first arrival.  If you’ve just recently been granted a Working Holiday Visa, you’ll have plenty of time to come to Australia when the coronavirus situation has been resolved.”

While being specifically tested for coronavirus is one thing, the possibility of it becoming part of a regular health examination has become a concern for those simply undertaking one in accordance with their visa conditions.

“I think there’s two things to be aware of if you have a health examination booked in for your visa,” Edis states. “Firstly, if you are feeling unwell, I suggest that you simply reschedule it.

“Secondly, there isn’t any suggestion that they are testing for coronavirus, but even if it turns out that you may have it, it is a temporary condition and the examination is intended for permanent and long-term medical conditions that can significantly increase costs on the public health system.

“So I don’t think the corona virus will affect any health examinations, but as I said, if you’re not feeling well then certainly reschedule the examination until that time when you feel a bit better.”

For Temporary Visa Holders who would like to find out more, or who may have specific questions about their legal status in the wake of the coronavirus outbreak, Jessica Edis will be part of a Facebook Live Q&A Session with Immigration Lawyer & Registered Migration Agent, Amanda Valenti, on March 18 and 20 as part of an Online Summit presented by Putt Legal.

For Emem Udo, Senior Visa Coordinator for EasyMigrate, an Australian migration and citizen service, the Online Summit comes as welcome news. “I’m glad professionals are making the effort to address the situation of temporary visa holders during this time of uncertainty,” she says. “Australian citizens and permanent residents do not understand the struggle.

“If you were born in Australia as a citizen or permanent resident it is almost impossible to understand how unsettling the visa process is. The visa process is already very destabilising and stressful. Often times temporary visa holders are waiting for months or even years for a decision before they can fully start to make future plans and many visa holders are already restricted by their visa conditions.

“With the added panic and uncertainty surrounding the implications of COVID-19, it’s important for there to be a forum for temporary visa holders to share their concerns and get advice.”

A diversity of topics will be covered including visa cancellation, fears about deportation if this occurs, status while awaiting a return home, travel restrictions, immigration health checks, government response and much more.

“If you have any questions that come to mind now, please submit them before the live stream and that way we can include them and make sure that they’re covered.

“Please understand that information continues to be rolled out and we are communicating directly with the Immigration Department. So, with any of your queries that come in beforehand we will try and submit them directly to the department, so we can answer them for you.”

Access to the COVID-19 Online Expert Webinar & Q+A Session is only $27. Register now and submit your questions at ausmigrate2020.teachable.com.

MATTY T WALL Speaking Volumes

MATTY T WALL Speaking Volumes

With a well-deserved summer break behind him, Matty T Wall is all set to return to the stage for the new decade, more motivated than ever.

This is in no small part due to the worldwide acclaim that was brought upon Transpacific Blues Vol. 1, the collaborative album that saw Wall duetting with blues guitar greats such as Kid Ramos, Walter Trout, Eric Gales, Kirk Fletcher and fellow West Australian, Dave Hole. The album was released internationally via Memphis label Select-O-Hits and by Only Blues Music in Australia.

Transpacific Blues Vol. 1 was met with rave reviews around the world, hitting the Living Blues chart in the US and making the grade in none other than Joe Bonamassa’s ‘Cutting Edge Blues – Best Of 2019’ Spotify playlist. The great man of blues guitar handpicked Wall’s run through Hi Heel Sneakers with Eric Gales. For Wall, it’s a great shot in the arm.

“When you’re playing guitar with one of the best in the world, Eric Gales, he does a solo that blows you away then you go and do your best on that track,” Wall says. “Then it comes out and you listen to it and you hear that you have kept up with it… it does give you confidence in your own ability, definitely.”

While the various guitar duets have captured the attention of all sorts of blues fans around the world, Wall is pleased to note that his own take on the classic Stormy Monday has travelled the miles especially well.

Stormy Monday has really grabbed people’s attention,” he enthuses, “which is really cool because they’re saying it’s not just the guitar but also the singing, and that gives me a lot of confidence as well. I kept it in a similar style to Eva Cassidy’s version and being able to sing it with good chops is something I’ve been working on, so I gain a lot of confidence when people appreciate that.”

It seems that the whole Transpacific Blues Vol. 1 experience has given Wall a new template to work with. After every release an artist has to go back to the drawing board but in his case it’s a whole new drawing board…

“It is,” he concurs. “It’s a side-project that I want to pursue, definitely.  I don’t know if anybody’s done this too much in the past here in Australia before, working periodically with guest artists from the US on blues covers albums. It’s quite a fun adventure and I want to keep doing it, for sure.”

Indeed it’s a side-project that doesn’t distract from Wall’s original music career, or dare we say, his brand. It’s an outlet that signposts his love of blues music for all to see and hear.

“I wanted my fans to know that I love the blues and this is me playing the blues, so they know where my roots are and what I want to play,” he explains. “I mostly play my originals, but I always throw in blues covers at a gig. People see that at live gigs but I wanted to share that with fans around the world who don’t get to see gigs.

“The funny thing is when you’re in the studio recording an original album, you think more compositionally, I really try to structure everything to make the songs work. I don’t structure all the solos, there’s probably 20 per cent of them that I do, but when it comes to jamming on blues songs I feel very free. It’s a lot of fun.”

Matty T Wall.2

So where to from here? How does Wall take a life-affirming and career boosting experience onward to his next album of original material?

“They are two different things,” he states. “I am working on originals for the next album, they’re probably going to have a little bit more of a blues flavour than a rock flavour. Doing those songs helped me in that direction.”

Wall is looking at potentially releasing a live album or EP this year – it’s already been recorded, but just needs mixing. He’ll also be recording an original LP for release in 2021, by which time he’ll be working on Transpacific Blues Vol. 2, with some big-name collaborators already pencilled in.

As for where he is at the moment, Wall played his first show of 2020 at The Basso on Sunday, March 15, and will perform at the Perth Blues Club sharing the bill with Michael Damani of the Original Chicago Blues All Stars.

The momentum is strong and positive, with Wall recently building a recording studio in his home. More than ever, he can keep the creative home fires burning.

“I can record albums for as long as I want,” he laughs. “I can do another 10 or 20 albums, I’ve just got to write the songs! There’s a lot of promise coming, I just don’t know what that looks like at the moment.

“This year for me is all about having fun,” he concludes, “that’s what I want to do. Whatever that means is how it’ll come out and I’ll enjoy that ride.”

www.mattytwall.com

WOMEN’S FEST FREO

WOMEN’S FEST FREO
Photo: Addison Axe of Axe Girl, Women’s Fest Freo 2020 headliners. Pic: Marnie Richardson @ Three Gates Media

Julia Weller exudes both confidence and an infectious positivity. Many Freo music community folks will know her not only as a friendly neighbourhood barkeep at Mojos, but as a personification of that venue’s open and equal charm.

That’s not all, however, Weller is also a musician and an activist for gender equality. She is the organiser of Women’s Fest Freo, which returns this weekend to Clancy’s Fish Pub after debuting in 2019 with great success.

“Last year was a crazy whirlwind, and exceeded my wildest expectations,” Weller says. “I was – like this year too – amazed by how many people jumped on board for gender equality. Every day leading up to the event last year I had more new ideas and just did them all. It taught me to ask for more help and made me realise I’ve got a really nice community to lean on. I basically went through the roof when I found out how much the event raised for UN Women Australia, with over $6,500 we were one of their biggest individually organised events of the year, whilst having a huge party!

“With so much local female lead talent playing and Abbe May headlining last year, all of the people helping out and donating to the festival, we had a colourful, safe and amazingly fun event. I could never have done it without the help of everyone involved.”

While ongoing steps towards equality in the music industry still need to be made, Weller feels that progress continues.

“Looking at the average line up of gigs nowadays, I can definitely see people are starting to think more about making gigs more diverse,” she states.

“Playing music in the Dan Howls Band and working at Mojos I definitely feel like women have stepped it right up and have been motivated to follow through in whatever way they uniquely choose to express themselves; and that is being celebrated more and more.”

Along with her own work Weller feels buoyed by the efforts of WA artists strongly flying the flag for gender equality.

“There is of course our very own Lucy Peach, Perth’s all ‘round legend feminist within her own right; informing the masses about the power of the period with her fantastic TED Talk and writing beautiful, empowering music,” she notes.

“Another person that comes to mind is Perth talent Stella Donnelly, for being such an outspoken and inspiring women in the music scene. I really appreciate her powerful songs about real things that happen and in my opinion, encouraging everybody to open up the conversation and make a change. That’s really inspiring.”

Julia Yemaya

Julia Weller performing at Mojos. Pic: Tashi Hall

Weller was born and raised in Holland and upon turning 18 felt compelled to head to our shores upon meeting some exuberant Australians at dinner. A few months later she landed in Sydney “and went north, from there on I slowly made my way across, living in the rainforest and the Kimberley along the way.

“When I came to Freo it was my first reintroduction to a ‘city’ – I had been living out of a swag for about two years. I started busking and made my way for a good couple of months before having to get a job. From there onward I started to integrate into the Freo community more and more, working at the Freo markets, coming back every summer, the bubble had started to take shape.

“Then I started playing music with Dan Howls and working at Mojos and I really started to be a part of the music industry. It gave me the confidence of pulling something like this off, something I probably wouldn’t have dared even in my hometown. That’s why I love Freo!”

Mojos has offered Weller a front seat to the music scene, from grass roots to touring icons. She likes what she sees.

“I’ve seen amazing gigs at Mojos of any gender,” she notes, “and I feel like diversity is definitely being promoted and encouraged. Also it’s a zero-tolerance venue, which is actually really amazing. Anyone who feels uncomfortable can come up to the bar, and the issue will be taken seriously and dealt with.”

Women’s Fest Freo features 11 female-led acts – Lois Olney Freaya (solo) Tanya Ransom, Joan & The Giants, Freddie Mai (Bass Lemon), Smol Fish, Bexx, Hannah Smillie (Psychotic Reactions), Grace Armstrong, Lucy Peach and headliners, Axe Girl.

“I love how the main thing connecting these bands is the celebration of women,” Weller says. “We’ve got loads of different genres on the same line-up which promotes diversity in itself. From 60’s inspired garage to jazz, feminist folk/pop to soulful blues/country to indie pop, we’ll go on a musical journey!”

Women’s Fest Freo will also feature a pay-as-you-like second-hand clothing stall, glitter, good cheer and, well, beer. Weller reinforces the fact that the event is a safe space for free expression.

“Absolutely everybody is invited,” she says. I hope people feel comfortable and encouraged to express, dance and dress how they like, celebrating diversity and bring these vibes along to other events too.”

Women’s Fest Freo takes places at Clancy’s Fish Pub Fremantle this Saturday, March 7, from 6pm. Pre-sale tickets are $25.50 (including booking fee) available here or $30 on the door. All proceeds go to UN Women, the biggest gender equality advocate worldwide.

More details on Women’s Fest Freo – Facebook.com/womensfestfreo