LOOK: PBS Drive Live 2013

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The community radio sector is something which all of us as ‘taste-markers’ will inevitably have to peruse on a daily basis.

Whether it be the vitality of Melbourne’s 3RRR or Sydney’s FBi, community radio stations have I’m sure, granted you with a multitude of new experiences and insights into the artists you’ve come to know and love.

And Melbourne’s Progressive Broadcasting Service (PBS) is no different. Home to “little heard music”, PBS has been many a watershed moment for teens, or even adults, wanting to break the shackles of the ear-bleeding homogeneity of commercial radio (since 1979). While Triple J serves the informed Australian listener to adequate degrees, it’s stations like PBS who go leaps and bounds in promoting music that may excite, intrigue, or present a whole new perspective to your perception of ‘taste’. Whether it be Hip-Hop, Latin, or Rockabilly, the station consistently presents a grid that doesn’t shy away from inaccessibility. Having said that, it’s this relative packaging of niches that provide the necessary grounds for getting into musical styles that you probably wouldn’t have even given thought to previously. It’s for this very reason why I’ve discovered some properly good Gospel, Ska, and Ethio-Jazz that I probably would never have discovered – even with the internet at my disposal.

However, despite the dedicated (and unnoticed) work of volunteers and community broadcasters from around the country, the very future of some 37 stations is in limbo.

Thanks to cuts in funding to the tune of $1.4 million, community broadcasters will no longer be able to maintain the costs associated with digital broadcasting. While the current federal government has committed $2.2 million at present, $3.6 million is needed to ensure that all community stations keep their digital broadcast capabilities. As it stands, federal funding of digital transmission and connectivity costs amount to less than $100,000 per station. So, considering that you’d have to be a luddite to not know the future of analogue, this issue has gone beyond just being a big deal.

Considering the impact that community radio has had on all of us at WTH, we thought it might be worth talking about. So, take a read when you have the time, make some noise, and sign the petition, here.

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MAP January 2013

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35 dayum reasons to wet yourself over neo-psychadelia from Romania, Finnish grooves or maybe our own D.D Dumbo… who kind of sums up the sound of THE WORLD in our minds right now anyway. Enjoy the first round of MAP for the year.

Click the play button icon to listen to individual songs, right-click on the song title to download an mp3, or grab a zip file of the full 35-track compilation through Ge.tt here.



ARGENTINA: Zonaindie
El Festival De Los ViajesLos Altos
El Festival De Los Viajes is a psychedelic rock band with a sound that has an epic atmosphere and lyrics that play with your imagination. Los Altos is our favorite track from La Reserva De Los Lieros, their third album.

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AUSTRALIA: Who The Bloody Hell Are They?
D.D DumboTropical Oceans
Oliver Hugh Perry is D.D Dumbo. Perry makes music from his house in Castlemaine, a small rural town 120km from Melbourne. Tropical Oceans is a perfect cue to his unique brand of technicolour lo-fi that spans genres, blues hooks, African folk – and a sound that no one else from anywhere is really making at the moment. Sometimes the best releases never receive as much credit as they deserve, and this is one of them. If music is supposed to make you feel goddamn otherworldly, 2013 is going to be a good year for D.D Dumbo.

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AUSTRIA: Walzerkönig
Nowhere TrainAshes
Nowhere Train is a project of seven folk musicians from different bands. After a train tour through the country and a documentary about it, the supergroup’s first album, aptly named Station, recently saw the light of day. It was featured on national television and Austria’s most popular website. Ashes, a song about a perfect moment, was written on tour by globetrotter Ian Fisher (Missouri/Berlin).

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BRAZIL: Meio Desligado
Tulipa RuizCada Voz
Tulipa Ruiz is one of the major new Brazilian singers and is acclaimed by critics and the public alike. Cada Voz is the track that closes second album Tudo Tanto, available for free download on her website, and has its instrumental performed by the experimental band São Paulo Underground.

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CANADA: Quick Before It Melts
Daniel RomanoMiddle Child
Get out yer hankies, ‘cuz this one’s gonna make you ball like a baby. Daniel Romano’s transformation into the reincarnated George Jones is now complete, right down to the leisure suit he wears on the cover of Come Cry With Me, his third solo album in as many years. The former Attack In Black frontman has become an impeccable storyteller, and this tale of an estranged son trying to make sense of the senseless will break your heart by the time he gets to the first chorus.

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CHILE: Super 45
For lack of a better label, the music of Motivado (Mario Martínez) could be classified as ‘space Latin house’. After the praise he got for Bobby Fischer, his debut EP, Motivado delivered his second EP, Stasi, just as the past year ended and it exceeds what he accomplished on his first work. Yes, this is experimental music, but extremely danceable. Ferrer is one of three tracks on Stasi EP, a free download from the Discos Pegaos netlabel.

CHINA: Wooozy
Summer Fades AwayThank You
Summer Fades Away is an instrumental/post-rock band from Changsha. They released their second album We Meet The Last Time, Then Departure through 1724 Records last November, which features more classical elements. Though the band announced they were going on hiatus, fans still hope they could be back soon to make more beautiful music.

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DENMARK: All Scandinavian
North FallCurve
Originally a one-man project by singer-songwriter and guitarist Anders Belling, North Fall turned into a full indie-rock ‘n’ alt-folk band in 2011 and released their first EP late last year, from which Curve is taken. The whole, excellent thing is yours to download on SoundCloud along with seven tracks from Belling’s time as a lone rider.

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DkanoEl Bolo Bolo
Rapper Dkano mocks the rise and fall of a fictitious dembow artist nicknamed Bolo Bolo, in reference to so many one-hit-wonders that this local genre produces, as opposed to true hip-hop. El Bolo Bolo is taken from Dkano’s upcoming album Señales.

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ECUADOR: Plan Arteria
Making songs only with the voice is a risk that can produce impressive results. Francisco Valdivieso, better known as Fabrikante, is an artist who uses the flexibility of his voice to create unique compositions based on a powerful beatbox and original vocal loops. Chanteoma is the first single from his debut album, which will be out early this year.

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ENGLAND: The Guardian Music Blog
Public Service BroadcastingIf War Should Come
Public Service Broadcasting is the operations name of one J Willgoose Esq and his cohort Wrigglesworth. Imagine the Pet Shop Boys if they were obsessed with the war. They’re an electronic duo from London who use samples from old public information films, archive footage and propaganda material from WW2 and ally them to a variety of beats and backing from krautrock to drum ‘n’ bass. If War Should Come, from The War Room EP, is typical of their approach, with its found voices and sense of looming menace as the broadcaster warns of impending battle.

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EXPAT: High Highs

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There aren’t any specific inroads to make waves overseas if you’re an Australian artist, but moving to the US, Berlin, or some subcultural hub in Europe with good pastrami and a nice local is probably a good place to start. While Gotye is probably carving out a spot for his potential Grammy and Tame Impala have sold out enough shows in the US to afford proper shoes now, there’s still a ton of our Aus dudes making us proud over yonder. It’s hard to keep track on all our exports. It’s only when these bands make their prodigal return to the internet with a new collaboration, or bathrobe photos with German groupies that reiterates what we’ve been missing out on all along.

High Highs are Jack Milas and Oli Chang – an Aussie duo who’ve been based in Brooklyn for the last few years. It’s all hydrogen harmonies and blissful acoustica from these guys who’ve toured Stateside, had some nice words in P4K and sat down for lunch with Elton at Christmas. They’re returning back here in Feburary for Laneway, so probably best to get reacquainted.

We’ll be ransacking photo piles of Aussie artists overseas over the next few months, so if you’re an Aus act living overseas keen on sharing photos of good vibes, tour pizzas or your general nomad lifestyle, mail us – editors@whothehell.net.






























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Sugar Mountain

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Sugar Mountain has released its second line-up, adding to an already bumper selection for the annual boutique festival. Held over multiple days in January 2013, the main event takes place at The Forum Theatre on Saturday 19 January, with additional sites at ACMI, Rooftop Bar and Polyester Records. We love this festival as you can tell by having featured all these bands before. Check it.

The latest additions include:

Melbourne super group Boomgates, who began as a couple of friends having a loose Thursday evening sing and strum on a couch in Melbourne. Since then they’ve played a bunch of shows, released three 7″ singles and their remarkable debut LP Double Natural.

Brothers Hand Mirror are Grant Jonathon Gronewold (HTML Flowers, Cougar Flashy) and Oscar Vincente Slorach-Thorn (Oscar Key Sung, Oscar & Martin); two Melbourne bros. Predominately using tape loops and fast mouth tricks, Brothers Hand Mirror are inspired by tattooing each other, making comic books and zines, friends, coffee and sunbeams.

Collarbones need no introduction. Their current record Die Young will surely make all the hip 2012 lists, look out for pop conventions amid swathes of experimental electronica and elegant r’n’b laden hooks.

Sydney-based multi-instrumentalist, arranger and producer JONTI makes playful, dreamy electronica. He has spent countless hours studying records like they were books, processing each song and testing his theories on a four-track recorder. If you love music, eventually you meet others who do too.

Melbourne based synth outfit FORCES will collaborate with acclaimed choreographer ANTONY HAMILTON (Chunky Move, Australian Dance Theatre, Lucy Guerin). A ‘must see’ one-off performance, curated just for Sugar Mountain.

Finally, AH Cayley’s pick for heart break, Lower Plenty. A bunch of sweet dudes from bands including Dick Diver, Deaf Wish, The Focus, The UV Race. Heavy on the downer country, Lower Plenty sound like an outer suburban Go Betweens, or a Paul Kelly song where he doesn’t name-check Melbourne landmarks all the time. Their debut LP Hard Rubbish was released earlier this year on local label Special Award Records, and pays homage to divorce and the Australian outback.

Tickets for the 2013 Sugar Mountain Festival are on sale now via The Forum Box Office, Ticketmaster and Polyester Records.


With the visual arts and satellite programs still to be announced!


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FEATURE: Winter People

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Dylan Baskind, the frontman of Sydney band Winter People says that a good song captures a specific mood in an exact way.

“It’s not a concrete thing you can say in words, but you know exactly what that song is.” He describes Leonard Cohen as a master of this and mentions the way Dirty Three’s Warren Ellis can captivate an audience.

“The Dirty Three do it in an amazing way with landscape feelings; they never waiver from it. They never put a false note in evoking those moods, I think that’s such an admirable thing,” Dylan says.

There’s obvious excitement in Dylan’s voice when he brings up a Greek performer called Psarantonis who Ellis hand picked for the All Tomorrow’s Parties bill. “Warren Ellis is like a really sane version of this guy,” he laughs.

From the way Dylan speaks with such passion about these artists, it’s clear he takes making music seriously. This unwavering enthusiasm was one of the reasons Winter People won over Harvest Festival organisers, landing them a slot on one of the more tightly curated lineups of the season.

There was no inside deal involved, no label band mate greasing the wheels and certainly no proven history of festival crowd pulling. Instead, it was an old fashioned letter addressed to the promoters pleading their case to play at a festival that represented common values.

“Most of the significant milestones for the band have come from letter writing and I wrote a letter to the Harvest promoter.”

Dylan speaks of the hedonistic culture in Australia and feels that it flows through to the festival scene.

“Harvest represents a pretty brave move against the reigning cultural climate here and I admire that.  I felt a kindred outlook with that… so I put that in writing and sent it,” he says.

Those shared ideals between Winter People and the Harvest Festival are that the event is about music minded people coming together in a social way. “This event ensures there is an unhindered appreciation of music,” he says.  It’s a sentiment certainly reflected in lining up Winter People alongside artists like Fuck Buttons, Mike Patton, Sigur Ros, Grizzly Bear and Los Campesinos.

Winter People released their debut record A Year At Sea in September. Dylan speaks candidly about the idea of the contemporary record format.

“Soon it will become an anachronism to release an album,” he says. The CDR length and the LP length were determined by the core constraints of how much can fit on the medium. A tradition was created that became almost a golden standard and as Dylan notes; “It’s an absolute quirk of the economic cultural industrial situation if you’re up around record labels that described that as a milestone of band having arrived.”

“If you can pull together 12 songs or how ever long, 45 minutes or so, the challenge is ‘the goodness of the album’. Everyone can agree their favourite album is the one you don’t skip songs on. So the challenge is – can you make two hours of music where you’re not gonna skip a song?”

However, Dylan doesn’t agree that the album should be a contained conceptual statement. He says that the basic unit for music is the song. “What matters is the wholeness of the songs, as opposed to the wholeness of the album.” It’s an interesting point that flies in the face of changes to the way music is being currently made, distributed and consumed.

To Dylan, the concept of an album seems almost secondary to the vessel of a song. However, Winter People have released a typical format LP and will promote it with a tour. You’ll still find it in big box retailers for $20, despite a culture that he says; “Are going to chose a few of their favourite tracks and share them with their friends”.

“As all translators gripe about, there are words that just don’t carry over and there are things you can say in one language that you can’t say in another. You can get the point across and that is what’s important. A good book in one language is still a good book in another … and I hope the same of these songs.”

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What hasn’t changed though is the performance of music itself. “Music is at an interesting crossroads. It’s definitely in a crisis on its industrial scale, certainly the 80’s behemoth that it was is sickening and dying at an incredible rate … what you will likely get is a return to a chitlin’ circuit mentality of people who can make their living while they are playing. It’s not gonna be a glorious pursuit; well it’s not a glorious pursuit at the moment,” he says.

Dylan finally reflects that “maybe this is not a bad thing for the future integrity of those that get involved,” –  a sentiment that may well prove to be significant in keeping Australian music honest.


Winter People play Harvest Festival in November.

Sat 10th Nov – Melbourne, Werribee Park
Sun 11th Nov – Melbourne, Werribee Park SOLD OUT
Sat 17th Nov – Sydney, Parramatta Park
Sun 18th Nov – Brisbane, City Botanic Gardens


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