Released simultaneously with ‘French Rockets - 1×1′ this is another recent product of various members of the Radio Dingbat crew.

Taken from ‘1×1 / IDDQD’ Split 12″ single with FRENCH ROCKETS

Available as 12″ / DVD package through Heartless Robot Productions

heartlessrobot.bigcartel.com/product/french-rockets-injured-ninja-12-vinyl-dvd-1×1-iddqd

C+P 2009 - Injured Ninja

Directed by Steven Hughes
Director of Photography – Sam Winzar
Assistant Director – Dominic Pearce & Adrian Higgins
Edited by Dominic Pearce
Post Production Special Effects directed by Rob Woods
On set Special Effects directed by Adrian Higgins
Latex Design by Andrew Britton
Toy Mutation by Freddie Suicide
Costumes designed by Aurora Coultier

Thanks to Nicole Norelli, Jason Jones, Freena Hamilton,
Jayden Weston, A.J. Coultier, Matt Bedford, John Ardley,
HD Rentals, Location Equipment, G&S FAB pty ltd.

Starring
Stephen Lloyd as ‘Doom Guy’
Chop Chop the Evil Spider as himself
and Injured Ninja
?
injured-ninja.com
myspace.com/injuredninjah
ninjas@injured-ninja.com

French Rockets - ‘1×1′ (2010 redux) from French Rockets on Vimeo.

The first of our aforementioned videos that we recently released.

C+P 2009 - French Rockets

Directed by Dominic Pearce
Director of Photography Jeremy Stewart / Sam Winzar
Assistant Director Steven Hughes
Edited by Steven Hughes / Dominic Pearce
Post Production Special Effects directed by Rob Woods
Lighting provided by John Ardley
Thanks to Stephen Lloyd, Adrian Higgins, HD Rentals,
Location Equipment, Beds Plus, Edith Cowan University

Starring
Con Ortheli as TV Host
Andrew Ewing as “Der Pandit”
and French Rockets

Musik Kultur Unterhaltung Zeit’ theme song
composed by Rob Woods

myspace.com/frenchrockets
frenchrocketsmusic.com

myspace.com/heartlessrobotproductions

To those of you who are wandering back into our blog: a very warm welcome and sincere apology for our lack of updates. I thought it would be worth the time to give an update of whats been happening.

Things for the Dingbat crew took an unexpected but very amazing turn later last year, just as we were collecting material for our fourth season. We took some time out in around July to help produce the clip for beloved Perth act, Sugar Army’s ‘Tounges in Cheeks’ which some of you might have caught floating on the airwaves. Since the successful release of that video, the key Dingbat writers were whisked away on a whirlwind of video production which has seen us complete four more videos in just as many months.

Annoyingly, time is a precious commodity which we simply do not have enough of, and our cherished blog fell by the wayside and episodes ceased to be made, even ones that were in production got lost in a sea of clip producing data…

However, making the leap from filming shows into crafting band visual showpieces has been an eventful one, and having just finished post-production work on a bunch of new videos, the first batch is about to make their impact on the world this Saturday:

Two of these videos, ‘1×1′ by French Rockets and ‘IDDQD’ by Injured Ninja, local upcoming Perth acts, are some of our most creative and expansive works yet and will be premiered at this very special and exclusive event.

“1×1 / IDDQD”- Split 12 inch Vinyl / DVD Music Video Launch

A French Rockets / Injured Ninja collaboration.
Released through Heartless Robot Records.

Saturday Jan 16th 2010 @ The Chapel Space, 117 Angove St, North Perth.

8pm-12am. $15 entry.

$25 for limited edition 12” Single / DVD Package - available at the show.

Performances by:
FRENCH ROCKETS
INJURED NINJA
and special guests
BONE

The videos will be screened before and after the performing acts and will be available on DVD as part of the 12″ split single package. Hope to see you there.

The videos shall make their debut on the web later this month, we will post them up here as soon as they arrive. In the meantime, thanks for sticking around - and who knows, maybe we’ll be back with more juicy live clips and interviews in the future … but first we must get some sleep.

That geeky rock and roll nightmare The Thermals have announced that they will soon begin work on their follow-up to Now We Can See, which was released in only April this year. Don’t get too excited or overwhelmed by their apparent enthusiasm, though. Their yet-untitled fifth album is not due for release until September 7th 2010. Cough.

Now this raises a few questions; is this, finally, going to be the earth-conquering Thermals album we’ve waited for, the one that will turn the music world upside down? Are the band foreseeing problems and/or long-drawn out disputes with indie-rock’s producer to the stars, Chris Walla? Are they simply gonna chill on the beach until the album drops and the tour begins? Does Portland even have beaches? So many questions, one answer: find out in September.

This will be the first recording time spent with new drummer Westin Glass, so the simplest reason is probably just getting used to having him around. It’s hard incorporating new people into the group, y’know? He won’t know any of their in-jokes. To keep you all satiated, enjoy some Tubery.

]]> http://radiodingbat.com/?feed=rss2&p=945 http://radiodingbat.com/?p=918 http://radiodingbat.com/?p=918#comments Thu, 03 Dec 2009 04:51:04 +0000 Jim http://radiodingbat.com/?p=918

Some time ago, Radio Dingbat teased an interview with Memphis garage-rocker Jay Reatard. A truly independent artist, Reatard’s latest album Watch Me Fall continues his recent evolution from thrasher to popstar, and was recorded alone in his homemade studio. Scheduled though we were, various outside sources prevented us from getting in contact with the enigmatic man himself. In one instance, Reatard broke a rib 8 hours prior to our interview. At one point we did manage to leave an uncharacteristically professional message on his hilariously unprofessional voicemail. Unfortunately, it was never meant to be.

Never to be deterred, we Dingbats have switched our focus. Who needs Jay Reatard? Enjoy, if you will, our interview with A Retard.

Radio Dingbat: This is your first true LP with Matador Records, how has the experience differed from In The Red or even your own Scattered label?

A Retard: This steak still has marks from where the jockey was hitting it.

RB: You’ve stated previously that 5 or 6 labels were after your signature following the release of Blood Visions; how important is it to have the right label?

AR: I should have yelled, “Two!”

RB: Though Matador is nowhere near the exposure or revenue of a company like Sony, have dedicated fans been calling you ‘sell-out’?

AR: Last time I saw a mouth like that, it had a hook in it.

RB: Given your rich back catalogue, do you fear this album is doomed to be dubbed mature by comparison?

AR: While we’re young.

RB: How deliberate has your musical evolution been? How naturally have you developed from trashy garage punk to introducing organs and cello?

AR: Whoa, did somebody step on a duck?

RB: Is there a certain outcome you hope people will come to when they hear the album, as far as the vibe you had in your mind will recording it?

AR: Hey, that kangaroo just took my ball.

RB: You and Future of the Left are two artists who seem oblivious to classification or genre boundaries. Does it bother you that no one can ever seem to draw the same conclusion from the same album or simply enjoy it for what it is?

AR: Very funny. Why don’t you get yourself a real haircut?

RB: In the past you’ve been known for a certain unpredictable nature when playing live; do you still play any crazy secret shows?

AR: He called me a baboon, he thinks I’m his wife.

RB: Any news on the Barbaras album you’re producing?

AR: I almost got head from Amelia Earhart!

RB: Is there any chance you’ll be back in Australia sometime soon?

AR: Are you kiddin’? When I was your age, I would lug fifty pounds of ice up five, six flights of stairs!
RB: So what?
AR: So what? So let’s dance!

All complaints can be forwarded to getoverit@nobodycares.com.

So it’s safe to assume that at some point during the recording of Attack & Release, the Black Keys made off with Danger Mouse’s black book. How else could these Ohio bred blues rockers pull together enough cred to set up a rapid fire recording session with 11 of the world’s best MC’s? I don’t figure that Patrick Carney and Raekwon hang out at the same clubs.

Regardless of how it happened, it’s happened. Coming November 27 is Blakroc, a musical experiment in which the Black Keys continue to evolve from their primordial roots. Those roots were pretty rockin’ though. Sad to see ‘em go. But it’s a tantalising prospect; featured artists include Mos Def, the RZA, Q-Tip, Pharoahe Monch and Jim Jones. Projects like this are often meet with mixed emotion, so take a gander for yourself. Weekly studio updates can be viewed here, while you can hear the first taste of Blakroc here.

In related news, tickets seem to still be available for Pharoahe Monch’s upcoming show at Villa Nightclub on Friday the 4th of December. Given the crappy reception we gave Ghostface, it would be wise to snatch up a relatively cheap $39 ticket and enjoy what promises to be a memorable gig. Do that herre, or at the usual outlets that aren’t your computer.

It was on a rare occasion that I found myself watching Channel V the other night, stumbling across the “Old School Hip-Hop Countdown” close to it’s finale. #3 in this prestigious list was Nelly’s funny-to-pronounce-that-first-time urban hit “Hot In Herre”. A quick revision of the station’s hip-hop filter is advised. Clearly Death Row Records have hatched a scheme to eliminate all knowledge of hip-hop’s funky and fun-filled origins, so that future generations may enjoy the real gangsta shit.  Luckily for mankind, People Under The Stairs are maintaining the love and keeping the party spirit alive. Carried Away is the seventh LP from duo Thes One (rhymes) and Double K (rhymes and beats), and they continue to explore the same themes they always have; getting drunk, getting high and not making any money.

Despite being a drawcard around the world for many years, PUTS remain vigorously independent. Whether or not they fear major label control of their original content, the duo is probably better for it. PUTS seemed doomed to a Catch-22 existence; if they ever did make it big and get rich-bitch, their tunes would lose their everyday people vibe. Instead of name-dropping Tom Cruise for the sake of a funny rhyme, they’d actually be name-dropping. Clearly, these party boys are concerned about that familiar maxim; keeping it real. “Letter From The Old School” is the most overbearing example of PUTS reminding us what era they wish, and by all rights should occupy. The ‘Old School’ is represented as two dudes in the Bronx working out to “Thriller” who talk like they sing, meanwhile Double K decides to throw a Luther Vandross festival.

This tongue-in-cheek tone is what PUTS are all about, and it’s not just a novelty, like Asher Roth or, to a lesser extent, Eminem. The humour is natural, the kind you’ll find hanging out with your mates. They rap about drinking (”Beer”) and smoking (”Come On Let’s Get High”) back to back, they rap in text speak and reference internet memes, actually sampling Keyboard Cat at one point (”DQMOT”), go to the dentist (”Teeth”) and shout out Nelson Mandela and Bart Simpson in the same sentence (”Check The Vibe”). Carried Away is a solid 60 minute ride, and quoting every great line here would be a waste of my time and yours. The boys put it best in the album opener “Step Off” when they point out “Too many dudes wanna rap and not MC”.

The dreamy disco beats PUTS are renowned for get even slicker on Carried Away. Double K gets funky on “My Boy D”, hitting a beat halfway between ‘Superfly’ and ‘Starsky & Hutch’. “Trippin’ At The Disco” and “Listen” seem ripped from an 80’s block party while the title track closes out the album with a cruisey go-home-happy vibe. Even the most ridiculous song on the album, and one that resembles Flight of the Conchords all too much “Chicken Kabap”, has a tight beat. They simply cannot do wrong. While PUTS’ previous album Fun DMC was clearly pitched as a party album, Carried Away has dropped at the perfect time, giving us this year’s summer soundtrack. It’s nothing new from these guys, it’s just another consistently great album filled with good times waiting to be had. In their own words: “You don’t like beer?/Get the fuck outta here!”

Website: www.putsonline.co.uk

Myspace: www.myspace.com/peopleunderthestairs

After a majestic debut in Perth earlier this year, many of us hoped our collective efforts in making the Laneway Festival an awesome day would not go unloved. We partied with the Hold Steady, we rocked with No Age, we fed Buraka Sound Sistema with our gyrations, we even kept giving Girl Talk a chance, despite the “total Baltimore show”. Indeed, the promoters faith has been vindicated, and St Jerome’s shall cross the Nullabor again in 2010. March 6th, to be precise. Of course, now that the festival has gone national, it’s time to put aside petty squabbles about Western Australia always getting shafted. Especially since this time around, it’s Adelaide getting shafted, with a few announced artists already not scheduled for the City of Churches. Ah well, more for us.

Mwahaha. Mwahahaha. Hahahahahahaha!

2010’s lineup, while not as tasty as last year (for now), is still jam-packed with diverse and exciting bands new to our shores. Headlining? Echo & The Fucking Bunnymen. Their new album is soon to hit Australian shores, and they’ll probably pad their set with new shit, but their new shit hasn’t been that bad, so it’s win-win, because their back catalogue boasts the prime material created amongst the post-punk landscape. It’s going to get very emotional in that crowd.

Another legendary artist perched atop the lineup is cult folk-hero Daniel Johnston. Yes, the guy from that documentary. This set could be anything from strange to gnarly.  Two London darlings shall manage to escape from the evil hype machine and prove that they actually have talent this time; the soulful The xx and the band doomed to spend their entire tour yelling “We’re not Fleet Foxes!”, Mumford & Sons. On a side note, their album’s actually quite good. Other major names include the drunken garage rock of Eddy Current Suppression Ring and the stoned garage rock of Atlanta’s Black Lips, the party hip-hop duo N.A.S.A. and the Afrobeat group who ACTUALLY HAVE an African member, The Very Best. And they’re bringing their producer, Radioclit!

That’s what we’re excited about anyway. For the full first announcement, continue!

Echo & The Bunnymen

Florence and The Machine

Black Lips

The XX

Daniel Johnston

Sarah Blasko

N.A.S.A

Eddy Current Suppression Ring

Hockey

Dappled Cities

Mumford and Sons

Radio Clit

The Very Best

Wild Beasts

Whitely

The Middle East

Kid Sam

Tickets go on sale October 30th. This year they were handing out free tickets beforehand. Not gonna happen next year. Though it is $110. Plus…booking fee. Curse you, festival season!

]]> http://radiodingbat.com/?feed=rss2&p=927 http://radiodingbat.com/?p=912 http://radiodingbat.com/?p=912#comments Mon, 05 Oct 2009 06:31:18 +0000 Jim http://radiodingbat.com/?p=912

As the sun begins to break through the clouds and the temperature starts to rise, shirts are shed, elaborate costumes are assembled and endless days off work are booked. That’s right baby, it’s festival season! Last week, while the true season to be jolly kicked off with a bang with a highly enjoyable rendition of Parklife, more announcements were made regarding other high profile musical extravaganzas; no profile (or spectators) higher than the annual Big Day Out.

After years of complaints of a sparse summer palette, the BDO (or my own preferential abbreviation, “Biggers”) now has more competition than ever. Soundwave, Stereosonic, Good Vibrations, Southbound to name a few, all boasting top international talent. For years, Biggers has set the benchmark, bringing the best to Australia, often for the first time to a national stage. All of a sudden, we punters are spoilt for choice. It used to be easy. December would roll around, you’d be asked “Hey, you going to Biggers?” “Fuck yeah”, you’d invariably respond. It was the standard. Of course, not five years ago, admission to the Big Day Out was under $100. Today, admission to the 2010 event costs $140. Plus booking fee. Always interesting that in times of financial instability, people tend to up their prices. Anyway, it’s not like the going price sticks out like a sore thumb amongst the entire festival season. $130 is slowing becoming the median price, so adjust your budgets fittingly.

As I pointed out, festival goers have so many options now that Biggers cannot fall back on its legacy anymore. Last year, they surprised us; they got Neil freakin’ Young. There is a persistent rumour that David Fucking Bowie is part of the upcoming second announcement. If true, you can lock me down for a ticket right now. I’ll be there in a skin-tight Aladdin Sane one-piece with flaming red hair. So clearly, the promoters are trying. However, in my mind, they’re not trying hard enough. Sure, put Neil Young or David Bowie on top of the bill, and watch the crowds flock. This year, it seems, the positive steps the Big Day Out had been taking have been forgotten. The 2010 lineup is thus far something of a high school reunion. Rather than bringing new and exciting acts to fill the midcard, the BDO has gone for the road most travelled, booking a swarm of artists very familiar to Biggers regulars.

For example, the current headliners: Muse. Currently riding worldwide success thanks to the two worst albums in their discography, their Queen-channelling operatic rock is well suited to the main stage, and their impressive visual accompaniment is sure to blow minds and distract people from the actual music. But seriously, this is the third time Muse has played the Big Day Out. And it’s not like they don’t tour our shores regularly anyway, unlike previous main eventers (looking squarely at you, White Stripes). The same with The Mars Volta. Yes, they’re awesome, but c’mon, this is their third BDO as well! Possibly even fourth, I’ve literally lost track. I’m sick of missing spots for other bands because I’m caught up watching yet another Mars Volta cosmic jam-fest. And Peaches? She was here like a week ago! Don’t even get me started on the Australian quota. Powderfinger? Grinspoon? I’m surprised they forgot to book the Living End too. Most of the remainder of the lineup has played at least once; Karnivool, Kasabian, Eskimo Joe, Dizzee Rascal; though having seen him in 2007 means I can avoid the sardine-trap that was the Boiler Room that day.

Look, I’m coming off as either grumpy or spoilt, I know, but there comes a time when you get sick of the same old shit. Especially when there are bands people are dying to see that could easily replace bands in the lineup. Trade Muse, bring in another British band that fools around with grandiose arrangements, who haven’t completed a national tour in over a decade: Radiohead. There is a headliner that gets punters excited. Tame Impala? Get over your patriotism and book their superior Swedish equivalents: Dungen. Play their albums side by side and you’ll see what I’m talking about. Powderfinger? Trade for the Hold Steady. Matter of fact, trade anybody for the Hold Steady. I could go on, but then I’d just be diving into personal fantasies, as opposed to good business moves.

For all the internet hatred I’ve dumped upon the Big Day Out, there is still plenty of goodness to be found amongst its list. Mastodon, Girl Talk, The Horrors, The Decemberists, plenty of early afternoon entertainment (just you wait for the bound-to-conflict schedule). My gripe is simple. The Big Day Out was once the best outlet for bringing dream bands to Australia, and especially to my particular backwater town. If they’re just going to keep signing the same acts, I’m going to be more inclined to spend my wares elsewhere. Especially when Soundwave has Faith No More. To paraphrase Mike Patton; “I want it all, but I can’t have it”.

Mr. Wareheim is back already with a clip for the latest song from synth-pop stalwarts Depeche Mode. Hole To Feed sees Wareheim stepping away from the green screen and into an actual set with a big cast (and a considerable budget increase). But, for all of its lavishness, it’s still got that tongue-slapping flavor of his all over it.

See for yourself below. As for the track, it’s very much in keeping with the sexy-somber Depeche Mode tradition. Hole To Feed is from the band’s new album Sounds Of The Universe.

Depeche Mode - Hole To Feed