Ipswich Underground Jan/Feb 2017 #1

IPSWICH UNDERGROUND

Jan/Feb 2017 #1

FREE

ODIO SHACKLES MISS GERTRUDE

SHITGRINDER CAMERON LOGAN

JOHNNY CYRUS & HIS BAND OF GHOSTS

SCRAPS BEC LEWIS

GIGS v VENUES v ARTISTS v MAKERS v REVIEWS v RUMOURS v DIY

FROM THE EDITOR Welcome to the first issue of Ipswich Underground. This zine is designed to give voice to Ipswich’s growing underground music and arts talent, and share material that might otherwise go unpublished or unnoticed.

At the same time, we offer an opportunity to present alternative views and scrutinise the actions of the public representatives that shape the environment we live in. As an independent and DIY publication, we are interested in the truth and are censored by no one.

CONTENTS Whispers from the Underground................................................. 4 Government Agitator................................................................... 5 Interview: Shackles..................................................................... 6 Interview: Tonestar Le Ru............................................................ 8 Interview: Miss Gertrude........................................................... 10 Gig photos............................................................................ 11-14 Column: Not for everyone......................................................... 15

This issue would not have been possible without the input of a long list of contributors and creatives who lent their skills, insights and talents to help this little idea become a reality. We are an inclusive and progressive bunch and we welcome the contributions of anyone who has something unique to share.

Interview: Odio.......................................................................... 16

We hope that this issue will be the beginning of something that continues to grow. As a platform for creativity and truth-sharing, we are only as strong as our contributors, so please help us to thrive by joining the party.

Interview with the artist: Bec Lewis........................................... 23

If you see something that interests you in these pages, or you have something that you would like to contribute, please feel free to get in touch and find out about how you can get involved. We would love to hear from you.

IPSWICH UNDERGROUND

Gig guide................................................................................... 17 Interview: Shitgrinder................................................................. 18 Behind the mixing desk............................................................. 20 Places of Ipswich with Scraps................................................... 22

GET IN TOUCH Got a gig coming up?

Seen something you loved?

Need to share something?

All original material is subject to copyright.

Illustrations in this issue provided by Kate Den Otter and Michelle O’Brien.

Special thanks to Cheri Graham for providing the majority of photos used in this issue.

Printed on paper from recycled and renewable sources.

Want to advertise with us?

Spam us at: ipswichunderground@gmail.com PO Box 401, Ipswich Qld 4305

Ipswich Underground acknowledges the Traditional Custodians of the land on which we work and live, and recognise their continuing connection to land, water and community.

We pay respect to Elders past, present and emerging.

WHISPERS FROM THE UNDERGROUND...

LOCAL MUSICIANS ROCK FOR THE REEF

MALL REDEVELOPMENT TAKES SHAPE

QUESTION MARK OVER CITY SQUARE MARKETS

Rocking for the Reef festival took over The Metropole again in November, raising more than $1500 towards rescuing the Great Barrier Reef.

After nearly a decade of talk and countless plans released to the public, it seems that the redevelopment of the Ipswich City Square precinct is finally taking place.

However, it was the festival that nearly didn’t happen, according to organiser Def Nev.

Council has promised a new public library, zero depth lagoon, and a ‘worldclass’ retail and dining precinct that will reinvigorate the centre of town and bring foot traffic back to the long abandoned mall.

While we are on the topic of the CBD... our sources tell us that after the organiser of the Saturday Farmer’s Markets unexpectedly skipped town, a vacancy currently exists for a decent Saturday market in the city.

During its inaugural run in 2015, Nev was overwhelmed by the sheer magnitude of planning and coordination involved, especially on the day of the festival.

“I was drained and couldn’t even remember seeing a band play,” he said.

“But I was asked so many times by so many people ‘are you doing the reef thing again?’ I thought bugger it, let’s do this.”

However, many in the community, including current mall tenants, are sceptical that the redevelopment will deliver on Council’s promises...or even reach completion.

Planning began in August for an October event, however the man with the plan got busy with other smaller shows on his roster and before he realised it, time was running out.

“I wanted the festival to be big, seeing as this year would be the deciding factor of whether I continue it again. So I said 50 bands, that’s it, no more no less.”

The event turned out to be a huge success, with several hundred punters through the door, including around 200 band members and volunteers.

And happily, Nev confirms that the fest will return in 2017.

“I already have a plan for next year’s festival,” confirms Nev. “Not so big, but huge all the same. Hopefully we can double this year’s outcome. I think we can get more even more people in there!”

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And while new markets are popping up in less central locations throughout Ipswich, to varying degrees of success, the city centre is crying out for something unique to attract residents into its heart.

At present it seems that many regular stall holders are still turning up on a Saturday, despte the markets lacking a central organiser and theme. Any takers? Watch this space...

“I recall rolling over in bed at about 2am and asking my beautiful wife Anna what the date was. Half asleep she answered and I laid there for about five minutes doing the math. ‘Shit, that means the festival is six weeks away... I can’t do this in time!’

“So there I was at 2 in the morning in my jocks, on the computer. I sent emails to the venue and changed the date to 26 November, and I started designing the posters and working the run sheets right then and there, without waiting for confirmation that I could have that date.

After the success of events like Kitsch in the Swich, many are calling for a regular retro or vintage themed market, which would be a bonus for local businesses such as Poison Arrow, the Dark Magician and the local comic book and pop culture shops, which thrive on the alternative side of Ipswich’s local culture.

ZOMBIE WALK IN IPSWICH? Rumour has it that Brisbane’s popular annual event ‘Zombie Walk’ could be coming to Ispwich in 2017.

“I think they will realise what we have known for a long time,” says a source. “It is just too hard to attract people to this side of town.”

While North Ipswich’s mega shopping centre Riverlink has no shortage of business, the evolution of the city’s Top of Town precinct continues inch forward, with local businesses striving to offer unique experiences and trade upon the precinct’s heritage charm and character.

Council now claims the redevelopment will be underway by mid-2017 and is scheduled for completion by late 2019.

Residents are being encouraged to support the precinct in the meantime by visitng and watching the transformation in action.

The event, while providing a good scare and plenty of laughs, raises thousands of dollars for the Brain Foundation, with more than $100,000 raised in the past decade.

However due to rising council costs, the organisers announced ahead of the 2016 event that it would be the last to be held in the capital.

According to Brisbane Zombie Walk Operations Manager Mat Bryant, Brisbane City Council imposed a dramatic increase in fees to close the roads and parking meters for the walk.

Keen to get in on the action, Ipswich City Council has apparently already offered to waive any traffic costs associated with hosting the event.

GOVERNMENT AGITATOR

Exposed: Terror plot to attack twin chimneys “We are treating it as a credible threat,” said Ipswich City Council spokesperson, Cr Palaver Stymie, responding to reports that terrorists were planning to attack the Queens Park Incinerator Theatre. “Let it be known that our ability to protect this building is infallible and all-powerful.”

The Incinerator, built in 1936 and now used as a theatre, has long been considered a potential terrorist target due to its imposing twin chimneys, the dubious acting talent inflicted on the community, and the fact the building was designed by the same architect who designed Canberra, Walter Burley Griffin.

Cr Stymie, Chairperson of Council’s Citizen Watch and History Redaction Committees, held a press conference at the theatre and accused his main opposition at the last election, the Pre Dawn Radicals, of public mischief.

“Their demands for institutional reform, greater public transparency, and more direct democracy are a threat to our way of life and this theatre,” Cr Stymie stated.

The Councillor found a written response from the Pre Dawn Radicals attached to a brick that was thrown through his office window early the next morning, reading: “DOWN WITH THE STYNK”.

Cr Stymie performs live, 9am 31 Jan. & 9am 28 February Council Chambers, 45 Roderick St, Ipswich. Free entry.

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Shackles frontman Mark Boulton shares his insights into what keeps the Ocean Shores hardcore outfit going, as well as delving into a bit of light existentialism.

Interview by Neil Bramley.

Photos by Cheri Graham.

IPSWICH UNDERGROUND: Shackles has been powering along for quite a few years now. A while back, there was talk of you scaling back activities, but it seems you never did entirely. Your members also play together in multiple other active bands (Shitgrinder, Carnal Urge and doubtless more), and in most cases this would signal the end for the ‘main’ band. However, Shackles continues to project a singular identity and a rare commitment. What is it that keeps the machine charging along?

MARK: In regard to playing, there have been times where we’ve tried to have a quiet few months and then a bunch of good shows pop up that are hard to say no to. And on top of that there’s having two drummers, which gives us lots of flexibility and makes it rare for us to have to knock back a show back due to unavailability of members. Creatively, the thing that keeps us going, to some degree, is each other... like, if one member is going through a period of indifference, another person will 6

generally pick the slack up and eventually re-inspire that lagging person, kinda like what an all wheel drive vehicle does when the one or two other wheels are in a ditch.

You could also attribute the not slowing down to the fact none of us really have proper careers and that we’re quite suited to doing bands. Lastly, to be completely honest, people showing support doesn’t hurt either.

IU: It rarely hurts, it’s true. On the subject of two interchangeable drummers (occasionally even both at the same time), it’s clear they’re both integral to the Shackles unit. Doesn’t that fluid membership wreak havoc with the kind of egos a lot of bands are characterised by?

M: There’ve been a few times I’ve ruffled feathers when I haven’t communicated properly or assumed one guy will be away when sorting who’ll play what, but thankfully it’s never been too much of an issue. It means both guys have a little more freedom for other projects and travel.

IU: That makes a lot of sense. Speaking of travel though, in another interview you did for Unbelievably Bad, you expressed a uniquely oppositional view to this very topic. Do you care to elaborate on the negative aspects of globetrotting? Also it should be noted that interview took place before the recent Shackles European tour. Have your ideas developed in either direction since? Anything notable to report about the tour otherwise?

M: I’m sad to say it but spending time overseas hasn’t really changed my cynicism about globetrotting and how it’s kinda the 21st century’s religion for the secular, wealthy and privileged. When we were in France, we drove through Calais and went past the massive refugee camp there and it kind of made me go ‘oh man, why are we here?’. There are people who have to leave their countries to just stay alive while we travel indulgently to try find ourselves, study abroad or, in our case, play our toilet music to half empty rooms.

It kinda made that Peter Singer thought

stuff like the Voluntary Human Extinction Movement (VHEM) which i found to be a refreshing take on environmentalism, while at the same time satisfying the typical late teens misanthropic itch I had.

When looking back on that time, I think I also found it appealing because it was a sorta ‘flip side’ view to the overly positive, carpe diem style thinking of the Dawkins/ Maher/Hitchens/Krauss ‘new atheist’ atheism that was popular in the post 9/11 early 2000s (having come from a Christian background, that heavily influenced my teens, and while I did like softer atheism, the ‘new atheist’ approach to things that I encountered in the hardcore scene initially and abroad didn’t gel well with me for a very, very long time) when looking at the likelihood we are living in an empty, cold, mechanical and indifferent universe.

experiment about the child drowning in a pool hit home in a very uncomfortable way. I also find it kinda dishonest when people go on and on about how much they love other cultures. For many I know it’s a legitimate passion but with others it just feels like they’re trying to showcase how cosmopolitan and enlightened they are and it makes me want to puke. There’s a Zizek talk where he says something like ‘I don’t care about your stupid culture, I just want to be able to tell dirty jokes with you’ (not an exact quote but you get the gist). While it’s brash and only works in the context of him saying it, it’s a least a breath of fresh air and a completely honest way of talking about meeting people from other cultures that doesn’t reek of sanctimony or white guilt.

IU: It’s interesting to hear a perfectly valid argument that’s counter-intuitive to prevailing logic of the times. You’ve got a few other sound (read: not ignorant) points of view that make people uncomfortable too, such as an antinatalism that has moved beyond the usual early-twenties railing against settling down and into a more philosophical realm. Care to elaborate on any of this? How much of this informs your work in Shackles?

M: In my late teens I stumbled across

Later on when shackles came about, it was always partially influenced by the idea of humans essentially being doomed, that we’re all tiny nothings in a world that doesn’t care about us and how terrifying that thought can be. There was also the ‘we’re destroying our environment and ourselves etc etc’ idea in there from very early on, which inspired songs that touched on reproduction and overpopulation. However, it wasn’t until later on that I properly discovered the philosophy antinatalism and negative utilitarianism.

“Antinatalism says nature and life itself IS the problem because it offers a platform for the pain and suffering of the world to exist upon, and that this planet would be better off being one big lifeless rock.”

In 2014 I read David Benatar’s book Better Never To Have Been and found a piece he’d written called the ‘The Optimism Delusion’, which took Dawkins and new atheism to task for Pollyannaish tendencies. Finding this stuff brought the whole ‘flip side view’ way of thinking

“There are people who have to leave their countries to just stay alive, while we travel indulgently to try find ourselves, study abroad or, in our case, play our toilet music to half empty rooms.” about our place and our duties in a naturalistic universe, that I was talking about earlier, full circle for me and I found a lot satisfaction knowing that an academic and a plethora of others far smarter and capable than me had gone to work on this topic, and I found it hard to resist diving In. I read stuff by Peter Wessel Zapffe, Thomas Ligotti, Sarah Perry and Jim Crawford, and watched a lot of debates and talks on YouTube by the online antinatalist community, as well as tracing some of origins of the philosophy in Schopenhauer and Buddhism.

What was present in antinatalism that I didn’t find in my earlier interest in the VHEM, though they did have many parallels, was this emphasis on suffering as an above all negative, which in turn leads to each view having very different outcomes if you’re to follow them to their logical conclusions. While the VHEM says humans should ideally go extinct and stop interfering with nature by ruthlessly living atop of it and manipulating it, antinatalism on the other hand says nature and life itself IS the problem because it offers a platform for the pain and suffering of the world to exist upon, and that this planet would be better off being one big lifeless rock.

As a result of how immersed I’ve allowed myself to become in antinatalism and the type of reasoning that comes with it, it has inevitably found its way into Shackles lyrics and is the sole topic that’s dealt with in Carnal Urge’s lyrics. As far as what I actually believe though, I’m still a little unsure. However, I figure talking about antinatalism in the over-populated world we’re currently living in can’t hurt.

IU: Probably best to keep objective about such abstract and unpopular concepts anyway I suppose, regardless of their truth. Anything else coming up for Shackles? Going to visit Ipswich any time again soon?

M: There’s a new 10” coming out on Resist Records hopefully no later than February 2017 and we’ll hopefully be visiting Ipswich soon as its the new and far superior Brisbane when it comes to punk. We were meant to play there [in November] but I am currently trying to fix my fucked knees and have been taking a break from all radical activities.

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JOHNNY CYRUS

...and a very

special journey Tonestar Le Ru has been busy getting up to musical shenanigans across Ipswich and abroad.

Photos by Cheri Graham.

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Ipswich Underground: Hi Toni!

You are a familiar face in Ipswich’s underground scene with your band, Johnny Cyrus and his Band of Ghosts.

Can you tell us a bit about the music you guys play and what you’ve been up to?

Tonestar Le Ru: Hello all :) JC has been playing together for almost six months now so we are still a relatively new project. We commenced as a guitar duo (Zac [Mitchell] and myself) and welcomed Josh [Dawson] on drums shortly after our first performance. We have to acknowledge and thank our friend Shane for the initial introductions between Zac and I. It has been an exciting period as we have been gigging almost the entire time we have been together so our sound exploration has been very public and the response so far has been really positive, which is fantastic as we are all enjoying the band immensely. JC is predominantly an improv band that focusses on creating atmosphere and soundscapes – the songs and basic structure have been written

by Zac, with a heavy Earth influence, however we all have a lot of freedom and scope within that framework, which works very well for me. As coguitarist/lead, I use a lot of layering

and effects, and as we attempt to create trance states each performance is unique.

The overall sound is probably most aptly described as Americana ambient noise drone delivered with destructive love! It is a beautiful space to be playing in and I am very much looking forward to JC’s future adventures!

IU: How is JC different to other bands you have played in?

T: I have returned to playing guitar this year after a very lengthy hiatus (more than 10 years), so I am certainly coming back a lot older and with a very different life these days! For me, the immediate difference is returning to play not only as a woman, and navigating that space (which is a whole other article!), but as a sole Mum. This adds a completely new dimension to being in a band as I now have to balance parenting, work, band practice and getting to gigs – often with kids in tow. Zac is also a parent and in another band, and Josh is heavily involved in a few music projects so we have to work around all of these commitments. I have so much respect for anyone involved in bands as it is a huge investment of time, emotions, finances etc.

To then add something like parenting in to that mix can be challenging, however I wouldn’t change it at all, and the kids tell me they are enjoying it! JC has also been the perfect project for me in returning to performance because of the unwavering support and respect I have from Zac and Josh – they maintain a very safe space for

me and as a woman this is an amazing thing to be experiencing.

IU: You recently returned from a whirlwind trip to Europe that included paying a visit to Spanish post-punk group Belgrado, who played in Ipswich in October on their Australian tour. How did that come about and what did you guys get up to in Spain?

T: JC was fortunate to support Belgrado at their Ipswich show and we got chatting with the band post-gig. I was already heading overseas and was invited to drop in to Barcelona to say hi and hang out. The Spain leg of the adventure was amazing – Jonathon (Belgrado drummer) took me to a farewell gathering for another musician returning home to the US, and we ended up spending the night in a town square hanging out with some drinks, listening to people jamming, watching skateboarders and sharing stories about our lives and the challenges some of the younger people, especially their experiences living day-to-day in Barcelona. It was a positive for me in appreciating what I have here at home and the privileges I enjoy because I have the benefit of (currently!) stable employment etc. The highlight however was meeting up with Fer Gu (Belgrado guitarist) at his studio in Barcelona – Studio 19:28 – to have a music tattoo created and inked. We communicated prior to my arrival and Fer Gu designed a piece that incorporated my wasteland cowgrrl guitar persona. It was

special for both of us, having met on his tour and then me travelling to him for the tattoo. Fer Gu even coloured the cowgrrl in the colours of the outfit I wore at the Belgrado gig and included the initials of my children. It was an awesome experience – we had a great session with lots of post-ink hugs and it is definitely something I will always remember very fondly!

IU: I hear there was another interesting mission to fulfil on the trip in when you arrived in Berlin...

T: There was... I lost a very old close friend earlier in the year. We had talked over the years about an ‘escapade’ to Berlin. Back in the day, we were both Atari Teenage Riot fans and the idea had taken hold then and it was something that would crop up – more so now I had turned 40 this year.

After Kristen died, it was an eye-opener about taking action on things – not just idly chatting about it – and so I seized the opportunity between gigs in November to do something about that. In Kristen’s honour and with the amazing support of his family, especially his brother Nathan, I was able to take some of Kristen’s ashes to Berlin and place them into a fire in a beautiful park. The best part was being able to carry Kristen during the rest of my trip to the UK and Spain – he had never travelled before so I felt honoured to be in a position to follow this through.

IU: Were there any other highlights of your trip?

“I now have to balance parenting, work, band practice and getting to gigs – often with kids in tow.”

“We have now entered

‘Phase 2’ – this includes definite recording plans for 2017, a lot more gigging and certainly a lot more delivery of destructive love!”

T: For me, it was brilliant to travel across the world and spend time with people who love their music as much as we all do here in Ipswich. I spent nights in Brighton and Berlin just enjoying awesome company and playing records. The record shopping was fantastic and I ended up coming home with over 30 records – that was an interesting experience carrying them through Munich and Brisbane airports trying to make it look like I was carrying two light bags of duty free shopping!

IU: What is next for JC? Any plans to record soon?

T: This year has been about just consolidating and finding a sound with JC so it is amazing to have achieved this much already. Zac tells us that we have now entered ‘Phase 2’ – this includes definite recording plans for 2017, a lot more gigging and certainly a lot more delivery of destructive love!

IU: Ipswich has seen a resurgence in gigs and live music of late. Do you think that will continue to develop in 2017?

T: Absolutely. It is exciting to be both witnessing and involved in the Ipswich scene. There is a really supportive and raw energetic vibe, and the calibre of bands we are seeing coming to Ipswich, in addition to the talent pool of bands and solo performers already here is testament to the growing strength of the music community. It is also a credit to the small crew that work hard to put on these shows.

This is still really building – I am looking forward to how this will develop and unfold in 2017. Some of the shows already lined up in the new year are fantastic and I encourage everyone to get along. I feel this is a period of resurgence that will be recognised as a pivotal time in years to come and I love that I am here to see it happen.

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MISS GERTRUDE Ipswich’s resident ‘soulk’ songstress is excited to see the local music scene flourishing.

Ipswich Underground: What sort of music do you create / play?

Miss Gertrude: I play originals and covers.

I created my own genre for the music I write because there wasn’t a word that I felt described it well enough. So I created SOULK (pron. soak) merging Soul and Folk genres whilst being a whimsical play on words, meaning to soak it up and soak it in. I write mostly about love and loss, about finding strength to continue and these are emotions that all of us can relate to.

IU: How long have you been a musician?

MG: I moved to Ipswich in 2009 and began performing at a vintage coffee shop called Tirra Lirra, which was located on Bell Street. Back then I was new to performing and my guitarist, Paul Ainsworth and I, were great lovers of coffee. So we approached the owners to ask if they’d be interested in having us in to perform some soft, ambient music for them. They were delighted to have us there so we kept returning and that’s basically where Miss Gertrude was born.

IU: Ipswich has a growing live music scene. How have you seen that evolve and change over recent years?

MG: Back in 09, the scene was very quiet.

People were screaming out for live music venues. The Squealing Pig, City View, Racehorse and Coro, all offering great bands but for singer/songwriters with soft sounds, or new and emerging artists, there really wasn’t anywhere to showcase.

I know from speaking to musicians who have been around 20+ years that there has always been a vibrant live music scene but for some reason (or many reasons) that died down.

My observations over the past seven years has seen an explosion of sorts. I’ve seen gorgeous little cafe’s, restaurants and bars fill the main street and pop up all over the suburbs. I’ve seen Ipswich City Council leading the way, most recently, with various community events, food festivals, street parades and the like. All fantastic stuff and all complementing the ever-growing live music scene.

I’ve seen the emergence of a very strong singer/songwriter scene and an ever growing list of young people coming into their own, showcasing covers and originals. And I’ve seen people like Ken and Nina revive the Coro to offer amazing opportunities to the punk, metal and rock 10

artists. I do take my hat off to Zac and his band of merry men who have delighted us with the Rocking for the Reef Concert events the past two years. And during all of this, we’ve managed to maintain the integrity of the good ol’ Jam Sesh. Perhaps this alone is what has kept the scene from dying a horrible death. People like Ben and Natasha and their Blues Jam and Ipswich Jam who have been consistently providing jam opportunities for years, Matty & Chev at the Waghorn every Thursday and Andy down at Brothers each Sunday. There is also weekly karaoke at various venues.

Ok, so it’s not live music, but there are some fantastic singers around who would do quite well with a band behind them.

I am excited to the see the emergence of young bands and young creators.

Ipswich’s future certainly looks bright.

IU: What have been some of the highlights for you looking back on recent gigs?

MG: Highlights for me are when I’m given an opportunity to give back to the community. This is why I like to offer to sing at official openings and charity events.

Indigenous events like NAIDOC are fantastic places to perform because there are hundreds of people attending.

IU: Where is your mob from? How does your cultural and ancestral heritage inspire you?

MG: I was born in Atherton, FNQ and I call it home. I spent my schooling years in Mt. Isa and it was a great city to grow up in and I always look back on those days with fond memories.

My heritage is Aboriginal, Torres Strait Islander and Filipino. I don’t know much about my Aboriginal or Filipino ancestry but I will get there. Certainly when I am writing something about a specific topic e.g. Stolen Generation, my cultural heritage heavily influences my work. As I get older and more passionate about injustice, music is the tool that gives me total freedom to voice, to express, to vilify and validate. And in those times, I am mindful of my culture and my heritage and giving voice to those issues.

IU: You’ve recorded with Leftwest before, who work with many artists that have an interest in ‘changing the world’.

Would you say that you and your music fits that bill?

MG: I wouldn’t say my music is ‘world changing’. I’m a simple country girl just having a go and finding happiness and balance in music. People search for that in all kinds of ways. Music just happens to do it for me.

IU: What advice would you offer to younger or emerging Indigenous artists?

MG: When I first moved here I met a lot of people from the Indigenous community.

“As I get older and more

passionate about injustice, music is the tool that gives me total freedom to voice, to express, to vilify and validate.”

One day I met Sharon, warm-hearted, passionate and wise. Her words to me were ‘you gotta serve your apprenticeship bub’. Meaning I had to prove myself to the community by being seen, being heard and being active in the community. And that is what I did for the first four years. I got involved, got active and established good standing within the Indigenous community. From there I knew that I had nothing to fear because I knew that if I could reach good favour with them, I could do that anywhere.

And advice for indigenous, nonindigenous, emerging artists, remember these two things: 1. Don’t just focus on your own work.

Find others to work with, bounce ideas off, collaborate with and diversify yourself as much as possible. This is why going to Jam Sessions are important. This is a good place to network and hone your craft.

2. Make time to support the live music scene. I say this often, if we all support each other, we all succeed. This is critical.

And it makes total sense.

IU: What’s coming up for you in terms of gigs, recording and other events?

MG: I played a Christmas Party in Gladstone with my dad, Papa Joe and that was my final performance for the year.

In 2017, I’ll be taking a break from performing and going back to uni to study a Bachelor of Music. I see so much potential and I need to upgrade my skills in order to keep up with it all!

BELGRADO SCRAPS UNBOUND JC&HBoG SCUMBAG 11 October 2016 The Coronation

Photos by Cheri Graham

SHITGRINDER REPTILIAN CIVILIAN JC&HBoG SCUMBAG E.T.A DELOREAN TIMELORD KREW 4 November 2016 The Coronation Photos by Cheri Graham

COFFIN BIRTH SHITGRINDER HEXMERE JAMIE & THE DEBT REPTILIAN CIVILIAN

Photos by Cheri Graham

17 September The Coronation

Photos by Cheri Graham

BATTERY HUMANS THE YARBLES SCUMBAG UNBOUND LAST CENTURY ON EARTH

Photos by Cheri Graham

MAGRUDERGRIND SHACKLES IDYLLS COFFIN BIRTH

5 Augst The Coronation

18 December Coorparoo Skate Park

HEAVY BREATHER KNIFER SICK PEOPLE TENDER LAVENDER GERALD KEANEY & THE GERALD KEANEYS AIM

Photos by Cheri Graham

2 September The Coronation

COLUMN: NOT FOR EVERYONE

By Bremer Slime I was born in Ipswich Hospital, and as soon as I could I moved out of Ipswich.

Why? Because I felt like my vision of the world could never be achieved in Ipswich. Too many times getting punched out for being a freak, not enough support for a teenage punk. Brisbane/London/ Melbourne etc promised a haven away from small town small mindedness, and they did provide that. Space to create and, to be grimly honest, rebuild some selfconfidence destroyed by the physical and mental violence of growing up in Ipswich.

Teenage angst tempered by the problems of poverty.

Now I’m back here. Why? Cheap housing is the reason. Well that was the original reason. But since connecting with the crew I’ve become close with, I couldn’t imagine being anywhere else. It just feels like so much more is possible than in bigger cities. Cheaper living provides more time to pursue activities that may not be commercially successful. It opens us up creatively for wackier things, taking risks, and boldly going where no one has gone before.

Which brings us to this column. I’ll be reviewing mostly records and movies. I’ll be tracking down weirdo oddball stuff that, as the title suggests, is not for everyone.

And that description probably extends

to my writing style. While my spelling mistakes will probably be edited out, you can expect plenty of loose references, metaphors that bearly make sense and a stretching of the rules of grammar and punctuation. I’m a plumber by trade so most of my writing is down with a builder pencil on offcuts of wood. I like to think my enthusiasm for the subject matter makes up for any shortfalls in the technicalities.

But I guess you can be the judge of that!

Now onto the reviews.

Crown Court – Capital Offence LP The cover of this record has Big Ben behind rolls of barbed wire, and a soldier with a Brodie helmet (from WWII I assume?). In a way, the cover sums up this record. It looks back at eras gone by and seeks to replicate various aspects, albeit through an internet-informed lens.

The cover is the most obvious reference point, but other details like the inner labels looking like Rock-O-Rama records labels (the label famous for releasing kickass left-wing Finnish hardcore and...

Skrewdriver), the mentioning of the Joe Hawkins skinhead novels and probably a few more that I’m not savvy enough to pick up on. In case you haven’t guessed yet, this is an Oi record. I think the best modern Oi looks to the past, seeks to understand what makes those records great and distills that down with some sort of subconscious sophistication (skinhead music being described as sophisticated, get the fuck outta here!!!). And this record does just that. Some of the songs have a melancholy vibe, with lyrics like “see my world on the tube line”, and a few songs about Northern Ireland seem more sorrowful than political. Even the songs about football have some sort of poetry about them. Of course there are still songs about posers but I half wonder if the lyrics verging on the beautiful betray some sort of middleclass educated background? Who knows, who cares.

Maybe it is me romantising some stupid words put together. If you got a problem, come find me, cunt. Get this record.

Arms Race – New Wave of British Hardcore LP Like Crown Court, Arms Race is internet-informed modern hardcore.

From the title (a play on New Wave of British Heavy Metal, duh) to the

Crass rip-off back cover, this record shows a band mining a broad history of music readily available. Unlike Crown Court, this doesnt have some hidden poetry of the dead end streets – this is a pretty aggressive all out attack. This is the sound of feeling frustrated and crushed, and working a shitty job that you hate. Not very nuanced but there is some sort of cathartic majesty in this sledgehammer of a disk.

Ausmuteants – Band of the Future LP I didn’t know much about these guys til they played the Coronation one night to about 10 people, and played like a bunch of angry nerd banshees. I’d say Devo is a lazy reference point for these guys, but mixed with the most annoying aspects of the brattiest Australian rock. As someone at the gig mentioned during their set, “that drummer looks like he was given a drumkit as a kid to control his ADD”.

Belgrado – Raz Dwa 7” single Belgrado played on a Tuesday night at the Coronation and managed to draw a crowd and play a great show, despite it being a school night. Belgrado play what I imagined pop music was like in Russia when I was a kid. Cold and distant? Almost like a computer game soundtrack played by the Cure at their weirdest. These songs are both on the LP that’s just come out but this is a tour only 7” limited to 150. Copies should be still about.

I Drink Your Blood – Blu Ray Ex Film is a small little operation releasing obscure films in Australia. They do a great job tracking down oddball gems, and go the extra mile with artwork, booklets and all the extras that really show a love of video era trash. Their Blu Ray release of David E. Durston’s I Drink Your Blood comes with a sheet of LSD blotter paper printed with the iconic original video release artwork. If you are of a certain age you can probably remember the impressive artwork from the horror section at your local Plains video.

This movie is a schlock masterpiece. The storyline follows some satanic acid-eating hippies as they rub a small town up the wrong way, eat some rats, catch rabies and go on a rampage. After reading that, you should have a pretty good idea of whether this movie is for you.

Try these places to get this rubbish: exfilms.bigcartel.com heltaskelta.bigcartel.com nopatience.bigcartel.com televisedsuicide.bigcartel.com ngmrecords.com.au WHERE ARE ALL THE BANDS IN THIS TOWN?

Send your recordings to PO Box 401, Ipswich, Q 4305. Or just find me, I’m easy to track down and happy to chat with nearly anyone. I’ll review it here. But I’m gonna be pretty ruthless, so step up your game and make some historic noise that will rival the golden age of Ipswich music (late 70’s and early 80’s punk imo – several world class records released at this time, now fetching thousands of dollars on the collector market).

15

Odio are about to tour Australia, including two gigs in little ol’ Ipswich.

We contacted the band to discuss the big issues currently affecting them, including the recent tragedy of the Ghost Ship Warehouse fire, which claimed 36 lives in their hometown of Oakland, California.

Interview by Blank Cheque.

IPSWICH UNDERGROUND: Who’s in Odio? Whats your story? What are your hopes for the future?

Giacomo: Odio is Chris guitar, Giacomo drums, Emilio bass, JonCon Vocals.

JonCon: We are from California, Massachusetts and Milan. We all currently dwell in the dystopian underworld that is Oakland, California. Everyday we are surrounded by violence. Just the other day, we recorded our new LP with Gregg Wilkinson at Earhammer Studios. We just got our levels set when we heard six shots ring out just outside the door. We went outside and watched a man bleed to death on the sidewalk. Our hopes for the future include staying alive long enough to complete our coming records and not be imprisoned by American or foreign “authorities”.

Chris: Our hopes are recording more music and touring the world.

IU: Odio is an Italian word. What is the best Italian food going in the world right now?

G,J,C,E: PIZZA DUH. J: I was in New Jersey today and watched a cop eat an “Italian burrito”. It was repulsive on all fronts. But on a positive note, Giacomo makes a killer pesto gnocchi. If you see him on tour, throw a pizza dough at him, he loves that shit. But in reality, Scootch will probably catch it, spin it, and make it into a delicious pizza. Just do not allow Emilio near that or any other type of pie. I have the facial burn scars to attest to that.

IU: What does everyone do outside of the band? Under capitalism, with rising rents and costs of living in desirable punk neighbourhoods the world over, how do you find the time/money to tour Australia?

C: Anything and everything we could find!

Criminal activities hahaha.

G: We have jobs though! Chris is a chef in a restaurant, I teach drums. Jon and Emilio are bartenders. It’s hard living in this world and especially in the Bay Area nowadays but we make it work.

C: Music is what we do 100% and we always find time and money to do what we love.

G: We decided that we are gonna tour the world and SEA – Australia is the first stop of our Odio I Confini tour.

J: It is a simple matter of choices. I personally rarely go to bars or restaurants while in America. Often times punks are dissuaded from living in expensive cities, but in reality if you earn a living wage in a city like Oakland/San Francisco you can save up to travel and live luxuriously anywhere else in the world. We do not have any financial support from our families, but in America we certainly have the privilege of being white passing. So racking is a breeze if you’re smelling what I’m stepping in.

IU: On a very serious note, I’ve been following the tragedy of the Ghost Ship fire. How has that affected you guys? Fuck do you just want to talk about that for a bit? If not just skip this question.

C: My heart goes out to anybody that was affected by the fire. We need to pay attention and we need to keep our community safe.

G: It’s a tragedy for our community. We knew personally one of the victims. We played at her house, such a tragedy. RIP Ara. J: We lost a friend named Ara Jo in that fire.

She was a patron of the arts here in Oakland, she booked and promoted punk and art shows here and lived in a warehouse that held events. She was always smiling. Losing her will impact us for years to come. And she is but one of the 36 artists that we lost. We are privileged to have gotten the opportunity to know her.

IU: So Donald Trump is now the leader of the free/not so free world. What the fuck is going on? I feel like he’s the product of a total burn out of standard politics, and maybe the left’s failure to have an understanding of working class people?

How did we/you guys get into this mess?

What does the future hold?

C: Growing up in this country you realize that our major politicians and presidents are puppets. The problem with Trump is what he stands for. Everything we’ve been working towards as a progressive society is now threatened by these bigots who now think that it’s ok to be themselves.

G: Darker days ahead my dude.

J: Liberalism is the opioid of the masses.

Conservatism is the pathway to fascism.

Control is control. We at Odio do not subscribe to an idea of hope. We do not believe in a better world. While there may be some well intentioned people, they are certainly misguided by society. All people are self concerned and diluted. No hope for a better world for you and I.

Catch Odio on 29 January at Arcadia Comics from 3-6pm with Scraps, then in the evening at The Coronation with Shackles, Friendly Fire and more.

UPCOMING GIGS

Eat Your Words

Friday 6 January - Rheanne Leschke - Dusty’s Bar and BBQ Saturday 7 January - Mike Barber - Dusty’s Bar and BBQ Sunday 8 January - Visionz - Dusty’s Bar and BBQ Friday 13 January - Eat Your Words, Poetry & Noise - The Coronation Friday 13 January - Mike Barber - Dusy’s Bar and BBQ Saturday 14 January - Enzyme (Melbourne), Common Enemy (Byron Bay), Hurricane Death, Scumbag - The Coronation Saturday 14 January - Rheanne Leschke - Dusty’s Bar and BBQ Sunday 15 January - Mike Barber - Dusty’s Bar and BBQ Saturday 21 January - Visionz - Dusty’s Bar and BBQ Sunday 22 January - Mike Barber - Dusty’s Bar and BBQ Friday 27 January - Follow the Karot (Korn tribute), Fuzzy Sloth, Plague the City (S Coast), Parameters (G Coast) - The Coronation Friday 27 January - Mike Barber - Dusty’s Bar and BBQ Saturday 28 January - Rheanne Leschke - Dusty’s Bar and BBQ Sunday 29 January - Odio (Oakland CA), Scraps - Arcadia Comics (2.30pm) Sunday 29 January - Odio, Shackles (Byron Bay), Friendly Fire + more - The Coronation Friday 3 February - Extinct Exist (Melbourne) - The Coronation Friday 10 February - Nina Reay + more - The Coronation Sunday 12 February - The Ipswich Jam feat. BXTA 2-6pm - North Ipswich Leagues Club Friday 17 February - Death Church (Syd), Sex Drive (Byron), Tender Lavender, Die for Mushies (G Coast) - The Coronation Friday 24 February - Go Van Go + more TO INCLUDE YOUR GIGS HERE, EMAIL IPSWICHUNDERGROUND@GMAIL.COM

Cameron Logan is clearly a proponent of serious performance art, dangerous fashion, playing with tools, and building. Writing from Vietnam about his latest performance gig, Eat Your Words, to be performed 13 January at the Coronation Hotel, he said, “I want to encourage a greater focus on musical experimentation and – dare I say it – general tooling around.”

Logan, a regular performer in South East Queensland, is currently teaching abroad and is returning to perform with invited poets and musicians.

He likes seeing groups with, “odd line-ups” and intends to “showcase a different type of performance gig, something geared towards people who like original lyrics and slightly different music.”

Logan takes his performances seriously and offers this advice, “Rehearse the music till your fingers cramp and your lungs burst. Hit the stage hard. Love the audience (physically, if necessary). And always dress to maim.”

Logan said he has been, “tooling solo for a while...It’s far better, however, to tool around with other people. Eat Your Words is all about – gathering other tools together to form a sort of communal tooling. Tooling with poetry, tooling with synth and bass and hectic drum solos, dancing like tools and speaking rhythmically in a toolish manner.”

He is inviting poets to feature between sets and is considering having an open mic session, “provided there are enough tools in the audience”.

Logan’s parting words were, “As Elon Musk tweeted in the wake of the U.S election result: ‘Don’t complain.

Build.’ Damn good advice I think.”

Eat Your Words, 7pm 13 Jan. (Coronation Hotel 254 Brisbane St. West Ipswich), free entry.

By Kate Den Otter

17

Shitgrinder talk touring, travelling, T-shirts and playing Ipswich gigs.

Interview by Shane Dregs.

Photos by Cheri Graham.

IPSWICH UNDERGROUND: You guys are a duo, why? You don’t like bass players?

SHITGRINDER: Nothing against bass players, we lurv da bass. Chris from Idylls joined on bass after like our second jam or something and the demo is us three.

Shortly after we parted ways, we kept jamming and we kinda realised just us two is what Shitgrinder is. Just having to organise two dead beats to be in the same place is also a lot easier haha. The last release we did which was the Coffin Birth split 10’’ we didn’t record bass which was 18

probably a mistake as it lacks a lot of low end. Live it seems to work running guitar through a bass rig. You can expect some bass on our next release but probably not an actual “bass player”.

IU: Do your girlfriends get jealous that you guys spend so much one on one time together?

SG: Haha if only we were bi, that’d be a bit of fun wouldn’t it! But yeh nah on a serious note our girlfriends are the best and are so supportive, we appreciate them so much.

We are pretty sure they dig the band too... pretty sure.

IU: You guys play in Ipswich a lot, do you notice any differences from playing in other towns/cities around Australia.

SG: Yeh Ipswich is great, shout out to Borg for giving new life to a punk scene in a country town, what a legend. There’s probably a stronger DIY vibe in Ipswich than other bigger cities cause punk shows have only just started up again in the last

year, which is great. It’s similar to shows in other smaller places in the sense that if people are at the show, they are there to see the bands and all hang out and have fun, rather than people going to a show in their city cause there was no trendy party on that night or some shit. But in saying that, we don’t care what people do, it’s their life, they can do what they want and be into what they want, as long as it has nothing to do with affecting other people negatively. But really there’s not a massive difference to shows in Ipswich compared to other places, except that they are Ipswich haha. The Magrudergrind show there had a bullshit good turn out and was a fun charged night.

IU: I know you toured Europe with Shackles, any drunken stories with those maniacs?

SG: Haha yeh was mad fun all the time.

Getting on it and copping Obscene Extreme Festival was definitely a highlight.

Just to clarify, Shitgrinder played Obscene Extreme only due to a band pulling out, then Churby the legend (organiser of OEF) chucked us on cause he knew we were there cause we both play in SHACKLΣS who were also playing OEF as part of the whole Europe tour. We toured with a band called Famine from Leeds, biggest legends, so the last show was in their home town and that was loose. Fluff fest was also a time, and just hanging out in general all together and searching out the ganj was well fun.

IU: I have to say from my experience touring, I enjoyed meeting and seeing other bands the most. Did you connect with any bands over there? Any more plans for split releases?

SG: Yeh fully agree. Like I said before, Famine from Leeds are fucking insane and the sickest cunts. Lugubrious Children were fun as and the best band all round in terms of aggression, speed and fun times.

There was talk of a split with a band called Ona Snop that we hung with who share members with Famine and Lugubrious Children. They fuckin kill it, so fun. Was also mad getting to hang with Insect Warfare and talk to them, Beau is the man.

Krush, Weak Ties, Human Cull, Speed!

Noise! Hell!, Deathside, Memoriam, Melt Banana and Incantation were sick. Too

many good bands and people we saw and met to name, really.

IU: When are you gonna put out a black shirt instead of just white?

Was that a deliberate snub to Crust punk?

SG: Haha we did a run of our only shirt in black, Shane! You must have missed out, sorry. We will get some more eventually.

IU: You guys have done a fair bit for an underground band e.g. touring Australia/Europe, releasing records etc. What are your long term goals now, or when do “There’s you plan to break up?

probably a stronger DIY vibe in Ipswich than other bigger cities”

SG: We have a whole bunch of new songs that we will record soon and hopefully get pressed as a 10”. Other than that we are just siked on playing shows, jamming and hanging out with good bands and people. We both play in a few bands and have jobs so it’s kinda hard to plan tours at the moment.

But no plans on breaking up.

IU: When do you plan to play Ipswich again?

Nothing booked but hopefully soon!

Thanks Shane.

19

BEHIND THE MIXING DESK LIVE SOUND 101: ‘There’s always one’

Audio engineering student Kenneth Weaver shares his 10 rules for live sound – things he wishes he’d known before he set up his first PA. Rule 1. THERE’S ALWAYS ONE Every time you set up a PA and mix live sound there will be someone, usually pissed, who will try to tell you how to do your job. This is an easy way for audio engineers to make extra money by taking bets with nearby punters. Remember, the longer your gig goes without someone yelling, ‘You need to turn the vocals up’, the greater the chance of it happening. Put your house on it.

Spend time studying as well as practicing the provision of live sound. You will learn that loudness is measured in decibels and that volume is amplitude and subjective.

The mix you create is also a subjective thing that will sound different to everyone in the room based upon where they are located, the condition of their hearing, their preconceived ideas and preferences about sound, environmental factors, and of course, the amount of vodka they have drunk.

Rule 2. SUPPORT YOUR PERFORMERS The audience are there to experience a performance so help the performers to deliver a great one. Take your time to make everyone comfortable with great on-stage sound. Encourage them to be demanding. Better to find out their needs before the performance rather than during, or even worse, afterwards. Watch them carefully for instructions, have gaffer tape ready, and encourage their performance.

The tape is for runaway kick drums and other equipment.

Rule 3. HOW TO SPOT AN AUDIO ENGINEER IN THE AUDIENCE They will be standing between your front of house speakers and far enough back from the speakers so their position, when combined with the two front of house speakers, roughly forms an equilateral triangle. They won’t be standing in the centre of the room because they know how sound works and will have avoided that spot. In an ideal world this is where you would set up your mixing desk. Then, you 20

will find them standing right behind you listening to your mix whilst silently judging you. Don’t be put off by their presence.

If you need a second opinion on your mix, they will be the best person in the room to ask.

If your mixing desk is in a poor monitoring position, which is likely, walk to a better position to monitor the mix and then make your adjustments. Most performers will see you out there listening so make sure you give them a thumbs up to let them know it sounds great even though you might be racing back to the desk to rescue the mix. Remember Rule 2.

SUPPORT YOUR PERFORMERS. Rule 4. TAME THE GUITARISTS Guitarists typically point their amp at their legs, complain they can’t hear themselves, and turn their amps up too loud for the room. Electric guitar sound waves tend to be made up of middle to high frequencies that are generally unidirectional so the sound waves will be mostly heard in the section of the audience where the amp is aimed. Do the guitarist, audience, and yourself a favour and point the guitar amp toward the guitarist’s head. Whack a microphone in front of it and run it through the PA. If they are using a QUAD box tell them to turn the amp down to a tolerable level, whack a microphone in front of one of the speakers, and send plenty of guitar through the on-stage speakers so the guitarist can hear themselves clearly and hopefully will resist the urge to keep turning up their amp.

Rule 5. BASS PLAYERS ARE AMAZING Even though they are the most important and talented performer on stage, they are always polite, ask for very little, and are extremely humble.

Rule 6. YOU WILL BE TAUGHT SHIT Well intentioned people will teach you things that later on you will find out was incorrect. This is cool though because the study of audio is complex and myths are common. Be wary, don’t assume everything to be true, and when you know the correct information, teach others.

Rule 7. THE GAIN CONTROL ON A MIXING DESK IS BLOODY IMPORTANT Don’t believe it when people tell you to think of it as an extra volume control. If you don’t know what gain structure and staging is now, then start learning. When you work out what it is, talk to guitarists who use pedal boards about whether they are using correct gain structure and watch their eyes glaze over. Tell them Kevin Parker

WITH KENNETH WEAVER

and his tech use it and maybe they might show some interest. Understanding gain structure was the most important early lesson I learnt. Don’t dismiss it.

Rule 8. VOCALISTS ARE ADDICTED TO REVERB AND OTHER STUFF Some vocalists will ask for a specific reverb effect setting to be applied to their vocal channel. Remember Rule 2.

SUPPORT YOUR PERFORMERS, then smile sweetly, say, ‘Of course’, apply a little of the effect to their on-stage monitor speakers, and don’t send any through the front of house speakers. It is your job to provide great sound to the room you are in so you need to know how sound works and only apply a reverb effect if your mix in that room requires it. This is a subjective decision made by you. The same logic applies to vocalists who say they always use the same EQ settings on all mixing desks in all rooms. They are talking crap, but your job is to support them. Smile sweetly, keep their preferred settings in mind when you are standing out the front building your mix, and make your own decisions based upon how the whole mix sounds in that room. If a performer asks you to send what the audience hears through their on-stage monitor speakers so they can help you mix, use the gaffer tape.

Rule 9. WEAR EARPLUGS WHEN THE SOUND LEVELS ARE HIGH Rule 10. GUARD YOUR MIXING DESK Don’t leave your desk unattended for long because for some inexplicable reason, people think it is OK to walk over and adjust mixing consoles. See Rule 1.

THERE’S ALWAYS ONE. Kenneth Weaver Student of Audio Engineering Bass Player Partner @ www.leftwest.com.au

Abroad, positive

By Cameron Logan

Is there anything more absurd than a disillusioned man abroad?

The camera zooms in slowly on his forlorn face, narrow eyes keeping vigil on the exotic nightlife As the edges of the camera conveniently cut away The thousands of poor people that surround him Even here, the slightly offbeat comfort of someone else’s Dad Music belting from the upper corners How indeed Does It Feel?

You, king of self-loathing, this will not help, this expression is an elaborate kamikaze.

You have to remember what you’ve tasted.

Every tiny flavour a lingering thread, inexpertly woven, into a tapestry of catastrophe, surrounded by horny motorcycles, and men with topknots, conspicuously discussing, some new creative endeavour.

Tone Town Music is your local one stop shop for all things musical, with a wide range of instruments, accessories and print music in stock to cater to all your music needs. Whether it’s school instrumental program books, cables, guitars, drum sticks, keyboard stands or amps we’ve got you covered!

124 Brisbane Road Booval, Queensland Call (07) 3812 1880 www.tonetownmusic.com.au

21

INTERVIEW WITH THE ARTIST

Little Brown Dog

at school then grab a coffee while we wait for my hubby to finish his split shift, he collects the boy child so we can have a couple of hours of uninterrupted printing and/or sewing, then drops him back after lunch and we head back to school for pick up.

IPSWICH UNDERGROUND: What sort of stuff do you make?

BEC: A small range of print and textile based goodies from stand alone lino print artworks to screen printed cushions and clothing. My current prints feature local buildings and vintage furniture and I sew with a mix of new and vintage material.

IU: How did your workshop space at Goleby’s Basement came about?

B: I was fortunate enough to secure a workshop space in Goleby’s Basement from day one. The idea to use the neglected basement as artist studios and a small venue was first dreamt up in November 2015 by Kate, who runs Art Time upstairs. I was really keen to secure a spot and was excited about the opportunity to be actively involved in my local creative community, so I got in early, helped pull up carpet, wash floors, paint walls and I even sewed chair covers for the performance space. The Basement officially opened in April 2016 and all four studio spaces are occupied.

IU: What is a typical day like in the studio?

B: Studio days are a bit of a juggling act between school hours and a three year old.

Typically my studio buddy Lois and I drop our daughters

We do pretty much everything in house so our studio days can involve prepping and printing a hand cut screen print, carving lino blocks which are later turned into screen prints, developing our own photographic emulsion screens, more printing, fabric prep (cutting and ironing), sewing printed fabrics into cushion covers, making piping, stuffing cushion inserts into covers and occasionally framing prints. For the really noisy, dirty jobs like cutting and sanding timber, I have shed days with my dad and we prep big batches of timber to make block printed artworks, bookends and streetscape sets. I’m lucky to have supportive and helpful parents with patience and power tools.

Bec Lewis, the creative talent behind Ipswich label Little Brown Dog, invites us into her her world of upcycled and vintage design at her studio in Goleby’s Basement.

Photos by Cheri Graham. most incredible doll house and furniture from scraps and offcuts. We were always encouraged to make use of what we had before buying something new and that’s an ethos I still carry with me. Secondly, I have a seriously under-utilised Honours degree in environmental management.

Whilst I was one of the unfortunate 3% of graduates who didn’t get a job in their field, everything I learned I apply in my day to day life and in my creative practise.

IU: That is lucky indeed! Upcycling and repurposing is a significant element of your ethos – can you tell us about what inspires that aspect of your work?

B: Upcycling and repurposing is at the heart of everything I make. Every piece is made from at the very least 50% repurposed materials. I predominately use second hand fabrics (sourced from op shops, eBay, gumtree and from generous friends) and have just this year started using linen, as it is the most eco friendly fibre crop and it means I can create more cohesive small run prints. Cushion inserts are made in Australia from recycled PET bottles and all timber I use is salvaged from either Reverse Garbage or a builder friend.

I think there are a couple of reasons for this element in my work: firstly I grew up in a family who valued creative reuse and repurposing – I remember my Nanna making me dresses from her old blouses, my Dad building camping BBQs from used up gas cylinders, my Mum paving around the fireplace with 100 year old salvaged bricks and my Pappa building me the

IU: You also include plenty of references to vintage design. Does that tie in with your passion for up cycling?

B: Absolutely! I have collected vintage clothing patterns for a long long time and there are few things as satisfying as making a vintage dress from actual vintage fabric or backing a cushion screen printed with a mid-century house with a 1950s tablecloth remnant.

IU: As an Ipswich local, how do your surroundings inspire and interact with your work?

B: I’m not sure if you’ve noticed but I’m sort of obsessed with built heritage and Queenslanders in particular and Ipswich is full to bursting with not only traditional Queenslanders but a fine selection of mid-century dwellings too. This obsession with houses is self perpetuating – it started off as nothing more than a personal photographic collection of houses I liked.

Some of those turned into artworks and then fabric prints and now I regularly go house spotting both on my own and with friends so I can collect more pics and gather more inspiration.

IU: How would you like to see Ipswich change or evolve in the future?

There is a huge and diverse creative community here and I would love to see this community really throwing their numbers around by getting out and supporting each other’s projects. I would also love to see more creative reuse of vacant and abandoned buildings, a development of culture of creative reuse rather than the knock it down and start again mentality that seems to prevail.

Follow Bec’s creative journey and find out when she’s doing markets via Instagram @littlebrowndog or buy goodies via her Etsy shop www. etsy.com/shop/littlebrowndoggy

Houses of Ipswich Celebrating the beautiful houses of the heritage city. Join us and share the houses you love!

On Instagram @housesofipswich and Facebook facebook.com/housesofipswich

PLACES OF IPSWICH w i t h S>C>R>A>P>S

“DENMARK HILL WATER TOWER was a place my parents would take us for special occasions, especially if we had out of town guests. One time I saw a banana peel dropped from the top railing and plummet to the ground. It was spectacular, cause the banana had been smuggled out from sizzler.”

Laura of Scraps grew up in Ipswich. Here she shares with us a few precious memories she has of the city’s great landmarks.

“ST MARY’S CATHEDRAL was open all day usually, I went to its neighbouring school in my senior years, so it was counted as part of the school grounds, well at least I thought that. Usually I would head down there instead of going to religion classes and bang away at the baby grand piano really loud. My teacher was a real cunt. Nobody seemed to stop me as I brutalised the classical music I’d learnt, playing it at the fastest speed I could manage.

Probably sounded terrible, and the acoustics would’ve carried out over Ipswich city like a fart bomb.”

“IPSWICH TRAIN STATION was the local gathering place for pizza faced high school students from all around. Pre-CCTV, a lot of hoaxes were carried out, initiating the younger students into high school life.

Everyone packed onto the terminated train waiting for it to depart as it filled with the stench of fart bombs and cattle train sink. As the whistle blew, a couple of school bags would be thrown onto the platform, evicting the owner as they chased after their school bags, leaving them stranded at the station. Welcome to Ipswich. This was pretty much the only time I got to ‘socialise’ with boys because both St Eddie’s and St Mezza’s were very strict. They even had plans to get an electric fence built in between the schools but St Mezza’s couldn’t afford it.”

Scraps is DIY slow-dance romance, hypno-jog fantasy, top of the pops, granny porn, dick van dork mary ploppins.

Listen at 5crap5.bandcamp.com

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