Warp Magazine May 2011

EE FR

W arp Warp BLUE KING

BROWN WARP ISSUE 4 | MAY 2011

Wagons

Propagandhi

Lyrics Born

Introducing: Eat Out

LIVE MUSIC 7 days a week Mike Noga Fri May 13

Dave Graney Sat May 14

Wagons Sat May 28

Mike Noga Fri, May 13 Dave Graney Sat, May 14 ill Starred Captain Sun, May 15 Carl Rush Mon, May 16 Peter Hicks & The Blues Licks Tue, May 17 Slyde (UK) Wed, May 18 Darlington Thu, May 19 Boil Up (Reggae) Fri, May 20 Pegz Sat, May 21 Cake Walking Babies Sun, May 22 Dean Stevenson & Lincoln LeFevre Mon, May 23 G B Balding Tue, May 24 Soul Fish Wed, May 25 Clapton Vs Hendrix Thu, May 26 Mic Dons: Starring Dunn D + Mdusu + Greeley Fri, May 27 Wagons Sat, May 28 Joe Piere & The Blackberries Sun, May 29 Quiz Night Mon, May 30 Double Down Tue, May 31 British India Fri, June 3 British India Sat, June 4 Lloyd Spiegel Sun, June 5 Queens Ball Sun, June 12 Global Battle of the Bands Thu, June 16 Lowrider Fri, June 17 Del the Funky Homosapien Wed, July 20 Jebediah Fri, July 22

AWARD WINNING FOOD 299 ELIZABETH ST NORTH HOBART 6234 6954 WWW.REPUBLICBAR.COM

British India June 3 & 4

E

W

l ab

EE FR

l ai av

y ER

i iF

Ev

ay d l ti l tE la

Growing original artists Sunday through Tuesday every week Featuring

Ivories at Irish rod fritz Wingit Blizz nick foster nellie de grassi tokyo room ...and many more.

Thursday to Saturday The best of Hobart’s cover bands every week Featuring

Joel Everard The Pirates of the Cover Scene Dave Wicks Australian Made The Smashers Dr. Fink House with a Heater ...and many more.

Serving great mealS for lunch & dinner everyday!

•• ••••

21 Salamanca Place, Hobart 6223 1119 | www.irishmurphys.com.au

6 News

News 7

NEWS

CONTENTS The Adventure Bay Blues And Roots Festival is on Sunday, June 12

W arp Warp

-----------------------------------------Issue 4 May 2011 -----------------------------------------EDITOR Nick Mason nick@warpmagazine.com.au -----------------------------------------LOCAL MUSIC Stuart Warren stuart@warpmagazine.com.au -----------------------------------------CLUB / ELECTRONIC Ainsley White ainsley@warpmagazine.com.au -----------------------------------------ART Alison McCrindle alison@warpmagazine.com.au -----------------------------------------Performing Art Sarah Mashman sarah@warpmagazine.com.au -----------------------------------------Eat Out Jason James jason@warpmagazine.com.au -----------------------------------------DESIGN Miu Heath catspop@gmail.com -----------------------------------------ADVERTISING ads@warpmagazine.com.au -----------------------------------------GIG GUIDE Submit your events to gigs@warpmagazine.com.au -----------------------------------------Writers Merran Reed, Sose Fuamoli, Sarah Leary, Eva Lubulwa, Josh Clements, Lyn Geisel, Daniel Townsend, Jervis Dean, Jarred Keane, Lucas Thomas, Caity Rode, Lisa Dib, Brett Neuling, Jade Bonus, Sybelle Foxcroft -----------------------------------------NEWS Submit your press releases plus publicity images through to the appropriate editor for consideration.

-----------------------------------------www.warpmagazine.com.au www.facebook.com/warp.mag -----------------------------------------ALL SUBMISSIONS REMAIN THE PROPERTY OF WARP MAGAZINE. ALL CONTENT IS COPYRIGHT TO WARP MAGAZINE AND CANNOT BE REPRODUCED IN WHOLE OR PART WITHOUT WRITTEN AUTHORISATION OF THE PUBLISHERS. WARP MAGAZINE makes no guarantees, warranties or representations of any kind, whether express or implied, as to the accuracy, reliability, or completeness of the information provided. WARP MAGAZINE will not be liable for incorrect use of the information and will assume no responsibility for consequences that may result from the use of the information.

WARP MAGAZINE is not responsible of any kind arising out of use, reference to, or reliance on such information.

The opinions expressed in Warp Magazine and Warp online do not necessarily reflect those of the editors or publishers.

warpmagazine.com.au

The Adventure Bay Blues And Roots Festival is being held at The Adventure Bay Hall, Adventure Bay Bruny Island on Sunday June 12th 2011.

This years headline act will be Launceston based power house duo Guthrie playing their heavy driving blues with a uniquely Tasmanian flavour. The legendary Full Tilt Boogie are also on the bill along with Yonderwall plus many more.

Del the Funky Homosapien heading to Hobart this July For the past 20 years, Del the Funky Homosapien has been solidifying his status as a certified hiphop legend. Since the seminal 1991 release of “Mistadobalina” on the “I Wish My Brother George Was Here” LP, Del has been a crib-hold name amongst rap aficionados worldwide.

Following the success of appearances on albums by Handsome Boy Modelling School & Gorillaz, his value has escalated into the upper echelon. Hobart gets a chance to see Del in person at the Republic Bar on Wednesday July 20, supported by Crixus & DJ Grotesque performing a DJ/VJ set.

Late Night Krackieoke at The Brisbane The hilarity continues this months Late Night Krackieoke at The Brisbane Hotel with your multi-minded host MC Motherlover. Come dressed as your MUM! With over 15,000 songs to choose from there is a 100% guarantee that you will be breaking your Mother’s heart. Every second Saturday of the month, the next event will be held on the 14th of May. Next month’s event with DJ Steakface is on the 11th of June. June’s edition will see your host doing live branding, whip cracking, dog herding and live whiskey drinking!

King Cannons head to Tasmania for 2 shows in May

Catch King Cannons Friday May 27th at Hotel New York, Launceston and Saturday May 28th at The Brisbane Hotel, Hobart

It’s 2011, Ballpoint return with a new line up and EP. This May, Ballpoint will release a 3 song digital EP titled ‘Snake Eyes’

Ballpoint will accompany the release of Snake Eyes with a string of shows across the country before hitting the studio’s again at the end of the year to record and produce their next full length.

Tiger Choir taking it to the mainland After tucking themselves away on Bruny Island to record new album, Unicycles, Hobart trio Tiger Choir are continuing to rack up quality support slots for international acts touring the mainland. Having already stepped up prior to Deerhunter shows this year, the lads will be on the road with The Drums during early May. No Tassie dates on either tour, unfortunately, but that does mean we should get to see them headlining more of their own shows here in the not-too-distant future.

It’s time to move on for Invisible Boy No more Frustrations... or is there?

Fans of Hobart’s The Frustrations get set to rejoice. The guys are set to play their first Melbourne show in eight years and in the spirit of being prepared will be taking the stage at The Brisbane Hotel on Wednesday, 18 May. With support from Myblackson and a $5 cover you’ve got no excuse for not being there (unless you actually do).

Invisible Boy’s Daniel Townsend has told Warp the band’s relationship with tracks from their Above The Groove of a Lonely Life album has reached a critical stage. “We only include two or three songs from the album in our set,” Daniel said. “It’s not the songs, it’s us. We’ve moved on. We’re happy for the songs to start seeing other people and we’re still friends, it just didn’t work out.”

It’s time to move on for Invisible Boy Invisible Boy’s Daniel Townsend has told Warp the band’s relationship with tracks from their Above The Groove of a Lonely Life album has reached a critical stage. “We only include two or three songs from the album in our set,” Daniel said. “It’s not the songs, it’s us. We’ve moved on. We’re happy for the songs to start seeing other people and we’re still friends, it just didn’t work out.”

Australasia’s Queen of the Cabaret Stage celebrates 20-years of thrilling audiences, and to mark the occasion is returning to her enduring love… the dancefloor! A reinterpretation of Don McLean’s American Pie is the lead single from Starr’s upcoming debut long-player ‘Start the Crescendo’, which, as the title boldly announces, is a non-stop thrillride of up-tempo pop gems. Catch the show at Flamingos Dance Bar on May 27.

It’s a simple ethos that hasn’t changed since day one. Soul food. Six good friends coming together to create music crafted from their many different individual influences and inspirations.

The result is ferocious. A constantly evolving, roots based rock’n’roll sound that is unmistakable.

BROWN

Miz Ima Starr is heading for Hobart

Melbourne based rock n rollers, King Cannons prepare to embark upon their first headline tour of Tasmania at the end of next month.

Ballpoint return with new EP and lineup

Now a four piece with Lucas Walker on lead vocals, Ballpoint has re-gained it’s passion and inspiration and as a result will give birth to EP which was recorded at Red Planet recording studio’s in Hobart and produced & engineered

by Rob Long from Birdland Studios (You Am I), Mastered by Brett Zilahi (Alexisonfire, Old Crowes Young Cardinals) in Canada. Snake Eyes EP will be independently released digitally.

Food and beverages will be available and accommodation can be obtained by contacting accommodation providers on Bruny Island.

The event is licences, so under 18’s must be accompanied by a parent or legal guardian.

Tickets are $30 with under 18’s admitted free.

Ticket’s are available from The Adventure Bay Store and the Republic Bar & Cafe. $1 from each ticket sold will be donated to the National Breast Cancer Foundation.

BLUE KING

Tumbleweed return to Hobart The ‘stoner rock’ riffs of Wollongong’s Tumbleweed inspired a whole army of music lovers when they emerged in 1990s from the seeds of the Proton Energy Pills. Tumbleweed burst onto the scene in a huge way by gaining infamy courtesy of a national support, one and only Australian tour by the legendary Nirvana back in 1992.

Despite their chequered history including several band line-up changes, Tumbleweed have let bygones be bygones and the original line up is once again on speaking terms, playing and writing together for the first time in almost fifteen years. Add to this a double cd, reissued - “The Waterfront Years” out now on Aztec Music. It contains all of the bands recordings until just before they signed the deal moving from Waterfront to Polydor Records.

Guitar virtuoso Mathew Fagan tours Tasmania Wagons return to Tasmania The big and bloody hearted men of Wagons are gearing up to head to Tasmania on the back of their new album Rumble, Shake and Tumble.

These premier storytellers are fresh off the plane from a sixteen date whirlwind US tour which centred on a triumphant SXSW blitz and will see the band visiting the northern hemisphere on multiple occasions in the coming year, having signed on with America’s High Road Touring; agents to Wilco, Lucinda Williams, Ween and Drive By Truckers.

Catch Wagons on Friday May 27 at the Royal Oak, Launceston and Saturday May 28 at the Republic Bar, Hobart

The Gin Club tour the country this June. The hard-to-classify folk/psychedelic/rock outfit is promoting their upcoming CD, Hissy Fit and as part of it will head to Hobart, performing two sets.

Catch The Gin Club at The Brisbane Hotel, Hobart on Saturday, 11th June

Little Red to open Waratah Hotel (Hobart) band room

08 BRITISH INDIA 09 THE GIN CLUB 10 BLUE KING BROWN 11 RAJATON 12 TONY JOE WHITE 13 TIGER CHOIR 14 INVISIBLE BOY 15 PROPAGANDHI 16 SNOWMAN

18 LYRICS BORN

Propagandhi selling fast

19 WAGONS

Canadian punk outfit, Propagandhi are set to perform on the 20th May at The Brisbane Hotel - and it’s close to selling out.

21 DJ KIREESH 21 ACT YO AGE

Tickets can be bought from The Brisbane, Ruffcut Records, Red Hot CDs and Mojo Music.

22 DJ ELITE FORCE 23 TIMMY TRUMPET

Tijuana Cartel book Hobart date

24-29 ARTS

Byron Bay’s Tijuana Cartel are hitting the road for a string of shows across the country. Their latest offering, White Dove is currently on radio and the EP by the same name is set to release in the second half of this year.

26 DAVID EDGAR

To celebrate this release, Tumbleweed will embark on some special interstate shows in May and June 2011 including a performance at The Brisbane Hotel on Saturday June 4 with the original 1994 lineup.

Tas bands rip it up on national charts

Catch Little Red at The Waratah Hotel on Thur, June 23 at The Waratah Hotel in Murray Street, Hobart

Tijuana Cartel will appear at the Republic Bar and Cafe on Saturday, July 16

Bastardfest announced

Jinja Safari return to Hobart this August

The first group of acts to be performing at this year’s event has been announced. Leading the pack at every event are those globetrotting bastards from Tasmania, Psycroptic. Seperatist have also been announced to join the bill.

Expect October 15 at The Brisbane Hotel to be littered with a smattering of interstate and local bands glorifying the tremendous talent heavy music in Australia has to offer.

In the workshops Matthew will explain and demonstrate the 10-string Spanish guitar, speed and drive of country, bluegrass, traditional Celtic, flamenco and banjo technique, slide guitar and guitar tapping percussion are all masterfully presented.

Issue 4 MAY 2011

17 PEGZ

Little Red have travelled around the world twice so far this year but they’re coming home in June and what better way to celebrate than a tour and what better way for Tasmanian’s, but to include Tasmania on the schedule.

Congratulations to North West bands Lyke Giants and Deligma. Both have recently reached number 1 on Triple J Unearthed charts, with Lyke Giants holding the top two spots for consecutive weeks and Deligma being played on the prime time station.

Deligma have two Tassie EP Launches planned for next month; June 3rd at Hotel New York, Launceston and June 17th at The Brisbane Hotel, Hobart.

A master of the 10 string guitar and banjo, Mathew’s unique blend of classical, flamenco and American finger-picking styles has seen him perform alongside Natalie Cole, The Original Buena Vista Social Club, Billy Connolly, Shirley Bassey and Michael Crawford.

See Matthew Fagan live at Skwiz Cafe Gallery, Sheffield: Friday May 13 and Sat 14, 8pm, Guitar Workshop: Sat 14, 4-6pm, Burnie Regional Art Gallery: Sunday May 15, 2pm3.45pm, Workshop: 4pm-6pm, Royal Oak Hotel: Thursday May 19, 8.30pm, Little Theatre, Deloraine: Sat May 21, 7.30pm, Workshop 2pm-4pm, Brookfield, Margate: Sunday May 22, 5pm-7pm, Workshop 3pm-5pm

The Gin Club include Hobart in national tour

Everyone who attends will receive a free download code for The Gin Club’s new collection of b-sides and rarities, Hissy Fit Volume 2.

Appearing earlier this year at the Cygnet Folk Festival as part of the festival of guitars, Mathew Fagan returns to launch his live album ‘One Day in Nashville’ with six shows around the state plus a series of guitar workshops.

Jinja Safari channel African rhythms, bouncing harmonies, makeshift percussion and an unabashed performance that blends gentle melodic jungle-folk and fiery independent showmanship.

Catch the guys when they head to The Republic Bar as a part of their national tour on Friday August 5.

Program Announced for Festival of the Voices 2011

29 ANDREW ON ART 30-31 PERFORMING ARTS

Australia’s premier celebration of the vocalist and the power of song, Festival of Voices will bring together more than 10,000 singers and audience members for a mid-winter celebration in its seventh year.

32-34 EAT OUT

The festival includes a series of concerts and workshops encompassing the diversity of song, ranging from traditional choir to jazz and hip hop.

38-39 ALBUM REVIEWS

35 DIARY OF A TEN DAYS MARATHON 36-37 LIVE REVIEWS

40-42 GIG GUIDE

The full program will be announced on May 23.

For more information on the Festival of Voices, visit www.festivalofvoices.com

warpmagazine.com.au

8 Music

Music 9 The Gin Club is set to hit the touring trail again.

The 11-piece country folk rock band will be touring the country kicking off in Adelaide on 10th June 2011.

The Gin Club came to existence in 2005, the band was started by Salter, who gathered together a group of musicians who, though delving into their own solo projects started to collaborate and write music together to create this unique and diverse sounding band.

‘I started The Gin Club with The Wu Tang Clan in mind. I like the idea that though the rappers in The Wu Tang Clan were working on their own side projects, they came together as a collective to make the band.’

The Gin Club hit the touring trail I was lucky enough to have time with singer / songwriter Ben Salter to talk about The Gin Club upcoming tour, what makes the band so unique and the 2011 Brisbane Floods.

BRITISH INDIA

play; some places it’s impossible to play. But we’re pretty well acquainted with this beautiful old country.”

As British India begin to strut their stuff in venues across the country, Warp Magazine tracks down their frontman Declan Melia for a word or two.

It’s also good to know that British India aren’t picky, willing to hit the road and take it wherever it may lead them.

Australia has many bright young bands shining out of the mists at the moment. One group who are rapidly pushing their way into the limelight, however, is British India.

They’ve released three albums in the last four years - Guillotine (2007), Thieves (2008) and Avalanche (2010) – and have toured strongly and receiving critical acclaim across the board. Meanwhile, they’re also working on recording their next album, only increasing their already hectic schedule. Warp were happy to step into the eye of the cyclone to have a quick chat with lead singer Declan Melia about all things British. Well, kind of.

In the days separating their shows in Adelaide and Brisbane, the band have returned to their hometown of Melbourne to record new material. In fact, Melia has jumped on the line direct from the studio. We’re really busy,” he confirms via phone, during a brief intermission in their endeavours. “I’m not for a second complaining, because I’ve got limitless energy when it comes to this, but we’re not sitting on the couch… we get off the road and its straight back into the studio. We’re hoping to

warpmagazine.com.au

be releasing a new album before the end of the year, so there’s a lot of writing to be done.”

Their studio time has a second purpose, too: British India are not only recording new songs, but reprising older material as a taster for the American market, where they will be heading in a few weeks. According to the front man, there’s a particular science concerning such a process. “We’re trying to balance out the tracks,” Melia reveals. “If you listen to Guillotine, Thieves and Avalanche there’s quite a discrepancy between them. Guillotine has that sort of roaring garage sound which we think is part of it’s charm, but apparently there’s not much managerial taste for that with the record label people of the ‘States”.

Whatever the desires of the management, Melia is keen to head abroad. It’s no wonder, as he mentions that they have their sights set on L.A. - a destination unfamiliar to the band.

To go walkabout was the logical next step.

“As far as Australia goes, we’ve pretty much left no stone unturned,” he states. “We’ve played just about everywhere it’s possible to

“I’ll go wherever there’s a willing audience… there’s always some fun to be had on tour,” Melia muses.

This current tour is going quite well for the lads. According to Melia, all of the shows have been quite good. British India have in particular been enjoyed the exploits of their supports across the dates, bands Boy In The Box and City Riots impressive in their own right. “The package tour is definitely bolstering our spirits a little bit,” the singer says. “Those two bands are definitely bringing their A-games and that causes us to step up a little bit, keeps us on our toes.”

If nothing else, the bands have been a good influence upon British India. “We cultivated a bad habit of arriving quite late to shows on the tour for Thieves,” he ruminated, “but we’ve broken that now. We show up early and watch the supports and have a few drinks.”

British India have come a long way since their formation back in 2004, a time in which its members were still involved in their studies.

“Well we’ve probably gotten a bit better, more

The band now has 7 full time members that live all around the world from Stockholm to Melbourne. This global spanning band has a unique way of functioning, due to location difficulties rehearsal is pretty much unfeasible transforming their show in professional jamming sessions with any available band members, creating a dynamic and unpredictable element to their live performances. Ben states’ I gave up trying to organise rehearsal because it just became too impossible.’

a slight hint of heavy set guitars into The Gin Club’s country folk style.

The Gin Club will be touring with the songs from their album Death Wish which was released 2010. I asked Ben what was the song that moved him the most on their latest album.

He divulged that the song Milli Vanilli stood out from him. This song was written by Bridget Lewis and penned before the Brisbane floods but seemed to eerily pre-tell the story of the astounding environmental event that occurred in early 2011.

The Gin Club who originally hail from Brisbane banded together to do support gigs to raise money for their flooded home town with some of the bands member homes being affected by the floods.

Eva Lubulwa

The Gin Club will appearing at The Brisbane Hotel on Saturday June 11

When writing albums The Gin Club takes two weeks to rehearse and record with everyone bringing their music to the table. Ben states that The Gin Club has a loose sound, which acts as a template, making it easier for the 7 different songwriters to create an album that sounds cohesive. Their band works well together due to the lack of ego and the firm friendship base created amongst the members. Because all of the songwriters are in their own different bands each member brings a little personal touch to each album.

Salter’s main band is The Giants of Science, a band created in his youth which is decibel extending grunge rock which Ben admits has a way of sneaking into his folk music, adding

masterful of our instruments maybe,” Melia ponders. “We probably dress slightly worse or better, depending on who you’re talking about... but I think the attitude is exactly the same. It doesn’t really seem that much has changed as far as the mentality goes, the us-versus-them, salmon-swimming-upstream feeling that we’ve always kind of cultivated.”

Melia gives insight into the aforementioned attitude. “Being in a band tends to keep you in a state of arrested development, at least psychologically, because you’re focused on one thing… nothing else sinks in. You don’t have time to mature, or experience what a lot of people would call the important things in life.”

Perhaps, then, British India have suffered from the double-edged sword of fame and recognition. “We’re accumulating some fabulous memories and some fabulous opportunities that people rarely get, but I mean, everything’s fallen by the wayside for this band – relationships, careers, family,” Melia laments. “From day one this had been top priority, and it has to be number one, all the time… that’s what’s exhausting.”

However, in his philosophising, Melia drops one important aside that dozens – if not hundreds – of young women around Australia will be interested to hear: he’s still on the lookout for a girlfriend. “I’m at that age where I just love women,” he confirms. “I’m always optimistic.

You never really know, with women… you can never be dismissive of them, because the great ones pop up in the strangest places.”

Brett Neuling

British India appear at the Republic Bar on Friday June 3 and Saturday June 4

PeGz Ft. eloquor & 2buck * suppOrTed by dialectrix Ft. Joe new & 2buck simPlex Vic/Qld Only * dutch nsw Only * binGethinkers syd/Melb Only * choose mics Qld/nsw Only mase & mattic sa Only * hunter & mortar perTH Only * hunter bunbury Only * crixus Tas Only

06.05.11 AdelAide, SA @ FowlerS 13.05.11 PhilliP iSlAnd, ViC @ weSternPort hotel 14.05.11 BAllArAt, ViC @ the KAroVA lounge 19.05.11 trArAlgon, ViC @ KAy St 20.05.11 MelBourne, ViC @ the hiFi 21.05.11 hoBArt, tAS @ rePuBliC BAr 25.05.11 CAnBerrA, ACt @ Anu BAr 26.05.11 wollongong, nSw @ the hArP

27.05.11 newCAStle, nSw @ the CAMBridge hotel 28.05.11 Sydney, nSw @ the AnnAndAle hotel 02.06.11 gold CoASt, Qld @ CoolAngAttA hotel 03.06.11 BriSBAne, Qld @ the SteP inn 04.06.11 Byron BAy, Qld @ greAt northern hotel 10.06.11 BunBury, wA @ PrinCe oF wAleS 11.06.11 Perth, wA @ CiViC hotel {inglewood} PleASe note All ShowS Are 18 PluS eVentS

TickeTs On sale nOw

drAMA the new AlBuM out 08.04.11

For tour & ticket inFo: obeserecords.com * moshtix.com.au * oztix.com.au

warpmagazine.com.au

10 Music

Music 11

Rajaton Return Finnish multiplatinum selling a cappella group Rajaton return to Tasmania for their second collaboration with the Tasmanian Symphony Orchestra in two years.

Blue King Brown - Over land and sea With countless shows and spots on festival circuits both here and abroad, as well as earning radio play and critical acclaim in the meantime, Blue King Brown are apparently just getting warmed up. In fact, just a glimpse of their history since their inception in 2004 suggests a work ethic perhaps unrivalled by their blues and roots contemporaries. Fans and those as yet unacquainted with the band will be able to get in on the action, Blue King Brown having recently embarked on a new string of dates. Founding member Natalie Pa’apa’a is excited to be back on the road again.

“We love (touring) and the tour has just started... we have dreams and goals and we are very passionate about performing live and very passionate about connecting with our global community and sharing the music and the message and the positivity,” she declares enthusiastically. Found in the chilly surrounds of Toronto, Canada, however, Pa’apa’a concedes the weather has been tough going.

“We almost got snowed in yesterday! It was really cold.”

It’s surely a shock to the system for a band familiar with the milder climate of their hometown Melbourne, Blue King Brown also professing strong ties to Byron Bay. Fortunately, the cold has not supressed the obvious joy Pa’apa’a exudes, having just

hopped off stage., Blue King Brown’s positivity and passion is evident in everything they do - the exact attitude necessary given their schedule of late. After playing a number of festivals in Australia including Falls, WOMAD, East Coast Blues and Roots Festival Byron Bay and the Big Day Out, the band are currently tripping their way across the globe. Blue King Brown recently made an appearance at Austin’s infamous SXSW festival also, the experience of the event often seen without equal. However, any time spent on the road is a huge opportunity for the band to promote their craft.

“We are just trying to get our name out and about in the world and perform for as many people as we can and make as many connections as we can, so that we can keep coming out and do what we are doing,” Pa’apa’a says.

It’s business as usual for the sextet, who have enjoyed great success off the back of three albums - their most recent being last year’s Worldwize Pt.1 North & South. It would be the 2006 release of Stand Up that would set the course for the band, however, Blue King Brown suddenly earning immense airplay from the likes of Triple J, a wealth of support offered up for their endeavours. But fast-forward to the present day and there’s good news in spades

School of

Drum Tuition Beginners to Advanced Over 30 years experience

in playing live with the big names

Studio Recording All Styles : Rock n Roll, Hip Hop, Funk, Reggae, Latin Percussion

0447 437 135 warpmagazine.com.au

for local fans: not only are Blue King Brown taking their music around Australia as of May, the band have recently released new material.

The single is titled Gathu Mawula and marks a collaboration with well known Aboriginal artist Garrumul.

“We did a version of one of (Gathu Mawula) and it’s a song that we had heard and we had really loved and we had connected with on a number of occasions. Garramul was interested in getting up and playing with Blue King Brown,” Pa’apa’a explains. “We played it a few times and we thought ‘Why don’t we go into the studio and record a version of it?’ We just really enjoyed working with each other - in the wider sense and it was very natural for us to get into the studio and create this really beautiful version of this song that we really love.”

It’s no surprise then that Blue King Brown and Garramul have kept the lines open, particularly where their artistic endeavours are concerned.

“We have met on a number of occasions. He is pretty shy to start with - he is quite a funny guy and he is really free,” reveals Pa’apa’a, before disclosing a new venture. “Basically I just called him up and said ‘How do you feel about getting together and doing a film clip for Gathu Mawula?’ and he was like ‘Yeah!’”

It’s another feather in Blue King Brown’s cap, having earnt the praise of some big names, including Michael Franti and Carlos Santana.

Heading upward and onward, it seems the band can only snare more frenzied love for their brand of roots music.

Belle Tope

The finish word Rajaton, translates as “boundless”, an apt way to describe the ability of the six-voice ensemble to tackle a variety of projects that has included 11 albums over their 13 year history. With a mix of originals and covers, the group has reached mainstream success in their homeland, with a string of platinum selling releases along with international accolades, including Top World/ Folk Album and Top World/Folk Song of the year by the Contemporary A Cappella Society of America (CASA) in 2007 for their album Maa.

WORLDS COLLIDE Blue King Brown have teamed up with Gurrumul Yunupingu to reprise Gathu Mawula, first feature on the latter’s eponymous debut album. Originally performed completely in Yolgnu language, the song references family and one’s essential connection to land.

“Since Gurrumul’s solo success a lot of people have come to him with collaborative ideas. He hasn’t done any of them,” says Michael Hohnen, muso and long time friend of the celebrated artist. “Yet when Blue King Brown learned one of his songs and played it live at a gig, he was very pleased and excited to join them on stage and sing it with them.”

The opportunity to embark on a new studio recording, then, was approached with enthusiasm. “We have very fond memories of performing with Gurrumul... so it was natural to get into the studio together and record our version of his beautiful song.”

Natalie Pa‘apa’a declares.

With a relentless worldwide touring schedule, the group will bring their tribute to English super-group Queen to Hobart audiences with support from the Tasmanian Symphony Orchestra. Last time in Tasmania Rajaton

performed their hugely successful tribute to ABBA, which impressed the Orchestra and audience alike. With the Queen tribute, Hobart audiences have the opportunity to hear the full six part harmonies of the Swedish a capella group with touring rock band, backed by the full 47 piece TSO perform unique versions of classic songs that are guaranteed to have Freddie Mercury turning in his grave.

Nic Orme

See them peform at the Wrest Point Entertainment Centre Tuesday May 17.

Tickets are available through the TSO box office 1800 001 190.

Blue King Brown appear at the University of Tasmania Uni Bar, Hobart on Thursday May 26

Great food, free pool and live music Now open till 2am every fri and sat

May

Fri 27th - TMG Sat 28th - Kool Daddy’s Sun 29th - Ella Rose

Fri 13th - Selecta Sat 14th - The Unit Sun 15th - Ella Rose Fri 20th - TMG June Sat 21st - The Unit Fri 3rd - Electric Spaghetti Sun 22nd - Trev Heins Wed 8th - Open Mic Night

Happy HOUR THURS aND FRi 6-7 www.tapasloungebar.com.au

Rooke Street Mall, Devonport, Tasmania.

03 6424 2727

warpmagazine.com.au

12 Music

Music 13

Tiger Choir For a band who formed six months before they managed to even play together, Hobart’s Tiger Choir sure don’t mess around. They released their debut EP at their second ever show and now have their first full-length album, Unicycles, at large.

Speaking to Warp, Tiger Choir’s Hamish Cruickshank recounted the slow start made once Sam Nicholson joined he and Elliott Taylor to form the three-piece.

“Sam, our drummer, sort of said he’d join the band, but then we didn’t get together to play for maybe six months. We just didn’t get around to organising anything,” he laughs.

In the following 18 months, Tiger Choir have managed to produce and release Unicycles and make enough of a name for themselves to score a couple of top-notch tour supports in 2011.

First up were Melbourne and Sydney shows with indie rockers Deerhunter in February, closely followed by a slot on the bill at New Zealand’s Campus A Low Hum festival. Next is a trip around the mainland in support of muchhyped Americans, The Drums.

The Swamp Fox: Tony Joe White Keepin’ it swampy, keepin’ it simple and keepin’ it real, the Swamp Fox legend Tony Joe White chats with Loani Arman about what keeps music pulsing through his Louisiana veins.

If you’ve never been turned on by a sexy Tony Joe White guitar lick or had one of his swampy tunes seduce you into an easy and languid mood, then you need to find a good record store and welcome yourself into the world of the man they call the ‘Swamp Fox’.

Sitting in his backyard, outside his home studio in Tennessee, Tony Joe White takes my call.

I don’t need to lay eyes on him to know that he’s dressed head-to-toe in black; a cowboy hat slouched over dark sunglasses, shadowing a face that has been tenderly weathered by a career spanning almost 50 years.

“I’ve been sitting in my backyard and we have a pretty day here for a change. It’s the only way, baby, being outside. Everything is open and beautiful.”

Since his youth in Louisiana’s swamp country and early days paying his dues in some of the roughest honky-tonks in Texas, White has been one busy man. His recording career has amassed a remarkable 29 albums and he’s toured with the likes of Steppenwolf, warpmagazine.com.au

Creedence Clearwater Revival and Sly and the Family Stone. His songs have been laid down by everyone from Elvis Presley to Ray Charles, Otis Redding to Tina Turner and most memorably, Brook Benton with his moody interpretation of Rainy Night In Georgia. Since Benton’s release in 1970, the track has reportedly been covered by over 140 different artists.

On his latest release The Shine, White keeps it achingly real sounding like it was cut live from the floor. “Everyone knows when I sit down with a guitar in a studio, at any given moment everybody may see the red light go on,” he says. “The writing, the guitar playing, the realness of it has to be there. It has to be there.

I wrote these songs over the last year and just went in with only 20 seconds and 30 seconds to the drummer and bass player, and I’d say ‘now play what comes out of your heart’ and we’d turn the tape on. Hit and record.”

As a musician of exceptional expertise and one who plays close to his heart, that kind of spontaneity is a luxury White can afford. “To do an album like that was, to me, really soulful

and real. It came out of what everybody felt at that moment without rehearsing or anything.

I always stay with the freedom of the song and I try to record them like they came to me.

They came from a higher place, and I was almost like a receiving station.”

With his Fender Stratocaster and Boomerang swamp box in tow, White is set to tour Australia in April and May, playing a mix of club and festival dates. It’s yet another chapter in the long standing love affair White has with this country.

“I don’t have a set list. I usually travel through life with no set list. It’s like writing a song – you never know what lines are going to come up next.”

“Why I love Australia so much, it reminds me of here and down in Oak Grove, Louisiana, where I grew up. Y’all have the crocodiles, we have the ‘gators. We got the swamps, you got the swamps. Everyone pays attention to the environment down there, and I do too. It’s like, people watch the stars. They care about patterns, you know?” he says.

“Everybody’s real. They let you know they care about your music. It’s beautiful to come that far and to see people singing the words to your songs.”

As to what songs fans can expect to hear on the upcoming tour, White leaves some of that decision up to them.

“Usually, the audience has their own set list and they’ll holler out the older tunes, Polk Salad Annie and all the way back there.

All of a sudden you’ll put out some new ones like off The Shine and they go ‘alright I’m with you, let’s go’. I can do that with just a drummer on stage cos he don’t have to know the key.

That way, it has a certain kind of wildness to it that I can’t get if I have a bunch of people onstage with me. As long as the fans know that I mean what I’m saying and doing, we all become part of it,” he says, before winding down our interview with a few simple words that sum up his philosophy on life and music.

“I don’t have a set list. I usually travel through life with no set list.”

If you haven’t already done so, get to know the Swamp Fox. Not only will you find comfort in knowing that his music exists, but that he, Tony Joe White, does too.

Loani Arman

The Shine is available now, on Swamp Records.

Tony Joe White appears at Wrest Point on Saturday May 14

“We did some shows with Deerhunter back in February, two sideshows we opened for them,” Hamish said. “We got that by talking to a guy at a record company. We gave him the album and he said he really liked it and sort of said ‘I can get you that gig if you want it’ and we said that would be amazing.”

Despite asking the obvious question, Tiger Choir weren’t able to convince the powers that be to bring The Drums as far south as Hobart, but local fans should soon have the chance to see the local trio live, particularly as the material on Unicycles will only have one airing, at the album launch, before the tour commences.

As for the songs on Unicycles, Hamish revealed that not all of them have made the cut for live performances. “(We’ll play) probably six or seven songs off it,” he said. “When we’re recording we go in with a few tracks ready to go and 75 per cent of it done, but then we also write a few songs while we’re playing around and some of them turn out to be the better ones.

“Some of them, because they come together as this built up thing are a bit hard to play live.

Some of them we work out how to play live but some of them we’re like ‘bugger that, it’s an album track’.

Elliott chimes in: “There’s a few songs on the album we’re yet to figure out ways to pull off live. But we’re pretty happy with having a few tracks just to have on the album.”

According to both guys, the release of Unicycles could not come too soon and is probably a little later than what they’d hoped for.

Elliott: “I’m really excited to get it out now.”

Hamish: “We’ve been sitting on it for a while.

We had it finished and pretty much ready to go a couple of months ago and we’ve been waiting around for a label to release it. We were going to go frickin’ crazy waiting.

“Going on tour with The Drums is a massive opportunity to throw your album at people and say ‘We’ve got an album’.”

They’re also hoping the album name and distinctive art proves beguiling – and is the first of many to come.

Elliott: “It (the album name) is basically just down to the cover art.

Hamish: “We didn’t have a name for it when we started making it or even when we finished it. We even had the picture for the cover for a while before we decided on a name. We thought, well there’s unicycles on the cover of it so we’ll go with that.”

Elliott: “It’s pretty literal.

Hamish: “When we made the EP we didn’t give that a name because we had no idea. We didn’t even officially call it the Tiger Choir EP or anything, it just sort of became known as the one with the Punch and Judy scene on the front. We thought it’d be cool to find lots of interesting pictures and every time we release something give it a really literal name.”

Elliott: “We’re going to have to keep releasing things for that to become the theme.”

Hamish: “We’re thinking long term.”

Elliott: “There’s sort of an assumption we’ll keep going. We’re into the idea of releasing lots of records... I want to definitely have lots of album covers on my wall. That’s my long term aim.”

So, watch this space for more from Tiger Choir.

Stu Warren

warpmagazine.com.au

14 Music

Music 15

Invisible Boy Local indie-folksters, Invisible Boy have had a busy 2011 to date – but that’s no surprise given the late-March birth of their second album, Above The Groove of a Lonely Life.

What might surprise, however, is that the band’s live set doesn’t reflect as much of the new material as you might expect. According to Daniel Townsend, this is far more to do with the players themselves – not the material.

“We only include two or three songs from the album in our set,” Daniel said. “It’s not the songs, it’s us. We’ve moved on. We’re happy for the songs to start seeing other people and we’re still friends, it just didn’t work out.”

Having started life as an acoustic duo, it seems Invisible Boy has definitely grown up a little, now playing live as a four-piece with a couple of albums to their credit, airplay on more than 50 community radio stations nationwide and a boatload of live experience.

Picking up compliments from reviewers at the likes of DrumBeat Magazine and The Dwarf, Invisible Boy has earned comparisons with the likes of Eels, Damien Rice and Australia’s current folk darlings, Angus & Julia Stone.

The new album was recorded during an 18-month period which saw the development of an exciting new sound including danceinspired rhythms, edgy electric guitars, plenty of strings and stacks of harmonies.

more furrowed brows, a few upside-down smiles, and asks some pretty tough questions, but there’s also the kind of songs we’re known for.

“So, some people want more of the sing-along stuff and some people love the musical variety, the dynamics, the electric guitars.”

Despite the seemingly conflicted views over the content on the new album, there’s no doubt about it marking a special time in the history of Invisible Boy and potentially opening new doors as they go about getting as much as possible out of this lonely life.

“It’s been special touring for this album,” Daniel said. “We’ve been over that watery ditch three times in the past year, and the response is pretty consistent wherever we go, whether we’re in living rooms, folk clubs, pubs or festivals.

“We’re chatting with a promoter who has asked if we could perform the songs from the record, start to finish, for a live recording later in the year. It’s nice to be liked. But it’s more important to be worth listening to, so we’ll focus on that.”

Stu Warren

“When it comes to how people respond to the new album, our audience is split down the middle,” Daniel said. “The new album has

Propagandhi play the Brisbane Hotel in Hobart on May 20. Tickets available now.

Image: Mandy Malazdrewich

Propagandhi As Propagandhi get ready to invade a venue near you, their bassist Todd Kowalski took time out to have chat with Warp from his home in Winnipeg, Canada.

Watch out Australia. The Canadians are about to invade. Prepare yourself for a full frontal aural ttack. Brace yourselves as your ethics will be tested and your beliefs questioned. Strap yourselves in, because the socially aware, political activists that are punk rockers Propagandhi are touching down.

Its been two years since Propagandhi graced our fair shores and the boys are back to road test their upcoming album, visit a few familiar places and make new friends as they travel to new destinations.

MAY Wed 11 Thurs 12 Friday 13 Sat 14 Sun 15 Wed 18 Thurs 19 Fri 20

Marita Mangano + Bill Kelly Linc Le Fevre in the Bar Ill Starred Captain in the Boatshed Smokin Elmores in the Boatshed / $5 Open Folk Group Shakabula in the Bar Matthew Fagan in the Boatshed Taberah, Future Recollection and Wizard in the Boatshed / $5

Sat 21 Sun 22 Wed 25 Thurs 26 Fri 27 Sat 28 Sun 29

Luke Parry in the Bar Open Folk Group Open Mic Night Returns $12 Jugs Boags Draught !

Dave Adams in the Bar Wagons in the Boatshed / $5 Wheezy Hours Feat. Heloise Sowerby Crazy 88's, James Parry & Charles Ducane / $5 Open Folk Group in the Bar

14 Brisbane St Launceston Tasmania 7250 - (03) 6331 5346

warpmagazine.com.au

Propagandhi have been bouncing around the punk scene for over 20 years now and don’t seem to have lost any of the spark or enthusiasm they had when they began in Praire, Manitoba in 1986. Chris Hannah and Jord Samolesky are the band’s founding members, with Todd Kowalski joining the core line-up in 1997. Then, in 2006, the decision was made to add guitarist David Guillas to the mix.

Propagandhi are arguably one of the most socially aware bands going. There’s no compromises with Propagandhi as they lay their thoughts and beliefs bare.

A brief glance at their website gives you a rundown on all the causes they support. You only need glance their Resources tab.

“We try to be conscious of the world we live in,” Kowalski states, “and actually look at what’s going on around us.

We may not always understand it, but we need to be aware of it.”

“We try to be conscious of the world we live in and actually look at what’s going on around us. We may not always understand it, but we need to be aware of it.”

Beyond mere talk, Propagandhi offers their financial support to their respective causes.

Prior to the release of their 2009 album, Supporting Caste, fans were given the option of receiving two songs from the upcoming album in return for a donation of $1 to $10 to one of a specified group of activist organisations supported by the band.

“We like to help out when we can. What goes around,” Kowalski shares. “In my time with the band, I don’t think we’ve ever done a gig in our home city that wasn’t a benefit gig.”

Kowalski boasts many passions alongside his beliefs and his musicianship. It has been revealed that he created the compelling artwork for Propagandhi’s latest release using a computer programme called Corel Painter, an application that works very closely along the concepts and methodology of traditional media. The work was produced meticulously stroke by stroke using a

graphics tablet.

“It’s easier to make corrections when your using a computer,” Kowalski jokes.

Meanwhile, there’s also a new album in the works that Propagandhi plan on recording upon their return to Winnipeg. “We’ve got about fourteen songs on the go at the moment, so we’ll see what makes the cut,” Kowalski reveals. “We’re trying to keep more creative control with this album and keep our own vision about what it should be like.”

For now, however, the band have the chance to try out their latest material on the road.

Propagandhi will be spending May crossing the length and breadth of this vast land on a rather extensive tour. They have toured twice before, adding a few extra shows this time to take in places they haven’t been

to before.”We’re really looking forward to it,” Kowalski affirms. “I like exploring new places the best and Tasmania sounds amazing - beautiful.”

Kowalski also has his fingers crossed for a unique experience. “On our tour in 1997 I actually got to see a koala in the wild, but even though I stared out the window for most of the trip, I never saw a kangaroo,” he reveals.

It seems everyone’s excited for Propagandhi’s Australian assault. But don’t leave it to long to get your tickets: their live shows are renowned for their energy and vibe. Not only that, their first Melbourne show has already sold out and others are selling fast. So what are you waiting for?

Kylie Cox

The Southern Most Blues Festival in the World

The Adventure Bay

Blues & Roots Festival

presents: Guthrie, Full Tilt Boogie Wonderwall, The Firmm, Wahbash Avenue

The Dudley Nightshades, The Johnny Cash Converters and more

Sunday June 12 Licenced Event 18+ Only. 1:30pm til Late

$30 from Republic Bar and Adventure Bay Store

warpmagazine.com.au

16 Music

Music 17

THE NEW ABSENCE OF SNOWMAN

Snowman bring forth their final chapter with their new and last release, their third album Absence. Front man, Joe McKee, explains that he “feels as though we are parting on a high note” and reveals what we can expect from the band at the end of an era.

“I was working on some of the ideas as much as three years ago, when we left Australia.

We were ready when we had 8 songs that we liked. We aren’t a band who write 45 tunes and whittle them down for the record,” McKee explains.

In 2008, the young folk of Snowman decided to pack up and move from Perth to London.

For some, it may sound all too familiar for Australian bands to move abroad to further their horizons per se, or to simply get to European audiences cheaper without hefty airline fees. Soon after their critically acclaimed second album (The Horse, The Rat and The Swan) was released in 2008, McKee started working on songs for this latest album.

Ultimately the album ensured “a very reflective period… I think that being displaced or dislocated from your familiarities and comforts puts a lot of things in perspective… trying to communicate with a memory and a past that no longer exists. So it’s less about the place itself, but more about the fading memories that we try to clutch onto. All of this was wrapped up in a metaphor: two lovers, one passes away, and the other tries to communicate with his ghost.” reveals the front man.

Whilst travelling Europe, McKee found that collecting particular post-cards represented the feeling he wanted to personally capture on the album. “These post-cards had a common thread: they all had an absence of something, whether it be the focal point, or a persons face or whatever. I wanted to try and capture that unnameable emotion that that made me feel.

It was romantic, but also empty. There was a feeling of loss, but a feeling of letting go also.”

Working with Aaron Cupples (The Drones, Civil Civic, Paul Kelly, Dan Kelly) to record the album naturally came about, as he lived around the corner from the band. McKee said of Cupples, “He’s recorded some of our favourite Australian records…it just made sense.” Not only that, but more importantly the band “liked the fact that Aaron could be diverse and do very different records. We knew he would understand our musical language.”

Obviously it’s critical for the band and producer to work together harmoniously considering that Snowman have “always tried to remain musically honest.” Over the years, their artistic development has grown immensely considering they are a very young band, each of them still in their 20s.

Snowman were a close band; even so that with their second album they were living, playing and recording together, as with this release.

It would allow them to constantly write and record and create whenever necessary.

“Talking about the songs over the dinner table and in all of those in between moments helps keep everybody on the same page.

It means we were going through very similar experiences and we wanted to communicate those experiences or emotions in a vivid kind of way.”

“We wanted to create something that was healing and little bit more cathartic than the last record… the sound therefore needed to

be warmer and denser,” McKee says of their intentions. “I began by removing the dry signal from my guitar, so that my chords became only clouds of reverb. Things like this allowed us to write in a different way. It became quieter and more considered or delicate.”

They experimented with the songs over an extensive period of time from demos to the finished record, with it beginning almost two years ago. McKee doesn’t think that it affected the songs too much in the structure or sound, as they eventually finished with the aesthetic they were working towards.

Absence has provided great closure for the band. “We’ve completed the triangle… it is my favourite Snowman album,” McKee affirms.

As for the band separating, it was something that was felt in each member and it slowly became clear over time. “During the recording of this album, we became increasingly aware that it would be out last.”

“The album is our parting gift,” McKee declares, as each member sets out to establish a new era in the lives, Citawarman designing urban infrastructure, Di Blasio & Hermanniusson moving to Iceland to start a family and McKee himself in possession of “several projects on the go”, including a solo record, a duo record and some film scores to write. “You haven’t seen the last of me yet,” he promises.

Katherine Logan

Snowman’s album Absence is out now

on Dot Dash / Remote Control Records in Australia.

To listen to Joe McKee’s demo work, it is up on his MySpace page.

peGz

For the last decade, Pegz has been at the forefront of Australian hip-hop. The Capricorn Cats role as CEO of one of the nation’s most influential and prolific record labels has raised him to a level of importance to the scene that is held by only a select few, and his consistency and longevity have allowed him to maintain a significant profile, even during his recent self-imposed hiatus. He’s seen artists come and go, some receding to almost mythical status, while others have gone on to become pop superstars. The landscape has changed from a sparsely populated wilderness to a thriving metropolis, and from Pegz’s viewpoint, he’s witnessed it all. However, despite the relentless onslaught of overseeing an ever growing empire, it is Pegz’s own music that has solidified his position as an Australian hip-hop legend, and with the release of his fifth album (appropriately titled Drama), he looks to leave the past behind him and continue his development and journey, from St. Kilda to parts unknown.

As one of the countries most respected lyricists, Pegz draws inspiration from the here & the now. Having never been afraid to speak his mind through song, his lyrics are rife with brief mentions of everything from politics, to faddish pop acts They [the references] have all been there from the start, even way back,” the use of current affairs as both literal and metaphorical tools to illiterate points is nothing new to Pegz. I’m not a particularly political person,” but when asked about references made to recent events in Papua New Guinea, That’s something I feel quite stronglyabout, I definitely feel for the people going through what they’re going through.” An obvious understanding of political goings-on belies a solid grounding in lyrical techniques.

It’s just a matter of using references as a way to show skill.

Skills abound on Drama,” skills developed through an obvious dedication to the

foundations of the hip-hop movement, as explained on the M-Phazes produced Crime in the City.” It’s a movement that could have easily been bastardised by commercial success. Whenever anybody gets to the level of booking agents and publicists, it becomes more of a business, but at a grass roots level it still is a movement, definitely.” As someone who receives hundreds of demo CDs from ambitious young MCs all around the country, Pegz is confident that Australian hip-hop is heading in a positive direction and not in danger of becoming overly saturated by commercialisation. When you’re coming up, you get criticised for not being this or that which must be trying for those not yet old enough to develop thick skin, but Pegz believes You can do whatever you want, hip-hop is a big beautiful open canvas.

Superficial success has never been what pushes Pegz, Go To Your Head,” produced by Jase, sees his feet firmly planted on ground.

Lines such as That’s dope, punctuate the love and hate, I got no regrets like Masta Ace and Even the world’s most lyrically invincible, become a dusty pile of records in a diggers room shows Pegz is taking a levelheaded look back on all the Drama, and has no delusions of grandeur. “This album is for the heads, for the Pegz fans.

So if giving something back to those that have been loyal to him is a driving factor, and after enjoying success with previous solo releases, what prompted the sudden self-imposed withdrawal from recording? It was an honest decision at the time. I was burdened with so much . . . I had a few personal things going on, things that I sort of dealt with on Deities of Def,” another M-Phazes boom-bap banger.

Just as sudden as his retirement was the surprise announcement of a new album, with the leaking of both Deities of Def, and the Simplex produced Bombs Away. So, what prompted the return? I still had something to

say, and helping Pegz say it, was a shortlist of Obese Records finest producers. Fanfavourites M-Phazes & Chasm were joined by mainstays Plutonic Lab, Simplex and Jase I source as many beats as I can,” and with a stable containing some of the most in-demand producers in Australia, why wouldn’t you? Then it’s just a matter of working out what works well together, to go on a creative journey.

The upcoming Bombs Away national tour sees Pegz’s journey return him to the spotlight of the stage, I’ve been busy with the Block Parties, but I haven’t really done a Pegz tour; as far as one hour of jumping up and down on stage, since around mid-2008.” Hyped by MC Eloquor, and conducted by DJ 2Buck, fans should expect a well-planned andinteractive experience - I’ve crafted the set like an album.”

Hobart in particular should expect something special from the Lyrical Pugilist, I’m hoping I still have some fans, I’ve played there half a dozen times, I love it down there.” So could Tasmania be seeing more of the Son of St. Kilda from now on? It seems like my kind of pace after the last ten years of drama, I could retire there. As much as Hobart would love it, let’s hope Pegz’s second retirement isn’t as premature as his first.

Shane Crixus

The Pegz Bombs Away Tour hits The Republic Bar on Saturday May 21st.

Saturday 11th June A Hell of a Place to Make Your Fortune

The Brisbane Hotel Presents a new series of

Gin, Guns & Guitars Featuring

The Gin Club

Linc LeFevre & The Insiders The Gun Ballads Hayley Couper Tim Spurr

Tickets available from The Brisbane, Ruffcut Records and Tommygun Records $20 / $25 warpmagazine.com.au

warpmagazine.com.au

18 Music

Music 19

Wagons Melbourne country rockers, Wagons, will be back in Tasmania towards the end of May, touring on the back of their fifth studio album, Rumble, Shake and Tumble.Mad Hatter, “I shall elucidate…”

And it seems that Henry Wagons is a man with a long memory. Nearly two years have passed since he and his band last visited the state, but he’s got very fond memories – particularly of the food.

“I remember the amazing thing about the Alley Cat was the Alley Cat had incredible meals,” he said. “I had one of the best Ocean Trout pregig scoffs. I absolutely shoved an incredible meal down at the Alley Cat and I will forever remember it for that.”

Lyrics Born

Despite admitting to having an almost indecent obsession with all things food, it certainly isn’t a case of simply ‘see food and eat it’ pre-gig.

But seafood is most-definitely on the cards.

The ultimate party starter, Lyrics Born chats to Warp about his socially-conscious music, creative expansion and mad partying, ahead of his Hobart visit on the As U Were world tour.

Bay Area hip hop icon Lyrics Born is one of a handful of artists that have managed to come up through the music ranks and evolve to a point where commercial success and underground respect sit at equilibrium.

Since his days as Asia Born in the early 90’s, through the milestone Latyrx releases with Lateef the Truthspeaker, to the landmark success of his 2003 album Later That Day with Callin’ Out, Lyrics Born has maintained appeal to both sides of the industry, while constantly pushing the boundaries of hip hop.

His new album As U Were once again delves into unchartered waters while keeping one foot on familiar ground. Collaborations with Trackademicks, Francis and The Lights, and Sam Sparro sit alongside the winning formula of collaborating with Quannum Spectrum artists Lateef and Gift of Gab. Warp: You’re well known for your socially conscious themes and humanist lyrics is there a philosophy or ideology that you identify with?

Lyrics Born: “I don’t know, I always feel corny answering questions like this... I guess I have always been a big fan of music and art that helped me understand, articulate, or give me a broader perspective of life.

“I’ve always appreciated being exposed to an alternative point of view or angle I didn’t previously see. Great art does that. I’m always thankful when I hear my listeners tell me my music does that for them.”

With your cultural heritage, you must feel deeply about the suffering in Japan at the moment. You have a platform that will speak to a lot of people - what are you inspired to say?

“I feel very heavy-hearted about the Japanese situation. For me it’s very personal because I was born there, half of my family still lives there and have been affected by the tsunami, earthquakes, and nuclear fallout. It’s been hard because it just doesn’t seem to let up, and questions about the future as they relate to the long term safety and beauty of the country still loom ominously.

warpmagazine.com.au

“You’ve got to take it easy with pre-gig dinners,” he said. “Save a bit of stomach space for a couple of knock-off beers.

“I’m moved very deeply by issues or events that have displaced people or have put them in a position of struggle. I guess on a spiritual level I can relate. Because of this, I’m donating 20% of merchandise profits from the As U Were tour to the Red Cross Japan relief effort.”

“I’ve been on a bit of a health-kick the past couple of years so I’ve been very-much enjoying grilled fish wherever I go to. You guys are nice and close to the sea, so warn your fishermen to fillet up a few of the local favourites for me if they wouldn’t mind.

What have been favourite or most powerful creative musical collaborations?

“I’m absolutely fascinated (by food). It’s one of the best things. Obviously playing music in front of new people is number one, but a very close second is food for me. I get disproportionately excited by weird, local fare.”

“Working with KRS One was amazing.

He was my childhood hero, and to see the professionalism and enthusiasm he still carries to this day is inspiring. Working with Sam Sparro was awesome as well - such a great talent and fantastic singer.”

Singles are often the obvious hits, but what tracks stand out for you and feel like the real achievements on As U Were?

“That’s a tough question. With every album I try to push myself in some way to go beyond what I’ve already done previously. I love all the songs from As U Were, and they all have their seasons with me, but I think Coulda Woulda Shoulda is my favourite right now.

“As a producer and songwriter, I always wanted to do a Teena Marie-esque postdisco funk song with full strings, horns and arrangements. That song is probably one of my best productions to date... And again, working with Sam [Sparro] was awesome!”

This will your third visit to Tasmania. Do you have any striking memories or associations with the place and the people?

“I love Tassie. People come out for one reason only, and that is to partay! I don’t like playing to pretentious, jaded, crowds - that’s not what floats my boat. This precisely why Tassie is so awesome. They’ll party with you and buy you a drink afterward, it’s the shit!” shane crixus

Lyrics Born performs at the Brisbane Hotel

on Thursday June 16. Doors open 8pm. Presales are available from the venue, Ruffcut Records and Tommy Gun for $35 plus B/F, or on the door if available.

FLOWING IMAGE VIDEOGRAPHY aesthetics in videography ….. the art of style

Bands ~ videos/promo’s Advertising ~ small business on youtube Functions/Events ~ corporate/business Parties ~ birthdays/kids/costume/launches Weddings/Anniversaries/Engagements Filming of ~ surfing, dancing, yoga instruction, footy, soccer, climbing, sailing, skating .....

Film stages of building your house…

“Grand Designs style!”

For a quote contact flowingimage.com.au ph: 0423 643 868

One look at the Wagons’ Facebook page will confirm it’s true!

“Whether it be kind of Dill flavoured potato chips in Toronto or bacon donuts in Portland or I had a burger in Los Angeles that had apple in it. I just love shoving weird food in my mouth.

and busy to take all the trips,” he said, tongue firmly in cheek. “Occasionally we go without a percussionist or a keyboard player (but) there’s always four of us. Four hardened troubadours I’ve picked up out of the gutter and forced to follow me via chains and whips.

“You’ll be getting the show nice and fresh. We haven’t played these songs very much and it’s going to be really exciting to kick things off.”

Songs from the new album, Rumble, Shake and Tumble will make up something like half of the Wagons live set with tracks from their four previous studio albums, as well as Henry’s patented witty repartee, also on the cards.

“I feel it actually brings me closer to my dogs knowing what they taste like... My dog could not tell, but I’ve not let him sniff my breath.”

Rumble, Shake and Tumble sees Wagons live up to their outlaw country vision. The influence of luminaries like Cash and Presley are obvious, if only in vocal tone and grunting gesticulation.

The ‘one and only’ Willie Nelson also warrants his own tribute track, a studio version of the live staple.

The best part for Tasmanian audiences is that Wagons will be playing two shows – Launceston and Hobart – to open the tour.

“I’ve always enjoyed it,” he said “I haven’t been down to Tasmania enough and every time I go I have a great time and I’m very pleased we’re doing the Launceston-Hobart weekend, you know, and making a bit of a weekend of it because last time I did it I had a great time.”

The band will be five-strong for the first leg of their tour.

“We can sort of tour with anything up to six, there’s six in the band. But, you know, everyone in my band are too cosmopolitan

MARGATE

“I think there are five coming to Tassie. It should be quite a big sound at the Republic.

I’m looking forward to it. Everyone’s looking forward to the first week of tour.

“I’m even guilty... We played in Vietnam at a festival last year and anyone who does follow me on Facebook or Twitter will know I absolutely love my dogs, but despite this I had dog stew in Vietnam.

Speaking to Warp while packing prior to flying to Perth to play solo shows in support of folk duo Indigo Girls, Henry’s travel luggage is due to get a fair workout the next few months as Wagons hit the road for dates across the country during May, June and July.

brookfield

UPCOMING EVENTS

REGULAR EVENTS

Honeysuckle Creek & Pot Belly Strings Fri May 13 Hobart Song Company Sun May 15 | 4:30pm Mad Hatter Tea Party Fri May 20 | 7:00pm Mathew Fagan Sun May 22 | 5:00pm Eleanor McEvoy Thur June 9 | 8:00pm Borstal Boys & Blue Mosquitos Fri June 24 Ado Barker & Ben Stevenson Sat June 25 The Blue Ruins Sat Aug 6 | 7:30pm Geoff Achison Sun Aug 14 | 4:00pm Jenny Biddle Sat Sept 17 | 7:00pm

Open Mic Night 1st Friday of the month Folk Night 3rd Friday of the month both have a guest artist each month and are free Sitar Lounge 1st Thursday of the month (7pm) Local Market Every Wednesday (10am - 3pm) Delicious Homestyle Meals Open 7 days 9am till 6pm Friday and Saturday nights and all events

1640 Channel Highway Margate Tasmania Ph: (03) 6267 2880 www.brookfieldmargate.com

“I don’t go into it expecting anyone to have heard anything, really. We just get up on the stage and have a good time and kind of presume we’re just bringing a show we’re hoping to rest in each audience member’s palms and have them trust us with their entertainment.

“We’re just going to throw a bunch of songs out there and hope that people don’t throw tomatoes at us.”

Stu Warren

Wagons play The Royal Oak in Launceston on May 27 and Hobart’s Republic Bar & Cafe on May 28. BYO tomatoes, but be prepared to take them home with you.

warpmagazine.com.au

20 Club / Electronic

Club / Electronic 21

Minor Notes

Club and Electronic News

Welcome to the first instalment of Minor Notes, a virtual record box full of tracks, labels and DJs that are exciting me this month and that I am keen to share. This will also cover general views I currently have on the Tasmanian electronic and club scene.

PENCIL THIS IN

Some people might not know that the clubbing and dance music scene in Tasmania is alive and kicking. But I’m really amazed at the amount of talented DJs around that are into such a vast variety of music.

These days we are lucky enough to not be confined to clubs to hear the music we love; bars and even restaurants are jumping on the wagon incorporating a DJ into their décor.

The amount of interstate and international DJ’s and Producers that are gracing our shores week after week is staggering. So go out, support the local scene because we are the ones that make it what it is.

In Warp’s electronic music section this month, we’ve scored an interview with Simon Shakleton, aka Elite Force. He tells us about why he has moved from CDs to Serato and Novation Dicers.

Act yo Age show us some of their quirky personalities and local DJ Kireesh - or is it Island Boy - shares with us his move from Martrius to Hobart and compares the Tassie trance scene with his experiences in London. It’s a tasty read and our monthly news section now includes local and national entries, and pencil this in, for exciting upcoming events to look out for.

AINSLEY WHITE

ainsley@warpmagazine.com.au

Qbik & MC Seeka presented by Broken Panda Drum’n’Bass DJ and producer Qbik will be dropping in to Hobart late April.

The New Zealand expat Qbik has made his mark in Australia, gaining support for recent productions from the likes of Pete Tong, Annie Mac and Nerm. His first release My House featured on Drum and Bass Arena’s Summer Selection Compilation. Catch him at PlanB on Thursday April 21, kicking off at 10:30pm.

Entry is $10 on the door.

Meat Axe and Hefty Output Meat Axe is the Victorian breaks project of Tim and Dan from the cult dark psy act Hefty Output. Since 1984 their dynamic friendship has combined Tim’s mad glockenspiel skills with Dan’s ability to play drums at a sensible volume. Supported by Seane and Newport, the night will be at The Brisbane Hotel on Saturday July 2. Entry is $15 on the door.

James Curd (Greenskeepers) at Ivory Bar Chicago-based electro-percussionist producer James Curd had a hit with Greenskeepers and their Hottest 100 track Lotion. He’s since worked on the Grand Theft Auto IV soundtrack, signed with DFA and made a new mix CD for Electric Circus. Catch him with local supports Malakai and Mez at Ivory Bar on Saturday June 18. Entry is $7, or free before 11pm.

LOCAL NEWS Fractangular Banger Tassie psytrance crew Fractangular draws the battle lines with Little vs Big: War of the Islands, pitching Victorians Luke Shamanix and Ben Evans two-for-two against locals Psywise and Shammie, with support from Seane and JustinTime, at the Brisbane Hotel on Saturday May 7 from 10pm. Entry is $10.

Sun in Aquarius and Editor Trifolium presents the next in its series of psychedelic inspired events with an album launch party by Australian producer Sun in Aquarius. Painting Pictures on Silence is the debut release from his Byron bay

based label Enig’matik records and is a compilation of Australian, New Zealand and English glitch producers. He’s joined by Melbourne’s Editor (ex-Tassie) who recently signed to Spoonbill’s Omlette Records. He appears with with VJ Phaic, ripping out doped up hi-fidelity tweaks and sub-bassy vibes. Local supports include Limerence, That Bob Guy, rBeNt and Shammie at the Brisbane Hotel on Friday June 10. Entry is $15.

Friction at Syrup Drum’n’bass fans are in for sick treats as UK genre heavyweights Friction, Spectrasoul and Sp:MC. Perth’s Diamond D and MC Stylee get amongst it along with Hobart’s Mylestone.

Flowing from deep and minimal to dirty tech grooves and tear-out party anthems, the drum n bass will be flowing at PlanB on Saturday June 11. Tickets are available through Moshtix, Ruffcut Records, Hotel Tasmania and Mojo Records.

Psy Sessions is back Hobart’s popular psy trance night has had a hiatus so far this year, but hits back with a solid lineup, featuring Idle Hands vs Sporangia, Shammie vs Sharman, Loagsta vs Seane and Leafy vs Island Boy, at Halo Nightclub on Friday May 20. Entry is $8.

Lalaland’s banger birthday Lalaland’s tenth birthday is reason for one final dance party reuniting the uplifting tranceheads behind one of Hobart’s longestrunning club nights. Featuring MarQ, Guy and D2M, the very special female vocalist Miss KLR will be performing a legendary trance anthem on stage at the Grand Poobah on Saturday May 21. Entry is $15 at the door.

Matt Nukewood at Hotel New York Flying the house flag high, Sydney DJ Nukewood (Ping Pong DJs, Kno1nose with Tom Piper) effortlessly swoops between big room driving basslines, relentless grooves, melodic and vocal overtones. Catch him at Hotel New York in Launceston supported by Joycie, PD and Boaz on Saturday June 11. Entry is $10.

DJ Interview Kireesh / Island Boy

NATIONAL NEWS Spendour In The Grass Splendour’s epic line-up is epic, and the dance component is super too: DJ Shadow, Flight Facilities, Aston Shuffle, D-Cup, Ajax, Hoodrat and Dangerous Dan, Cut Copy, Pnau, Wax Motif, Kato, Cassian, Hoops, Kato, Charlie Chux, at Woodford in QLD from July 29 – 31. If you hurry, you might get a ticket: www.splendourinthegrass.com.au Proxy Downunder Moscow’s Proxy hits Australia again in June after slaying dance floors last visit with his remixes of Peaches, Prodigy, Tiga, Boys Noize, Chromeo, Digitalism and Moby. Catch him live in Perth, Wollongong, Melbourne, Canberra and Sydney during June. More info at www.myspace.com/useproxy Defqon.1 Festival Australia The third installment of the much anticipated Hard Dance festival, Defqon.1 is locked in for September. This festival will have a massive 8 colour-coded stages, offering a variety of not only Hard Dance but many other underground genres. Held over an entire weekend, giving punters the opportunity to go to both pre and after party celebrations.

Sat 17th Sep, Sydney International Regatta Centre.

Tickets go on sale 1pm sat June 4th and are available through www.q-dance.com.au Safari Beats This Queens Birthday long weekend get your self up to Sydney to check out some of Australia’s best DJ’s all playing at the one event. Featuring TV Rock, Zoe Badwi, Stafford Brothers, Timmy trumpet, Hook N Sling, Aston Shuffle, Tommy Trash Feat Mr Wilson and many, many more. Boasting three arena’s that can hold up to 20,000 people.

With a thumping sound system and a state of the art light show, why would you want to be any where else?

Safari Beats, Fairfield Showground, Sydney.

Sun June 12th.

For more info head to www.safaribeats.com.au

DJ Kireesh (Island Boy) is playing

at Psysessions at Halo Nightclub on Friday May 20.

Image: Antony Markovitch

Kireesh Gopal, aka Kireesh, aka Island Boy, aka Brown Boy, aka many other things unprintable, has become a fixture of the Tasmanian psytrance scene over the past three years, playing regularly at club nights and outdoor doofs. He took some time to tell us where he came from and where he’s off to next.

So your DJ name is Island Boy - or have you changed it again? To be honest with you, I was baptised Island Boy by my now wife Michelle while having a chat with one of her best friends before a doof. It came out of nowhere really, but I like it. On a serious note though, I have always used Kireesh as my DJ name. Advantages of having a unique name I guess.

You’re originally from Mauritius in the Indian Ocean off continental Africa – do you have a pre-prepared geography lesson to explain it to people? Yep. Born and bred in Mauritius.

And oh yeah, people go like, ‘where?’ It has come to the point that I am perplexed if people don’t ask. Always stoked to promote one of my islands though!

Can you tell us about Mauritius? Sea, Sun Sand! One of those beautiful idyllic spots you kinda see on TV shows. The main income is tourism; it’s as multiracial a place you could think of. I kinda miss those beaches at times.

We got our independence in 1968 and became a republic in 1992. The beauty of freedom, hey.

What drew you to London to live? Once I’d finished my high school education in Mauritius, my Dad asked me if I wanted to go to Uni in London.

Apart from going to Uni sometimes, there was a whole lot of partying. The electronic music scene over there is out of this world. I took a year off and worked in bars, then at the nowdefunct Turnkey Music Store in London.

At its peak, it was the biggest music superstore in Europe - it was like working in a massive toy shop with the latest in music technology on display.

warpmagazine.com.au

Acting Out

The other inspiration would be how the scene has moved hand in hand with technological advances. I love hi-tech stuffs and things. I also have a fetish for wanting to belt tunes through massive sound systems.

Why are you living in Hobart, over Mauritius? I went back [to Mauritius], played a few gigs over there but felt the scene wasn’t for me. But it’s not the reason I came to Hobart – I originally planned to move to Melbourne with my little bro. A few weeks before the move, he got a job offer in Tasmania. Three years on, I am still in Hobart and love it down here - happily married to a Taswegian too. The people here are just amazing! It makes the psy scene here pretty special. Tight unit for sure!

How does Aussie and Tassie psytrance compare globally? Tough question that one I’d rather not compare hey. They all have their beauty. The psy scene has evolved so much since its beginning back in the early 1990s.

I am just stoked to have been a part of it all at the stage where it was still underground and working its way to what it is at present.

Big respect to all those organisers who go well out of their way to setup parties of mega proportions.

Most DJs start producing eventually. Are you?

I have always seen myself being more a DJ than producer. Not saying that I am not considering it - I work on a few things here and there.

I have always trusted my ears and taste for good high quality danceable tunes- and it does not just stop to psytrance. It is what has helped me progress as a DJ I guess.

Nic Orme

Musical acts either have it or they don’t.

“It” being that elusive, exclusive and ever so protrusive X-factor that enables an act to surpass the mundane muck destined for the $2 bargain bin at the local record store.

Sydneysiders Act Yo Age, the “Bastions of Bounce, and Assassinators of Fakers” obviously speak the language of this elite breed of X-factor artists.

A quick scan of the information highway reveals much insight into their wonderful world. Remixes for Crookers and an EP on Fatboy Slim’s ‘Southern Fried Records’, several releases on multiple labels, international gigs and accolades galore.

Intrigued to get to know Messrs, Shivers and Pablo Calamari a little more intimately? They (or their earthly representatives - still haven’t gotten to the bottom of that one) were only too happy to oblige.

“We are born of the ether - we are made of light and energy,” they tell us.

It seems that AYA have been living on a diet of saw waves and dance music for quite some time now. And my, what a regime that has proven to be. Medical science has long stated that one’s diet governs one’s energy and this still rings true as a sampled and heavily compressed bell, for AYA. When asked where all this energy is focused, their true purpose was revealed: “Our aural alchemistic endeavours consume us. We are on an intangible infinite quest for pixie dust and love bites.”

The future is often a worry for DJ-producer types, with the current music business climate barely supporting album sales and the financial crisis causing club goers to tighten up the purse strings. For our ether-born heroes, the future is as clear as a crystal ball. Mere mortal constraints simply don’t apply to beings made of light and energy. “[The future is] a moment of eternal white hot bliss! The barrier between man and machine will finally merge and a new form will emerge.”

Now, you may be wondering what’s in it for you? What is to expect from an AYA party?

The answer is a definite winner, and alludes to the party of the heavens. Would you expect anything less? “Unadulterated hedonism: bass vibrations, sound undulation - the blood of the wolf and the love of the free,” they gush.

Of course, free love and wolf blood are all well and good, but artists generally need influence.

Most artists have a select few influences, however for AYA, there is influence in everything.

Rather than pigeonholing it to one piece, super eclecticism is the order of the day: “We do not play favourites - we love freely and equally at every turn.”

BILLY GREEN

Act Yo Age play at Ivory Bar on Saturday May 21, supported by Mez and Dameza.

Entry is $7, or free entry before 11pm.

PSYSESSIONS @ HALO FRIDAY 20th MAY

Kireesh’s top 5 tracks

I moved up to become supervisor of the DJ section. It was my dream job at the time. The crew I worked with was all trashbags too; we all worked hard and partied hard.

1. Neutral Motion- Inextricably Linked Wildthing Records(UK) (the whole album!)

What inspired you to start DJing? Got me first set of decks back in early 2001 and haven’t looked back. My inspiration has always and will hopefully always remain the dancefloor and its people. I love seeing a happy smiley crowd and music being the main factor triggering that happiness.

3. Pspiralife -From The Womb - Soundcraft Records (AUS)

IDLE HANDS VS SPORANGIA SHAMMIE VS SHARMAN LOAGSTA VS SEANNE leafy VS ISLAND BOY

11PM START $8 on the door

2. Loose Connection - Plus 4 - Unreleased

4. Assault Junkies vs Peace KA - Asshole Junkies - Mindfunk Records (NED) 5. Farebi Jalebi - Carnival Tradition - Parvati Records (DEN) warpmagazine.com.au

22 Club / Electronic

Club / Electronic 23

Bass-driven Force

Trumpeting Around

DJ Elite Force returns to Hobart without his CDs and embraces new technology with a hard drive full of a decade’s worth of beats.

One of the oldest musical instruments around, the humble horn has been dragged from the battlefield to the dancefloor by Timmy Trumpet.

Going deep since 1990, DJ Elite Force can be found behind decks anywhere from Glastonbury to Burning Man, spinning the best of his special blend of breaks, electro, dubstep and techno.

Credited as the lynchpin in forming the techfunk genre, he prefers to describe his output as “Bass-Driven Warehouse Music” these days, and with good reason.

“All I can do is try to perfect my chosen trade and not outstay my welcome,” Shackleton told Warp.

“My aim is to become like a vintage claret, lovingly nurtured in seedy cellars over a number of years and exhumed once in a while to smash your ass off” Last year DJ Elite Force released Revamped, an innovative genre-traversing mix for a new decade that showcases his ability to let us experience so many genres in such a seamless manner.

Elite Force’s new album This is Shockland is out in late May through U&A Recordings, and you might have heard a couple of the tracks before, where you would perhaps least expect them, such as last month’s Playstation release Motorstorm: Apocalypse.

The album is based around extended versions of some of the tracks written for the game, and

“I quite recently moved over to Serato and I’m using the Novation Dicers at the moment. I love the flexibility this set up gives me as tracks no longer need to be seen as linear structures when you’re DJing.

“The one theme that remains consistent though is simplicity. Often the most beautiful songs are the most simple.”

So, what can Tassie audiences expect from Elite Force this time around?

CRAIG ANDERSON

Elite Force Saturday May 28 at PlanB Supported by Adam Turner, Billy Green and Lids and presented by Freshly Breaked and Areacode events. Tickets are $20+BF from Ruffcut Records or Moshtix, or $30 at the door.

It has been used for centuries in war, pomp and pageantry, and now the trumpet has found its latest home - in one of the newest musical environments. A new age of self-expression and civil liberty we currently enjoy has paved the way for a new breed of DJ. Sydney producer, DJ and session artist Timmy Trumpet is one of these mutants; hell-bent on dominating the world by simply making people lose themselves on the dance floor.

Most famous for his jazz-infused big-room style DJ sets which incorporate his trademark trumpeting, Timmy has just teamed up with Rob Pix for the latest Ministry of Sound offering Electro House Sessions 4.

Monster mash Straight out of LA, the Skrillex sound is a mix of electro house, fidget house, breakbeat and dubstep; forging these elements to produce a sound that is a step closer to a genre-less electronic dance music platform.

“My dad was a trumpeter and so was my dad’s dad so it runs in the family,” he tells Warp. “Neither of them played alongside DJ’s though.”

The track Kill Everybody starts with an innocent but haunting robotic undercurrent, then erupts with a roaring, snarling electronic demon that claws and drags you down its hole. You may go screaming, but you’ll likely go screaming for more.

Production is tight; sounds meld quickly resulting in powerful direction and force.

Skrillex’s predilection for remixing has led his own music to be highly adaptable too. Bare Noize - Scatta featuring Foreign Beggars is a great example of likeminded artists broadening their horizons.

His remixing skills have extended to the likes of Lady Gaga, The Black Eyed Peas, Bruno Mars and La Roux, and these musical connections can only help strengthen and influence the production of his work, leaving me to wonder

what kind of sounds and production techniques will be put into play in his next release.

He sprung up from nowhere and his history is unusual for an electronic dance music producer, being better known in the alternative rock scene as vocalist for post-hardcore band First to Last, under his real name Sonny Moore.

The new Loop Recorder function can record live loops from any channel (single or combination), live input feeds or master output.

A keyboard shortcut, a DJ controller or a foot pedal can trigger recording. It is possible to do a real-time overdub on top of the running loop, creating additional layers.

“There are way too many [tracks] to narrow it down to one,” he says. “Almost everything you hear, whether it be on the radio or in an elevator can influence you in some form or way.

“The idea of moving over to this kind of rig was as a first step towards a much more ‘livebased’ set up with integrated visuals, but for the time being it’s just cool to have moved away from straight up CDs.”

“Loads and loads of special summer treats – I’ve been dead busy in the Module over the last few weeks carving out a series of little bombs for the next few months, so believe me the breaks will be well-repped in Tassie.”

Native Instruments launched the Traktor 2 range in April, the latest version of the award-winning 4-deck DJ software package.

dance that blow his horn. An eclectic take on music and an ability to see past genres in order to hear the musical beauty in a piece goes a long way towards ensuring that any given set is more than a push-button, beat-sync and fist-pump affair.

The last five to ten years have seen many DJs move to different platforms and media as technology progresses, and Elite Force is no exception, trading his CDs for Serato several months back.

He’s got a million and one projects on the go and spending the majority of each week travelling from his home in Kings Cross, Sydney, to gigs interstate or overseas.

Recently moving across to DeadMau5’s mau5trap label, Skrillex’s Scary Monsters & Nice Sprites has hit hard and fast, with tracks riding up the Beatport Top 10 in the first week of its release. And from a name that was relatively unknown.

warpmagazine.com.au

they showcase Elite Force working with Oscarwinning classical composer, Klaus Badelt, who both put to good use a 70-piece orchestra recorded at Abbey Road.

Gearing up with Traktor

It is easy to see that brass runs deep in Timmy’s veins, however it’s not just jazz and

With a career that takes him around the world and back with interrupted sleep and hardpartying on the regular, one might struggle with other professional ventures. Timmy however, being one of the new breed mutant DJs, has found the time to branch out into clothing design, recently launching www.wifebeaterz.com.au which features animated caricatures of some of Australia’s best DJs printed on singlets.

With all the jet-setting, music making, trumpet blowing, clothes designing and elevator listening, you might be beginning to ask what kind of super-human additive is coursing through Timmy’s system?

The real answer is a less of a comic book myth and more of a refinement lent by years of experience, with much trial and error.

The essential ingredient in any Timmy Trumpet party? “One bottle of vodka, six coronas and a cup of tea - best drink rider around,” he says.

BILLY GREEN

Timmy Trumpet plays alongside Rob Pix for Ministry of Sound Electro Sessions at Hotel New York with local support from Joyce, Boaz and PD, on Saturday May 14. Entry is $10 before midnight.

The Loop Recorder works like a fifth deck; the layered loop can be quickly transferred to a Sample Deck slot, thereby freeing up the Loop Recorder.

At first glance. the Traktor Pro2 GUI looks cleaner and sharper with its coloured waveforms and improved interface, although still retaining the Traktor feel users are familiar with, but it all looks modern and somehow cleaner.

There are more subtle tweaks to the overall look including a higher contrast skin, which should make use in dark clubs easier.

The new TruWave hi-res coloured waveforms are a great visual aid and clearly show the structure of the whole track enabling the DJ to differentiate between kicks, hi-hats and snares with greater ease.

Zoom levels enable cue points to be set more precisely than ever before and indeed you’ll probably find any sloppy beat gridding you did beforehand on older versions of the software may look a bit – well - sloppy when you see your handiwork visually here.

Sample Decks is a new feature that enhances live remixing and editing. If you’ve ever had tracks you use exclusively for sample drops, you’ll like the Sample Decks here. You can basically have multiple samples ready for immediate triggering, and adjust the volume and filter on your samples.

Grab loops live out of a running deck, store your favorites in the loop library, and develop your own arsenal of beats and sounds.

Four new effects include Tape Delay, Ramp Delay, Bouncer and Auto Bouncer taking the total now to 32, all syncing to track or master tempo. Nothing out of the ordinary here however, adding new effects in DJ software that has the ability to allow you to easily chain effects together in innovative combinations to create your own sounds will appeal.

The emphasis here is ease of use, with TruWave hi-res coloured waveforms, slicker GUI and full iTunes integration and iPod compatibility. Tracks can be searched via Crate Flick cover art browsing, just like flicking through a crate of vinyl. Automatic track analysis, BPM detection and beat gridding means that tracks are instantly ready to use.

This is still Traktor as we know it - refined rather than redesigned. The sample decks and loop recorder represents the biggest leap for Traktor software in this version. Overall, this a mix of genuine innovation and some catching up with the competition. www.native-instruments.com Price: AU$289 JAMES WHITEHEAD

Each of the four decks in Traktor can be switched from track deck to sample deck on-the-fly. Samples can be up to a minute in length, and you can set them as either one-shot or looping by right clicking them and choosing your option.

The progression to his current solo career has largely been born out of his home studio.

This no-strings-attached approach has given him the freedom to do as he pleases with his sound.

With two releases thus far as Skrillex, this sound could evolve which ever way. Pretty exciting stuff; his name is definitely looking to be one of the most exciting new electronic stars of 2011.

Skrillex recently toured Australia for Creamfields and Canberra’s recent Warehouse Festival 2011, so if you’re going to drop one of his tracks, drop it with a powerful subwoofer.

CRAIG ANDERSON

Scary Monsters & Nice Sprites (tour edition) is out now through Neon Records. www.skrillex.com

warpmagazine.com.au

24 Arts

Arts 25

Images: Wendy Edwards

Bed of Roses by Anna Williams

Lift by Jim Maidment &

Chris Atkinson

Prized sculpture by the Bay Benchmarking Birchs Bay Sculpture Prize is a unique gallery experience that supports and promotes local artists.

Five Bob at Birchs Bay is a property that supports an eclectic business mix, debunking the idea that commercial farming is finished in the south Channel.

For ten months of the year, the farm supplies Dutch iris to mainland cut flower markets, while the native food enterprise Diemen Pepper exports Tasmania’s only native spice to markets in Europe and North America.

Image: National Trust Tasmania

Tasmanian Heritage Festival

Highlights this year include: Thylacine: Tasmanian Tiger Exhibition at the Wilderness Gallery, Cradle Mountain, telling the story of the thylacine and the human interaction that led to its extinction. The viewer can experience a life size thylacine skeleton, enter a Trappers Hut and listen to stories of trappers and snarers, view footage of the last tiger, as well as witnessing a rare Tasmanian Tiger Buggy Rug made of 8 Tasmanian tiger skins.

Yarns; Art Work in Silk: A display of four large wall hangings depicting Meander Valley agricultural heritage at the Great Western Tiers Visitor Centre in Deloraine.

warpmagazine.com.au

Tasmanian Wood Design: The Collection of Contemporary Wooden Objects is housed in the Design Centre in Launceston, a stunning contemporary building recently listed in the top 1000 contemporary buildings of the world.

The Fire and the Passion: A wood-fired pottery exhibition by artists Ian Jones and Moraig Mckenna, who have used traditional methods of wood as the fuel for the kiln and making functional pottery with a kick wheel and hand forming techniques. On display at the Artisan Gallery, Robigana.

Plus an exciting menu of activities, programs and events open to all Tasmanians and visitors for the duration of May. More information: www.nationaltrusttas.org. au/heritagefestival.htm ALISON McCRINDLE

As Fleurtys Event Co-ordinator, I hatched the idea of a sculpture trail during my pre-work walks around the trails. I developed the project as part of the café operation, and with Chris’ enthusiastic support have taken it onwards and upwards.

The first sculpture trail in 2006 introduced the idea of sculpted seating installations, dotted around the trail, to encourage café visitors to wander the paths, while providing them plenty of rest stops.

The prize was dubbed Benchmarking Birchs Bay and although since then the theme has become more generalised, the name has stuck, and on Good Friday this year, the sixth Benchmarkng Birchs Bay Sculpture Prize opens with the most exciting and diverse collection yet.

Viewing this year’s 25 entrants could take a whole day, or you might just power walk around in twenty minutes, although then you’ll

EntriEs closE 17 JunE

The pieces are installed on a 1.5 kilometre long trail, with spectacular mountain and channel views. It’s a unique gallery experience.

Chief Judge: Kirsty Grant For enquiries contact John Ancher P (03) 6221 4215 E artprize@hutchins.tas.edu.au

Apart from the simple joy of developing work for presentation in a wonderful outdoor gallery, the artists have the added encouragement of awards provided by Kingston council mayor Graham Bury, a Fleurtys’ prize, by acquisition, and the People’s Choice Award, determined by the visitors themselves.

www.hutchins.tas.edu.au An initiative of the Hutchins Foundation Ltd.

Obviously there is also the opportunity to sell work – in 2010 half the entries were sold by the end of the exhibition, which provides a great boost to working artists.

We would like to extend our thanks to Graham Bury and the Kingborough Council, The Tasmanian government, Southern Cross Television, Rabobank and Heron’s Rise Vineyard for their support and sponsorship without whom it would be difficult for the event to proceed.

HUTC4967_RJ

An exciting array of events and activities across the state are on offer during May from the festival that aims to be the largest celebration of Tasmania’s cultural heritage.

From May 1 – 31, the Tasmanian Heritage Festival 2011 theme is “From lamingtons to lasers – our agricultural heritage”, and has attracted a variety of organisations to participate, including historical societies, libraries, schools, museums and government departments as well as representatives from the private and corporate sectors.

Six years ago, proprietor Chris Read also opened Fleurtys Café and Essential Oil Distillery, following the farmers’ dictum that diversity is strength.

need to come back again before the trail closes at the end of June.

WENDY EDWARDS

www.fleurtys.com.au

Benchmarking Birchs Bay Sculpture Prize Good Friday until the end of June 2011 10am to 5pm Entry by gold coin donation

Hutchins Art Prize, an acquisitive award for works on paper, is upon Australasian’s once again for its twelfth year running. 2009 saw a prize pool of AU $18,000 and the winning artists Milan Milojevic of Tasmania .

Hutchins Art Prize has bec.ome a highly recognised and leading award within Australia since its beginnings in 1997.

Starting out as an annual award it recently changed format to biennial in 2007 allowing

for a reater money prize on offer. A panel of 5 judges select 60 works which are then exhibited at The Long Gallery in Salamanca during 18-30th of October 2011.

The award is open to established and emerging (including tertiary level) artists across Australasia.

For more information visit www.hutchins.tas.edu.au/hutchins-art-prize/

warpmagazine.com.au

26 Arts

Arts 27

Artist interview: David Edgar Hobart-based artist David Edgar explores the notions of island time with large-scale works on paper at Inflight ARI in May. Warp’s Alison McCrindle talks with him about his artistic inspiration.

Warp: Describe yourself to me - as if you were submitting an ad into the adult services classifieds of a newspaper.

David Edgar: I don’t think I have ever submitted an ad to an adult services classified, but if I had to I’d probably tell the truth, the whole truth and nothing but the truth. I’m sure you can note a hint of sarcasm there.

You are experienced in many aspects of the arts industry. Do you see yourself as an established artist?

Established? No. My philosophy is one of constant learning, trying new things out, exploring. I certainly haven’t got the experience of an established artist, but one who is attempting to establish himself, maybe.

When did you discover your creative streak, and in what medium?

Finger painting - or should I say finger scribbling - and funnily enough, I’m still using and playing with finger scribbling today.

“The native grasses on Tasman Island are truly wild,” you write in an artist’s statement.

What’s the fascination?

On Tasman Island, you can’t help but notice the grasses, most of the island is covered with waist-high grass, and so navigating through them is sometimes a challenge. It’s also a fullon windy place. The sound the grass makes in the wind is like nothing else.

Describe manoeuvring through the waist-high grass.

There are places where the grass is so high that all you have to do is fall backwards, it’s like melting into a bean bag. A lot of the time though, we are slashing paths with a lawn mower. I feel like a twisted environmental artist or designer when doing this, making these linear, yet functional interventions in the grass.

You have been visiting Tasman Island for nine years. Are you obsessed? What’s the attraction?

A bunch of things, but essentially, moving from one big island to a smaller one; from Sydney to Tasmania. Then visiting the Cook Islands shortly afterwards and experiencing what the locals call “island-time.” This was followed shortly after by my first trip to Tasman, where it was all there; the edges, the isolation, the cliffs, vast ocean vistas, silence and noise, intensely varied weather, fear, trepidation, awe...

What defines “island time” and how does it relate to your work?

The Islanders describe it as a much slower sense of time than what you and I might perceive in our busy, clock-regulated life.

Nothing is rushed or done quickly on the island as there is no reason for it to occur this way.

What I like about this is an abstracted notion not just of time, but of the perception of place.

For me it alludes to a warping abstraction of how we live with and think about time. Another example, that I read somewhere recently, may be the experience of travelling into an old city.

We may feel like we have stepped back in time and therefore reminisce about the past.

These warped notions of time occur a lot within ideas of place, and it’s where this idea of time slows down, for me caused by island landscapes, or island-scapes, is somewhere where my drawing can be located.

What can you tell us about your exhibition at Inflight ARI in May? Leaving off from the previous question about time, this upcoming show is also about time, but more importantly about drawing, and its possibilities.

I want to create a new system of mark making found unconsciously in the real life of the every day. I will do this by extracting online weather data from Tasman Island on a daily basis, and blow it up, layering the data onto the walls of the gallery.

Eight years flying high with Inflight ARI

The intention is to formulate a new system of marks created against the collection of the other system. I really have no idea how the work will look at the end, as I am dictated by each day, but I’m more interested in what the possibilities will engender throughout the process.

Since 2003, Hobart’s Inflight has exhibited experimental contemporary art produced by local, national and international artists.

Are you happy in your art, in yourself?

Moments of happy, moments of anxiety, moments of bliss, moments of unknown; life fluctuates, like the weather, and so does my mental state.

A lot of this relates to life in general, but making drawing can be crucially relational to this also. I don’t know, one day I’m happy, the next not, maybe my mind is in a constant state of imbalance... and so to the drawings that I produce.

Alison McCrindle

‘David Edgar an evolving drawing installation’ at Inflight ARI (100 Goulburn St Hobart) opens May 6 and runs Wednesday to Saturday from 1pm-5pm. The show concludes with closing drinks on Friday May 27 at 6pm. www.inflightart.com.au Image: David Edgar warpmagazine.com.au

Images: Inflight Art

Inflight Artist-run Initiative was created by a group of Hobart artists to address the serious lack of gallery space available to exhibit emerging and experimental art. The first show opened in February 2003 showcasing the work of its founding board in a space at the Letitia Street studios in North Hobart where many of the artists worked.

In the eight years since, Inflight has held around 150 exhibitions and events featuring the work of local, national and international artists.

Inflight’s mission is to provide affordable and professional gallery space and arts related opportunities to young, emerging and experimental artists and curators, and is funded by the Australia Council and Arts Tasmania and run by a board of volunteers.

Inflight works closely with other artist run initiatives in Hobart and elsewhere in Australia and has over the last five years facilitated an exchange program with mainland galleries, bringing artists from the mainland to Hobart and in turn offering the chance for Tasmanian artists to exhibit in other Australian cities.

Inflight’s first international artist exchange in 2009 sent two Hobart artists to Spain and Germany, while 2010 saw the return leg of this exchange when European artists Sara and Andre’ exhibited at Inflight. The exchange program aims to foster and develop independent networks and opportunities across the country and further afield to share resources and promote current contemporary artistic practice.

prominent in the national arts scene exhibiting in an array of disciplines and spaces nationally and internationally.

Inflight is centred around a gallery exhibition venue which hosts projects by individuals and groups, collaborative activities and events, at 100 Goulburn Street, a move made recently after 5 years in a North Hobart warehouse.

Reopening by transforming a drab office building into a beautiful street-frontage Gallery Space, generous support was offered by Arts Tasmania allowed Inflight to further renovate the space and we are now settling in to an exciting program of upcoming exhibitions and events.

During our recent renovation we ushered in the first frosts of the coming winter with weekly curated outdoor film screenings hosted by Tom O’Hern, Andrew Harper, Pip Stafford and Emma-Jean Gilmour, in our car park complete with fires, cushions, pop-corn and astroturf.

The continuing success and energy of Inflight is a result of its dedicated board and staff members who mostly work for free and provide every service to its exhibiting artists including assistance in exhibition installation, publicity and promotion and critical feedback.

Inflight exchange took us recently to the famous HELL Gallery in Richmond, Melbourne for a giant group exhibition exploring the Tasmanian Gothic; a huge success and packed to the brim with audio performances, ritual inductions, curious and beautiful objects, images and mixed media works.

The board regularly changes members, keeping a fresh and energetic team grounded by long-serving members making a mix of emerging and established artists, writers, designers and curators. Being on the board of Inflight provides its members with invaluable experience in the arts industry and many of its board members have gone on to become

Inflight also took place in the inaugural exhibition of Launceston’s newest ARI Sawtooth, in the ambitious Panoply exhibition featuring work from Six_A Gallery and ARI, Death Be Kind, Inflight and Sawtooth in another full show filled with the amazing breadth of Tasmanian contemporary art practice within the broader national context.

Inflight’s upcoming gallery program was recently re-launched with a bang with the group SAAS (Support Arts Appreciation Society) donning their alter-egos in a performanceinstallation in a packed to the rafters gallery; those outside unable to enter and those inside unable to move.

Upcoming exhibition include David Edgar, Laura Hindmarsh, Anthony Johnson, Noni Gander & Iona Johnson, Amanda Shone, Maarten Daudeij and Joel Crosswell in a series of exhibitions that will see us through 2011 with a new show every month.

In addition we are working with a group of ARIs alongside The National Association for the Visual Arts (NAVA) and the Australia Council for the Arts (Ozco) to produce a National Artist Run Initiative Conference in Sydney in late 2011. Inflight is flying high with exchange projects with Felt Space Adelaide and DF Arte Contemporaneo, Spain, this year too.

Join us for the ride at what is quickly becoming a new mini-cultural precinct in West Hobart with Inflight, Goulburn St Gallery, Sashiko Design and the Artists Billboard project all planted amongst artists’ studios, architecture firms and backpackers.

Info: www.inflightart.com.au Contact: gallery@inflightart.com.au

warpmagazine.com.au

28 Arts

Arts 29

WARP GALLERY GUIDE - may north cont.

146 ARTSPACE On the Island (We are all in this together) by Richard Skinner. May 9 - June 10.

ART MOB Dhoeri Miak - Reflection of Dhoeri by George Nona. May 6 - 15.

BETT GALLERY FRONTSPACE: Pink by Anne Macdonald BACKSPACE: Boss 2 by Ian Bonde. Both Shows end June 7.

CARNEGIE GALLERY Blue Shadows by Michael Muruste.

April 22 - May 29.

CAST 130 Davey Street & Walking through Clearfells

by Raquel Ormella. May 7 - June 5.

COLVILLE GALLERY GALLERY 1: Julia Castiliona-Bradshaw.

GALLERY 2: Jock Young. Both shows May 6 - 25.

CRITERION GALLERY New works by James Newitt. March 25 - 7 May. Shields Against the Enemy by Jamin. May 12 June 11. OPENING 5.30pm on May 12.

DESPARD GALLERY New works by Geoff Dyer. Until May 24.

New works by Joanne Currie Nalingu and Michael Eather. May 26 – June 21, OPENING 6pm on May 26.

ENTREPOT GALLERY MAIN: Rhonda Voo with the Croo, group show.

LOUNGE: Printmaking Society, UTAS. Both shows May 9 – 26.

MAIN: Self Portrait by Jennie Jackson.

LOUNGE: Desiderata by Scott Faulkner. Both run May 30 – June 16.

FLEURTYS CAFE Benchmarking Birchs Bay Sculpture Prize, Bay Sculpture Prize. 10am - 5pm until the end of June.

GONE AWOL Four Hills Photography by Josh McDonald.

May 5 - 30.

Unmarried Brides by Kieron Hayter. June 1 - 30, OPENING 5.30pm June 3.

GOULBURN ST GALLERY Helen Jessup paintings. May 9 – 26.

Gillian Lojek paintings. May 13 – 26.

Stephen Booth paintings. May 20 – June 2, OPENING 6pm May 20.

Robin Mary Calvert ceramics & paintings.

June 3 - 23, OPENING 6pm June 3.

SOUTH

HANDMARK GALLERY - Hobart Andrea Jordan paintings & Simone Pfister works on paper Both shows end May 18.

Jan Dineen textiles. May 5 - 18.

Mairi Ward paintings, ceramics & furniture.

May 20 – June 15, OPENING 6pm May 20.

INFLIGHT Untitled by David Edgar. May 6 - 28 CLOSING 6pm May 27. (re)presentation by Laura Hindmarsh. June 4 25, OPENING 6pm June 3.

INKA GALLERY INC. Inka Gallery May sale. Ends May 25.

Ladies of Colour by South Hobart Art Group.

May 26 – June 15, OPENING 5.30pm May 27.

JIMMY’S SKATE & STREET Stencil, paintings & sculptures by Stuart Crawford (Canada). Ends May 20.

Sculpture by Jivanta Howard. May 20 – June 10, OPENING 5.30pm May 20.

LOVETT GALLERY Members work on show constantly changing & includes painting, sculpture, photography & ceramics. Winter open hours Sat & Sun 10am – 4pm.

MASTERPIECE IXL GALLERY Clearance of Investment Stock: colonial to contemporary art (Autumn) MOONAH ARTS CENTRE One Year Later by Elizabeth Woods.

May 13 – June 2, OPENING 6pm May 13.

MUSEUM OF OLD & NEW ART Monanism. Ends July 19.

PLIMSOLL GALLERY River Effects: the Waterways of Tasmania, group show. Ends May 20.

The Archival Impulse, national & international artists. May 27 – June 24.

RED WALL GALLERY Stray and Tainted by Eva Schultz.

May 8 – June 3, OPENING 6pm 8 May. SADDLERS COURT GALLERY Exhibiting over 100 Tasmanian artists & crafts people.

SALAMANCA ARTS CENTRE LONG GALLERY: Art From Trash by Resource Work Co-Operative. May 6 - 22, OPENING 6pm May 6.

SIDESPACE: Still Life and Memory by Bronwyn Theobald & Alison Hill. May 4 - 17, OPENING 6pm May 5.

TOP GALLERY: Slender Threads by Sophie Carnell. May 6 - 31.

SCHOOLHOUSE GALLERY Hunter Island Press annual exhibition. April 29 – May 12.

Skin: Observations of the Human Form, Adult education life drawing students and tutor Robyn Trousselot. May 20 – June 5.

SONA GALLERY Ongoing stock exhibition TASMANIAN LANDSCAPES GALLERY Luke O’Brien Photography. Art printing & mounting services also available.

TASMANIAN MUSEUM & ART GALLERY Near and Far: Tasmanian Art, contemporary artists and designers. Ends May 30.

Volcano Lover by Lucy Bleach. Mar 18 – Jul 3.

C20 -100 years of Australian art from the TMAG collection ends June.

Finding the mysterious unknowable by Peter Dombrovskis ends Jul. THE BRISBANE HOTEL Alphabetrix. Artist Collective. May 3 – June 5.

VON SHROEDER FINE ARTS GALLERY New award winning works by Gaye Spencer (permanent changing exhibition).

David Paulson end of Summer stock room clearance. Both May.

north GONE RUSTIC STUDIO & GALLERY The Notebook Project, 145 artists from Aus & International. May 9 - 31.

Accompanied by Journal Making Workshop’s, on May 11, 10am - 12pm, & 1pm - 3pm.

To register PH (03) 6372 2724.

Quilts from Darwin by Darwin Quilters.

13-28 May. HANDMARK GALLERY - Evandale Hilton Owen paintings. May 13 – June 10, OPENING 6pm May 13.

LEONI DUFF GALLERIES An Affair with Colour by Grant Koch. May 28 – June 15.

QUEEN VICTORIA MUSEUM & ART GALLERY Hatching the Past: Dinosaur Eggs & Babies.

April 2 – June 19.

SAWTOOTH ARI FRONT GALLERY: Home Made Preserve/ Preservation by Club Yen. MIDDLE GALLERY: Rapture by Kate Kirby.

PROJECT GALLERY: New Work, by Gillian Marsden. All Shows May 6 - 27, OPENING 6pm May 6.

THE WILDERNESS GALLERY THYLACINE - The Tasmanian Tiger Exhibition (permanent).

Peter Dombrovskis photography (permanent).

10-room purpose-built photographic gallery showcasing leading local, national and international artists, ends Mid November.

THREE WINDOWS GALLERY Changing Southern Midlands Artists

north west BURNIE REGIONAL ART GALLERY Burnie Print Prize 2011. March 19 – May 8.

Art Rage 2010, Artwork from schools around the state. May 14 – July 10 (Floor talk by Paul Bishop on ArtRage May 14).

Expressions by Jackie Walker. May 14 – July 10.

DEVONPORT REGIONAL GALLERY MAIN GALLERY: North West Art Circle Annual Exhibition & Awards.

LITTLE GALLERY: Celtic Serpent by Bill Flowers. Both Gallery’s April 23 – May 15, OPENING 6pm May 6.

PARADOX BAZAAR Unique Tasmanian Art & Craft creations operated by, and featuring the works of, local Artists and Craftspeople and is constantly changing throughout the year. www.paradoxbazaar.com.au WONDERS OF WYNYARD GALLERY 40th Anniversary of Wynyard Rotary Musical, costumes, photos and memorabilia. Ends May 30. Tasmania’s Rural Cultural Landscapes, National Trust, & Spinners and Weavers. Both shows June 1-28.

Arts Opportunities

ANDREW ON ART

Check out the list of upcoming workshops, grants, residencies and other arts opportunities within Tasmania.

Andrew on art. Yech. I’m really starting to hate that title you know, and I thought of it. Got any suggestions for a better one?

Workshops Sad Rags to Glad Rags: Take op-shop or new clothes and re-work them into wearable originals with Aukje Boonstra. May 21 & 22 from 10am-4pm. Entry is $70 per day at Moonah Arts Centre. Phone 6214 7633.

Lino Printing: Any skill level with Suzanne Crowley, also explore hand-colouring your prints using watercolour paints. June 4 & 5, from 10am -4pm. Entry is $84.40 (materials provided) at Moonah Arts Centre.

Phone 6214 7633.

Felting for Fun: Workshops with textile artist June Hope; Funky Bag workshop on May 7 & 14; Featherweight silk scarf workshop May 21; Fabulous felted hat workshop May 28; Learning to felt for fun basic workshop June 4. All workshops held at Forth Hall, Main Rd Forth from 10am-4pm. Entry is $60, phone 6425 2426/0409416196 or email june.e.hope@gmail.com Collage on Canvas: With Felicity Matthews at the Bellerive Community Arts Centre on May 15 & 16 from 10am-3pm. Entry is $30 members or $40 non-members for two-day workshop. Phone 6245 8742 or email bellerivearts@bigpond.com Etching: White ground resist, with Iona Johnson on May 21-22. For more information visit www.hunterislandpress.org.au MAC Holiday Activities: At Moonah Arts Centre: Circus Skills with Andrew Brassington June 7, 8 & 9 suits 8-16 years, 10am-3pm.

Paper Sculpture with Kate Connellan June 13 & 14, suits 8-14 years, 10am-3pm. Contact Moonah Arts Centre on 6214 7633.

Grants * If you are an exhibiting gallery or space in Tasmania and want to be included in the Warp Gallery Guide email: alison@warpmagazine.com.au

Assistance to Individuals: Accepting applications for a variety of projects proposed by artists to further their career. Apply before August 1, application toolkit is available from www.arts.tas.gov.au/individuals or contact Arts Tasmania on 6233 7308.

Start up grants for young artists: Grants up to $3000 are available to young artists (16-26 years old) who have not previously received an Arts Tasmania Grant. Closes 1 August 2011. Visit www.arts.tas.gov.au or contact Art Tasmania on 6233 7308

RESIDENCIES Self-Initiated Residencies: Tasmanian artists are welcome to apply to undertake a self initiated residency locally, nationally or internationally. For more information visit www.arts.tas.gov.au/residencies Wilderness and Cultural Residencies: Tasmanian artists can apply for a residency in one of the 13 sites of ecological and or cultural significance within Tasmania. Info: www.arts.tas.gov.au/residencies

Other Opportunities ST.ART Street art festival: The one-day music, art and culture festival at Schoolhouse Gallery and Rosny Barn on Saturday August 27 is an exciting opportunities for artists across mediums and generations.

13 7 COLL IN S S T H OB ART 03 62 34 37 8 8 WW W> ART E R YD IRE CT .CO M.AU

The ST.ART competition is an outlet for creative ideas via aerosol cans onto a 2D surface, with $2400 in prizes for stencil and free aerosol artwork. Winners will be announced on the day of the festival and all entries will be

exhibited at the Schoolhouse Gallery until Sunday September 11. Entry is free and open to three age categories: junior (up to 11 years), intermediate (12-17 years) and senior (18+).

For more information check out the Facebook page or visit www.ccc.tas.gov.au for entry forms, or pick one up from Ruffcut Records (Elizabeth st Mall Hobart) or the Schoolhouse Gallery (Rosny Barn).

146 ArtSpace: An exhibition space located in the foyer of Arts Tasmania office at 146 Elizabeth St, Hobart. Applications for noncommercial exhibitions are encouraged from artists, ARIs, curators and arts-based organisations. Any art form is considered and closes May 28. Application toolkit available from www.artsatwork.com.au/146artspace.

ArtSite Commission Ravenswood: Sculpture and 2D pre-existing artworks with a budget of $71,700. The Arts@Work ArtSite Scheme is seeking expressions of interest from contemporary artists to create external sculptural works that provide a welcoming narrative about the Ravenswood community.

Deadline is May 23. To obtain artist brief email: public.art@artsatwork.com.au or phone 6233 5087 Clarence Prize for Excellence in Furniture Design: Open to furniture designers, artists and craftspeople with total prize money of $14,000. Entries close June 3, 2011. For more info visit www.ccc.tas.gov.au or email schoolhouse@ccc.tas.gov.au Drug Education Network Art Competition: The DEN Inc. is running an art competition to spruce up its new office in Hobart, for the launch in Drug Action Week 2011. Entries close 16 June, 2011. For more info visit www.den. org.au Hutchins Art Prize: An acquisitive award for works on paper and is open to artists Australasia wide. Entries close June 17, 2011.

For more info visit www.hutchins.tas.edu.au Youth ARC Gallery: Seeking young artists 1225 or organisations working with young artists to present 2D work at the recently established gallery space at Youth ARC in Collins St, Hobart. For more info contact gatesr@ hobartcity.com.au The Vitra Fellowship: An exciting opportunity for a Tasmanian designer to attend an international design workshop led by renowned international designers, architects and artists at Domaine de Boisbuchet in France. Deadline 4 June. For more information visit www.arts. tas.gov.au/individuals

I’m serious. I want a new title for this column, for when I sell out and publish a book of ‘the best of Andrew’s art rants’.

That day is closer than anyone thinks.

Please though, don’t suggest anything like ‘Artshole’ or ‘Gallery Bitch’ though. I’m a nice guy and I’m in it for the greater good, okay?

I even have a prize for the best suggestion.

TRULY. If anyone comes up with a title for this here arts column that I actually want to use, I will award you a copy of Happy Meat 1, a highly desirable anthology of drawing based works emerged fully formed from the now-sadly defunct 6A ARI. It has stuff by all kinds of charming artists in it, and you really could use it in your collection of Tasmanian Art Publications. Send all suggestions to andrew_w_harper on twitter as a Direct Message and we’ll take it from there.

Having a look around the Salamanca Arts Centre the other day provided me with some terrific variety in the local art stakes.

There’s a lot to be found up on the top floor of the building – two spaces right next to each other feature a regular programme of works.

* If you are an arts organisation or body with an upcoming opportunity that is within the arts bracket and would like it included in Warp Arts opportunities guide, please email all details to alison@warpmagazine.com.au

Work stood out: UK artist Lindsay Seers investigated some personal mythology with Royal Orb (2011) a video work within a small corrugated iron church. One ducked in and found a poetic narrative that combined images, voice and sound into an enigmatic yet cohesive narrative that drew on many ideas yet remained deeply personal.

Equally immersive was Amanda Shone’s exploration of the bizarre world of life aboard cruise ships – this work had a lot of comedy but managed to throw in a Stepford Wives-style sinister edge.

Also striking and potent was Shigeyuki Kihara’s posed photography – this work, which provided a strong critique of western perceptions of exotic sexuality and the gaze was the pick for me in this show; melding some very different traditions and perceptions into something that stared back with a proud defiance.

The Loft Gallery space, given that it’s a thoroughfare as well, is usually limited to wall hung work and features currently a selection from the Handmark Gallery.

I didn’t really get much from most of the paintings on display at all, but Adrian Barber’s work stood out – he’s invested sometime in capturing the texture of a landscape and understands the potential of his medium well.

Handmark Gallery Artists in Residence at the Studio Gallery

Around the corner in the Top Gallery I checked out Meg Collidge’s show Folkspace. Blimey. I’m sure someone digs this sort of work – landscape interpretations that use a number of different methods – but it didn’t work for me at all. Busy to the point of being over the top, this is work that I could almost say needs to calm down a bit. Still, Collidge has at least an interesting approach and some character so it’s not a complete disaster.

Dis-covery

The Long Gallery contains Dis-covery, a themed show about islands curated by Colin Langridge as part of Ten Days on the Island. The show attempts to critique the

ART FORUM

online • Arts Tasmania www.arts.tas.gov.au • Arts @ Work www.artsatwork.com.au • Contemporary Art Spaces Tasmania www.castgallery.org • Moonah Arts Centre http://mac.gcc.tas.gov.au/Pages • Inflight ARI www.inflightart.com.au • Salamanca Arts Centre www.salarts.org.au • Sawtooth ARI www.art.org.au • Tasmanian Regional Arts www.tasregionalarts.org.au

romantic notions of islands as exotic places of relaxation and travel fantasy and is for the most part a success, featuring some very strong work.

Get inspired by UTAS Art Forum, a lecture based presentation held at the Hobart Art School (Dechaineux Lecture Theatre, The Centre for the Arts (UTAS), Hunter St. Hobart) each Friday at 12.30pm-1.30pm.

MAY 6 Nick Mangan integrates the by-products of consumerism into unique sculptural forms. Mangan’s sculpture shares an affinity with the work of young contemporary artists including Ricky Swallow, James Angus and Tim Silver - in which everyday items are deified in sculptural forms distinguished by aesthetic and technical proficiency.

MAY 13 TBC

Showcasing the works of SAC Resident Artists represented by Handmark Gallery at Studio Gallery, from March 11 - April 29, 2011.

Folkspace

An exhibition of recent landscape paintings by North West Coast artist, Meg Collidge at Top Gallery, SAC, April 7 - 29, 2011.

An exhibition that broaches three ideas: island life, artistic romanticism and romantic ideas of islands and island culture, at Long Gallery, SAC, from March 25 - May 1, 2011.

ANDREW HARPER GPO box 325, Hobart, TAS, Australia, 7001 E: andrewharper@yahoo.com T: www.twitter.com/andrew_w_harper W: http://distantyowie.blogspot.com W: http://theswollenear.blogspot.com

MAY 20 Jon Cattapan has exhibited paintings, drawings and prints extensively since 1978, all featuring a central concern with the way in which humans negotiate space and territories. Cattapan’s urban imagery depicts a fragmented, mobile and pulsing environment.

MAY 27 An Archival Impulse Seminar This is a special 1.5 hour seminar-style forum featuring a number of artists and the curators from An Archival Impulse, an exhibition co-curated for the Plimsoll Gallery by Brigita Ozolins, Ruth Frost and Elisabeth Redmond. The exhibition features the work of 10 artists who use the archive, or strategies associated with the archive, across a range of media including photography, printmaking, installation, sculpture, video and e-media.

ALISON McCRINDLE warpmagazine.com.au

30 Performing Arts

Performing Arts 31

review

Ten Days on the Island Dinosaur Petting Zoo Erth Visual and Physical Inc, March 25, Salamanca Roars and cries rent the air at Parliament Lawns on a Sunny Saturday. The ground was hardly shaking but dinosaurs once again walked the Earth as children and adults alike were treated to a very politically incorrect history lesson.

Children were instructed to “shut up” and parents were invited to leave unruly mischief makers behind to help feed the dinosaurs after the show.

Erth, the performing Arts Company presenting the Dinosaur Petting Zoo have created a show that is entertaining and informative. The Emcee had a good rapport with the audience and the puppets were skilfully manipulated, with small, lifelike movements that made the creatures come alive. One of the highlights was the entrance of a ferocious Australian Tyrannosaurus who created a wave of fearful delight as he stormed into the ring.

A kid friendly show, The Dinosaur Petting Zoo is an interactive jaunt through the Jurassic era, that has surely created a whole new generation of palaeontologists digging for fossils in their backyards.

The Chronicles of Long Kesh Hobart Theatre Royal, March 30 Playwright Martin Lynch interviewed forty exprison officers, prisoners and family members before writing his very personal play, The Chronicles of Long Kesh.

Set in 1970’s Northern Ireland, political and religious unrest is the basis of the action, which is set in the infamous Long Kesh Prison.

Interned for dangerous activities, the play follows both Republicans and Loyalists housed in the prison, suffering years of abuse and neglect, protests and riots.

Narrated by Irish prison guard Freddie, the play is funny and poignant, the more gruesome details often told through jokes, harsh moments lightened by the actors breaking into Motown Classics, the Beatles and Smokey Robinson.

The six-member cast would be lost without Freddie’s narration, as they frequently switched characters. Freddie acts as a silent sentinel; observing all, keeping quiet to avoid trouble as he too is affected by the violence he witnesses at Long Kesh.

A disquieting yet joyful journal, The Chronicles of Long Kesh is a recollection of the world gone mad, and is sadly relevant in contemporary times where internment and arrest without charge is prevailing in our ‘civilised’ society.

Poxed Tasmanian Theatre Company, April 14, Backspace Theatre

I ♥ Cars Stompin Dance Theatre, March 31, Launceston streets and Alanvale TAFE

The 18th Century English Court was rife with rumour, intrigue and liaisons and one Lady Mary Montagu was renowned as a great beauty, with all the trappings that came with such a distinction.

Presented by The Tasmanian Theatre Company, Poxed explores the story of Lady Mary who was struck down and marred by the infectious disease and her attempts to introduce inoculation to the Western World.

Tasmanian playwright, Stella Kent spoke of the play as centred around Lady Mary’s quest, however much of the dialogue and action is focused on Lady Mary’s competing suitors as they compel her to achieve more only to pull her down from the pedestal they placed her upon.

The costumes are lavish and the set outstanding, using silhouette to create vast palaces and exotic climates.

The comic timing of the actors was superb and the conversational tone was just right for the Backspace Theatre. There was a high level of involvement and chatter with the audience and the direction of the piece was highly orchestrated, the characters fully developed and convincing. Overall, Poxed was a treat although rather a muddle of life, years and events.

Exploring our love affair with the car, Stompin’s I ♥ Cars took us on a guided bus tour of Launceston’s famous ‘blockie’ route, before heading on up the highway to the automotive workshop at Alanvale TAFE. In the large, darkened space with lighting provided by mechanic’s utility lights and car headlights, the cars were as much a part of the show as the overall-clad dancers, executing their machinery-inspired moves.

Dance interludes were interspersed with video clips of car club members talking about their cars and the friendships and lifestyle that revolve around them.

The troupe’s younger members scooted and skated into our hearts with a delightful rendition of Born to be Wild, while a more serious counterpoint was provided by a lone cyclist’s soliloquy on the environmental and health impacts of cars, which felt a little forced, when we really wanted to forget all that and just go along for the ride.

MEGAN CASEY

Sarah Mashman

Review

Star-Crossed Lovers Three Blind Dates Tales of eager Romeos scaling balconies and Thursday April 7 the Brisbane Hotel

Speed dating seems to have gone out of fashion. Not so long ago it seemed like everyone from Fraiser to the Vicar of Dibley was doing it round-robin style.

escaping disapproving parents by eloping are old hat. Why should an attempted elopement from Germany to Africa make headlines across the world in 2009?

It isn’t a historical event, a tale from the War, or a story of unrequited love separated by the Wall. With no passports of tickets, three children packed sun-tan lotion and sunglasses, left their homes at dawn and walked one kilometre to wait patiently for the airport bound train. No, it is not your conventional love story.

Meredith Cole plays a mutely anguished figure, searching for her one true love at a restaurant that serves up tricks, jokes and magic in a bow tie and bob cut.

Date number one is Richard, a sportscoatclad, mullet-crowned member of the Cygnet Light Opera Ukelele Collective. Richard is an incarnation of Emily Newton, who delights in drag and comedy theatre. At the failure of Meredith’s tablecloth trick, Richard stalks from the table in disgust.

As part of the Mobile States tour of 2011, theatre company My Darling Patricia presents Africa. Based on the story of these three children, it is an unrelenting, gritty, urbanized tale of neglect and the power of imagination.

Relocated to Australia, the play is seen through the eyes of the children with puppets skillfully manipulated by hooded performers.

They play, sleep and dream on the toy-strewn leveled stages with a messiness symbolising disruption and neglect.

Second Date is the strong woman with the loose stocking, Bridget Bridge. Bridget uses acrobatics, tricks and a little self-inflicted torture to delight the audience. Loose stockings stay up with a few well placed staples into the thigh. (Note: This is not recommended to try at home, or in the office, and certainly not on a first date.) Again, the dauntless Meredith tries her tablecloth trick and again, she fails.

As Mambo Number Five surges from the speakers, Meredith’s third date struts out.

Tongue hanging out, chest heaving, bodyrolling Maurice is butter to Meredith’s bread.

With the conclusion of Maurice’s dance comes the fateful Tablecloth trick and finally as it must, it is a success.

After successful shows in Hobart, Launceston and St Helen’s, there’s talk of a reunion special so watch this space.

KATERHINE FARRELL warpmagazine.com.au

Image: Jeff Busbyss

Africa

The Peacock Theatre, May 25 - 28 www.mydarlingpatricia.com

WIN two free tickets to see Africa at the Peacock Theatre.

Simply “Like” Salamanca Arts Centre on Facebook and then send SAC a message with the words “WARP” and “AFRICA” in it before May 18 to enter. Winners will be drawn randomly and notified via Facebook on May 19.

The mother is viewed from a child’s eye level; visible from the hips down. She is loving, but complacent and ignorant of her children’s disaffection with the world.

My Darling Patricia formed in 2003 after the four founders met in art school. Their approach to theatre is through their background in dance, visual arts, circus, puppet, film and performance.

Africa, written and directed by Halcyon Macleod, is funny, heart wrenching tale of childhood, deprivation and imagination.

SARAH MASHMAN

News in Brief Veronika Will Walk Fundraiser Proudly supported by Youth Arc, Veronika Will Walk is a fundraising gala at 44 Collins St, Hobart on May 28, raising money to assist three-year-old Veronika to walk. * The All Ages show at 1pm features The Amazing Ashton, Happy the Clown, Colour Me Dizzy Face Painting, an appearance by Batman, and popcorn, lollies, snow cones and fairy floss. Entry is $10. * The Adults Only show from 7pm features an auction, cabaret comedy and dance, with MCs Toni Hodgman and John X, CAD, Fiona Hutchinson, Mia Palencia, Mick Lowenstein, Matt Burton, Tim Logan, Tracy Cosgrove, Scarlett Jezebell, Miss Kitty’s Meow, Lady Lola, Amazing Ashton, Sorell Photobooth, and more.

Entry is $25. * Tickets available from www.veronikawillwalk. org or phone Sally on 0437 250 554.

Australian Burlesque Festival The Second Australian Burlesque Festival is hiking up its skirts and taking to the road.

Featuring a line up of local ladies, interstate lovelies and overseas guests, the ladies are set to titillate the audience with good old fashioned bump’n’grind, bawdy vari­ety, classic glamour and exotic tease. Catch one of the two shows on June 3 at the Peacock Theatre, SAC (77 Salamanca Place). Dress code: evening attire.

Tickets available from www.australianburlesquefest.com/tickets/hobart

Diary of a performer-girl

Performing Arts Guide

Terrapin Puppet Theatre’s new collaboration with the Children’s Art Theatre of China (Shanghai) took performer Emily Newton on a wonderful adventure last year.

CABARET

The show When the Pictures Came mixes character, comedy, digital puppetry and black-light theatre to create a visually- and conceptually-compelling performance.

A year after the Shanghai show, the cast and crew were reunited in Hobart to rework the show and rehearse for two festivals; Adelaide’s Come Out Festival and Tasmania’s Ten Days on the Island.

Emily Newton kept a travel diary from Adelaide, sharing experiences on-stage, offstage and backstage with readers.

Day one The sets were packed, costumes washed and folded, the lights dismantled. We were wrangled onto a plane, headed for the bright lights of Adelaide, a city that I had not seen before.

Arriving after two flights (no direct flights from Hobart to Adelaide), we were met by a friendly festival official with a placard.

Checking into the hotel brought memories of Fawlty Towers flooding back as I waited and waited and waited some more while my colleagues collected their keys and drifted off to their rooms.

I don’t know if it was my general air of irritation or if it’s their policy, but my unwanted delay was rewarded with an upgrade to an executive suite. Yes folks that’s right – I got my very own two-person spa and I wasn’t going to share that baby with anyone.

Day two By the time we arrived at Her Majesty’s Theatre, the technicians had already bumped in for our first and only chance for dress rehearsals. I was enamoured with the theatre – two tiers of seating for 800 people, an enormous stage and splendid interior featuring a glass chandelier the size of a small car.

THE SOUTH

After a long day (and some of the night) rehearsing, I spent a delightful evening visiting the doctor due to tonsillitis – ah, the joys of touring!

Day three First show, the Australian premiere was at 10am and we were performing to 700 students.

Nerves were abuzz as we waited in the wings.

We could hear the hum and laughter of the school children; it’s that noise that reminds me why I do what I do: anticipation and excitement.

I remember feeling this way the first time we performed this show in Shanghai.

I felt fairly happy with our first show – the children laughed at the gags and the villain was scary. But there is no time to reflect as we re-set ready for another show. That’s right, two in a row and we have another lot of children to entertain. This was my favourite show out of the six we did in Adelaide because, as we waited in the wings, we could hear: ‘1, 2, 3, weeee’. I couldn’t figure out what was going on until I peeked through the curtain to see the entire auditorium of kids doing the Mexican wave!

Days four, five and six The rest of our shows went well. Our audiences ranged in size and judging by the reaction most enjoyed it.

Our last night in Adelaide was spent at the ‘Scriggle tent’, a party for performers and delegates. We ate, drank and danced, a great way to end our festival. As a performer, I enjoyed performing the show in Adelaide and I liked what I saw in Adelaide, not that I saw much, an executive suite and tonsillitis meant that the bright lights were out of reach.

EMILY NEWTON

The Brisbane Hotel Circus Horrificus and Friends Cabaret May 5 & June 2

The Playhouse Theatre The Seagull April 29–May 14 WHODUNNIT June 3 – June 18

The Peacock Theatre The Australian Burlesque Festival June 3

Theatre Royal Backspace Construction of the Human Heart May 18 – 22

The Playhouse Theatre The Beautiful and the Damned May 21

Fresh Cafe Fresh Comedy Fridays May 2

The Grand Poobah Cavalcade of Whimsy May 4, 11, 18 and 25 Danger Academy May 16

Dance

Yet a sneaky look at the months ahead reveals a stack of shows and performances that short of a cliff-hanger soothing episode of Veronica Mars. They are prime- time, heavy- jacket wearing, reasons to enjoy what will be touring Hobart over Autumn.

The Princess Theatre Centenary Symphony of Dance May 27 & 28

The Lower House Lower House Comedy Lounge May 12

Theatre

Onba The Clubhouse May 10 & 24

The Princess Theatre Alice May 11- 14 Larageddon – Uni Revue 2011 May 31-June 4

DANCE / THEATRE Hobart Theatre Royal Larageddon - Uni Revue 2011 May 13 & 14, 16-21, 23-28 The Peacock Theatre My Darling Patricia presents Africa May 25-28

MOBILE STATES & SALAMANCA ARTS CENTRE PRESENT

MY

DARLING

PATR I C IA‘ S

THE ULTIMATE ESCAPE FROM AUSTRALIAN SUBURBIA

25 - 28 MAY 2011 PEACOCK THEATRE Wed - Sat @ 8pm + Sat Matinee @ 4pm

performing Arts

Autumn has settled upon the shoulders of Mount Wellington and for the cold and weary, a night in front of the box, dominated by re-runs and cooking shows is an easy, if not exciting proposition.

Cabaret / Comedy

COMEDY

I felt a bit chuffed that I got to perform in such a beautiful place.

The rehearsal was long and arduous, like most tech rehearsals in my experience. This one was especially long due to the lighting, sound, animation, projection and a moving robot, which is operated by three people.

Technically, the show is incredibly complex but amazing to watch. Animated creatures pop out of performers mouths, a fist appears, expands, flies through space to punch another performer.

After an indulgent few months of festival schedules which handily highlight their top shows, it’s time to get your pen out and do a little heavy circling.

THE north

The Mobile States tour of 2011 is coming courtesy of Salamanca Arts Centre featuring avant-garde contemporary performances.

The Australian Ballet is visiting the North of the State with a patter and a smash - the TSO will be providing the cymbals - and the circus is coming to town too. They may not be walking their elephants down the main drag but that daring young man will be in the big top (DEC) and he will be flying high.

So, drag out your best plaid blanket, stitch in a hot water bottle and set yourself up for a season of dance, theatre, comedy and cabaret. It won’t be around for long, and you can’t buy it in a box set.

SARAH MASHMAN

“A beautiful and savage piece of theatre...”

THE AGE

Bookings: www.salarts.org.au

32 Eat Out

Eat Out 33

Eat Out Reviews In Search of the New

Grazing is not just for cows

Ethos Eat Drink

New Kid on the Square

Kafe Kara

100 Elizabeth Street, Hobart The premise of this place is that you go there to drink and graze on tapas. I went on a busy Saturday night and as soon as I walked in I got the strong impression that they were serious about food and drink.

They have done a great job of turning a dump into an appealing café / restaurant. My only real gripe with the fit-out is that I didn’t like the art on the walls where I was sitting. Next time I will try to sit outside where I don’t have to see it. But I did really like the light fittings made of the found pharmacy bottles from the derelict site that they took over.

We were squeezed in between fashionable people by the very professional staff, but we didn’t feel uncomfortable because everyone seemed to be celebrating. It is perhaps not the place for an intimate rendezvous.

I started with $3 plates. The braised ham hock croquette was tasty and the anchovy and smoked cherry tomato was delicious. Both dishes were very small, but what would you expect for $3 at a swanky place. The second round got better ($10). The parfait pate with grapes was really tasty even if the tall jar meant you couldn’t get to all of it.

The mussels with hot and sour dressing tasted like mussels should, even if it didn’t taste hot or sour it still respected the flavour of the food, which I liked.

Then I skipped the $15 round and went straight for the $20 plates. I tried the Hangar Steak with Togarashi and Lime, which I found disappointing after having been subjected to raves about Hangar steaks.

If it is all about the taste of the meat then it was overpowered by the flavouring, and if it is the texture then I prefer fillet, which is a lot more tender. I am not sure if it was the dish itself, or their serving of it.

By this stage I was beginning to think that all the food was done well, and that it was my ego as much as anything that was making me order the more expensive dishes. They make a note on the menu that the only difference between the $10, $15 and $20 dishes is the cost of the ingredients, not the size, or, it seems, the quality.

You could easily go there and order half a dozen $3 dishes to have with beer, or get all the $20 dishes to have with a $100 bottle of wine. Either way you would be having a better tapas experience than going to Francisco’s.

I am really happy this place has opened and will be going back.

JASON JAMES

Paris end of town

Tant pour tant

Salvete

226 Charles Street

119 Elizabeth St, Hobart

Salamanca Square

I’ve become a creature of no habit. In my continual search for new flavours and new destinations in which to enjoy them I have shunned the places I have already tried; both places I’ve enjoyed and, understandably, the places I’ve despised. If I already know a place is good then where is the need to go back?

Salvete - which essentially translates from Latin as “Hello” or “Greetings” - is where Say Cheese used to be located.

Perhaps it is a flaw on my part, but I find it hard to be surprised and excited on a second visit when I know what to expect. With a catwalk full of new eateries opening up seemingly every week this behaviour of mine becomes more pronounced.

Step one was admitting I had a problem.

I decided to skip the traditional second step, as I didn’t really feel it was worth bothering a “higher power” over. Instead I stepped into a place I’d greatly enjoyed in the past, a place that was already trusted in my mind, and therefore wrongly overlooked except for a takeaway coffee most Saturdays.

Kafe Kara has been around seemingly forever.

Squeezed into a narrow space is great service, some of the best coffee in Hobart, and an obviously passionate team in the kitchen.

“Beans on Toast” I would walk away from on most menus but here I knew it wouldn’t disappoint. It was simple yet complex, a generous pile of mixed beans slow baked with the flavours of tomato, rosemary and bay leaves really standing out.

The richness was counter pointed beautifully with fresh shavings of quality parmesan and Italian parsley. This all sat atop rye bread that was designed to match the dish, unlike many others who strive for the trendiest bread with little thought of it really works as a whole.

A classic dish executed to perfection and only $12.

Feeling excited by this rediscovery I vowed to keep with the program and revisit some of my classic favourites. If only there weren’t so many other new temptations.

CARL WISE

The name is rather hard to make out, with its curly crimson script, however look out for the novel use of wooden bed ends to demarcate their outdoor seating from the footpath.

The interior is airy, spacious and elegant, where solid wooden dining tables, understated retro lounges and vintage suitcases make up the decor. The tables are far enough apart that you feel comfortable and relaxed - easily a place where you could have a leisurely breakfast or lunch. Service is well paced, genuine and friendly - no snooty trendbots in sight here thank goodness!

To my delight, there was black pudding on the breakfast menu. Other items that garnered my interest included baked duck eggs with cannellini, chorizo, spinach, cherry tomatoes and parmesan, served in a claypot ($16.50), and sardines on sourdough, with tomato ramesco, lemon and Italian parsley ($16.50).

I opted for the black pudding. It came with confit shallots, goats cheese, a poached egg and herbs on sourdough ($16.50). My egg was perfectly poached, and the gorgeous olive oil scattered about the plate accentuated all the lovely flavours of the dish.

Being a bit of a salt fiend, I found the black pudding a little under seasoned. Happily, there are normal salt and pepper shakers on each table, unlike some other trendy places where they hide them from you and make you feel ashamed to ask. Once seasoned to my liking, the black pudding was superbly moreish, and I later learned that it is from the fabulous Ziggy’s Smallgoods.

For the less adventurous, all the usual breakfast suspects are here also, at very reasonable prices. My long black was pleasantly robust without being overly strong, the beans a blend from Di Bella Coffee.

A quick perusal at the lunch menu invoked me to mentally bookmark Salvete for a future lunch date. How can one pass up a pork belly sandwich in toasted brioche with pickled cucumber, fresh chilli, spring onion and hoi sin ($17.50), or prawn ciabatta with avocado, fresh greens, vodka and tomato jelly and aioli ($16.50)?

All this, and a good wine list to boot, I think I will be saying “Salvete” to Salvete, sooner than later.

Just say, “Oui,” and indulge your decadence at this elegant French-style café offers an extensive range of cakes, tarts and sweet pastries (it has the best lemon tart in town), with a lunch menu based on northern Tasmanian produce.

Fat Chewing

Pick up a loaf of the walnut and raisin sourdough, made with an authentic levain which is fed daily, or sit in the sun and feast on their grilled Black Forest bacon panini with Heidi gruyere, slow-roasted tomatoes and scrambled eggs.

WENDY NEWTON

Retro dining

Nanna’s

7 Coulter Court

Don your Sunday-best hat, gloves and coat, and trip into the pop art reality of Nanna’s for 1950s-style homemade treats and coffee.

Fossick through the vintage clothing and quirky objets trouves while you wait for ‘grandma’s’ coconut ice slice and sodastream spider. For lovers of all things polyester, melamine, and formica.

WENDY NEWTON

Welcome to the inau gural Eat Out section.

I will be your guide for these two pages. So sit down, relax and take a deep draft of your favourite tipple.

I am.

I am looking after this section because I love beer, I love wine, and I love food.

I love coffee too, but sadly we are going through a difficult separation at the moment. After a brief reunion after dinner at Ethos Eat Drink, we are back to staring longingly at each other.

I have to say that I am heartened to see some quality places opening up at night time in the centre of Hobart lately. If this trend continues we may see life return to the wasteland that is the Hobart CBD.

Happening hue

Blue

Invermay Road, Inveresk

It’s in a funky industrial setting (a converted tram pay station in the historic Inveresk Railyards), it’s full of art and students, and it has the best wood-fired pizzas around.

Try the field mushroom pizza with leek, sage, goats curd, parmesan and walnut oil, and match it with a Tassie wine from their extensive list. If you want to be ‘seen’ in a happening place, this is it.

This edition we are having a look at cafés.

The next issue will feature pub and bar food. So if you have a food story that you are hungry to share, contact me.

JASON JAMES Eat Out Editor jason@warpmagazine.com.au

WENDY NEWTON

SARA WAKELING

Eat Live Love - Italian Our full-range restaurant menu including pizza, pasta, steaks, chicken, fish and salads.

Dine in, take away & functions.

107-109 St John St Launceston 6331 1542

149b Collins St Hobart 6236 9360

33 Elizabeth St Hobart Mall 6236 9399

Liveat Catering / orders@liveat.com.au / 6236 9399 www.liveat.com.au warpmagazine.com.au

NORTH HOBART 315 Elizabeth St PH: 6231 6777 SALAMANCA 93 Salamanca Pl, Battery Point PH: 6224 4848

www.laporchetta.com warpmagazine.com.au

34 Eat Out

BRIANISM

The Italian Pantry You couldn’t be blamed for missing this recent addition to the café scene.

Well down Federal Street, the Italian Pantry misses out on the pedestrian advantages of the North Hobart strip, but is worth the detour. Being predominantly a specialist Italian grocer, the owners have utilised the front-of-house as a welcoming, simple café space with a small but very tasty menu. It’s dominated by a big communal table, with bench seating and couches for lounging, all scattered with Italian cookbooks, gourmet mags and even a TV showing some amazing traditional cookery.

The predominant items on the menu here are the exceptional coffee and simple but

delightfully tasty paninis, showcasing items from the grocery area – imagine light, floury but crusty bread, oozing mozzarella, fresh prosciutto, porchetta and Italian veggies.

The café also features some great sweets, with traditional cookies and cakes.

The highlight here is the traditional Italian ‘krapfen’ – wicked light and lemony donuts filled with either custard or chocolate.

The great thing about this place is if you love your lunch, or if you find something tempting when flicking through a book everything is there available to pick up and take home to try (including walk-in cheese fridge!).

The exuberant and friendly staff really know their stuff.

Amanda Bergmann

POP Café Not quite a new cafe now, Pop retains an aura of freshness. Everything is a bit different. It’s comfortable, but hasn’t gone for the ‘cosy nook’ vibe; the space is light and open. The strong branding seems to suggest that it is part of a chain, but it isn’t.

has enticing variety. Coffee is okay but not the greatest. It’s not cracking my top five as yet, but, and it’s a very important but, there’s an amazing option: Carbonated Coffee on tap. I’m not making this up. There’s a little thing that looks like a beer tap from which flows cold, fizzy, black iced coffee. It’s something they thought of themselves and make on the premises; the result is a strong, sweet beverage that I’m going to have to try a few more times to really work out.

Pop is an entirely local enterprise that’s decided to be atypical. I’ve been here to eat quite a few times now and I’ll return again because the food is good. Again, it’s a little different. A corned beef sandwich has become a staple for me, although when it’s sold out Pop gets big marks from me for sticking I’ve tried a number of other options, all varying their neck out and providing something in how much I like them, but never dreadful. unusual, what’s great is that this approach is across the board.

This is not a place that has one dish it gets right and that’s what you stick to, the menu Andrew Harper

Tasmanian Whisky Revolution

I have been an ardent single malt scotch drinker for about 25 years, but when I moved to Tasmania from the USA a few years back I thought I would convert myself into a more sedate pinot noir sipper.

I was wrong. Very wrong!

Unbeknownst to me I had landed in a place populated by some of the most innovative and creative whisky philosophers on the planet.

Revolutionaries changing the way people make whisky and think about it. This activity is based on a combination of science, instinct and desire, coupled with unique Tasmanian ingredients and climate. The distillers and whisky drinkers of Tasmania pursue their craft and pleasure with a feet first attitude combined with atavistic primitivism.

The earliest record of whisky distilling in Scotland dates back to 1494, but the “big bang” of the Tasmanian whisky industry can be pinpointed to 1992, the year Bill Lark lobbied for a change in Australian law, legalizing small still production. 1993 brought the foundation of Lark Distillery on Hobart’s scenic waterfront and Bill started to experiment with various means of production and aging of whisky.

Aging the spirit in casks of different sizes and from different origins, for example ex-sherry, bourbon or port barrels has a vast influence on the end product.

Lark has won numerous international awards including both Silver and Gold in the Chicago International Whisky Competition. In an amazing turnaround of conventional expectations Bill has been commissioned to build a Larkstyle still at a new Kingsbarn distillery near St. Andrew’s in Scotland, home of the British Open golf tournament.

Since ’93 several other distillers have popped up. Tasmania Distillery, founded in 1994, produces Sullivans Cove copped “Best Rest of the World” (outside Scotland) in World Whiskies Awards 2011. Hellyer’s Road in Burnie, Mackey’s in Newtown, Nant’s picturesque new operation in Bothwell, Old Hobart Town in Kingston and independent bottler Trapper’s Hut in Margate.

island cafe

171 Elizabeth St Hobart 6231 3317 GREAT COFFEE & ALL DAY BREAKFAST MONDAY-SATURDAY

CK O L C E H T ma pm D N Par om 5 U .au fr O m n .co AR icke eins ho o ls OPEN te o Ch d St h . ww 7 DAYS an : w & ay sd e n ed W y, a d ut on *M ko

ec Ch

warpmagazine.com.au

ay nd Su

ly. on

124 Davey Street, Hobart Phone 6224 9494 Bookings essential

Visionaries are looming on the horizon in the form of Peter Bignell and Tim Duckett. Bignell is in the developmental stages of producing whisky from rye he grows himself and using a still improbably fuelled by biodiesel recycled from fish and chip oil! This American-style rye whisky stands alone in Tasmania. Duckett is holder of the oldest whisky stocks in Australia and will be unveiling his Heartwood brand in the near future. This is a whisky reflecting a style considered the Holy Grail among whisky aficionados, peated and aged in sherry casks.

I have sampled early editions of both whiskies and they promise to expand Tasmanian whisky into new territory.

Did Bill Lark envision the current boom in whisky production when he set up shop?

“No we didn’t and we had no idea to expect.

We just set about to make a good single malt whisky to drink with our friends. What we found very quickly is that Tasmania is ideal for making whisky. The market dictated we would grow.

“One of the secrets is that we are using small cask aging - not only Lark but other Tasmanian distilleries. It’s becoming a Tasmanian trademark. Our climate is ideal for aging whisky; we have a range of temperatures which allows

the oak to breathe which makes a richer more intense whisky.”

Despite the extremely short history of serious whisky making in Tasmania, international acclaim and feverish experimentation threatens to turn Tasmania into a new appellation amongst worldwide whisky buffs.

Why make whisky here and what makes our whisky different? Tim Duckett says: “Well it’s our position. We have everything that’s needed to make great whisky, but we’re in the Southern Hemisphere so events like Chernobyl or Fukushima do not affect us.

“We have clean air, water, peat, barley, so why not? The model for production in Tasmania is based on small stills. We have boutique distilleries. With smaller distilleries the cuts are made by hand and eye, not by controlled cabinets, so that makes for more character. The personality of the distiller can be expressed in the whisky. There’s more craftsmanship with the whiskies produced in Tasmania than in the big commercial distilleries.”

Although the whisky has evolved from older Scottish styles there is also a distinctly Tasmanian character to the flavour due to unique barley developed for local conditions. Commercial Scottish barley is bred mainly for high alcohol production. In cases where peat is used, local flavours are also present.

Duckett again: “Some people say there’s a slight eucalypt influence. Tasmanian peat comes from the Central Highlands so it doesn’t have the seaside aspect of some Scottish peat.

It has a sweet character. If it continues to win awards it will be known as Tasmanian malt whisky and it will be unique and will find its own place.”

Diary of a 10 Days Marathon It was with some trepidation and also a good deal of excitement that I accepted the task of doing a general review of this year’s 10 Days on the Island.

Of some 250 events, I got myself to 13, enough to get the real juice on the festival? I guess we’ll see.

Music: In Hobart, the majority of the music events were contained within the Dance Hall program, something that excited me coming into 10 Days but ended up leaving me disappointed. The much hyped kick-off for the program - opening night with DBR and DJ Scientific - felt, in the words of a local MP, like, ìmy high-school formal but less fun.î A reasonably decent violinist attempting to command the stage with a beats man behind him fell flat; it wasn’t very dancey or particularly impressive. Mim Suleiman and Trio Rafiki were competent and interesting, but extremely downbeat. Errol Renaud and Caribbean Soul, although good players, couldn’t write a song to save their lives, and it was fortunate that they could fall back on a smattering of Marley covers to convert the dance floor. The best offering at Dance Hall was DJ Tr!p of the New Pollutants pulling out obscure favourites and off-theradar mash-ups in between the ‘headliners.’

What was most wrong with Dance Hall? Well, it wasn’t a dance hall and there was no dancing.

The Black Arm Band with TSO saved the music program with their touching and inspiring performance of Hidden Republic.

This piece felt a little contrived in its delivery, but still managed to be heartfelt and beautiful.

Featuring uncles Archie Roach, Jimmy Little and some fifteen other Aboriginal singers from across generations and tribes, the highlight of the night was an amazing duet with Trombonist Shannon Barnett and Didgeridoo player Mark Atkins.

Installation/Multi-Media: One of the greatest strengths of 10 Days is its ability to capitalise on and redefine familiar spaces within Tasmania. Craig Walsh’s Digital Odyssey in Franklin Square was an excellent taster and very otherworldly. Power Plant at the Botanical Gardens created an atmosphere of mystery and intrigue with its incredible and immersive light works. Every Time I See Your Picture I Cry both disturbed and touched, a piece composed with old school overhead projectors and voiced live by the artist himself.

Duckett also spearheads of Tasmanian Whisky Appreciation Society (TWAS), one of 3 different whisky clubs in Tasmania, the others being the venerable Gillies Club, and Whisky Wankers, which is a semi-clandestine organization. The Scotch Malt Whisky Society also previously held meetings in Hobart, but have ceased due to the popularity of the home grown clubs.

Dance: Ringing the Changes was again perfect for the space at Port Arthur. A great piece, although perhaps a little ‘done’ as we’ve seem similar things from Strange Fruit before.

It’s difficult to imagine 10 Days attracting tourists to the state.

What defines MONA FOMA? Really, you have to start and end with David Walsh and Brian Ritchie. Walsh defines the parameters by making the event free, and both Walsh and Ritchie use their contacts, reputation and taste to attract frontline creatives to present new and evolving art, in all its beauty and ugliness.

Theatre: Gold stars and big ticks for the theatre component. Animal Farm was to my mind the outstanding element of the entire fest.

Brilliantly acted with pathos, humour, and very simply set, the performance combined recorded and live music cleverly, taking its audience through the whole spectrum of emotions.

Don’t like MONA FOMA? Don’t come, or better yet, complain about it till you’re blue in the face and make the job sweeter for their marketing team.

Don’t like 10 Days? Complain about your tax payer dollars getting misspent or that your community is being neglected. Valid complaints, and issues that 10 Days has to respect.

The Chronicles of Long Kesh also hit a nerve, giving real human feeling to the history of the troubles in Northern Ireland. Again, the performance was very simply presented, but its capacity to set the time and develop the frustrations and hardships of its characters was exceptional.

I’m going to take a step back here now, because the elephant in the room really needs to be acknowledged, and that’s a comparison between MONA FOMA and 10 Days on the Island.

What defines 10 Days? It’s a ‘folk festival’, not in the Cygnet Folk Festival sense, but in the sense that it’s presented for all the people of Tasmania. Spread out around the state, utilising wonderful, widespread spaces and designed to appeal to everyone, this is a true community festival. Much of what is on offer doesn’t stand up to deep critique, as we saw with the music program this year. It has an ‘offthe-shelf’ vibe ñ touring pieces are bought in their well-rehearsed shiny wrapping paper.

Love 10 Days? Choose which parts of the program you want to attend and can afford.

Get involved as a volunteer or sponsor and ultimately feel good about the valuable art being presented in your home place.

Love MONA FOMA? Drown yourself in the program, travel here from interstate, get drunk, shout stuff and ultimately feel good about your superior taste.

Dane Hunnerup

Saturday the 14th of May (All Ages) Ballpoint, First Base (Melb), Wolfpack, Cavalcade, Explosions, Myamora / 3pm / $13 Saturday the 14th of May Nerves, My Blackson, Face the Fiasco and Your Demise / 9:30pm Saturday the 21st of May / La La Land Monday the 23rd of May / Danger Academy / 8pm

Tasmania is also home to Tumbler, the first Australian whisky magazine.

Friday the 27th of May / Charles Du Cane Thursday the 2nd of June / Rosnystock

Tasmania can look forward to distilling (and consuming) an ever-expanding variety of whisky ranging from smooth un-peated quaffs to mind bending cask strength drams of exceptional power. Viva la Revolution!

Saturday the 4th of June / A French Butler Called Smith Sunday the 5th of June / The Grand Poobah Bazaar Monthly Sunday Market / Noon Till 5pm / Art, Second Hand Goods, Treasures, Num Nums Saturday 11th of June / Puta Madre Brothers Saturday the 25th of June / Clare Bowditch

BRIAN RITCHIE

142 Liverpool St, Hobart | 03 6231 3363 thegrandpoobahbar@gmail.com www.facebook.com/thegrandpoobahbar

Cavalcade of Whimsy / Every Wednesday 7pm Till 9pm / $9 Jugs $5 Basic Spirits For your Entertainment we shall have Parlour Games hosted by the enigmatic Emily Newton plus Prizes, Films, Bands, Ping Pong, Pool, Tunes & Feats Of Daring…

warpmagazine.com.au

36 Live Reviews

Live Reviews 37

Drapht Life of Riley Tour

Adalita and Amaya Laucirca

FRENZAL RHOMB THE BRISBANE HOTEL SUNDAY APRIL 24

the republic Bar WEDNESDAY April 6

Melbourne based singer-songwriter Amaya Laucirca’s one woman alt-rock songbird performance was really sweet. Mellow yet heart-wrenching on occasion, the songs evoked a strange mix of supersweet lullaby and alt-folk sensibilities.

the republic Bar Thursday April 21

She reminded me a little of Kirsten Hersh - this little lady has a very beautiful voice, very lovely songs; it was uplifting and enjoyable to hear.

Definite ear candy.

Hailing from Perth, Drapht has firmly established himself as the biggest solo hip hop in the country at the moment and is currently on a national tour for his aria chart topping album the Life of Riley.

This year in Tassie alone, he’s played MS Fest, and two midweek sell-out shows at the Republic Bar, which is testament to his popularity that they were both mid-week.

The night opened up with local MC Mdusu on stage. Performing solo with a CD player as his DJ, Mdusu recounted to the crowd intimate stories of his family life and time growing up.

Joined halfway through his set by fellow Hobart MC Dundee, the tempo moved up a notch as the two belted out the lyrics.

The second support, Melbourne MC Mantra, was signed last year to Obese and with his debut album Power of the Spoken still fresh, Mantra held the crowd with his very individualistic flowing style.

Wombat, it was evident that many in the crowd were there to see him more so than Drapht.

By the time Drapht was up, the pub was heaving from the sold-out crowd. Joined on stage by back-up MC, DJ, live drummer and bass player, Drapht performed all his Triple J favourites from the albums, Who am I, Brothers Grimm and Life of Riley.

His tracks Rapunzel, Drink Drank Drunk and Rapunzel all issued a huge response from the crowd. There was yelling, screaming and crowd surfing, including from Drapht himself – the kind of energy usually roused at punk and metal gigs. Australian hip hop is alive and well, and by the tight demographic audience, it’s currently the voice of youth.

NIC ORME

I arrived early in anticipation of the night ahead and was pleasantly surprised to find Frenzal Rhomb guitarist Lindsay McDougall out the front of the venue. After a brief chat over life and everything in between, we departed ways.

Kicking off the night was The Bears. Heavy on the instrumental, looking fresh out of college and not particularly eager to please, they started off slowly but further into the set their performance became more energized and enjoyable to watch.

Next up was Luca Brasi. The crowd, while impatient and chanting for Frenzal Rhomb, were incredibly responsive to these guys.

Strong vocals, thumping energy, this band was kicking off the night in true moshing style.

When you start fearing for your safety while juggling a notepad and camera you know they’ve struck the right chord.

Touring her new self-titled solo album, Adalita’s dedication of her set to her deceased collaborator Dean Turner struck a spirited and powerful chord.

Frenzal Rhomb in my opinion were the messiahs of the 90s and should be brought back to the music scene with a vengeance.

Image: Zoezac Visoiu

This courageous performer, accompanied by electric guitar and backing track delivered an incredibly strong one woman show. With lyrical and passionate songs in arm she sung her heart out and we all listened.

There’s not enough chicks in rock. I have been waiting to see a show like this my entire life. It was a milestone for me, as it broke the conventions of the female singer-songwriter.

This wasn’t all soft harmonies. This was solo rock! It was pure and it came from a place of love and loss and strength. Pop songs with integral sincerity.

Joined onstage by Amaya for the last few songs of the night – their collaboration filled the room with resonant rock-chic awesomeness.

On the 15th gig of their tour Adalita and Amaya Laucirca’s Hobart show was a very special event, enjoyed by all.

Zoezac Visoiu

Fantastic night at The Brisbane Hotel!

Melita Wrathall

By the time Frenzal Rhomb hit the stage the audience had jam packed the venue within an inch of its life, ice cream bucket heads and dreadlocks were aplenty, bringing back fond memories of the early 90s and all that teen

With DJ Wasabi, known also from his work with environmentalist hip hop outfit Combat

On and offstage, Adalita has an ageless and striking presence. I was excited to see her new rock solo show, having always been thrilled by her work with Magic Dirt.

spirit. Blasting out favourites such as Punch in the Face and Mum Changed the Locks, with a voice that knocks the old proverbial socks off and a glorious display of dreads, it was a show that left your senses reeling. Bodies were tossed through the air and occasional quips from the singer Jason Whalley made it more than your standard, play by numbers show.

Lindsay ending the set with an amusing solo about dropping the soap was a nice comedic turn to a night that had me scarpering to safer ground after the moshing turned lethal.

It was intimate and raw and she wasn’t scared to use a bit of distortion and rock it out a little.

After all, this is Australia’s premier woman in rock.

The Magnificents at Mobius

Nine in club years is a pretty long time. It’s like dog years. But for nightclubs, time goes even quicker; fresh young faces of new-breed clubbers become lax and jaded before the year is out.

Music genres rise and fall with the change of the seasons and what’s hot one minute is an empty wasteland the next.

MOBIUS WEDNESDAY APRIL 6

Mobius Lounge Bar on Despard St in Hobart made it to its ninth year this April. Sure, the couches have changed and so has the sound system, but the same friendly faces behind the bar and the decks have stayed on.

Celebrating this milestone, Mobius presented its loyal patrons with the one-off Hobart performance of hip hop supergroup The Magnificents.

In likely their most intimate club show ever, legendary freestyle emcee Supernatural, virtuoso human beatbox Rahzel and the hard working DJ JS-1 attracted a keen line of punters around the corner from early in the evening.

Image: Antony Markovitch

The Holidays with Goldfields the Republic Bar & Cafe Friday april 8

DJs, playing classic hip hop tracks. When The Magnificents began, the place was packed.

A highlight of the evening involved Supernatural asking the audience to hold up anything they had in their pockets and then proceeding to incorporate these items into his rhymes. The trio regularly switched things up to keep it interesting and I particularly enjoyed a part of the show that incorporated some classic R&B songs.

Towards the end of the performance Rahzel performed his signature song, If Your Mother Only Knew; an incredible display of his ability to vocally mimic multiple musical elements at the same time. The show was solid and enjoyable though I thought it lacked any highenergy moments.

At the end of the show DJ JS-1 thanked the audience for coming out and supporting real Hip Hop. LINDSAY BLACK

Before they took to the stage the vibe was appropriately established by the supporting

Friday night and gig-goers at the Republic Bar & Cafe have gotten themselves all hot and heavy – but the dreamy jams of The Holidays happen to be a pretty trendy antidote.

Bones. The humming, lazy-paced structure, tinkling percussion and soothing vocals drenched the audience in warmth before razzing itself to a frenetic finish. I really liked it.

The Sydney quartet’s sunny palette of indie rock is lapped up by the sell-out crowd who bend and bob with each mellow-ey groove delivered by frontman Simon Jones.

The transformative quality of The Holidays’ sound is impressive, but difficult to realise in your typical pub setting. I think I wanted more time with it. More time to suss out what tricks (there were a lot of them) were going on beneath the fuzz and feedback – but that might have been because I was standing next to the speakers.

To new ears, The Holidays sound is pretty curious. At first I’m surprised by the choice of combining such thrashy riffs with tropic beats, expecting a more low-fi set. The polished vocal loops from Jones and co seem to pull it all together, however, and after a few numbers I’m hanging out to see what happens next.

Sarah Leary

The delightful hooks of Moonlight Hours has the crowd in a tizzy, one of many anthems to gain airplay after the release of the band’s first album Post Paradise.

Image: Antony Markovitch warpmagazine.com.au

Image: Martin Nester

Image: Sarah Ryan

After this we’re treated to a steady stream of moments from their Spring release a highlight being the superb rendition of Broken warpmagazine.com.au

38 Album Reviews

Album Reviews 39

Children of the 90’s rejoice. Jebediah are back. Having first blasted out from our stereos and compact discs around the turn of the millennium with the seminal aussie classics Leaving Home and Fall Down, amongst others, it seemed that when front man Kevin Mitchell went solo as Bob Evans, Jebediah were no more. Mitchell also went on to form the aussie singer songwriter supergroup The Basement Birds last year.

But it seems you can’t keep a good thing down, the dawn of 2011 welcoming Jebediah’s mighty return with their fifth LP Kosciuszko. You might have heard the awesome lead single from the album, She’s Like A Comet. It’s the perfect example of modern Jebediah, it’s all the things you love about late 90’s Jebediah, infused with many of the harmonic skills

Jebediah Kosciuszko

Mitchell has picked up during his time as Bob Evans. Mitchell’s distinctive vocal whine has evolved, but not in any horrible auto-tune type of way: it has naturally progressed to a more melodic style, assisting the overall feel of Kosciuszko.

To Her Door has a merry sing-a-along, pianoin-a-pub feel. Control, another highlight, is just a great shot of high tempo rock, one that leaves you with a smile on your face. Battlesong sweeps you up with its universal sense of camaraderie, and the marching drums, much like the bagpipes featured on Fall Down, really complement the call-to-arms nature of the track.

The milestone of Elbow’s fifth studio album necessitates a brief history: the band scored The Mercury Prize for their 2008 release The Seldom Seen Kid. It would become the most successful release of their career, renewing the band’s confidence in their craft with their music earning new audiences globally.

Fortunately, as its follow-up Build A Rocket Boys! proves, the answer has been to continue onwards and upwards. Their band’s progress has only appreciated since the landmark album, their ambition similarly swelling to ensure another captivating release.

that are just vintage Jebediah, polished off with that modern twist. And album closer Are We Ok? is the point where Mitchell and Co. take you on a dreamlike journey in the clouds, in song form.

Overall, it’s hard to fault any moment on Kosciuszko, the album an impressive outing.

Jebediah have succeeded in what they set out to achieve with this release, and will capture a whole new legion of fans, whilst remaining faithful to their older ones; which, as the Kings of Leon will tell you, is a rare feat. Kudos Jebediah for one of the first great albums of the year.

ELBOW

A motif of reminiscence with indulgent bouts of nostalgia colour the record. Lippy Kids sees Guy Garvey gently crooning ‘Do they know those days are golden?’ alongside the hushed, warm accompaniment of a string ensemble.

Build A Rocket Boys

Other great tracks on the album include Freakin’ Out and The Lash, moments

The Dodos

UNKLE

Midlake

No Colour

Only The Lonely

Late Night Tales

The Pains Of Being Pure At Heart

The swiftly sentimental homage to adolescence combined with the gritty, methodical opener The Birds suggests that, yes, this is another brilliant Elbow record.

To the band’s credit, those expecting a reprise of its predecessor won’t necessarily be disappointed, even if a departure is evident. Build A Rocket Boys! is immediately a more familiar - that is, consistent and coherent - from track to track. Whereas The Seldom Seen Kid glistened, their band’s latest expedition bears a dampened aesthetic, its production appearing softer and more introverted. It’s perhaps best cited as a meeting of styles. Guy Garvey is found in typically evocative form, his striking sentiments delivered with efficiency and warmth. ‘I miss your stupid face, I miss your bad advice,’

he confesses in the record’s soothing lullaby, The Night Will Always Win. Of course, the band explore their bolder, more anthemic potential, the insistent, explosive Open Arms a highlight. ‘We’ve got open arms for broken hearts,’ cries Garvey, backed by a booming choir. It simply does not get more glorious.

Build A Rocket Boys! sees Elbow illuminate again their tremendous creativity, boasting elaborate compositions each meticulously orchestrated in one slow-burning but utterly absorbing experience. It’s so great to discover that success has not altered too much where these Brits are concerned: Elbow remain a terrifically ambitious outfit, with their affecting allure again seizing centre-stage.

Nick Mason

Craig Griffiths

Architecture in Helsinki

Big A, Little a

TV On The Radio

Stompbox

Moment Bends

MAate

Nine Types of Light

Belong Californian indie rock duo, The Dodos have dropped their fourth album No Color. The songs really feel stripped back and simple musically. It’s not that the pair aren’t talented musicians - quite the contrary - yet they have a basic and methodical approach to making music. There are no effects or noticeable post production, perhaps remaining faithful to what the songs would sound like live.

No Color starts off very strongly with the slower drumming of Black Night. It’s certainly one of the strongest tracks and offers brilliant contrast in itself. It speeds up and slows down from verse to chorus and goes from being quite minimalistic to lush and bright sounding in the chorus. Going Under is the best song to listen to in terms of centering on Long’s vocals. ‘Good’ brings instrumentation to the fore, sounding organic and nearly tribal on occasion.

Don’t Try and Hide It is a definite highlight of the album, its best track. The female backing vocals work to brilliant effect. The entire album is strong, enjoyable and very different from the music that saturates the mainstream music scene these days. The unique drumming and untouched production leave the music in a very natural state. The Dodos’ have crafted this album extremely well and the entire ride is both consistent and somehow surprising.

Unkle seem to be constantly releasing something, it’s almost like they never leave the studio. This new EP features appearances by Nick Cave, Liela Moss, Gavin Clark and Rachel Fannan. Opening track Money And Ruin takes an indie rock route in a classic Unkle style, driven by Nick Cave’s overpowering voice, not so much in volume, but in presence. The song is as wild as it is polished thanks to the smooth bass lines and dirty guitars that smother Cave crooning the line “Every time I come down here, somebody is bent on killing me.”

Late Night Tales is a concept compilation series created in Britain for major artists to produce their “late night playlist.” Already, great names such as Fatboy Slim, Arctic Monkeys, Groove Armada, and The Flaming Lips partipated in the series.

The Big Apple’s beloved indie-pop quartet make a return with their sophomore release Belong. Ambition watchword, the band seeking to push beyond a familiar fuzzy aesthetic, an element that has previously defined their approach to pop music.

Don’t you just hate a smartarse? Well, Hobart multi-instrumentalist and producer Craig Griffiths definitely fits the bill, but given the imaginative and effects-laden nature of his guitar-heavy Stompbox album, it’s hardly fair to hate him.

The latest artist to undertake the challenge is Texan indie-rock band Midlake. Drawing upon Bjork to Beach House and Lazarus to The Flying Burrito Brothers, it’s evident that Midlake’s palette of inspiration is quite broad.

The release is a journey of soft, expressive music that explores the band’s roots and gives insight into their next possible direction. It has a very consistent theme of folk and country styled compositions which all compliment the band’s own exploits.

Recorded, mixed and mastered in his Skullbug Studio, this baker’s dozen of rockin’ tracks is as eclectic as it is electric. Big riffs, psychedelic offerings, and sometimes downright dark lyrics are combined with aplomb across the album.

One of the stand out tracks is The Dog Is Black, featuring Liela Moss (The Duke Spirit), a dark, groove heavy song that has influences of Indian melodies in its guitar lines and beats.

That was the brief, as least. Whilst they do transcend some key attributes of their previous efforts, this is still undoubtedly the band that made waves with 2009’s self-titled debut. It’s a thinly veiled illusion of evolution that begins to come unstuck almost immediately.

Wash The Love Away features the deep, soulful vocals of Gavin Clarke, and continues the Indian vibe witha sitar which plays throughout the entire song. The EP closes with Sunday Song, featuring Rachel Fannan (Sleepy Sun), in a long affair that provides plenty in the way of atmospherics but short on melody.

The guests, although not as prolific as past Unkle collaborators, all perform brilliantly and enhance the worth of the tunes immensely.

Unkle have again provided quality songs with the heavily layered production that they are known for.

Luke Carlino Alexander Crowden

The band, as per the challenge, have decided to cover Black Sabbath’s Am I Going Insane here, a track almost completely opposite of their familiar musical style. They contrast the originally heavier sound with a Celtic folk ballad, packed with smooth and warm vocal harmonies complimented by a psychedelic ambience created by the guitar and the seldom used dulcimer.

The concept of Late Night Tales is quite extraordinary. It gives artists the chance to showcase their favorite artists’ work as well as giving audiences an insight into artists’ key influences. This particular release is very enjoyable to listen to for a calming or soothing evening.

Josh Clements

In the context of The Pains Of Being Pure At Heart, the magic number appears to be 150 beats per minute, that is.

Six of Belong’s twelve tracks operate in or around that tempo.

To the band’s credit, they’ve paced Belong well, with enough variety to ensured sustained interest. The pattern is there, however, present even within past work.

The band are lazy architects. It’s pop on autopilot, ensuring that the songs are more or less interchangeable. Understandably, as the record progresses, its self-imposed wintery spirit - attributed in part to an 90s alternative dynamic, a mish-mash of loud and soft becomes familiar.

Overall, i’s a relatively enjoyable record, one quietly affecting with an immediate pop appeal. To label it brave, however, would be a fallacy. It’s hardly irresistible, but Belong bears some appeal nevertheless.

Nick Mason

Stompbox opens with the solid riffing and squealing lead of the excellently titled instrumental track Fuzzface Fights The Ninja.

Remember is an immediately accessible and dreamy track and my highlight on the album, showcasing the sultry vocal talents of Annelise Bushby. Bushby’s other outing on Stompbox is Vicious Little Harpie, a bluesy number that again gives Griffiths the chance to show off with a fuzzed-up solo or two.

Drive fronts up with a more electro sound, a compelling spoken vocal and kind of evil synth conclusion and gives way to the duelling guitar intro of Before The Storm, another brooding instrumental with a dark nature.

Thanks to radio airplay on stations in Syndey and Los Angeles (as well as Hobart), many people are already familiar with Stompbox.

If you’re not, you should be, as it’s definitely worth a listen.

Moment Bends, the fourth album from Melbourne-bred group Architecture In Helsinki, is by far their most consistent and enjoyable work yet and could even place as one of the best releases of the year.

Moment Bends is undeniably a pop release due to the fact that their melodies are extremely catchy, the beat is fantastic to dance to and the chord progressions are relatively simple to detect. However, their distinctively strange flair has still been incorporated within each track.

That Beep was a previously released single that Architecture in Helsinki brought out back in late ’08 as an EP. The track bases itself around a sequence of vocally generated beeps, which although is basic and irritatingly catchy, helps give the track stability and beat. Contact High is the first single to be released as a part of the Moment Bends LP and is most definitely the best inclusion. It highlights a more mature and polished sound. Another standout track is Escapee, which is a purely fun and feel-good track, featuring the most catchy chorus on the album and has genius within simplistic basslines and drumbeats.

Moment Bends is incredibly impressive and will surely see Architecture in Helsinki enjoy a highly successful year.

Stu Warren

Del

Brooklyn’s Aa have put together MAate, a special package featuring all tracks from the band’s 2007 album gAame as well as two tracks from their Glossy EP and a couple of unreleased live tracks.

There’s a whole jungle of drum kits at work here, with a heap of synthesiser and weird samples floating around - as well as a couple of guys shouting over the top of it all. It’s all part of the fun. For most of its duration, MAate is a pulsating, tribal haze of strange electronic blips and warbles. Think Animal Collective on more acid.

Unfortunately songs eventually tend to bleed into one another and the whole record blurs into one big long jam.

The repetitiveness means that the appeal is diminished towards the end of the record and things get a bit tiresome.

Thankfully, the tracks added from the original gAame release help out here: the live tracks sound fantastic, the Glossy tracks also offering up something a little different.

Overall, perhaps the band’s unpredictable energy would best be showcased in concert .

This feels a bit like being at a party blindfolded: it sounds like there’s a whole lot of fun being had around you, but you’re not exactly sure what’s going on.

There may be even more to this band than the release implies.

Brooklyn’s unique musical innovators TV On The Radio return with their brand of alternative funk-rock. The result? A forth LP, Nine Types of Light. As an aside, its release coincides with passing of the band’s own Gerard Smith, the bassist succumbing to lung cancer. dedicated to his memory, it’s a record through which his legacy will live on.

Nine Types of Light explores a smoother and more comfortable atmosphere than its predecessor Dear Science, bearing both pros and cons. Concerning the downsides, there’s a lack of dance anthems of a Wolf Like Me or Golden Age ilk. But on a positive note, the material does offer up its beautiful ambiance to compensate.

Opener Second Song is an outstanding introduction. Lead singer Dave Sitek is one of the most outstanding vocalists of the decade.

His smooth, dark tones are what make TVotR’s approach so special.Will Do, the first single from the record, is an intimate sing-a-long.

From the vocals of Sitek to the reverberated distortion on all instruments, everything is glistening and flowing to perfection.

Though perhaps Nine Types of Light falls short of the band’s last outing - the stunning Dear Science – it’s a commendable effort nevertheless.

Josh Clements

Josh Clements

David Hennessy

the Funky Homosapien

WED 20 JULY | REPUBLIC BAR & CAFE | 9PM | $30 warpmagazine.com.au

warpmagazine.com.au

40 Event Guide

Event Guide 41

GIG GUIDE / Hobart Date May Wednesday

Thursday

Friday

Saturday

Venue 11

12

13

14

15

16

Tuesday

17

18

Venue

Acts / Start Time

Date

Observatory (Main Room)

DJ Brendan and Guest

Friday

27

Venue

Acts / Start Time

Date

Brookfield Vineyard

Peter Sheahan 7:00pm

Saturday

4

Venue

Acts / Start Time

Queens Head Bar & Café

Big Swifty 9:30pm

Brookfield Comedy Club 7:30pm

Queens Head Bar & Café

Organ Doctors 8:00pm

Cargo Pizza and Lounge Bar

DJ Grotesque

Republic Bar & Café

British India

Observatory (Lounge Room)

DJ Millhouse

Republic Bar & Café

Slyde

Doctor Syntax

Indie DJ Night

The Grand Poobah

A French Butler Called Smith

Observatory (Main Room)

DJ Brendan and Guest

Brisbane Hotel

Ill Starred Captain (WA) + Kreigan Hill + Wing It

Flamingos Dance Bar

Miz Ima Starr CD Launch 9:30pm

The Telegraph

Ado and Devo followed by the smashers

Queens Head Bar & Café

Cake Walking Babies 8:00pm

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Halo Nightclub

Friday Night Footy from 7pm

Cargo Pizza and Lounge Bar

Wolf Brother followed by DJ Grotesque

Republic Bar & Café

The Witching Tree, Celestial Circus and Truck Show

Doctor Syntax

Jazz at the Doctor w/ Steve Bumford Trio

Irish Murphy’s

Alex Hutchins, House with a Heater

Doctor Syntax

Acoustic Sunday Sessions

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Irish Murphy’s

House with a Heater

Ivory Bar

Alex Felix and Guests

Irish Murphy’s

Ivories at Irish -

Doctor Syntax

Jazz at the Doctor w/ Billy Whitten

Queens Head Bar & Café

Fee’n’K 8:00pm

Observatory (Lounge Room)

Dj Millhouse

Irish Murphy’s

ASA

Irish Murphy’s

Killian (Acoustic Radio Head Tribute Night)

Republic Bar & Café

Darlington

Observatory (Main Room)

DJ Johnny G and Guests

Queens Head Bar & Café

Danger Academy

Republic Bar & Café

Hungry Kids of Hungary - The Final Escapade

Brisbane Hotel

Propagandhi (usa), Stolen Youth (vic), The Scandal

Queens Head Bar & Café

Lively Up 9:30pm

Brisbane Hotel

Art @ The Brisbane

Brisbane Hotel

Trash Nightclub w Hammerhead + Taberah + Lady Crimson + Backlash + Dj’s

Brisbane Hotel

Front Bar - Dj Mary Jane

The Grand Poobah

Charles Du Cane

Irish Murphy’s

TSPN

Brookfield Vineyard

Mad Hatter Tea Party

The Telegraph

Micheal Clennett followed by Big Swifty

Onba

The Clubhouse

Brookfield Vineyard

Honeysuckle Creek and Pot Belly Strings

Cargo Pizza and Lounge Bar

DJ Dave Webber

Brisbane Hotel

Wednesday

Observatory (Main Room)

DJ Brendan and guest

Cargo Pizza and Lounge Bar

DJ Grotesque

Doctor Syntax

Indie DJ Night

ALL AGES - Silent Majority, Surrender, Bears 3:00pm

Indie DJ Night

Halo Nightclub

Psysessions

King Cannons (vic), Enola Fall, The Sin & Tonics

Dj Millhouse

Doctor Syntax

Brisbane Hotel

Observatory (Lounge Room)

Eleanor McEvoy 8:00pm

Locale - Sami & Gorak

Irish Murphy’s

Joel Everard, Dr Fink

Irish Murphy’s

Dave Wicks, Australian Made

Ivory Bar

Alex Felix and Guests

FRONT BAR - Brand New Second Hand “Food” w DJ BTC + Sister Olivia + DJ Warhol

Brookfield Vineyard

Halo Nightclub

Brisbane Hotel

Thursday

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Ivory Bar

Alex Felix and Guests

Observatory (Lounge Room)

Dj Millhouse

Doctor Syntax

Jazz at the Doctor w/ Billy Whitten

Observatory (Lounge Room)

Dj Millhouse

Observatory (Main Room)

DJ Johnny G and Guests

Brisbane Hotel

Sun In Aquarias, Editor, Limerence, thatboyguy, rBeNt, Shammie

Observatory (Main Room)

DJ Johnny G and Guests

Queens Head Bar & Café

Remake 8:30pm

Cargo Pizza and Lounge Bar

DJ Grotesque

Queens Head Bar & Café

RPM 8:00pm

Republic Bar & Café

Boil Up (Reggae)

Doctor Syntax

Indie DJ Night

Republic Bar & Café

Mike Noga and Band

The Telegraph

Micheal Clennett followed by The Smashers

Halo Nightclub

Lue & Sami

The Telegraph

Micheal Clennett followed by Big Swifty

Brisbane Hotel

Ivory Bar

Alex Felix and Guests

Brisbane Hotel

ALL AGES - Trash Dayclub w Taberah + Hammerhead + Lady Crimson + Battlecat + Backlash

‘SKITTLE’ QUEER & ALTERNATIVE LAUNCH PARTY w M.A.F.I.A (VIC) + DJ TRIPLIX(VIC) + DJ OUTLAW (TAS) + more tba

Observatory (Lounge Room)

Dj Millhouse

Observatory (Main Room)

DJ Johnny G and Guests

Queens Head Bar & Café

The Lounge 8:30pm

The Telegraph

Micheal Clennett followed by Big Swifty

Brisbane Hotel

The Gin Club, Linc & The Insiders, Gun Ballads, Hayley Couper, Tim Spurr

Brisbane Hotel

Front Bar - Late Night Krackieoke w Dj Steak Face

Cargo Pizza and Lounge Bar

DJ Millhouse

Halo Nightclub

Breaks & Electro

Ivory Bar

DJ Danny Paradi$e, DJ Dameza and Dj Dagwood

Observatory (Main Room)

DJ Brendan and guest

Queens Head Bar & Café

Midnite Revival 9:30pm

The Grand Poobah

Puta Madre Brothers

The Telegraph

Micheal Clennett followed by Dr Fink

Brisbane Hotel

Paddy McHugh $ The Goldminers, Craicpot, Hairyman & The Snug Guns

Thursday

Friday

Saturday

Brisbane Hotel

18+ - First Base (vic) + Cavalcade (vic) + Ballpoint + Bears + Explosions

Brisbane Hotel

Late Night Krackieoke w Dj Steak Face

Brookfield Vineyard

Alistair Brown

Cargo Pizza and Lounge Bar

DJ Johnny

Doctor Syntax

Karaoke

Halo Nightclub

DVY, Sami & Gorak

Irish Murphy’s

Ian Murtagh, Smashers

Ivory Bar

Dagwood, Mez and Dameza

Observatory (Main Room)

DJ Brendan and Guest

Queens Head Bar & Café

Ebeneza Good 9:30pm

Republic Bar & Café

Dave Graney and the Lurid Yellow Mist

The Grand Poobah

All Ages Show - Ballpoint, First Base (Melb), Wolfpack, Cavalcade, Explosions, Myamora 3:00pm

The Grand Poobah

Nerves, My Blackson, Face the Fiasco and Your Demise 9:30pm

The Telegraph

Micheal Clennett followed by Dr Fink

19

20

21

Saturday

Sunday

28

Dj Millhouse

Doctor Syntax

Karaoke

Halo Nightclub

DVY, Gorak, James Walker

Irish Murphy’s

Dave Wicks, Smashers

Ivory Bar

Ron Swan vs Danny Paradi$e, Lids and Dagwood

Observatory (Main Room)

DJ Brendan and guest

Republic Bar & Café

Wagons

The Telegraph

Micheal Clennett followed by Dr Fink

Cargo Pizza and Lounge Bar

Where’s Mary followed by DJ Grotesque

Cargo Pizza and Lounge Bar

DJ Grotesque

Doctor Syntax

Karaoke

Doctor Syntax

Acoustic Sunday Sessions w/ Rogue Traders

Halo Nightclub

Max, Lids & Sami

Irish Murphy’s

Honeysuckle Creek, Pot Belly Strings

Irish Murphy’s

Ian Murtagh, Pirates of the Cover Scene

Republic Bar & Café

Joe Piere & The Blackberries

Ivory Bar

Act Yo Age- supported by Mez and Dameza

Irish Murphy’s

Nick Foster, Jade, Barry Jones

Observatory (Main Room)

DJ Brendan and Guest

Queens Head Bar & Café

Hobart College of Music 7:00pm

Queens Head Bar & Café

24/7 9:30pm

Republic Bar & Café

Quiz Night

Republic Bar & Café

Pegz Bombs Away Tour

Irish Murphy’s

The Grand Poobah

La La Land

Nellie De Grassi, Dave McEldowney, Crystal Campbell

The Telegraph

Ado and Devo followed by the smashers

June

Wrest Point Show Room

Katie Noonan & Karin Schaupp in Duo 8:00pm

Wednesday

Brookfield Vineyard

Monday

Tuesday

29

Cargo Pizza and Lounge Bar

30

31

Monday Tuesday

Friday

Saturday

5

6 7

8 9

10

11

Chinese Music Night

Mathew Fagan 5:00pm

Observatory (Lounge Room)

DJ Grotesque

Cargo Pizza and Lounge Bar

Fee Whitla followed by DJ Grotesque

Observatory (Main Room)

DJ Brendan and guest

Doctor Syntax

Acoustic Sunday Sessions w/ Dominic Francis

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Irish Murphy’s

Ill Starred Captain, Nick Balcombe

Doctor Syntax

Jazz at the Doctor w/ Jamie Pregnall Quartet

Cargo Pizza and Lounge Bar

Fee Whitla followed DJ Grotesque

Irish Murphy’s

Ill Starred Captain, Nick Balcombe

Queens Head Bar & Café

Fee’n’K 8:00pm

Irish Murphy’s

Boxmoney, Nick Balcombe, Gretel Templeton

Irish Murphy’s

Blizz, Madelyn Munday

The Grand Poobah

Rosnystock

Monday

13

Irish Murphy’s

Oberon Carter, Nick Foster, Patrick Berechree

Cliff & Dusty 8:00pm

Queens Head Bar & Café

Danger Academy

Brisbane Hotel

Tuesday

14

Brisbane Hotel

Franks Flicks

Tony Joe White 7:30pm

Queens Head Bar & Café

Hobart College of Music 7:00pm

DAMAGE - Mindset, Wolfpack, Save The Clocktower, Surrender

Irish Murphy’s

Madelyn Munday, Karen Wells

Brookfield Vineyard

Hobart Song Company

The Grand Poobah

Danger Academy

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Irish Murphy’s

Wingit, Killian, Alex Martin

Sunday Sessions w/ Alessandro Frosali

Onba

The Clubhouse

Irish Murphy’s

Ivories at Irish - George Begbie, Amy Wiles

Republic Bar & Café

G B Balding

Republic Bar & Café

Ill Starred Captain

Brisbane Hotel

The Witching Tree, Infected

Irish Murphy’s

Tokyo Room, Oberon Carter, Dominic Frances

Observatory (Lounge Room)

Dj Millhouse

Republic Bar & Café

Carl Rush

Observatory (Main Room)

DJ Brendan and guest

Brisbane Hotel

Tim Logans Run (CD LAUNCH) - Comedy

Queens Head Bar & Café

Billy Whitton & the Hepcats 8:00pm

Irish Murphy’s

TSPN - Nick Foster, Nick Beeton

Republic Bar & Café

Soul Fish

Republic Bar & Café

Peter Hicks and the Blues Licks

Doctor Syntax

Billy Whitten

Wrest Point Ent’ Centre

Rajaton Sing Queen with the Tasmanian Symphony Orchestra 8:00pm

Irish Murphy’s

Ray Martians

Queens Head Bar & Café

Bowerman & Parker 8:00pm

Brisbane Hotel

The Frustrations, myblackson

Tas University Hobart

Blue King Brown with Diafrix

Doctor Syntax

House Band Funk

Brisbane Hotel

Beltane Bedlam with Gape + Lost Hope + Anguish

Observatory (Lounge Room)

DJ Grotesque

Sunday

Monday

Tuesday

Wednesday

Thursday

Friday

22

23

24

25

26

27

Friday night is Indie night @ Dr Syntax In 2011, the Dr Syntax has returned and is presenting a variety of brilliant newly established music nights.

d dy Bay R 5 n a S 9 3 1 00 ay TAS 7 B y d n a S 3 6258 (03) 622 om.au .c e v i l l a e Warp info@r warpmagazine.com.au

Friday night @ the Dr Syntax is presenting electro and indie club night DJs - which will fill your night with beats, pop, mash-ups, house, dnb and dubstep.

Thursday

Friday

Saturday

1

Sunday

Doctor Syntax

Doctor Syntax

Monday

18

Brookfield Vineyard

Wrest Point Show Room

Wednesday

Date Wednesday

Wrest Point Ent’ Centre Sunday

Acts / Start Time

2

3

4

Cargo Pizza and Lounge Bar

DJ Dave Webber

Doctor Syntax

Indie DJ Night

Halo Nightclub

Old Skool Hip-Hop New Skool Rap

Ivory Bar

Alex Felix and Guests

Observatory (Lounge Room) Observatory (Main Room) Queens Head Bar & Café

Jazz Brothers 7:00pm

Republic Bar & Café

British India

The Telegraph

Micheal Clennett followed by The Smashers

Brisbane Hotel

Tumbleweed

Cargo Pizza and Lounge Bar

DJ Millhouse

Doctor Syntax

Karaoke

Halo Nightclub

Sami, Lids & Gorak

Ivory Bar

DJ Ron Swan, Mez and Dameza

Observatory (Main Room)

DJ Brendan and guest

Sunday

12

Wednesday

15

Thursday

16

Brisbane Hotel

Lyrics Born (usa), Acumen, Mic Dons

Friday

17

Brisbane Hotel

Deligma (CD Launch), The Demotion, The Ray Guns, Chi Roh

Dj Millhouse

Queens Head Bar & Café

Black Coffee 8:30pm

DJ Johnny G and Guests

Republic Bar & Café

Lowrider

Saturday night is your karaoke night, so rock on up and join in the fun!

Mid week the Dr Syntax presents a unique selection of music nights, with regular Jazz, World Music, Hip Hop, Comedy and local singer / songwriters evenings also.

Come long and show your support for one of Hobart’s newest and happening live original music venues.

Warp warpmagazine.com.au

ILLUSIVE PRESENTS

42 Event Guide

Launceston Date

Venue

NORTHWEST Acts / Start Time

Thursday

12 Country Club Show Room

Cliff & Dusty 7:30pm

Friday

13 Hotel New York

Hungry Kids of Hungary with The Chemist + Andy Bull + Daniel Lee Kendall+ Hopper+Randall Foxx

Sunday

city

VENUE

Acts / Start Time

Friday

13 Burnie

Maginties

Midnight 9:00pm

Devonport

Spurs Saloon

Lyke Giants, Stalking Ella Scott 10:00pm

Devonport

Tapas Lounge Bar

Selecta

Hotel New York (Front Bar)

G-Rox

Maginties

The Titz 9:00pm

Manhattan

Randall Foxx

Ulverstone

The River Arms

Snatch 9:00pm

Hotel New York

Ministry of Sound Electro Sessions - Roger Davis + Rob Pix + Timmy Trumpet + Randall Foxx

Devonport

Tapas Lounge Bar

The Unit 9:00pm

Maginties (first floor)

Matthew Ives Big Band 2:00pm

Devonport

Hightide

Erin Self and Brett Budgeon

Devonport

Tapas Lounge Bar

Ella Rose

The River Arms

Two Piece

Maginty’s

Jazz w/ Vicotr Zapner

Spurs Saloon

Deligma, Surrender, TBC (All Ages 6 - 9, 18+ 9 - late) 6:00pm

The Royal Oak (Boatshed)

Ill Starred Captain

Country Club Resort, Prospect Vale

Cliff & Dusty: Marty Rhone & Sheena Crouch, Barratt Waugh 8pm $69.90

Skwiz Cafe Gallery, Sheffield

Matthew Fagan 8pm

14 Hotel New York (Front Bar)

Toby Dellaylle + EMC + MaceMan5

Saturday

Sunday

Thursday

14 Burnie

15 Burnie

19 Ulverstone Burnie

Manhattan

Randall Foxx

The Royal Oak (Boatshed)

L.B.C presents Smokin Elmores $5

Skwiz Cafe Gallery, Sheffield

Matthew Fagan 8:00pm

Burnie

Maginty’s

Snatch 9:00pm

open folk group

Devonport

Tapas Lounge Bar

TMG 9:00pm

15 The Royal Oak (Bar) Earl Arts Centre

My Friend The Chocolate Cake 8:00pm

Friday

The River Arms

Jessie and Jase

18 The Royal Oak (Bar)

Shakabula

Burnie

Maginty’s

Brett Colledge 9:00pm

Thursday

19 The Royal Oak (Boatshed)

Matthew Faga 8:30pm

Devonport

Tapas Lounge Bar

The Unit 9:00pm

Friday

20 Hotel New York

Hopper + Basssup + MaceMan5 + SheBounce

Sunday

22 Devonport

Tapas Lounge Bar

Trev Heins

Hotel New York (Front Bar)

EMC

Thursday

26 Burnie

Maginty’s

Jazz w/ Victor Zapner

Manhattan

SheBounce

Friday

27 Burnie

The Royal Oak (Boatshed)

Taberah, Future Recollection and Wizard $5

The Boathouse

Katie Noonan & Karin Schaupp 7:30pm

21 Hotel New York

Saturday

20 Devonport

Wednesday

Saturday

Saturday

Devonport

Tapas Lounge Bar

TMG 9:00pm

The River Arms

The Unit

Basssup

Latrobe

Lucas Hotel

Erin Self and Brett Budgeon

The Royal Oak (Bar)

Luke Parry

Burnie

Maginty’s

Two Piece 9:00pm

The Little Theatre, Deloraine

Matthew Fagan 7:30pm

Devonport

Spurs Saloon

The Durkahs 11:00pm

Devonport

Tapas Lounge Bar

Kool Daddy’s 9:00pm

29 Devonport

Tapas Lounge Bar

Ella Rose

2

Ulverstone

The River Arms

The Pure Blondes

Burnie

Maginty’s

Jazz w/ Victor Zapner

Devonport

Spurs Saloon

Lyke Giants, TBC

25 The Royal Oak

Open Mic Night Returns $12 jugs boags draught !!

Sunday

Thursday

26 The Royal Oak (Bar)

Dave Adams

JUNE

Friday

27 Hotel New York

King Cannons + Hopper + Roger Davis

Thursday

28 Ulverstone

Hotel New York (Front Bar)

MaceMan5

Manhattan

Basssup

The Royal Oak (Boatshed)

Wagons Album Launch $5

Burnie

Maginty’s

Paradime 9:00pm

MaceMan5 + Roger Charles + Raye Antonelli + Randall Foxx

Devonport

Tapas Lounge Bar

Electric Spaghetti 9:00pm

Ulverstone

The River Arms

Two Piece

Burnie

Maginty’s

Strattbone 9:00pm

28 Hotel New York Hotel New York (Front Bar)

Toby Dellaylle + EMC + MaceMan5

Manhattan

Basssup

The Royal Oak

Wheezy Hours Feat. Heloise Sowerby, Crazy 88’s, James Parry and Charles Ducane $5 cover

29 The Royal Oak (Bar)

Open folk grou

JUNE

Saturday

Deligma, Surrender, Stalking Ella Scott (AA 6-9, 18+ 9-late)

Toby Dellaylle + EMC + Hopper

Wednesday

3

Darren Loyde 9:00pm

Spurs Saloon

Manhattan

open folk group

Friday

Maginty’s

Devonport

Hotel New York (Front Bar)

22 The Royal Oak

Sunday

21 Ulverstone

MaceMan5 + Boaz + Roger Davis + Basssup

Sunday

Saturday

2011

May

May

Saturday

Date

Hotel New York

11 Hotel New York

Friday

Saturday

4

Sunday

5

Devonport

The Alex

Jase and Jesse

Wednesday

8

Devonport

Tapas Lounge Bar

Open Mic Night

Thursday

9

Burnie

Maginty’s

Jazz w/ Victor Zapner

Friday

10 Burnie

Deligma, The Ray Guns, Save the Clocktower, Woof Woof 9:00pm Matt Nukewood 9:00pm

3

Saturday

Maginty’s

Heath Brett 9:00pm

Devonport

Spurs Saloon

Lyke Giants 10:00pm

Devonport

The Central

Jase and Jesse 10:00pm

Maginty’s

Midnight 9:00pm

The Warehouse

DJ Emily Scott 11:00pm

11 Burnie Devonport

DEVONPORT • FRIDAY JUNE 24 THE WAREHOUSE (18+)

HOBART • SATURDAY JUNE 25 CITY HALL (LICENSED & ALL AGES AREAS) P LU S G U E ST S

AND MORE

MUST SEE EVENT OF 2011 • TICKETS ON SALE NOW! TICKETEK.COM.AU OR PH 132 849 • BLISSNESO.OZTIX.COM.AU OR PH 1300 762 545 • HOBART: RUFFCUT RECORDS (03) 6234 8600 LAUNCESTON: MOJO MUSIC (03) 6334 5677 • DEVONPORT: RED HOT CDS (03) 6424 9816 • BURNIE: COLLECTORS CORNER (03) 6431 6616

THE #1 ALBUM ~ RUNNING ON AIR AVA I LA B L E I N STO R E S & O N L I N E

warpmagazine.com.au

BLISSNESO.COM

I LLU S I V E.C O M.AU

M p 8 y 7 Ma

sT e r W

e

T n e T oin

p

n

Me n i a rT

1 y a d ues

T

experience Queen’s greatest hits sung by brilliant vocal group rajaton with the full backing of the Tso Bookings: TSO Box Office 1800 001 190 www.tso.com.au Wrest Point Service Centre 1300 795 257 www.wrestpoint.com.au/shows

e

r T n e TC