Warp Magazine January 2012

R F E E

W arp Warp

WARP TASMANIA JANUARY 2012

Dresden Dolls Girl Talk

Bomb the Bass

Ed Kuepper

MONA FOMA GUIDE

Tuneyards

ApplicAtions for 2012 Are still open for mAny courses. utas.edu.au/2012 LIVE MUSIC 7 days a week

Jan 7 & Jan 8

Immortal Technique

Wed Jan 18

Shaun Kirk

Thur Jan 19

Ganga Giri

Wed Jan 25

Ash Grunwald Sat, January 7 and Sun, January 8 (Afternoon) The lamplights Sun, January 8 Andrew Winton Mon, January 9 Tobasco Tom + Doc White + Broderick Smith Tue, January 10 Gabriel Lynch + Mia Palencia Wed, January 11 Youri Blow (France) Thu, January 12 Sugartrain Sat, January 14 Republic Music Quiz Sun, January 15 (Afternoon) Trumps Sun, January 15 The Sign Mon, January 16 Junior Bowles Tue, January 17 Immortal Technique Wed, January 18 Shaun Kirk (Album Launch) + Halfway to Forth Thur, January 19 Mr & Miss Alternative: Sin & Tonics + Burlesque Dancer + Fashion Show Sat, January 21 Clare Quinn Mon, January 23 Baker Boys Band Tue, January 24 Ganga Giri Wed January 25 Goulburn Too Up: New Art Gallery Opening Thur January 26 Sietta + VJ Grotesque Sat, January 28 Wahbash Ave Sun, January 29 G.B.Balding Mon, January 30 Double Down Tue, January 31 The Fauves Sat, February 18 DJ Qbert Sat, February 25 Snakadaktal Sat, March 10 Hermitude Sat, March 17

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

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Ash Grunwald

4 News

Warp news in brief Great food, free pool and live music Great food, free pool and live music Now open open till till 2am Now 2am every everyfri friand andsat sat

W arp Warp Grinded out

------------------------------------------------Warp Tasmania JANUARY 2012 ------------------------------------------------LOCAL MUSIC Stuart Warren stuart@warpmagazine.com.au ------------------------------------------------CLUB / ELECTRONIC Nic Orme nic@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 Sose Fuamoli, Sarah Leary, Eva Lubulwa, Josh Clements, Lyn Geisel, Daniel Townsend, Jervis Dean, Jarred Keane, Lucas Thomas, Caity Rode, Lisa Dib, Brett Neuling, 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 ------------------------------------------------INTERESTED IN WRITING FOR WARP? contact ed@warpmagazine.com.au ------------------------------------------------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.

Under a lunar eclipse at Meredith Music Festival, Nick Cave’s latest project, Grinderman, called it quits. Cave stated on stage, “That’s it for Grinderman. It’s over. We’ll maybe see you all in another ten years, when we’ll be even older and uglier.” The news comes barely a year after the release of their second album, “Grinderman 2”. The band, consisting of Nick Cave along with Warren Ellis, Martyn Casey and Jim Sclavunos were together for five years, released two albums, and played MONAFOMA in January 2011.

Herd new tour

January 14 at the Waratah Bandroom with Agent Fontaine. Their gigs generally offer a direct correlation between audience appreciation and nudity.

Modular sign “pond” Pond, are a three piece band from Western Australia consisting of Joseph Ryan, Nick Allbrook and Jay Watson. As the story goes, they were sitting beneath a Mulberry tree in Daglish, WA, where they came up with the concept of an album based around the tropical psychedelic idiocy that they performed that night at a friends party in North Perth. Since then, they’ve gone on to record three albums, play around Australia and Japan, and have finally found a home on Sydney based record label Modular. Their latest album “Beard Wives Denim” will be released through Modular Recordings in early 2012.

Witness magic with lasers and smoke as Robin Fox (US/Melb) graces MONA FOMA with a heady dose of his noise/electronic medicine, at the MOFO Warehouse, corner of Elizabeth & Melville Sts, on Friday January 13 from 10.30pm. Free entry.

Triple J darlings & all round nice guys The Herd are back once again, announcing a national tour on the back of their third video & single from the Future Shade album, “A Thousand Lives”. The nine stop tour will take them all around the country, including an Anzac Day Eve (April 24th) show at The Brisbane Hotel in Hobart. The Herd will be joined on their national tour by fellow Sydney-siders Thundamentals.

The Thousand Lives tour will differ from all previous tours as The Herd weave the stories and context of their 10 year history into each night.

LUCAS ABELA

The LAZYS

eMDee have sold 50,000 CDs through busking. Find out how in this one-off workshop for MOFO on Saturday January 14 at PW1 from 6.30pm. Entry is $25 (day pass) or included in your festival pass ($50 from www.mofo.net.au).

Papa Chango

UK rock goddess PJ Harvey plays songs from her Mercury-Prize winning album ‘Let England Shake’, along with earlier stuff, with Mick Harvey, John Parish and JeanMarc Butty, at PW1 for MOFO from 9pm (doors open 7.30pm). Tickets are $85 from www.mofo.net.au The Barons of Tang

Papa Chango are a nine-piece band who met at the City Baths in the barrios of Brunswick.

They claim to “weave dark threads of psychedelic soul into illuminated tapestries of afro infused funk”. Their forthcoming album was recorded at the home of Melbourne funk & soul, Hope Street Studios.

You can catch them in Hobart throughout January, from the 6th to the 9th at the Cygnet Folk Festival, on the 13th at The Alley Cat Bar in North Hobart, and on the 14th and 15th at the Tamar Valley Festival. For more details, visit www.papachango.com.au

GETTING THERE

ROBIN FOX

Nothing is original, which is why Girl Talk is so unabashedly brilliant. Catch him at PW1 for MOFO, supported by 22SQ, on Wednesday January 18 from 9pm. Tickets are $35 from www.mofo.net.au

More touring news from the Elefant Traks camp, beats duo Hermitude will be visiting Hobart as part of their HyperParadise Tour. The tour follows on from the success of lead single “Speak of the Devil” whose infectious video clip won the 2011 Triple J JAward for Australian Music Video of the Year. Having just completed a sold out east coast tour, now seemed like the perfect time to announce a national tour in March. The duo will play the Republic Bar & Cafe on Saturday 17th of March supported by Sietta.

www.tapasloungebar.com.au www.tapasloungebar.com.au

Woohoo Revue/Bombay Royale

03 6424 2727 2727 03 6424

DECEMBER

JANUARY

THURS 1ST - PARIS WELLS Iconic Australian rock band The Lazys are hitting the road again in mid-January to celebrate the launch of their new EP “Temptation Never Liked You”. The new release, recorded live at New Town music venue Notes Live, was then passed on to acclaimed producer Matt Lovell (Silverchair, Cold Chisel, INXS, Eskimo Joe) who established the perfect balance between a band tracking in a studio and one belting their tunes out on stage. The eight gig tour includes two stops in Tasmania, Spurs Tavern in Devonport on Friday 17th of February, and The Brisbane Hotel in Hobart on Saturday 18th February.

MEN (Le Tigre)

FRI 2ND - T M G

FRI 6TH

SAT 3RD - EVIL CISUM THE UNIT SUN 4TH - MICK AHEARN SAT 7TH AND REX WATTS

THREE FAZE THREE

SUNTRIVIA 8TH WED 7TH - TAPAS ELLA ROSE

THURS 8TH - LIVE MUSIC

WED 11TH FRI 9TH - THREE PIECE

DEVONPORT CUP AFTER PARTY WITH ELECTRIC SPAGHETTI

SAT 10TH - T M G & TRENT SUN 11TH - NEIL GIBSON

THURS 12TH NEVA 2 L8

WED 14TH - OPEN MIC

13TH THURS 15TH -FRI KITBY EDWARDS

JED, SLATS & THE BIG NATURALS

FRI 16TH - EVIL CISUM

GIRL TALK

If you’ve never seen a plate of glass used as a musical instrument, you’re not familiar with Lucas Abela. Brace yourself; it’s brutal, but worth it, during MONA FOMA. Friday January 13 from 6.30pm at the corner of Elizabeth and Molle Streets, Hobart.

Free entry.

Alley Cat Bar in Hobart on Saturday 21st, and Brookfield Vineyard in Margate on Sunday 22nd of January.

RookeStreet Street Mall, Mall, Devonport, Tasmania.

Rooke Devonport, Tasmania

Triple j next crop Every year around this time, the “National Youth Broadcaster” Triple J essentially tells you which acts they will be flogging to death for the next 12 months until we are all addicted and/or sick to death of them. They call it Triple J’s Next Crop. 2011’s Next Crop is a 20-strong list, consisting of acts they’ve already started flogging, & includes names such as: Alpine, Bleeding Knees Club, Elizabeth Rose, Ellesquire, Emma Louise, Gold Fields, Husky, Sietta, and Snakadaktal.

Hermitude

BUSKING WORKSHOP

MOFO STREET PARTY MONA FOMA opens with a free street party featuring a suitably worldly and bizarre act, Hanggai, from China, featuring throat singing and traditional instruments, in outfits like Genghis Khan. Get wild on Friday January 13 from 9pm, at the corner of Elizabeth and Molle Streets, Hobart (where Farm Gate Market happens on Sundays).

Free entry.

PJ HARVEY ROCKS

HAPPY HOUR THURS AND FRI 6-7 THURS

The Barons of Tang are set to return to Tasmanian shores in January, playing two gigs on the 20th and 21st. January 20th will see them performing at Alley Cat Bar in North Hobart. January 21st will see them performing at the Huon Valley Conservation 10th Anniversary Festival, south of Hobart.

The Woohoo Revue and The Bombay Royale are both perennial festival favourites around the country, and Friday February 3rd will see them join forces at the Grand Poobah in Hobart. The Woohoo Revue haven’t visited our shores since headlining the Cygnet Folk Festival in 2010 and have just stepped out of the recording studio with an entirely new show. The Bombay Royale starring vocalists Parvyn Singh and Shourov Bhattacharya, lead by musical director Andy Williamson are dedicated to reviving the funky, bizarre and mysterious music of vintage Indian cinema. Doors open at 9pm, tickets are $15 on the door.

SAT 17TH - THE UNIT SAT 14TH

SUN 18TH -JACOB CHRISBOOTE MEEK

SUN 15TH JAROD MINTON'CONNELL WED 21ST - TAPAS TRIVIA MEN is a Brooklyn-based band and art/ performance collective led by Le Tigre’s JD Samson. Their first record “Talk About Body” was released in February through IAMSOUND Records, a subsidiary of Sony Records, and in the UK through Sony proper.

After touring the bulk of the year, they are finally bringing the “Body Talk” tour to Australia. This includes a one-night-only stop off at The Brisbane Hotel in Hobart on Wednesday 29th of February.

Lucie Thorne Bright Fight

Sietta

THURS 22ND - LIVE MUSIC

WED 18TH

FRI 23RD OPEN - THE ROCK PIGS MIC NIGHT SAT 24TH - (CHRISTMAS EVE) THURS 19TH ELECTRIC SPAGHETTI JUNIOR BOWLES (WA) SUN 25 - CLOSED

FRI 20TH ROCK PIGS

WED 28TH - TAPAS TRIVIA THURS 29TH -SAT EVIL21ST CISUM

TMG

FRI 30TH - T M G

SUN 22NDEVE) SAT 31ST (NEW YEARS SHAUN KIRK WITH GUESTS ELECTRICSPECIAL SPAGHETTI HALFWAY TO FORTH TICKETS $20 FROM VENUE

DRESDEN DOLLS

WED 25TH TAPAS TRIVIA

Hobart act Chocolate Bedrock is launching a 4 track EP ‘Getting There’ in the new year.

Expect powerful female vocals and driving guitars in their bluesy-indie rock style. You can catch them at a couple of upcoming shows; at the Alley Cat on January 6 with Little Bear and the EP release night on

Cabaret punk rockstars Amanda Palmer and Brian Viglione reform for a rare Aussie tour, for MOFO. Thursday January 19 at PW1 from 9.30pm. Tickets are $25 (day pass) or it’s included in your festival pass ($50). www. mofo.net.au

Elefant Traks electronic soul dubstep blues hiphop act Sietta will be hard on the touring grind in 2012. Not only are they supporting Hermitude on their national HyperParadise tour in March (see above/below), but they are also squeezing in a bunch of headline gigs around the country beforehand.

Saturday 28th of January will see them returning to Hobart, playing at the Republic Bar & Cafe, Friday the 27th of January will see them playing at Launceston’s Alchemy Bar.

Lucie Thorne is a name that, depressingly enough, is still unknown to some people.

The former Tasmanian’s 2009 album “Black Across the Field” garnered extraordinary attention and praise from the harshest of critics, winning the SMH Best Roots Album of 2009 and was shortlisted for the Australian Music Prize. Her 2011 album “Bonfires in Silver City” has already gained similar praise, drawing comparisons to Jodi Mitchell’s classic “Hejira”. After spending the past two years on the road, Thorne is returning to Tasmania to play Fresh on Charles in Launceston on Friday 20th, The

JANUARY THURS 26TH TREV HEINS

WED 4TH - TAPAS TRIVIA “International Country-Trash-Cabaret” and “Spiritual Space-Pop Chanteuse” will be mashed together in the most fun way possible at North Hobart’s Alley Cat Bar on Friday 14th of January. Billed as a “Psychedelic international country-folk-pop and live theatrics show”, Larry Bang Bang and Brite Fight are both promising magic, intense and unforgettable shows full of costumes, tricks, and one hell of a night of way-out entertainment.

FRI 27TH THURS 5TH - LIVE MUSIC - TBA RING MASTERS FRI 6TH - THE UNIT SAT 7TH - EVIL CISUM SAT 28TH

MIDNIGHT SUN 8TH - LIVE MUSIC - TBA SUN 29TH SUNDAY SIPPERS

6 Music

KUEPPER CREATES THE RULES FEW AUSSIE MUSOS HAVE PAVED THE WAY FOR FUTURE GENERATIONS QUITE LIKE ED KUEPPER, OF REBELLIOUS ACT THE SAINTS, POST PUNK ACT THE LAUGHING CLOWNS, ‘90s GRUNGE ACT THE AINTS AND PROJECTS WITH NICK CAVE, WARREN ELLIS AND MARK DAWSON.

The life and times of this great Australian music maker are far from over, however he admits his motivations and inspirations are different now to what they once were.

“At the moment I am trying to finish an album, it’s got a working title of ‘Second Winter’ and it is kind of verging on orchestral,” he tells us.

Recording in Brisbane’s Gasworks Studio, Kuepper has long been interested in orchestral composition, for the past 20 years his work reflecting his ability to apply layer over layer and note after note, while his love for the blues has always stayed evident.

“It is something I have been into for the last 20 years, this recent album I have done with Mark Dawson mainly on drums and few different people. It comes out of our live, acoustic performances for all those who have been to the shows; all we have done is taken it to the studio and extrapolated on it.”

Touring in January with Mark Dawson, the German-born all-round music aficionado says the Christmas and New Year period is both a time for family, but also still a time to work on his music.

“I’m trying to finish a record so I don’t really get a break, its work I guess but I love it,” Kuepper says. “I guess I try to make time and not ignore my family commitments during this time, so we will certainly be doing something… I hope to have the album finished by the time we go on tour, I doubt that it will be released though. These things are out of my control.”

While the ARIA award winning guitarist has seen decades of Australian music, the reality is that he has spent it doing exactly what he wants, when he wants, still happy to hit the road, and still ignoring all the media bull-s#*t and trends us Aussies love to sink our teeth into.

“We have always toured and travelled, so touring is no real shock for us. But it has certainly been a while since I have been down to Tasmania, so I am certainly looking forward to that.”

With a reassuring contempt for the media, remnants of what once defined Aussie rock still resides in Kuepper’s deep voice.

“Overall the media industry here in Australia is pretty superficial, they are dependent on a lot of free content and a lot of people still work for peanuts just to get a few words in there… it is no longer independent and I don’t really pay attention to any of it.

“I’ve been making music for all of my adult life, so I think I function beyond the idea of what is ‘in’ now. What I do is my own, it’s my

own music and if I was trying to keep up with what the kids are listening to, or what gets played on Triple J, it would be pretty sad.”

An independent and solitary working style, Kuepper says he is not a “production house” and his way of operating is anything but “standard”.

“Its not that it is easy or heroic, it’s just the way I am now.”

Today, the 56 year-old says his life has reached a point of climax in regards to musical gratification, “It is now on the verge of a real creative boost. Given the way this album is coming together and I tell you, it has certainly been a difficult period of time trying to get it all together, this album has become a real revelation for me. It is pretty gratifying for me, I guess.”

There have been times Kuepper has faced less inspired times over the past 10 years, regret and remorse a feeling he has been familiar with time-to-time.

T 3 BRISBANE S 0 2 9 4 4 3 2 6 T HOBAR

“It certainly doesn’t get easier as you go along. Once you have been making music for a while it is hard to feel like you haven’t done it all before… Sometimes you do kind of get a little blasé or jaded, it happens to everyone from time to time and it happened to me a little while ago. I am glad that I am out of it.”

“Over the last 10 or so years I have let things get on top of me, I have had ups and downs, that’s for sure… you can always regret.”

While he is not a workaholic, Kuepper admits working is still his happiest time, however not always the most productive.

“I feel really good when I am working, I also feel pretty good when I am relaxing, but I like it the most when I work and actually get something out of it. Inspiration for me has always been the same as when I was young, it has just manifested differently…

I am not exactly going to be doing the same music as I did when I was young am I,” Kuepper says, laughing.

EDDY MORTON

Ed Kuepper and Mark Dawson play January 19 at Red Hot Music in Devonport and January 20 for MONA FOMA at PW1. www.mofo.com.au

JANUARY

7th - ALL AGES 3pm - I Exist (act) ' Surrender ' Silent Majority 7th - Paddy McHugh & The Goldminers (qld) ' The Sin & Tonics ' Pines ' Hairyman 8th - Brissie Bingo w Timmy Jack Ray 10th - Franks Flicks 11th - Noise etc presents Transcription Of Organ Music ' Gutter Parties 13th - Madre Monte (vic) ' Dublo 14th - Luca Brasi ' Smith St Band (vic) ' Ride the Tiger ' Your Demise 14th - Late Night Krackieoke w MC Slinky Tits 15th - Brissie Bingo w Timmy Jack Ray 15th - ALL AGES 7pm - Absu (usa) ' Ruins ' Zero Degrees Freedom ' Orannis 17th - Quiz A Saurus (Quiz Night) 19th - Spoonfed (syd) ' Last Measure (vic) ' Satanic Rockers (vic) ' Bulletproof 22nd - Punk Goes Acoustic w Wolfpack ' Explosions ' Face The Fiasco ' Sighs 22nd - Brissie Bingo with Timmy Jack Ray 25th - Taberah ' Elm Street (vic) 26th - ALL AGES 3pm Taberah ' Elm Street (vic) 26th - The Comedy Forge (Stand Up Comedy) 27th - The Dark Shadows (nsw) ' The Sin & Tonics ' The Bonerattlers ' Kenji DJ 28th - Brissie Bingo with Timmy Jack Ray

FEBRUARY 1st 2nd 3rd 4th

-

Lizard Johnny ' Mess O' Reds ' Smutty Sam Circus Horrificus Caberat Damage Nightclub ALL AGES - Horehound (laun) ' Driftwood

COMING UP TOURS

Feb 10th - Alurum (nsw) Feb 11th - Northlane (nsw) Feb 12th - Scott Kelly (Neurosis) John Beazley (Baroness) (usa) Feb 16th - Floating Me (oz) Feb 17th - Electrypnose (swe) Feb 18th - The Lazys (nsw) Feb 24th - ALL AGES - Kerser (nsw) Feb 29th - Men (usa) warpmagazine.com.au

HAPPY HOURS EVERY FRIDAY AND SUNDAY 6PM TIL 8PM! ............

LUNCH TUES-FRI 12:30-2:30 DINNER TUES-SUN 5:30-8:30 ............

STAY UP TO DATE JOIN US ON FACEBOOK THE BRISBANE HOTEL PATRON SOCIETY

8 Music

Music 9

Image: Paul Sobota

AFTER A TAKING A YEAR OFF TOURING OZ, GIRL TALK HEADS BACK WITH A BRAND NEW LIVE SHOW. HE TALKS WITH US ABOUT COPYRIGHT LAWS AND HAVING A DAY NAMED AFTER HIM. There would not have been a more fitting day of the year for Girl Talk (Greg Gillis) to phone in from his home in Pittsburgh than December 7. The inaugural Greg Gillis Day was announced last year, completely unbeknownst to Gillis.

“I knew the city councilman that set the whole thing up, and he basically just reached out to me and said ‘do you wanna be recognised by your city?’ and I was like sure,” Gillis explains.

“So I went down to the city council building with some family members and we all thought we were just getting a tour and then they took us into this room and there were all these TV cameras and people everywhere and they said this is where we’re going to vote on whether to call it Greg Gillis Day”.

It seems an appropriate accolade from Gillis’ beloved home town. His shows and the buzz they created around the city in the early to mid 2000s were the foundation for a career that has seen him become the king of mash up around the globe.

KISS arena show. This year is the first time that we’ve really started to approach that.

It feels like when we show up at a venue that can fit 2000 people or a festival of 10,000 people I definitely think this the first time we have a show that’s made for that kind of size.”

Anyone who’s ever seen Girl Talk live will know that the shows are some of the most uninhibited fun you can have. Nudity, crowd surfing, confetti, balloons, inflatable animals and more are all commonplace when Girl Talk is behind the decks. Gillis says that all these things are still very much present in the show, as well as much more.

“In the past the shows have been more of a freeform, freestyle thing. We didn’t have a lighting guy so often they’d just have the lights off and that’d be it and as far as props go, they’d usually just throw them out wherever they’d feel fit. Whereas now we’ve kind of developed a show where I still perform in the same way, still trigger all the samples live and the improvisation that goes with that but now there’s definite cues and peaks and valleys that we try to hit. The show has become a lot more tight; it’s fully orchestrated.”

It’s for this reason that Gillis’ fifth Australian tour has him more excited than any before.

Armed with his brand new show and some material he believes to be some of his best ever. With no solid plans for a new Girl Talk release any time soon, Gillis has been throwing all his energy into playing live.

“When I end an album, I start working the next day. I feel like the fans expect that, as soon as an album comes out, at shows the next week they expect to hear new material.

I like to keep up you know? I always want to be remixing a new song. I definitely have a lot of new material that at this point I even wish was on the last record ‘cause I like it more than some of that stuff.”

It was a mantle that didn’t always seem achievable for Gillis. From 2000 to 2006 he attests that he never played to more than 100 people, a far cry from the crowds he can expect to surround him as he tours around Australia early next year with the Big Day Out and hits Tassie for MONA FOMA.

While he has never had any official trouble, as his popularity has grown Girl Talk’s releases have come under increasing scrutiny in relation to copyright laws. He has never cleared any samples he uses with artists or labels, operating under an American law called Fair Use, which permits limited use of copyrighted material.

“When I started I never really had aspirations of it becoming this big I never thought that was possible, but I always loved the idea of having a show that was like a

“Before I release an album I’ll always listen back and ask myself if I truly believe it constitutes Fair Use. If I don’t think it qualifies, I won’t put it out. No questions

warpmagazine.com.au

asked, that’s the way I feel. I don’t ever want to be competition for the source material; I don’t ever want to potentially hurt their sales or anything like that.

people get turned onto this stuff by me then that’s excellent.”

NATALIE

LUCAS THOMAS

“I hear it often through Twitter or Facebook, where younger people who listen to what I’m doing may have never heard of Aphex Twin or Fugazi or Electric Light Orchestra or whatever. I have people all the time saying ‘I heard the sample, I looked it up and now I’ve been buying the records and I’m a big fan.’ I love that. It was never a goal of mine but everything I sample I am a fan of so if

COLE

Girl Talk plays PW1 for MONA FOMA on Wednesday January 18, supported by 22SQ. Tickets are $35 from www.mofo. net.au

and the Tasmanian Symphony Orchestra

FEEL PRESENTS

A combination of what seems opposed segments– waves of Noise, bleating glitch, and rumbling percussion with an MC that yells like a homeless man screaming his rage at a non-existent god.

You could well say it’s angry music but that, like just about everything written about this group to date is an attempt to contain and sum up their sound, and the problem is that Death Grips strongly resist that.

WREST POINT ENTERTAINMENT CENTRE

Death Grips are from Sacramento. Much of the media about them has focussed on the drummer, Zach Hill, largely because he’s in another band, Hellas. No, I’ve never heard of them either. The rest of them are enigmatic: MC Ride, covered in crude tattoos comes across as if he’s spent time in a shelter of some kind, grizzled leathery and angry, while the rest, Flatlander, Mexican Girl and Info Warrior are pretty damn faceless but clearly do something important to create music this large and devastating.

‘Unforgettable’, ‘This Will Be’, ‘Pink Cadillac’ and ‘Miss You Like Crazy’ with the full backing of the Tasmanian Symphony Orchestra.

You’d be crazy to miss it!

TICKETS FROM WWW.THEATREROYAL.COM.AU, PH: 6233 2299 OR IN PERSON AT THE VENUE BOX OFFICE

DEATH GRIPS IS A CONTRADICTION. IT’S DUMB, UGLY, SMART, GORGEOUS, THREATENING AND SEDUCTIVE.

It’s certainly hip hop but with a burst of the Aphex Twin’s darker stuff mixed up with the all-out percussion assault of Lightning Bolt. There, I’m doing it again: trying to describe Death grips, trying to catch hold. I can’t. You can’t. You just need to hear it, really.

as she sings all of her greatest hits including

SATURDAY 5TH MAY HOBART THEATRE ROYAL

DEATH GRIPS

30 JANUARY MONDAY 8pm

Share an unforgettable evening with Natalie Cole

Marko Letonja’s

Season 2012

Death Grips are also from the internet: the world first became aware via a cluster of abstract horror movies disguised as YoutTube clips and then, a website – www. thirdworlds.net - with no information but everything Death Grips have made so far readily right-clickable for free download. All you need, really.

The only other piece of truly relevant information one could impart at this juncture is the most important one: Death Grips are coming to Hobart as part of MONA FOMA, and are pretty much an unmissable act for this episode of the weirdest festival in the country. This heaving shard of chaos, math drums and Bukowskimeets-Kafka MCing willbe at PW1 on the 20th of January, and you too will be able to get drenched in totally thrilling new music.

ANDREW HARPER

WWW.FEELPRESENTS.COM / WWW.HENRYROLLINS.COM

TICKETS ON SALE NOW! 0313

THE ORIGINAL SAMPLER

An Unforgettable Evening with

BOOKINGS www.tso.com.au or phone 1800 001 190 or the TSO and Wrest Point Box Offices

Death Grips play MONA FOMA on January 20. www.mofo.net.au

warpmagazine.com.au

DOLLS DOWN UNDER WITH THE DRESDEN DOLLS PLAYING MONA FOMA IN JANUARY, AMANDA PALMER PREPARES FOR A REUNION WITH HER AUSSIE FANS, AS WELL AS SOME REQUESTS TO SEE HER MAP OF TASMANIA.

Amanda Palmer is many things. She is one half of the art-punk-rock-cabaret act the Dresden Dolls; she is a solo musician; an avid blogger; a twitter community leader; YouTube fanatic; and style icon.

Amanda Palmer is also intriguingly indefinable: a woman who has plunged herself into the ‘in between’ spaces in life; never severely defining herself, her music, her sexuality, her fans, or her relationships.

“You gotta take it as it comes, and the minute you try and pin it down, you kill it,” Palmer says, explaining why she refuses to stick to any kind of mould.

If there’s one thing that’s certain about Palmer, however, it’s that she loves Australia, and not just in the way some international artists profess to, for the sake of riling up local crowds. Palmer’s last solo record, ‘Amanda Palmer Goes Down Under’, is proof enough that her love is real.

“Brian and I have always collectively loved Australia,” she says of her Dresden Dolls bandmate, Brian Viglione.

“The first time we came to Australia we were so warmly welcomed - Triple J was just spinning the shit out of our record. It was our own personal equivalent of Beatle Mania, just with a lot less people,” says Palmer as she explodes into a laugh so raucous, that there’s no mistaking she’s being genuine. It’s that very quality in Palmer - that honesty - that has her feeling so at home here in Australia.

“I find Australia generally way more enthusiastic about stuff than your average American, and English person. Reserve isn’t in [your] vocabulary. I feel a kinship with a people who are so exuberant and blunt.”

Dresden Doll fans will no doubt be wondering whether the tour marks the end of the band’s long-running hiatus, which has been in place since 2008.

“We’re not back in full swing and the hiatus has been back and forth, up and down. I took this long break from touring with Brian so I could make my solo record, ‘Who Killed Amanda Palmer’ with Ben folds. Brian joined another band, and that’s pretty much where we left things,” says Palmer.

“We love playing with each other, and the Dresden Dolls still have unfinished work touring live, although we don’t have any plans to do any new recording. The band never broke up and never will break up for all intents and purposes.” warpmagazine.com.au

There she goes again: swimming against expectation; fighting the rock lore that a band taking ‘a break’, is a band that’s done and dusted.

“I’ve got a giant plan to start work on a new solo record in the spring that’s probably going to take me two years to actually record and tour, but within that, the Dresden Dolls - it’s a passion project with me and Brian. We’ll stay afloat and tour where and when we want to. It’s just fine with me. We really burned out hard core having toured endlessly with each other, and I dare say it, are still recovering from that.”

Recovery for Viglione has seen the enigmatic drummer pursuing various projects, including playing with super group Gentlemen & Assassins with Elyas Khan and Sxip Shirey. Palmer has released two solo records: the aforementioned tribute to Australia, as well as her debut, ‘Who Killed Amanda Palmer.’

Though the Dresden Dolls are no stranger to our shores, the tour will see their first appearance together at MONA FOMA in Hobart. After the release of Palmer’s cheeky single, ‘Map of Tasmania’ in 2010, she may be at the mercy of particular requests from Tassie fans.

“Possibly,” laughs Palmer, as to whether she’ll reveal her Map of Tasmania. “It’ll have to be a local surprise. It’s definitely on my agenda if I get enough requests from the locals.”

That isn’t all Palmer plans to add to the agenda during her time in the apple isle.

“I have a few things I actually scheduled down in Tasmania - to see PJ Harvey as she’s playing the festival, too. She’s so fucking good. I’m also really excited to see Tune-Yards.”

As busy as her schedule may be, Palmer has no intention of limiting the attention she’ll give to her fans whilst in the country. With past performances at burlesque clubs with the Dresden Dolls, to shows in Sydney’s Opera House, Palmer has long enchanted local fans, building the kind of relationship that many musicians would envy.

“As a collective, my fans have totally allowed me and encouraged me to become this person. I was kind of nut-ball to begin with but the encouragement and acceptance of my fans pushes me further and pushes me to be more honest and authentic in myself, ‘cause I know they’re there to catch it. They won’t stand in judgment.”

That respect is reciprocated by Palmer, who doesn’t stand in judgment of her fans, even when they become her critics.

“My best fans are usually my best critics, and some of my most hard core fans really step up and say, ‘I really hated ‘Map of Tasmania’, or ‘please stop playing the ukulele. Just play the piano’. The beautiful thing about that exchange is that I listen to them. I won’t necessarily do what they say, but I listen to them. It’s a dialogue. In order to be a good artist, you have to listen to nobody but yourself. You have to listen to the music in your head.”

Though Palmer is willingly intimate with her fans, particularly in her blogging, she does keep parts of her life behind closed doors.

“I don’t talk about problems with my personal relationships because it breaks my golden rule of blogging which is you must never use your power for evil. I never want to harm or hurt anyone’s feelings, and that immediately rules out half of what I’m gonna talk about with a couple of my friends drunk at a bar.”

With the online world operating 24-7, Palmer admits that quieter moments are hard to find, but that’s something she’s working on.

“I worry about that. I definitely pack my life very tightly, and I feel the consequences of that every once in a while. I’ve slowed down and I’m not going as fast as I used to. I make space. I carve it out and I have to be fiercely protective of it, or my brain starts to fall apart.”

dozen emails, and all of a sudden a circus appears.”

Amanda Palmer’s circus is a big top with room for the Dresden Dolls, her own solo career, her personal relationships, and her relationship with her fans, but there is one thing that she’s not able to invite to the party - Vegemite.

“I continue to fucking loathe it. It’s become a tour joke where people actually bring Vegemite sandwiches wrapped in plastic, and chuck them on the stage. Yeah, it’s really romantic!”

LOANI ARMAN

Hard to imagine Palmer’s brain ever falling to pieces, given how active it seems to be.

“My brain still spends a lot of time fantasizing about what I could create. One of the more fun parts of being human is being able to imagine things into existence and manifest them. The wonderful thing about being an adult, and also being Amanda Palmer, is that I can dream things up. I can roll my sleeves up and fire off a

Dresdon Dolls play MONA FOMA, Thursday January 19, PW1. Tickets from www.mofo. net.au

warpmagazine.com.au

re also putting on, at Princes Wharf 1, a variety of events that covered by (astonishingly inexpensive!!) passes. Your best s to get a festival pass for $50, which gives you access to a rgasbord of happenings at PW1. If they sell out (numbers are ed) or if you’d rather a smaller bite, get a day pass for $25.

BUY TICKETS

OFO FESTIVAL PASS 14, 15, 19 & 20

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ou could buy:

Y PASS 1 URDAY JAN 14

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Y PASS 3 URSDAY JAN 19

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You can also buy paper tickets at MONA FERRY TERMINAL BROOKE ST PIER HOBART 8.30AM-6.30PM, 7 DAYS And at PW1 BOX OFFICE PRINCES WHARF 1 SHED CASTRAY ESPLANADE, HOBART JAN 13-21, 9AM-5PM JAN 14-15 & 19-21, 9AM-LATE

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n there’s the festival art you can see at MONA. museum’s usually closed on Tuesdays – but not ng MOFO.

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DAY 4 MON JAN 16

1AM

MUSEUM OF OLD12AM AND NEW ART FREE REGISTER AT WWW.MOFO.NET.AU 1AM

Image: Stuart Ringholt

12AM

1AM

Until late > Until late >

12AM

SUNDAY JAN resurrection 15, 2.30PM> UTAS Detached > piano STTuba MARY’S Skinny isCATHEDRAL Conservatorium ofsupported Music by the United 1AM FREE States Consulate

FAUX MO FAUX MO

12AM OR DAY PASS 1 $25

MoMa MOFO art at the Museum of Old and New Art

1AM

FREE

MONA Rooftop MONA

1AM

SATURDAY JAN 14, 12PM 12AM SUNDAY JAN 15, 12PM DEPARTS PW1, FORECOURT TICKETS $40 1AM

MONA MOFO art at the Museum of Old and New Art David Chesworth CAST Oceanography/Peron Station David Chesworth CAST Oceanography/Peron Station Sonia Leber & David Chesworth Detached Space-Shifter Sonia Leber & David Chesworth Space-Shifter

1AM

12AM

Detached

12AM Gabriella Smart

Until late >

12AM

FAUX MO

11PM

Until late >

1AM

11PM

Until late >

12AM

10PM

Until late >

Gabriella Smart

Pierre Henry Paroxysms

Until late >

1AM

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Until late >

12AM

10PM

MOFO art at the Museum of Old and New Art

11PM

Ryoji Ikeda datamatics

9PM

MONA

10PM

Robin Fox

Phillip Adams BalletLab8PM Aviary

David Chesworth Oceanography/Peron Station

10PM

Phillip SITE OPENS Adams BalletLab8PM Aviary David Chesworth Ensemble 9PM Badlands

CAST

9PM

David Chesworth Ensemble Vanishing Tekopia

7PM

Sonia Leber & David Chesworth Space-Shifter

Hanggai

Tuba Skinny Busking Performance

7PM

DAY 10 SUN JAN 22

Detached

8PM

eMDee Busking Workshop

FAUX MO

9PM

Tuba Skinny

7PM

6PM

MOFO art at the Museum of Old and New Art

Space-Shifter opening

8PM

eMDee

Elanee Ensemble

6PM

11pm–

MONA

5PM

David Chesworth Oceanography/Peron Station

5PM

AUS SAT JAN 21 David Chesworth is our Artist PW1 City Hall St Mary’s in Residence. He co-founded Cathedral post-punkers Essendon Airport, Centre most and is now one of Australia’s 10AM and sound distinctive composers artists.

CAST

5PM

Sonia Leber & David Chesworth Space-Shifter

5PM

DAVID CHESWORTH DAY 9 Detached

4PM

FAUX MO

4PM

7PM

3PM

Sonia Leber & David Chesworth Space-Shifter

4PM

SITE OPENS

(FoMo)

Mofo Festival Club

4PM

6PM

Faux Mo

Sonia Leber & David Chesworth Space-Shifter

2PM

Space-Shifter

2PM

City Hall MONA

David Chesworth Oceanography/Peron Station

1PM

AUS St PW1 Mary’s BADLANDS Cathedral Centre

CAST

12PM

Badlands7re-imagines Carl Orff’s Schulwerk, a collection DAVID CHESWORTH DAY DAY 8II OVERBOARD of deceptively simple melodies designed to teach music to BOATS ENSEMBLE THURS JAN 19 FRI JAN 20 MESSING ABOUT ON

children. Chesworth encountered Schulwerk as the score to AUS Theatre City Hall St St Mary’s Mary’s PW1 St PW1 Mary’sMalick’s 1973 film, also Citycalled Hall MONA St Badlands.

ItMary’s tells the VTerrence ANISHING TEKOPIA Royal Cathedral Cathedral Cathedral Cathedral story of two teenagers on a killing spree.

Vanishing Tekopia indirectly Centre Centre Centre refers to a tiny island being slowly SUNDAY JAN 15, 8.30PM 10AM 10AM 10AM MOFO10AM art atsubsumed MOFO 10AM art at by the South Pacific PW1 the MuseumOcean, the Museum and more rapidly by NELL ANDREA CENTAZZO INCLUDED IN FESTIVAL PASS $50 of Old and of Old and OR DAY PASSAre 2 $25 Image: © Adam Pretty we (we, the AUS New Art globalisation.

New Art ITALY/USA 11 AM 11 AM 11 AM 11 AM 11 AM Amiina Chesworth draws11 AM on a wide range globe) losing our cultural diversity, MANDALA Animagica IT’S A LONG WAY TO THE TOP of musical genres and natural (IF YOU WANNA ROCK AND and does it matter?

GILMOUR DAVIDmaster, WATSON Andrea, percussion sound sources, layering them in ROLL) - HOBART 12PM 12PM 12PM SITE OPENS 12PM SITE OPENS 12PM 12PM West Head travelled the world for many years, ENSEMBLE NZ unusual ways.

In this eleven-piece ensemble Project and collecting images.

These he will into AUS THE SHOW Watson brings bagpipes Cooking Demo Cooking Demo Out Hear performance the two singers have set to live music: improvisation Kunanyi WORKSHOP & contemporary music.

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PERFORMANCE when you hear it, on the streets of invented by Chesworth.

DAVID CHESWORTH Amiina revolves around Mandala, beand playing with Heath Richard They willshow talk about perform Animagica Hobart, and at PW1. Performance AUS the circle centre-piece Buddhist Image: © Melissa Webb JAN 14, 8.30PM along with the of City of Hobart 2PM 2PM 2PM SATURDAY 2PM Nell 2PM 2PM includes Les, bagpiper from the IHOS Nell the work of Russell Gilmour.

SPACE-SHIFTER sacred artTasmania forms. There be bands. a PW1 The1976 Barbarians Policewill pipe original AC/DC film clip.

Nick Julianna Donny Benét Barbarians Since 1996Barwick Leber and Chesworth INCLUDED IN FESTIVAL PASS $50 great many gongs.

WEDNESDAY JAN 18, 6PM Tsiavos OR DAY PASS 1 $25 ST MARY’S CATHEDRAL FRIDAYCENTRE JAN 20, 8.30PM 3PM 3PM 3PMhave worked with sound, video and Ticket includes 3PM Lawrence 3PM 3PM Englishon& Liminal THURSDAY JAN 19, 2PMChris Abrahams, sunset cruise JAN 19, 3.30PM FREE & THURSDAY Sabine Vogel Scott Morrison PW1 installation, using the human voice PW1 the MV Cartela (Hobart icon in Andrea Centazzo David Watson PW1, STAGE 1 INCLUDED IN FESTIVAL PAS MARIA LURIGHI DAVID CHESWORTH FREE as their principal medium.

Mandala manner of Mykonos dim sim); INCLUDED IN FESTIVAL OR DAY PASS 4PASS $25 $50 4PM 4PM 4PM 4PMSHERRIFF 4PM Rod4PM Michaela Davies & ADRIAN AND FRIENDS Image: David Chesworth, Oceanography/ OR DAY PASS 3 $25 DAVID CHESWORTH campy shenanigans, teetering on BUSKING WORKSHOP Thomson At Detached, you will find Peron Station, 4-channel sound THE2011.

MEMORIAL AUS AUS Gilmour Ensemble Black Jesus Experience theAUS homoerotic; performance by a host of human voices – a Presented by the installation.When the tail-lights have dimmed, NOMONID eMDee OCEANOGRAPHY/PERON Maria is5PM doing ninejazz performances bohemian operatic collective 5PM 5PM 5PM 5PM 5PM Alcorso Foundation Image courtesy the artist and Fehily ‘psychogeography’, they call the amps been put away...

Come Chesworth, on the laptop, builds They have sold 50,000 CDsit –while The forLovebirds; us, drawingcherished on an impressive STATION Contemporary. Digital imaging: Melissa that stalks you as you move about Senyawa and pay your respects at the flatbed structurelistening of ‘found’ busking. How? range of sources and musical styles, a complex memories; and tapas.

An intimate environment Webb. HEALY STUART RINGHOLT DANNY the space. truck memorial. Climb in and sounds created and real-world recordings.

6PM 6PM Danny Healy 6PM Gilmour 6PMopera, 6PM 6PM AdamDavid Chesworth Stuart Ringholt Stuart Ringholt TANK Ed Kuepper & Markand Senyawa Nell Andrea including jazz, classical on site at CAST. & Adrian Sherriff AUS AUS Simmons Ensemble JAN 14, 6.30PM Dawson workshop Centazzo & SATURDAY TUESDAY JAN 17, 8PM graffiti your homage to Bon Scott.

He is joined by Adrian Sherriff on Paint Your gospel. Her voice is earthy, raw Oceanography is an almost OPENING FRIDAY JAN 13, 5.30PM DEPARTS Toshimaru Nakamura Nomonid SITE OPENS Brian Ritchie PW1 MONA FERRY Golden Face Preceded by a tour of the show by Local virtuoso on the sax, clarinets Leave him an empty bottle of trombone, shakuhachi, percussion and loud.

You can also hear it as 13- FEB 3, 12-5PM completely synthesised underwater tUnE-yArDs7PM INCLUDED IN FESTIVAL PASS $50TERMINAL WEST HEAD 7PM ELANEE ENSEMBLE 7PMJAN 7PM 7PM (The artist Amiina and Leber artist Ringholt. and flutes – playingscotch, severalornew a plastic rose. Weep.22SQ and Stuart electronics.

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22SQ Prince Rama HEAR AUS THURSDAY JAN 19 This Tasmanian doubleThe bass/viola MONDAY JAN 16, BalletLab BalletLab Barbarians DETACHED The Barbarians Thetour Barbarians The Barbarians Super talented Tassie sax quartet join the must also6PM be naked. but strikes you as disconcertingly BUSKING PERFORMANCE 8PM Overboard II 8PM 8PM Bailly 8PM PW1 Aviary ST MARY’S CATHEDRAL CENTRE TUESDAY JAN 17,8PM Image: 6PMBarbarians duo will premier some new and 8PMFREE KUNANYI Aviary comprised of Benjamin Price, JANStephanie 14-15 & 21-22, 4.30PM Adults Only) (2012) FREE CENTRE FREE artificial...

Messing About On Boats ST MARY’S CATHEDRAL JAN 16-20,THOMSON 1.15PM SIMMONS NICK TSIAVOS ROD unusual material.

David Watson Georgina Smith, Mitchell Ellis and Kellie O’Dempsey We pick up you from PW1 and drive ADAM TUBA SKINNY That’s the title of his work.

And The artists gratefully acknowledge the FREE DETACHED AUS AUS AUS NicholasTANK Nugent. COOKING DEMO you up the mountain.

Then your FRIDAY JAN 20 OPENING THURSDAY JAN 12, 6PM support the content of it. But forPJthe sake Learnof the howAustralian to busk,Government New Orleans FREE 9PM Senyawa 9PM 9PM Girl Talk SATURDAY JAN 14, 6PM 9PM 9PM 9PM Harvey Almost as good as the original.

Melbourne multi-muso on the sax, AUS LIMINAL PW1 Tasmanian organist playing Olivier JAN 13-29, 12-5PM REALLY COLD FOOD sound guides – Jim Denley, Monika ST MARY’S CATHEDRAL CENTRE through the Australia Council for the Arts, of clarity: style.

INCLUDED IN FESTIVAL PASSWEDNESDAY $50 TANKJAN 18,Ted 7.30PM Thefunding Dresden clarinet and flute (and possibly the itsNick CAST arts and Dolls advisory body. is for (Vining,(This drums), plays stand-up jazz bass, Messiaen compositions.

Brooks and Dale Gorfinkel – lure Nitro cuisine. food is re FREE Stuart willFREE take you on a naked OR DAY PASS 4 $25 PW1 Audience limited to 50 people toy versions thereof).

He’s usually Download the MOFO2012 app to find out improvised and combined Alistair (Dobson, sax), Nick you through the bush with10PM their 10PM 10PM SATURDAY JAN 14, 11AM 10PM Death Grips 10PM 10PM cold).

SUPPORTING GIRL TALK tour of MONA. Changing facilities in about a million different bands at with PW1, FORECOURT SUNDAY JAN 15, 4PM about location(s), dates, times and artists.

Byzantine chants. He’s (Haywood, bass) and Kelly trumpets, tree roots and bamboo TICKETS $35 project is a partnership provided.This Like he says, it’s for between FREE ST MARY’S CATHEDRAL once but for this performance, he’s Image: Sonia Leber and David Chesworth, accompanied by some of App available from mid December JANvibraphone).

20, 12.30PM (Ottaway,FRIDAY piano and flutes. You2011. come back to camp, eat MONA CAST FREE grown-ups.

Isn’tand it11PM ironic.

Space-Shifter, 2009. the artists all alone.

11PM 11PM 11PM 11PM Nell 11PM Melbourne’s topCourtesy improvisers: SATURDAY JAN 14, 7.30PM AustralianPW1 jazz. yummy food, and get driven back and Fehily Contemporary INCLUDED IN FESTIVAL PAS PW1 Deborah Kayser, Adam Simmons, to PW1.

TUESDAY JAN 17, 6-8PM SUNDAY JAN 15, 6PM ORJAN DAY19,PASS INCLUDED IN FESTIVAL PASS $50 THURSDAY 6PM4 $25 Peter Neville and Eugene Ughetti.

WEDNESDAY JAN 18, 6-8PM ST MARY’S CATHEDRAL CENTRE

Theatre Royal

David Chesworth Oceanography/Peron Station

1PM

West Head Project and Out Hear Kunanyi

CHESWORTH DAYDAVID 6 WEDENSEMBLE JAN 18

Detached

11 AM

WEDNESDAY JAN 18, 9PM PW1 SUPPORTED BY 22SQ TICKETS $35

FRIDAY JAN 20, 7PM PW1, STAGE 1 INCLUDED IN FESTIVAL PASS $50 OR DAY PASS 4 $25

CAST

11 AM

12PM

THURSDAY JAN 19, 9.30PM PW1, STAGE 1 INCLUDED IN FESTIVAL PASS $50 OR DAY PASS 3 $25

Detached

10AM

3PM

Lucas Abela

DAY 5 TUES JAN 17

FAUX MO

10AM

3PM

The Dad Horse Experience

Ed Kuepper co-founded The Saints, and a few other bands, and is now a Bad Seed. Here he’s reunited with long-time collaborator Mark Dawson.

Mount PW1 St Mary’s Theatre Baha’i Theatre Mount Royal St Mary’s St Mary’sSt Mary’sMONA Ferry Terminal Wellington Cathedral Royal Centre Wellington Cathedral CathedralCathedral Centre Centre Centre

3PM

6PM

REARRANGED

MONA MOFO art at the Museum of Old and New Art MONA MOFO art at the Museum of Old and New Art David Chesworth CAST Oceanography/Peron Station David Chesworth CAST Oceanography/Peron Station Sonia Leber & David Chesworth Detached Space-Shifter Sonia Leber & David Chesworth Detached

2PM

DAY 3 SUN JAN 15 Theatre Royal

Cabaret punks Amanda Palmer and Brian Viglione reform for a rare Australian tour.

FRIDAY JAN 20, 6PM PW1, STAGE 2 INCLUDED IN FESTIVAL PASS $50 OR DAY PASS 4 $25

FAUX MO

2PM

There is a remote chance that something you do now will be good. The chances of it being original, however, are pretty much zero. Which is why you’d be a fool to miss Girl Talk – the original Grandmaster Flash!!

MOFO art at the Museum of Old and New Art

1PM

This six-piece grew from Sigur Ros, for whom they played as a backing band, a string quartet. They’re doing their own thing now. They’ve brought in drummer Magnús Trygvason Eliassen and electronic musician Kippi Kaninus, and some super-impressive instrumentswitching shenanigans.

MONA

1PM

AUS

David Chesworth Oceanography/Peron Station

12PM

PJ will be playing songs from the Mercury Prize-winning album Let England Shake, as well as earlier stuff. She’s backed by Mick Harvey, John Parish and Jean-Marc Butty.

CAST

12PM

Tuba Skinny Busking Performance

GIRL TALK USA

Sonia Leber & David Chesworth Space-Shifter

11 AM

AMIINA ICELAND

Detached

11 AM

MOFO art at the Museum of Old and New Art

10AM

David Chesworth Oceanography/Peron Station

10AM

FAUX MO

PW1

Baha’i Centre

MONA

Street Party

CAST

DAY 2 SAT JAN 14 Detached

OPENING NIGHT FRI JAN 13

ED KUEPPER & MARK DAWSON THE DRESDEN DOLLS USA

SATURDAY JAN 21, 9PM (DOORS 7.30PM) PW1, STAGE 1 TICKETS $85

Download the MOFO2012 app from mid December 2011

FO DAY PASSES & FESTIVAL PASS ons under 12 years are admitted free to these events n accompanied by a paying adult. Proof of age may be ested at the door. Does not apply to special events.

PJ HARVEY UK

ST MARY’S CATHEDRAL CENTRE FREE

The full program can be found at www.mona.net.au

14 Music

Music 15

EE FR W i iF

Aussie Day Eve Wednesday 25th January True Aussie BBQ from 6pm Flamin' Galah cocktails Boxing Kangaroo shooters Live bands from 9pm

Gav AND Lina Vendetta

Australia Day Thursday 26th January Live bands

BEST OF 2011

LOSERS OF 2011 FESTIVALS

2011 WAS ANOTHER BIG YEAR FOR THE MUSIC INDUSTRY IN AUSTRALIA, FOR BOTH POSITIVE AND NEGATIVE REASONS.

From our favourite bands reuniting, to our favourite festivals being cancelled, this past 12 months have been exciting, disappointing and dramatic from start to end. Here at Warp, we would like to reflect on the best and worst of 2011 and everything in between.

WINNERS OF 2011 AUSTRALIAN MUSIC 2011 has been huge for the local music scene. With the unveiling of Triple J’s new digital radio station, Unearthed, completely dedicated to unsigned music, as well as endless amounts of local music competitions. It has become increasingly easier for bands to make names for themselves and start their music career.

With plenty of Australian bands dominating our own music scene, our home-grown successes are branching out overseas, with Cut Copy, Boy & Bear and Bag Raiders making a name for themselves as well as Australian Music throughout the globe.

GOTYE The rise of Wally de Backer (or Gotye for most) throughout 2011 is that of phenomenal proportions. He rose to the number one single position in Australia, Belgium, New Zealand and Netherlands and became the longest running Australian number one since Savage Garden in ‘97. All this, plus an amazing run of festival appearances, sell out tours and his fantastic third album ‘Making Mirrors’ that has been critically adored and has provided awards left, right and centre.

warpmagazine.com.au

BOY & BEAR Probably pipping Gotye to the post, Sydney’s favourite indie-folk band Boy & Bear absolutely dominated this year’s ARIA awards, receiving five awards including the coveted Best Group and Album of the Year awards.

The former Unearthed winning band has seen all of their success come in the short space of 12 months and their multiple sold out tours across the country and in the U.S. has projected Boy & Bear into this year’s best new bands across the globe.

VINYL RECORDS Following trends in music genre and fashion styles, retro music formats are on the rise, with the classic vinyl reaching record sales in the past year. Vinyl record sales are up 55% according to record company statistics.

Topping the resurgence is Radiohead’s ‘The King of Limbs’ record and Adele’s ‘21’, which both met above average vinyl sales for the past decade.

REUINITING BANDS Have you ever been heartbroken by a favourite band breaking up? Well band reunions are all the rage in 2011, so maybe it’s time for all those vintage shirts and cassettes to be coming out of storage and onto the street. This year Pulp, Death From Above 1979, System of a Down and Black Sabbath lead the way, announcing their reformation as well as global tours. With Soundgarden, Coal Chamber, Bush and Limp Bizkit reunited and heading our way for the Big Day Out and Soundwave tours, who else will come out of retirement to return in 2012?

In 2011 there seemed to be a gargantuan amount of music festivals across the nation, making the market more competitive and also rather expensive. This, along with global economic conditions, saw punters refine their preferences as to their festival of choice and saw many other festivals lose out, with major festivals such as Good Vibrations, Soundwave Revolution and our own Soundscape Festival either cancel or postpone events citing poor ticket sales as their major downfall.

THE COMPACT DISC The ‘revolutionary’ CD has been on a fairly large downfall over the past few years, with a dominance from the digital download market as well as a revival of the vinyl record, leaving the Compact Disc in a rather vulnerable position. UK music retail giant HMV has already announced that over the next few years, they shall be phasing out all CD sales and focusing upon the digital download market as well as accessories for audio players. Will digital completely take over, or is the hope for the shiny discs in the near future at all? best gig of 2011 MUDHONEY AT THE BRISBANE HOTEL With a massive back catalogue at their disposal it was always going to be a big night of big sound and Mudhoney didn’t disappoint, leaving punters with just one more question: who’s next?’ from Warp Contributor Stu Warren.

BEST ALBUMS OF 2011 GOTYE – ‘MAKING MIRRORS’ Undoubtedly, Gotye has been the Australian artist of the year, all thanks to his latest album release Making Mirrors. De Backer is the master of sampling, with vintage recordings from all across the globe being

included skilfully within each of his alternative-pop driven album. As a self-produced, recorded and performed album, it is virtually impossible to get any better than ‘Making Mirrors’, a near-perfect album release from one of Australia’s most talented and visionary musicians.

CUT COPY – ‘ZONOSCOPE’ Engrossing from beginning to end, ‘Zonoscope’ is an obvious triumph with a dash of commercial appeal to boot. To simplify, the stale synth-pop movement has found a kind of saviour. One of the best Australian albums of the year is set to drop and it’s time to get on board for its wild and wonderful ride.

GRINDERMAN – ‘GRINDERMAN 2’ This album is one worth owning. It is a piece of the intricate and epic musical tapestry that is woven consistently by some of the worlds musical greats, but brace yourself to be confronted by Nick Cave’s bleak view on the hopeless state of human society and his thinly veiled obsession about where spirituality hovers in our somewhat confused world, however if you can by pass this you will be able to sit back and rest in the musical quirkiness that is ‘Grinderman 2’.

BON IVER – ‘BON IVER’ Bon Iver is honestly a charming and enjoyable album, by perhaps one of the most talented and illustrious performers in the world. Despite the fact that it doesn’t quite live up to the debut album’s benchmark, it is still beyond amazing and so rich with emotion and musical finesse, a wonderful trademark of this truly sensational project.

After what has been a glorious year all round for music lovers, 2011 has finally come to a close and it is now time for us to move onto the music of 2012. If this year to come is anywhere near as exciting as this one just past, then we are all in for another great year, and Warp will continue to provide the best street press this state has ever seen. Thank you all for your support in such a brilliant year and we can’t wait to share with you in the future.

JOSH CLEMENTS

Naked Acoustic followed by AUSTRALIAN MADE

UNFORGETTABLE VOICE EVERYBODY KNOWS WHO NATALIE COLE IS. Her father, the late Nat King Cole was a prominent jazz pianist with a smooth baritone voice that recorded countless hits, starred in over 20 films, was the first African-American to host a TV variety show, and fought hard against racism during a turbulent period in America’s history.

Natalie has followed the trail her father blazed into the entertainment industry, and has attained similar levels of success.

Throughout the ‘70s and ‘80s, Natalie Cole released 12 albums, repeatedly going gold and platinum and receiving critical acclaim from within the industry.

Just three years after her debut release ‘Inseparable’, Natalie was given a star on the Hollywood Walk of Fame, however it wasn’t until the 1990’s that Natalie Cole became an international household name.

‘Unforgettable... With Love’, released in 1991, became the seminal Natalie Cole album; a collection of classic jazz works that set a new standard for reinventing the great American Songbook. The album saw Natalie perform a posthumous duet with her late father, in the form of ‘Unforgettable’.

The poignant duet received three Grammy awards in 1992: Song of the Year, Record of the Year, and Best Traditional Pop Vocal Performance and the success of this song fuelled the success of the album, leading to a 7-times platinum certification and the growing legendary status of Natalie Cole internationally.

Fast forward eighteen years to 2009, and Natalie Cole has just released ‘Still

Unforgettable’, her twenty-first studio album, and first as a producer, and this time looks beyond songs made famous by her father.

“I decided to go deeper into the American Songbook and not just get songs from my father, but also from Frank Sinatra, Lena Horne, Sammy Davis Jr., and Peggy Lee.” ‘Still Unforgettable’ also contains another posthumous duet with her father, this time the song is the Roy Turk & Fred E. Ahlert classic ‘Walkin’ My Baby Back Home’.

Originally recorded by Nat King Cole in 1951, it has been reworked & remixed into a duet for ‘Still Unforgettable’, and has been surrounded by much-beloved classics such as ‘The Best is Yet to Come’, ‘Nice ‘N’ Easy’, and ‘Coffee Time’.

$6 pints of BuLmers cider

feature guest ciders Jugs of Pimms & Lemonade $15 $10 food menu Live solo acoustic artists

Next year, Natalie Cole returns to Australia to promote ‘Still Unforgettable’, this time with a performance alongside the Tasmanian Symphony Orchestra on January 30.

“I still love recording and still love the stage, but like my Dad, I have the most fun when I am in front of that glorious orchestra,” she says.

Serving great mealS for lunch & dinner everyday!

SHANE CRIXUS

21 Salamanca Place, Hobart | 6223 1119 Natalie Cole performs with the TSO at Wrest Point on Monday January 30. Tickets are available at www.tso.com.au or phone 1800 001 190, or via the TSO, and Wrest Point Box Offices.

irishmurphys.com.au

warpmagazine.com.au

16 Music

Music 17

Colin hay

brookfield

COLIN HAY IS A NAME SYNONYMOUS WITH AUSTRALIAN MUSIC. HE HASN’T CALLED IT HOME FOR 20 YEARS, BUT WHETHER YOU KNOW HIM AS FRONTMAN FOR MEN AT WORK, A SOLOIST OR AS THAT GUITAR GUY FROM ‘SCRUBS’, YOU CAN’T DENY HIS TALENT AND LOVE OF MUSIC.

MARGATE

UPCOMING EVENTS

REGULAR EVENTS

Gypsy Indeed Mon Jan 9 | 7:00pm Junior Bowles Wed Jan 11 Valda Marshall & the Heros of Waterloo Orchestra ThurJan 12 | 7:30pm Gabriel Lynch Fri Jan 13 | 7:30pm Marisa Quigley Sat Jan 14 | 7:30pm Ethereal Aqua Concert Sun Jan 15 | 4:30pm Lucie Thorne & Hamish Stuart Sun Jan 22 | 4:30pm Paul Gerrard Sat Jan 28 | 7:00pm Neil Murray Sat Feb 4 | 7:00pm Chris Cruise & In the Dark Fri Feb 10 | 7:30pm

Open Mic Night 1st Friday of the month Acoustic Music Night 3rd Friday of the month both have a guest artist each month and are free Sitar Lounge 2nd Thursday of the month (7pm) Trivia Last Friday 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

LOOPY MUSIC BIZNESS IN AN INDUSTRY RULED

BY COMMERCE, AIRBRUSH AND TECHNOLOGY, IT’S REFRESHING TO FIND A MUSICIAN THAT IS TRULY ORIGINAL. CONNECTICUT’S tUnE-yArDs IS, IN EVERY SENSE OF THE WORD.

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

Image: Anna Campbell

Topanga Canyon in Los Angeles County, California is now home to Colin Hay, but he often finds himself dividing his time between countries, catching up with friends and family and maybe doing a tour or two.

Warp caught up with Colin as he spent some quality time in Melbourne, with a few small shows in rural Victoria thrown in to keep him busy (before he heads to Woodfordia).

February will see Colin return to our shores for a rather extensive tour, taking in most of the east coast of Australia, including 3 nights exploring the charms of Tasmania.

a beautiful and very personal collection of songs he recorded and produced in his home studio ‘down in the basement’ after the loss of his father.

Colin Hay is a man who has spent his life surrounded by music - his parents had a music shop and his father was a song and dance man. Colin has been performing for over 30 years and that doesn’t look like it will be changing anytime soon.

After a number of years in the entertainment industry, Colin has at least 11 albums under his belt.

“Tasmania is a particularly beautiful part of the world. I’ve played there before, but its been many years and it will be great to get back there.”

“And I still feel like I’m just starting,” he said. “It doesn’t stop, the tunes are still coming out of me. Music is a life long quest, there’s always things to learn,”

The tour will see Colin armed with a fresh album to promote and a vast array of songs and stories to accompany him, and maybe a guitar or two, or three... or four.

Even touring is a constant source of discovery.

“In reality you only NEED one, but I usually end up bringing 3 or 4 guitars. It’s a question of enjoying the different sounds and flavours,” Colin mused. “I usually start off with one, but the rest look at me sadly and want to come along too. But I have to keep the numbers down a bit due to space and logistics.”

“This is big tour for me, and Australia. There is a bigger audience here than I’ve had the chance to explore yet. I just needed the right situation, the right agent to put the shows together and get the word out to let people know about it.”

While some people may know him as the singer from Men At Work, after 20 years and a number of albums as a solo artist, most of his audience now are fans of his in his own right.

And the Australian leg is just the start. Colin heads back to the States after he finishes here and is on the road until the end of May. “I’ve been touring on and off for the last 20 years. It hasn’t really stopped. Plus you always try and coincide tours with records to get them noticed. Playing live is the best way to do this. Always has been and it still is, probably even more important now.”

Colin will be using this tour to promote his latest musical offering ‘Gathering Mercury’, warpmagazine.com.au

“Everything morphs into something else, nothing stays the same,” Colin said.

“I remember hitching up to Surfers Paradise when I was younger to go surfing and the place was literally just a couple of stores and businesses.”

Add to that the fact he has his own record label - ‘Lazy Eye Records’, there is a music studio in his basement, he has been known to voice characters in animated movies (‘The Wild’), has been seen displaying his acting skills in small roles in various films, plus guest appearances on a few TV shows - developing a bit of a cult following on ‘Scrubs’, and then there’s more tours and shows than we can mention - Colin Hays is definitely one very hard working entertainer.

Join Colin on his musical adventure, for an evening of captivating entertainment with an amazing man armed with a heavy arsenal of beautiful songs, stories and a couple of guitars .

KYLIE COX

Colin Hay performs at the Boathouse, Launceston on February 2, The Devonport Entertainment Centre on February 3 and Theatre Royal, Hobart on February 4.

Born from the depths of New England native Merrill Garbus’ imagination, tUnE-yArDs is comprised of Gabus and Nate Brenner, fusing folk and pop, layering drum loops with ukuleles, thumping bass and R&B vocals. It’s raw, it’s messy, it’s brilliant… and it’s coming to Australia in 2012.

Some have questioned the authenticity of Garbus’ vision – is she just trying to be weird? Is the eccentric nature of her music just for show? But when you talk to her about what she does, you immediately know that it’s all real.

She famously recorded her first album ‘Bird Brains’ on a home voice recorder, and speaking to ‘Warp’ from her new homestate of California, Garbus explains how that process came to define her sound.

“I really didn’t have any money… Certainly not money to rent a studio, and I think I was too practical to go into debt for such a thing.

I couldn’t imagine spending thousands of dollars at a studio when I was on food stamps half the time. So it came to be out of necessity, but it really then became a fascination. I discovered that this was a beautiful sound to an album.”

The process for album number two, ‘w h o k i l l’, progressed somewhat in the technological department - something that Garbus found both enjoyable and difficult, as she struggled to maintain the rough, imperfect sound that she had become known for.

“First of all we went into a REAL studio,” she laughs. “And I think that really affected everything after. I got to wrestle with the sounds - trying to make them sound worse than they did originally, wondering whether people who loved the first album would hate this one - or did I hate this one? So just changing where we initially recorded the tracks really changed the whole scenario.”

As with any artist, the influences behind tUnE-yArDs are many and varied. Garbus spent a lot of her life listening to African music, and taking West African and AfroCaribbean dance classes.

“I think a lot of my music comes from movement, and my desire to move, but also really just having a sense of joy and celebration in myself and in my body.”

She is also trained in theatre and puppetry – the former being quite obvious when you watch her videos, and the latter providing

the epiphany that was the turning point in her career.

“I started playing ukulele when I wrote my first puppet show. It was a puppet opera and a friend of mine suggested to me that the creepiness of the lyrics would be complemented by the ukulele,” says Garbus, sharing the fact that the lyrics in question were about a mother selling her child to the butcher for money.

happening. And I’m very aware that that’s often a short-lived thing so I’m going to enjoy it while I’ve got it.”

“Certainly there will always be more that I want to explore, but I feel really happy with the way things are now, I have to say. I can’t imagine a luckier streak that I’ve had in my life.”

tUnE-yArDs performs at the Theatre Royal on January 21 for MONA FOMA. Doors open 7.15pm, entry is free.

KELLY SNYDERS

“We used very grotesque themes accompanied by this innocent-sounding instrument. So that was what hooked me.” ”And I decided that there was a lot of power in a song, and I didn’t’ necessarily need a puppet to portray or evoke what I wanted to in a performance.”

Now wonderfully evolved, Garbus’ performance is renowned for featuring beats and vocals that are created, looped, and layered right before your eyes. And although she’s never been to Australia, let alone performed here, Tasmania’s MONA FOMA festival is sure to be a cracker of a debut.

“There’s so much happening these days, I don’t know what I’m doing until a week before. I fear there won’t be much time between flying from one city to another [tUnE-yArDs will also be doing the rounds in Melbourne, Sydney and Brisbane], so we’ll see,” she says, adding sheepishly: “I am a liiiitle bit obsessed with koala bears, as it turns out, so I’d love to see one.”

Immediately recognising the cliché, she laughs heartily when I tell her that as long as she sees a koala, that’s all that really matters, because it’s probably the first thing people will ask her about when she gets home.

Despite enjoying so much acclaim and success (albeit on a cult level), Garbus remains grounded about the future.

“It’s very rare that you can actually do something that you feel passionate about, especially in an artists place,” she says, pausing as if she can’t quite believe that it’s happening to her. “It’s rare that you get these moments of culture approving of your art, and I think that’s what’s been warpmagazine.com.au

18 Music

Music 19

HAPPY WITH THE BLUES MELBOURNE BLUES ARTIST AND ‘ONE MAN BOOGIE’, SHAUN KIRK CHATS WITH SOSE FUAMOLI AHEAD OF HIS TASSIE TOUR. Shaun Kirk is one of those musicians that comes with an interesting story. Turning to music as a way of relieving boredom while waiting for a broken ankle to heal, the teenaged Kirk instead found an option which took him off the path of personal derailment.

Now 23, the blues/soul artist is nothing but grateful for the guitar given to him by his mum at age 16.

“I was just hanging around with the wrong crowd when I was younger. My mum put a nylon string guitar on my bed one day and I just started stuffing around with it then. A year later, I broke my ankle and I had three months to sit on my bed and do nothing but fiddle with my guitar!

Blues’ already being toured, Kirk’s name and live performances are beginning to gain momentum nationwide. Of the new record, Kirk reveals that life as a touring musician is bound to come through the featured material.

“It’s a more matured sound. I’d like to think that my music and myself in general, has matured over the past two years. I’ve experienced a lot through being on the road so much and that’s probably come through as well. All in all, it’s just got more soul in it.”

Having toured the album since November, not only has Kirk had time to ease into performing the new material live, but he’s “Music has changed my life; a lot of the crew been able to measure the change in crowd size and reception since the launch of I used to hang around with are either doing his career. a sentence or fighting drug and alcohol addictions, which are sad.”

“It’s been awesome and overwhelming, the Drawn to the blues through his exposure to responses and the amount of people buying the CDs… I don’t think I’ve had any negative the open mic night scene of Melbourne, Kirk has since been working on harnessing feedback since the tour started, which is really cool. It’s also rewarding, I mean, the well-established traditions of the a fortnight before the tour started, I was genre and spinning them out in his own, shitting myself! So it’s always a bit daunting.” contemporary way.

“It’s what I’m trying to achieve,” Kirk admits.

“I’m trying to take what most people know of as boring, depressing music and give it a youthful appeal.”

With one release under his belt and his latest LP ‘Thank You For Giving Me The

DEATH AND ELECTRONICA IT’S BEEN AN EVENTFUL COUPLE OF YEARS FOR AMERICAN INDIE ROCKERS DEATH CAB FOR CUTIE.

First they recorded their seventh studio album which was released earlier this year to international critical acclaim, then the band made history with the world’s first live music video recording and they topped it all off with the release of a remix EP in November.

And despite a well deserved break over the Christmas holidays, there are no signs of the quartet slowing down any time soon with tours planned for the New Year, including an Australian tour - their first visit to this corner of the world since 2009.

Speaking from Los Angeles, drummer Jason McGerr took time out from recording Christmas radio shows to talk about creating the new album with a nomadic approach and the upcoming tour.

“Every time we set out to record we like to do it a little bit different than before,” he said. “In the past we’ve recorded fast or isolated ourselves to see what would happen but this time we kept it open.

“We moved the songs around to different studio’s and we would set up to record three or four songs at a time, then pack up and head somewhere else. Some were started in Los Angeles and then were pulled out again warpmagazine.com.au

in Vancouver in British Columbia. We even did some final touches in London.

“We wanted to give each song a unique experience, like building small houses.

We had all gone through a lot of personal changes and we were on the road constantly so we took some time off and came back with songs we had written.”

The personal changes since recording the 2008 Narrow Stairs album included McGerr becoming a father to two children, guitarist Chris Walla ending a long relationship and moving away from Portland, bassist Nick Harmer getting married and singer Ben Gibbard moving from Seattle to LA and also getting married.

The milestone experiences no doubt influenced their work and recording for ‘Codes and Keys’ began in late 2009, quickly becoming an international tour of studios as the album developed.

“It was very fun to make this record and I guarantee we won’t make a record like this again,” said McGerr. “We said it will take as long as it takes and when it’s done it’s done. There were songs we recorded in the beginning that we didn’t hear until mixing and we took a long time preparing for the

songs, finding sounds.

“Some studios didn’t work so we packed up and left which made for a whole lot of flexibility. There are travel patches from all over the world on this album.”

‘Codes and Keys’ was then followed by the experimental recording for the ‘You are a Tourist’ video in April.

“No one had ever shot a real time, scripted music video before and we were very excited that it was the first thing the world would get to see from the record,” said McGerr.

The clip was directed by award-winning film-maker Tim Nackashi (TV On The Radio, Radiohead) and was conceptualised by regular Death Cab collaborator Aaron Stewart-Ahn. It was a huge event for the band with some stressful moments in the build-up to the live recording.

“There were 120 people involved in the making of the video,” he said. “Forty minutes before we shot, there were some hang ups with the feed and seams were tearing on the shoulders of the costumes.

Everyone was excited and scared to death that they were going to trip or fall.”

Despite last-minute nerves, the recording was a success and made musical history by becoming the first ever live, scripted, single-take music video to be broadcast while it was filmed. Then came the remix album which was released in November with a focus on electronic music, a big change in sound for the alternative genre band.

“There have been times in the past when we’ve held material close to our chests and something we’ve learnt over the past two

SOSE FUAMOLI Shaun Kirk performs at The Republic Bar on January 19, the Royal Oak Hotel on January 21 and Tapas Lounge Bar on January 22.

years is that if someone has a vision to let them do their thing and not get too involved.

“We let go of the reigns and let it happen and it turned out great, awesome.

2011 has been the year for electronic music and it seemed appropriate for us to do something like that.”

Death Cab is certainly riding on the waves of a successful couple of years and after celebrating Christmas and New Year in the States, will be escaping the Northern Hemisphere winter and heading to Australia, starting with the Perth International Arts Festival in February.

“We’re always excited to go to Australia and we haven’t been there yet for this album,” he said. “We usually release albums in the fall which allows us to go to Australia during this time of year. We love going to Australia, probably more than any other continent.”

HAYLEY MAGUIRE Death Cab For Cutie will be playing at Perth Festival on February 17 and 18, at HQ in Adelaide on February 20, at Palace Theatre in Melbourne on February 21, at Enmore Theatre in Sydney on February 24 and at Tivoli Theatre in Brisbane on February 27.

warpmagazine.com.au

20 Club / Electronic

Club / Electronic 21

Club and Electronic News

be released for free via their website. The epic 4-track EP is a cross-genre, dancefloor slammer which will surely bring out the raver in even the most prudish of clubbers. www.knifeparty.com

to local DJs playing techno, electro, house and everything else good. Free entry all night, doors 10pm.

SILENCE IS GOLDEN FATBOY SLIM STILL BREATHING MS FEST LINES UP This year MS Fest is coming south to Hobart’s TCA grounds, and the mega line-up includes some of the pioneers of the industry. Electronic headliners include acid house pioneer Bomb the Bass, James Lavelle’s newest incarnation Unkle Sounds, tech-electro master Ajax, New Zealand dub mega-band Fat Freddy’s Drop and Triple J house party sweetheart Nina Las Vegas.

DJ Kuya and local favourites Acumen will be demonstrating their turntable mastery, while Salmonella Dub Sound System will be providing some summery dub sounds.

Tickets are $99+BF, available from Ruffcut Records, Mojo Music, Red Hot CD’s & Oztix. www.msfest.org.au

CREAMFIELDS GOES BEYOND International trance trio Above & Beyond have recently been announced as the second headliner for Creamfields 2012, hot off the heels of a massive party to celebrate

the 400th edition of their Trance Around The World radio show. They join recently crowned #1 DJ in the World David Guetta on the national tour in April/May next year. www.creamfields.com.au

Breath of Life organisers recently announced that turntable and bootleg maestro Fatboy Slim will be headlining next year’s Breath of Life Festival at Aurora Stadium in Launceston. The festival will be cranking out good vibes for a good cause The Lung Foundation of Australia. Tix from Centertainment or Oztix.com.au

The organisers of MS Fest are giving 8 local DJs a chance to mix with the big guns and play in the Silent Disco tent at this year’s festival. Styles can be anything from house and techno to breaks, dubstep, hip hop and mashup. To enter visit msfest.org.au and register, then record yourself a 30min mix to get a chance to prove your skill at Ivory Lounge Bar in January/February. www. msfest.org.au

A LAIDBACK AFFAIR Dutch house superstar Laidback Luke has recently announced an 8-date tour in January and February, including a huge event at Melbourne’s Shed 14, alongside Sandro Silva, Bart B More, Derrick Carter, Roger72 and Nadastrom. The producer and DJ will definitely bring the Turbulence when he hits Australia next year. Tix @ www. moshtix.com.au

SEIZE THE MOMENT SLYNK TO REGROOVE Australian ghetto funk DJ Slynk returns to Hobart for a night of funky breaks and wobbling beats at local club night Regrooved on February 4. Presented by local funksters Areacode Events and Ivory Lounge Bar. Doors 10PM, Supports TBA.

FREE KNIFE PARTY

BEHIND CLOSED DOORS

Pendulum founders Rob Swire and Gareth McGrillen recently announced that the first EP from their side-project ‘Knife Party’ will

Local DJs We Were People are once again organising Behind Closed Doors on January 20 at Ivory Bar. Come along and groove out

Local promoters Carpe Noctem are once again starting their namesake party Seize The Night in January, for another night of progressive house, techno and trance.

This time they are bringing Sydney Techno/ Trance DJ’s/Producers Zac Slade and KSX to rock Hobart’s home of underground beats, PlanB, on Saturday January 14, with Zac Slade and KSX.

ACUMEN STILL EVOLVING

Dameza: Everything goes really, I have a massively eclectic taste in music and I can’t help but convey that into my performances.

Even when I’m just at home chilling out listening to tunes I find myself jumping between Heavy Metal to Funk, Hip Hop to Dubstep, Jazz to Drum and Bass, literally everything. My tastes are like Tasmanian weather, you get it all in one day.

You recently came second in the national finals of the Thre3Style Red Bull DJ Battle in Melbourne. Do you plan to do more competition/battle DJing?

Dameza: I found myself getting a bit jaded on the whole battle thing as it was turning into merely a trick competition and who had the latest four million click flare combinations on lockdown. Thre3Style provides a format in which you see established turntablists going head to head against club guys and party rockers with all styles being able to garner you points.

I definitely will be competing in this event again and who knows; maybe it will inspire me to get back into a bit of turntablist competition as well.

Describe to us the moment when you first got behind the wheels of steel, and when you knew you wanted to DJ professionally.

Dameza: An old flatmate of mine had turntables and he and his crew of friends were big time party animals back then, so warpmagazine.com.au

Sloth: The way I create visuals is to listen to music, break it down into all its elements in my mind and focus on how the music makes me feel and what images in my mental library I can connect to that feeling. Then I go hunting for that particular feeling and edit it to fit, if the music is fast and energetic the visuals will be. Basically I imagine images that would fit the particular bar,

ACID HOUSE PIONEERS BOMB THE BASS HIT HOBART FOR MS FEST IN MARCH, AND AFTER TWO DECADES, THEY’VE STILL GOT A FRESH TAKE ON DANCE MUSIC.

It was always something I was extremely interested in doing but a few years ago the technology wasn’t there for me to do an AV show using turntables so when it did become available I jumped onto it!

The progression was definitely a natural one as I approach the visual sets in a similar way to DJ sets in terms of it doesn’t matter where you source the content from, if it work, it works!

You seem to be constantly touring new shows these days, where are some of your favourite spots? What have been the most outstanding gigs so far?

Sloth, what’s your background as an artist?

Do you find that performing with audio inspires your artistic talent?

MORE THAN JUST A DJ, SAMPOLOGY IS A PRODUCER, AUSTRALIA’S LEADING AUDIO VISUAL DJ AND INTERNATIONAL MAN OF MYSTERY.

What made you decide to move towards video instead of straight music DJing? Was it a natural progression?

they used to get home from massive nights of partying and would all kick on taking it in turns to spin records… then one day he came home with a scratch record and while he was out I jumped on and mucked around for a little while and within seconds was completely and utterly hooked, a few minutes later was when I decided I wanted to do this full time and, the rest as they say, is history.

Sloth: I have been studying art in all its forms since I was quite young and combination of the online community’s feedback on my work and being able to Google any question that I have over many years has help tremendously in pushing past the technical barriers and now I feel like I am at a point that I can communicate an idea legibly through any medium – digital or traditional. I love entertaining people’s senses and I’m so grateful that I have an opportunity to show people something beautiful that helps them to connect with the music.

BUGGED OUT BASS

Warp magazine’s Shane Crixus caught up with the superstar DJ to find out what he has in store for 2012.

TASSIE’S PREMIER AUDIO/VISUAL DUO, ACUMEN, COMBINES THE SKILLS OF MASTER TURNTABLIST DJ DAMEZA AND BROTHER, ARTISTIC POWERHOUSE VJ SLOTH. THEY OPEN UP TO US ABOUT THEIR SIBLING SHOW. What styles do you enjoy playing the most, and what do you listen to when you’re not DJing?

GLUED TO THE SCREEN

beat, breakdown, drop, instrument and so forth.

Does being in a duo help to create a more in-depth experience?

Sloth: Having two minds is fantastic especially when we are solely focused on doing our parts to make the show as fun as possible. We both have a lot of faith in and respect for each other’s skills, enough to trust in what we do without being bogged down by constant changes and back and forth. This allows us to create an entire show in a very short amount of time so we can adapt it to whatever the performance requires.

Your Seaspray show at the opening of MONA in collaboration with artist Aedan Howlett was a huge success. Do you have any plans for further collaborations with artists?

Sloth: We actually performed Seaspray inside MONA not too long ago using chalk based propellant paints. One of our ideas is to have the spray artists hooked up to rock climbing harnesses and ropes and build the wall with foot holds so they can climb up and down while they paint. The possibilities are endless with the combination of digital and traditional paint and video. I am really excited to see how this evolves.

CALUM ‘MAX’ POWER

See Acumen’s full audio/visual performance at MS Fest. www.msfest.org. au

I actually just played Mobius in Hobart for the first time and had such a great time it’s become one of my new favourite spots to play. Doing an AV set at Big Chill festival (UK) last year was really fun as well, I love travelling and meeting new people so I enjoy pretty much everywhere!

The Wiggles and Chris Lilley videos: What is the story behind those? How did they come about?

I’ve wanted to do something with Chris Lilley for a long time being a huge fan of his work and did the audio remix of ‘Slap my Elbow’ for the Angry Boys album, the AV remix ended up being liked so much by Chris he used it for the S.Mouse shows at the start of the set.

The Wiggles came out of that as both projects were through the ABC so I did an audio and audio visual remix for that one as well. Both can be seen at www.sampology. com in the video section.

The comedy aspect seems to play a large role in a lot of AVDJ sets, how much of a

role does it play in your work?

A huge amount, I find it brings a crowd together in a pretty unique way if you can capture their attention then make everyone laugh at the same time. I don’t make the show to be a chin strokey arty type affair, just something that capture people’s attention & party, enjoy, laugh, and cheer to.

You’ve played in Hobart a few times recently, how do you find the crowds here compared to other parts of the country?

Hobart is awesome, it’s similar to Perth in the way that I get the impression there is a huge appreciation if you put effort into your performance and make the trip down.

I love playing Sydney and Melbourne but they are spoilt for choice when it comes to acts touring through, I live in Brisbane and we miss out on heaps of good acts touring through!

What can we expect at MSFest 2012?

I’m going to give you guys the best show I possibly can and am super hyped for the gig after meeting a bunch of Hobart punters last weekend who said they’ll be coming to the festival. Expect to see and hear an audio visual performance I’ll be working hard to put together live on two turntables that will hopefully make you laugh, cheer and dance to.

SHANE CRIXUS

In 1987, Bomb the Bass took the dance and club music world by storm with the release of ‘Beat Dis’. The groundbreaking track was one of the first to bring sampling into the spotlight, and heralded the oncoming arrival as the DJ as superstar in his own right.

In 1994, Bomb the Bass took the world by storm yet again with the single “Bug Powder Dust”. Warp caught up with Tim Simenon, the brains behind Bomb the Bass ahead of their upcoming performance at MSFest 2012.

Despite some changes and re-recordings, ‘Back to Light’ only took 12 months to produce as opposed to the 14 years it took to nurture and create ‘Future Chaos’. What are the reasons behind this increase in productivity?

Finishing ‘Future Chaos’ was the album that put BTB back on track after so many years.

The album gave us a new focus and new direction and ‘Back To Light’ fell into place relatively quickly because of that.

As one of the original dance music pioneers, the work you produce is always waited on with bated breath. Can you give us any insight into any future works planned? Can we expect another fulllength Bomb the Bass album?

Another new Bomb the Bass album is moving forward swiftly and we will be trying out some new material in the set for the Australia and Tasmania shows.

Your live show is an amazing meld of beats, bass, live vocals and stunning visuals.

How do you balance spending time on developing the visual aspect of the show as well as the audio?

We are living in a very exciting age where many different musical influences can be moulded seamlessly into a new sound.

Paul and I very much embrace this ethos of musical diversity and hopefully this is apparent in our set in the form of the different tempos to various moods and atmospheres.

Following on from the previous question, what artists or genres are exciting you at the moment? Is there you any that you absolutely love?

Currently loving Martyn’s ‘We Are You in the Future,’ DMX Krew’s ‘Broken SD140,’ and Ali Renault’s ‘Lacrimal’ - all very enticing tunes.

You were one of the first pioneers in the late 1980’s of what some labelled “Acid House”, and your seminal track “Beat Dis” was an amazing amalgamation of a reputed 72 samples in that genre. Do you still have the same passion for this extreme production style, or have you simplified?

Simplicity has always been and still is a main focus in the production. The main difference being that we are adopting this focus now on a sonically different sounding Bomb the Bass.

Can you give us some insight into what we are to expect from your live show at MS Fest early next year?

The set will include tracks from ‘Future Chaos’, ‘Back To Light’ with new sketches that we are currently working on for the next album. There will also be a few re-workings of earlier Bomb the Bass tracks thrown into the mix.

Calum ‘MAX’ Power

Time management!

Sampology performs at MS Fest on March 3, 2012 at the TCA Grounds, Hobart. www. msfest.org.au

Things have changed a lot since you started in the mid ‘80s, and dance music has evolved into a many-faceted beast with too many sub-genres to count. What’s your take on the ‘division’ of the industry?

Bomb the Bass play at MS Fest at the TCA Grounds, Hobart, on Saturday March 3, 2012. Tickets available from www.msfest. org.au

warpmagazine.com.au

22 Arts

Arts 23

MONA FOMA VISUAL ART Arts Opportunities 2012 ALONG WITH THE END OF THE MAYAN CALENDAR, 2012 BRINGS THE NOW ESTABLISHED MONA FOMA EVENT TO HOBART ONCE AGAIN. It’s an embarrassment of riches this time around, with the faeces on the cake provided

by Wim Delvoye, Belgian art superstar.

You’ve probably already seen, and smelt, his Cloaca machine, or at least one of them – but get excited digestion fans, there are now more out at MONA and by all accounts, the smell is worse than ever as there’s been an attempt to counteract it with a less human odour, apparently some kind of perfume, which has, if it were possible, made things worse – but hey, this is contemporary art in olfactory form.

Image: Fiona Fraser

ARTIST PROFILE

Alicranka ANNA PHILLIPS January, hello again. who would have thought, we’ve done a full circle January to January. Its talk of the town, “my god I can’t believe it’s 2012, like it was 2005 only two years ago, I swear. Time fly’s doesn’t it”. The same old banter we hear every..month.

“I can’t believe its February” that’s what we’ll here next. What’s the point really, we know time fly’s but it is not a phenomenon it is simply the result of busying ourselves.

A New Year resolution - busy myself with not so much busying around. Be less busy.

Anyway..

January brings a plethora of festivities (how could we not be busy), who’s going where, doing what, when, how and why, before you know it exhaustion. However there is one spectacular event to get amongst, art lovers, and yes that is MOFO, be sure to read up as Andrew Harper gives us the run down on all visual components of MOFO. Also while you are enjoying a beverage on Salamanca Lawns or the nearby pub this January take a stroll up Kelly’s Lane to feast your eyes on some blossoming artwork by Anna Phillips in Kelly’s Garden. And don’t forget you can always visit good old TMAG grab a pushy and ride about the art on show in Hobart.

If in Launceston be sure to check out the college level talent at ArtRage in the Queen Victoria Museum and Art Gallery. Personally I always really enjoy this show, some yougens really do have effortless talent which ceases to amaze me.

Enough from me, till next month readers, adios.

ALISON McCRINDLE alison@warpmagazine.com.au

warpmagazine.com.au

ANNA PHILLIPS HAS RECENTLY RETURNED TO HOBART TO COMPLETE FURTHER POST GRADUATE STUDY FROM SEVEN YEARS LIVING AND WORKING OVERSEAS, INCLUDING TEACHING ART IN SEOUL. CURRENTLY SHOWING AT KELLY’S GARDEN WITH SAKURA POLYMERS, A GLOSSY CHERRY BLOSSOM ORCHARD CONSTRUCTED FROM RECYCLED PLASTIC BAGS, PHILLIPS MERGES AN OBSESSION WITH PLASTIC AS AN OVERABUNDANT AND PLIANT MATERIAL WITH THE AUSTERITY OF AN EASTERN ROCK GARDEN. On approaching your work one is immediately drawn to its materiality. For you does this take priority over its form?

Materiality is very important to me. The characteristics and properties of plastic I find quite fascinating given its history being a poor substitute material with a down rent status, blamed and despised as a polluter of the environment and animal welfare. However, I find plastic a very optimistic material as it can be used so many ways. In this instance, creating an orchard of flowering blossoms from plastic hopefully reflects the positive energy and abundance of nature, which I am in awe of.

There is an obvious contradiction in play here between the use of trees and the process of wrapping them in plastic.

I had a friend say I was like an embalmer!

So I think it is possible to make a comment from what I do to natural forms (wrapping, pruning, cutting), which is basically controlling and forcing aesthetic decisions onto a natural uncontrolled thing. However, I think I am actually enhancing the natural form and making it better.

There is also a strong reference to the process and labour of the works’ construction, in particular the crochet flowers. In the past you have had friends help in this process, a communal, relational way to produce work.

I have worked with friends and sometimes even strangers, to help me make sculptures for the only reason that I often work quite big, even monumental and I need help to complete the job. I am fortunate to have such supportive friends who can understand my vision and struggle to make things real. But in reality, I rarely have had the opportunity to make work in a designated

studio space and as a result I have made the work in very compromised places like on the train, in my sitting room, doctors waiting rooms, on my sofa. I have to make small pieces, like pre-fab. and then put all the bits together like a big puzzle. I like the idea of making art with simple technologies.

I incorporate traditional skills such as crocheting as it is such a humble and accessible technology, and predominantly seen as women’s work to create structures and forms that defy normal rules and traditions.

Has the experience of living and teaching art in South Korea impacted your sensibilities towards art?

Totally, I think the opportunity to work in Asia for seven years really impacted on my sensibilities, the people, culture, sights, sounds, smells all impacted on my outlook and expanded my desire to make and exhibit my art making. I could write a book about this last question, going to Korea really developed me as an artist and as a person. I think I am so lucky I have had this opportunity to go somewhere else and reflect on such an experience.

Laura Hindmarsh

Despite the focus on the faecal, there’s a lot more to Delvoye; he’s known for shock and controversy beyond replicating the digestive system; possibly more controversial is his work tattooing designs onto live pigs, which are eventually slaughtered and displayed – some of the ex-pigs are to be seen as well at MONA amongst over a hundred examples of Wim’s marvellous catalogue, including a living human being, Tattoo Tim, who, although not a pig, sports another of Wim’s tattoo designs.

Delvoye may confront and challenge but there are other works appearing throughout the festival; Daniel Mudie Cunningham has a jukebox filled with songs that people want played at their funerals. Daniel has collected literally hundreds of songs since the work began in 2007. Inspired by his brother’s sudden death in 2000, the jukebox, entitled Funeral Songs, contains the song his brother had mentioned in conversation as wanting played at his memorial that was forgotten, and then recalled after the fact.

This simple work contains a broad range of reactions to a small question.

Scottish artist Susan Philipsz also deals with sound, song and loss. Her work Lowlands won the prestigious and controversial Turner Prize in 2010 – this rather beautiful sound work featured the artist singing three versions of a 16th century Scottish lament about a sailor who is drowned and who visits his wife a final time.

For MONA FOMA, Philipsz is presenting a new work – another old Scottish traditional song, but with an even darker subject matter – it’s a tale of one sister who murders another. The sound of her untrained yet lovely voice will haunt MONA for a month.

A bit more upbeat is the AC/DC inspired work by Sydney Artist Nell. She’ll be doing live performances around Hobart, but her visual work, Let There Be Robe is a garment made from a collection of AC/DC T-Shirts sourced from all over the world. Sounds like super fan stuff and a lot of fun, this kind of fusion of rock culture and installation sums up what MONA FOMA is about, bringing it all together and letting people make their minds up for themselves.

ANDREW HARPER

MONA FOMA VISUAL ART Jan 13 – Feb 13 2012 at MONA

THE NEW RED WALL

Check out the list of upcoming workshops, grants, residencies and other arts opportunity’s. This is only scraping the top of what’s out there for artists and alike so jump on the World Wide Web and do some surfing around the websites I have listed to find out more awesome stuff to do and be part of.

Workshops

Other Opportunities cont.

• ‘The Deal’ free-spray workshops at Kangaroo Bay Sports ground amenities building (opposite Eastlands), once a month on a Saturday between 1pm-4pm: Jan 21, Feb 25, Mar 24 & Apr 21. All paint provided, free bbq for more info contact: 6245 8780 or 6247 1230.

pool. Artwork possibilities include sculpture, furniture, graphic design and 2d. Applications close Feb 8, for more info visit: http://www.arts.tas.gov.au/arts@work/ public_art

• Re-Cycle It. Be creative with your recycled house hold items and help the environment, participants aged 10 and up, Jan 12th 1pm-4pm, East Devonport Community House. Bookings essential call Devonport Regional Gallery Ph: 6424 8296..

• Stop Motion Animation. Spend two days learning the basics of stop animation short film making, Jan 16th & 17th, $5 per day, East Devonport Community House. Bookings essential call Devonport Regional Gallery Ph: 6424 8296.

• Dye it Sew it. Spend the afternoon with a local artist creating a unique beach bag using dyes sourced from local plants on Feb 2nd, East Devonport Community House.

Bookings essential call Devonport Regional Gallery Ph: 6424 8296.

GRANTS • Artsbridge Connect. for individuals and organisations to assist in bringing a leading national or international arts professional or practitioner to Tasmania to conduct professional development opportunities for the benefit of a group of Tasmanian Artists.

Available for projects and opportunities that arise a relevant grant round closing date and which cannot be delayed until the next funding round. Applications always open, for the Artsbridge toolkit visit: www.arts.tas.gov. au/artsbridge

Originally named ‘Republic Art Venue’, the idea spawned from Duggin wanting to get Calvert’s work out there and as well as being a space for emerging artists and alternative art.

Couple Kym Duggin and Robin-Mary Calvert opened the Gallery with its first exhibition called Corkers on Australia day, the group show included the likes of Robin-Mary Calvert, Geoff Dyer, Wayne Brooks, Leanne Barns, Cath Miller and more.

Calvert returns to the Red Wall Gallery as curator, we should expect to see the space feature some emerging artists as well as more established artists and “edgy, on the fringe contemporary art”.

ALISON McCRINDLE

• The Melbourne Sculpture Prize 2012, a $20,000 non-acquisitive award open to all Australian and New Zealand sculptors working in any medium. Entries close Feb 29, for more info visit www. melbournesculptureprize.com.au • 2012 Regional Arts Australia National Conference, hosted in Country Arts, South Australia, is open to applicants with ideas to share in a panel, presentations or workshops. Nominations close February 28th. For more info contact Jo McDonald 0423 290 436, joanne.mcdonald@ countryarts.org.au or visit: http:// artsalexandrina.org.au/ • Youth ARC Gallery is seeking young artists 12-25 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 potterm@hobartcity.com.au

WEBSITES OF INTEREST

• Bald Archy Prize 2012, award for the best comic or satiric portrait, preferably of an Australian distiguished in Art, Science, Letters, Politics, Sport of the Media, and must be painted during the 12 months preceding February 3rd 2012. Entries close Feb 3, for more info visit: http://www. baldarchy.com.au/entry.html

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

• Tasmanian Government Art Site Scheme is seeking expressions of interest from contemporary artists to develop an artwork that enlivens the foyer area leading to the King Island District School’s swimming

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

Other Opportunities

We already know about the Red Wall Gallery changing hands in management, but you may not be aware that the new manager is actually one of the original two who started the space back in 1999.

• Sidney Myer Fund Australian Ceramic Award. with a $55,000 prize pool the SMFACA is a premier acquisitive ceramic art award in Australia and International.

With three categories there will be three artists shortlisted; Australian, International & emerging. Applications close Feb 1st, for more info visit www.sheppartonartmusuem. com.au/exhibitionprogram/smfacaa/

THE SCHOOL OF

Design for a climate of change.

INFORMATION SESSIONS, 16 DECEMBER 2011, 10am–1pm

APPLY NOW FOR 2012!

Architecture | Interior Design | Furniture Design | Landscape Architecture Apply online at: www.utas.edu.au | For info visit: www.arch.utas.edu.au or phone: 03 6324 4488 Sakura Polymers is on show until January 22 at Kelly’s Garden, Kelly’s Lane off Salamanca Place.

warpmagazine.com.au

24 Arts

Performing Arts 25

WARP GALLERY GUIDE - JANUARY nortH CONT.

SOUTH MUSEUM OF OLD AND NEW ART Monanism, permanent collection.

POWERHOUSE GALLERY Summer School Exhibition, Jan 23 - Feb 5.

Wim Delvoye, first solo exhibition in Australia, Dec 10 2011 - Mar 26 2012.

QUEEN VICTORIA MUSEUM & ART GALLERY ArtRage, folios of work of the Tasmanian Certificate of Education, ends Mar 11 2012.

PEPPERCORN GALLERY A co-operatively run outlet for the fine art and craftwork of local Richmond artists.

PLIMSOLL GALLERY Antarctica: the art of science, group exhibition, Dec 2 - Jan 22.

SADDLERS COURT GALLERY Exhibiting over 100 Tasmanian artists & crafts people.

Hands Drawing

146 ARTSPACE Afterglow, Paul Snell, Nov 21 - Jan 4.

Metamorfosis, Nicole O’Loughlin, Jan 13 Feb 9.

ART MOB Puwangari (Lots of Dots), Natalie Puantulura, Jan 13 – Jan 29, OPENING Jan 13 at 6pm.

BETT GALLERY Balance Point, Belinda Winkler, Jan 6 - Feb 4, OPENING Jan 6 at 6pm.

CARNEGIE GALLERY Surface, Maeve Woods, Jan 20 - Feb 26, OPENING Jan 19 at 6pm.

CAST Oceanography / Peron Station (MONA FOMA), David Chesworth , Jan 12 - Jan 22.

COLVILLE GALLERY Peter Hiller - Annual Artists Exhibition, ends Jan 18.

Jerzy Michalski, paintings, Jan 20 - Feb 8, OPENING Jan 20 at 5.30pm.

DESPARD GALLERY Despard Gallery 24th annual summer show, ends Feb 15.

DUALLEY WATERFRONT CAFE & GALLERY Varuna, fine art photography group exhibition, ends Feb 1.

ENTREPOT GALLERY Jewellery master Class, visiting artists, Jan 1-8.

SALAMANCA ARTS CENTRE LONG GALLERY: Closure Loops, Darren Cook & Laura Hindmarsh, Jan 20 -29, OPENING Jan 19 at 6pm SIDESPACE GALLERY: Kunanyi / Wellington Top, David R Bluhdorn, Jan 5-17. This Flaming Heart, Naomi Howard, Jan 19 – Jan 31, OPENING Jan 19 at 6pm.

Image: Laura Hindmarsh

MONA FOMA - Introduction to Installation, various college students, Jan 20-27.

Jack Robins, sculpture, Jan 30 - Feb 17.

GOULBURN ST GALLERY Sally Brown, Sculptures, Jan 3 – Jan 30, OPENING Jan 5 at 6.30pm.

Goulburn Too, Grand Opening with live music Australia Day Jan 26.

HANDMARK GALLERY Jewellery & Tasmanian Christmas Treats, ends Jan 17.

Junko Go, Jan 20 – Feb 14.

Michaye Boulter & Anna Weber, Feb 17 Mar 13.

INFLIGHT Hot Mock, Emma Ramsey & Vicki Papageorgopoulos, Jan 6-28, OPENING Jan 6 at 6pm.

You’ll always be me #1, Sarah Jones, Feb 3-25, OPENING Feb 3 at 6pm.

INKA GALLERY INC. A Blank Canvas, Members’ Exhibition & invited guests, Dec 22 – 11 Jan, OPENING Dec 22 at 5.30pm.

Two Worlds, Alicja Boyd, Jan 12 – Feb 1, OPENING Jan 13 at 5.30pm.

Blue, Members’ Exhibition, Feb 2 - 22.

LOVETT GALLERY Australian Society of Marine Artists Exhibition, Nov 6 – Nov 27. Open Fri, Sat and Sun 104pm.

KELLY’S GARDEN: Sakara Polymers, ends Jan 22.

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

TASMANIAN MUSEUM AND ART GALLERY To Catch a Tiger, James Newitt, ends Mar 12 - guided tours 12:30pm Tuesdays.

Traversing Antarctica: the Australian experience, ends Feb 26.

Artists in Antarctica & the sub-Antarctic, TMAG collection, ends March 4 2012.

THE BRISBANE HOTEL The Ultravenis Project, Chris Paton, ends Feb 3.

WATERFRONT CAFE & GALLERY DUNALLEY Varuna, group photography show, ends Feb 1.

BRUNY ISLAND ART AT THE POINT Bruny Island Artists Annual Christmas Exhibition, ends Jan 5.

“They sit on posts don’t they?”, Liz Bennett, Jan 7 -Jan 30, OPENING Jan 7 at 1pm.

nortH HANDMARK GALLERY Handmark Gallery Stock Show, Jan 1 – Jan 31.

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

2011-2012 season, opening Dec 2: The Apparent & the Abstract, Chris Bell. Colours of Iceland, Joshua Holko. Retrospective, Richard Bennett. Wild Tasmania, Rob Blakers. Fluid Tasmania, Andy Chisholm.

Flora & Fauna, Dan Giselsson. Liquid Light & Lalo Tahi, Darren Jew.

northern tas ATRIUM GALLERY – UTAS Cradle coast Campus Wild Sight, photography by Jenny Archer & Jen Evans, ends Jan 13.

BURNIE REGIONAL ART GALLERY Freshwater Saltwater, Aboriginal & Torres Strait Island prints. Looking Through, Nigel Lazenby.

Ha! High Art Summer Show, North West Coast High school & College Students. All show’s end Jan 29.

DEVONPORT REGIONAL GALLERY MAIN GALLERY: Missing, Presumed Dead, Paul Snell, ends Jan 15. LITTLE GALLERY: Mersey, Julian Thompson, ends Jan 15.

MAIN GALLERY: Owen Lade Retrospective, Owen Lade, Jan 21 – Mar 4, OPENING Jan 20 at 6pm.

LITTLE GALLERY: Video in a Box - MCA Touring Exhibition, Jan 21 – Mar 4, OPENING Jan 20 at 6pm RENAISSANCE CAFE PhosGrafis, Madonna McKenna & Roy Smith, ends Jan 14.

ULVERSTONE VISITOR INFORMATION CENTRE Photography, Brum Robaard, Jan 1 – Feb 29.

WONDERS OF WYNYARD GALLERY Duncan Sproul, Jan 3 - Jan 30.

Mycological and Magical - Fungi & Fairies, Chris Wilson, Feb 3 - 28. * 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

BOLD BARBARIANS TASMANIAN AVANT GARDE SUCCESS STORY, IHOS OPERA, CELEBRATES 21 YEARS OF CROSS-CULTURAL, BOUNDARY-PUSHING PERFORMANCES AT MONA FOMA THIS YEAR WITH ‘THE BARBARIANS’.

Sarah Mashman spoke to IHOS’ Artistic Director, Constantine Koukias about the Company’s new production for MOFO 2012.

Greek for sound, IHOS has built an international reputation for their original theatre and opera. Blending the two, visual, textual and sound elements are superimposed upon the stage in a contemporary vocabulary that translates narrative into spectacle.

Building upon their previous work with the MOFO team, Con rhapsodises about the experimental acts that Festival Curator, Brian Richie will draw on to create MoFo, “a wonderful platform for that. People know they’re going to come to something unusual.”

Now in its third year, The Museum of Old and New Art’s Festival of Music and Art (MONA FOMA, shortened to the colloquial MOFO), has become part of the language of the Tasmanian summer months. The curators hand pick acts to teach, entertain and bemuse their audience.

137 Collins Street, Hobart 03 6234 3788 w w w . a r t e r y d i r e c t . co m . a u

Con says the commission by the Museum of New and Old Art grants “a lot of freedom in terms of what I’m allowed to do. MONA has given me free rein.”

He acknowledges that “we’re in difficult times in Tasmania with funding cuts left right and centre.” However he is keen to keep creating new works, experimental and creative, which push the boundaries and explore the outer realms of opera and theatre.

The newest production for IHOS, ‘The Barbarians’, is “a large scale opera in modern Greek.” For those who are not bilingual, Con reveals that it is a “very visual work” with only a page and a half of text and more movement and arts based.

He describes this mix as interspersing the Greek text into the movement, “melting the language.”

The work is based on a poem, ‘Waiting For the Barbarians’ written by Constantine P. Cavafy in 1904, an observation upon an event that became a non-event. Con was initially introduced to Cavafy’s work by Richie two years ago whereupon he “became entranced by the poets work” he was then able to have a year to think about how it would work and develop the themes within the poem.

The Barbarians explores three themes, Christianity, patriotism and sensuality, stemming from the poem which ignited Con’s personal feelings about these themes.

It is also about the other and the fear of the other, explored through the work both visually and musically.

This year, as former years, the schedule contains a variety of free events, however many more now require the purchase of a Festival Pass. Maintaining the stance of previous years, some events are ‘special’ and require a separate ticket to attend.

Con observes that there is a “bit of me” within the work. His personal feelings upon the themes speak volumes of experience as Artistic Director and Composer of IHOS for the past 21 years.

Some firm favourites have been recalled including Amanda Palmer with Brian Viglione in tow as The Dresden Dolls, Ballet Lab and IHOS, with their biggest commission to date.

“I’ve always been interested in Greek orthodoxy. Patriotism is in our faces, what’s going on in the world and as you get old you start feeling more comfortable about yourself in terms of sexuality.”

Contained within a minimal cast of five principal performers and a chorus of ten men, there are big chunks of time where “nothing is going on.” Where a visual narrative will continue the story, rather than a textual narrative, or, as Con describes it, “interpreting the work through the eyes.”

Technology an accepted addition into the performing arts sphere will add extra layers of visual and audio experience.

“They speak and it is reproduced through computers.” Computers are the device they are exploring in ‘The Barbarians’ enabled by a “lovely creative team. We’re using projections, sound, light and artistic design.”

The staging of ‘The Barbarians’, the construction of a space between the audience introduces another element to the work. For 20 minutes, the audience will face each other observing activity like spectators attending a tennis tournament, the performance space resting in between.

Rephrasing the audience into walls that contain the performance is only one part of the whole, keeping the audience to a minimum number and the performance time to a scant 20 minutes ensures a lively and interesting performance.

So, why continue to create in Tasmania, where funding for Arts is dwindling and the audience relatively small? Con replies that although “Tasmania is a small place, it provides a very supportive audience base, it’s like anything in life, I’m lucky that I’ve been able to do it in the place that I live.”

SARAH MASHMAN

‘The Barbarians’ by IHOS Opera for MONA FOMA 2012 will be performed at City Hall, Macuqarie St, from January 18-22 at 2pm and 7.30pm. Tickets $25 from www.mofo. net.au

warpmagazine.com.au

26 Eat Out

Eat Out 27

TWO METRES TALL BREWERY I LOVE BEING AROUND ASHLEY. YOU KNOW WHY? BECAUSE TRUE TO HIS COMPANY’S NAME, HE’S TWO METRES TALL. Being nearly six feet tall myself, that makes me happy - someone I can look up to! He’s also got a voice as large as he is tall and he’s completely fascinating to listen to. He’s very proud and “fiercely independent” about quality and farming sustainably.

“Sustainability in farming is central to our philosophy. We practise organic principals using no synthetic fertilisers or herbicides.

The management of our brewery waste is also integral to our farming and cattleraising,” he says.

I met Ashley when Slow Food Hobart hosted a wine tour in the Derwent Valley and we finished the day at Two Metre Tall Brewery with an amazing lunch of ‘beer fed’ beef brisket that Ashley had barbequed. Not only is he a brewer and passionate farmer, but he was a chef and winemaker for years, spending a lot of time in France.

Ashley and his wife Jane have a farm based brewery at Hayes in the Derwent Valley.

Everyone’s heard of Hayes Prison Farm - it’s not far from there. He grows most of the

ingredients needed to make his ales and for the ciders he sources apples from the Huon Valley and pears from the Tasman Peninsula. He needs way more hops than he grows at the moment so they are sourced from Bushy Park, just ten minutes from his farm gate.

On six hundred hectares he grows nine varieties of hops, three of barley and wheat for malting and has Black Angus Cattle and Wagyu Bulls. He makes an apple cider - Huon Farmhouse Dry Cider and Poire - a pear cider and brews four different types of ale: Derwent Real Ale, Forester Real Ale, Huon Dark Apple Ale and a refreshing Cleansing Ale. The Dark Apple Ale is made with 20% apple juice.

The lucky cows get to free range on pasture as well as feed on the spent grain and hop waste from brewing, hence the label ‘beer fed beef’. .

They have converted the shearing shed into the brewery and the next step is to build a

malthouse; a shed where they can do their own malting. At the moment they send their grains to Victoria to Powell’s; the only people who will malt small batches in the Southern Hemisphere. Once they’re set up to do their own malting they’ll be able to complete the circle and have the whole product grown and made on site.

Malt, along with yeast and hops is an essential ingredient in brewing beer.

To make malt, a confidence trick is made on barley. The traditional way to make malt is floor malting where the grain is spread on the floor of a dark room. The barley is then wetted and soon ready to sprout and when it does that it starts the process of converting starch to sugars. Once this process has begun you throw it all into a kiln and dry it out. Once that water has gone, you end up with malt. Cooking those sugars gives the lovely malty aroma. To make porters and stouts they nearly burn the grain.

Maris Otter is a variety of barley that hasn’t been grown in Australia for at least forty years. In the UK it is known to small brewers as the ‘king of malting barley’. Maris Otter is a variety of barley that is specifically grown for brewing, rather than other malt barleys that may be used for bread, vinegar, biscuits or malty drinks. It has a nice light colour and when toasted will produce a sweet, succulent malt with complex flavours.

Maris Otter doesn’t even register in large scale farming of barley grown in the UK, let alone in Australia. Ashley found it near impossible to source some seeds until David Sparrow, a member of the original Cambridge University plant breeding team from the 1950’s, but now living in Adelaide, put him onto the Australian Winter Cereal Museum where he found a sachet of around 400 seeds. Ashley is now growing the Maris Otter and over the next few seasons will be able to build up his supply of this precious strain and then use it in his own Ale. In the meantime he’s brewing with a single commercial malting variety Gairdiner.

Now we get to the hops. At 2MT they grow nine varieties of hops, varieties that are no longer grown commercially. Large scale farming is all about producing high yields over taste. Ashley only grows highly aromatic and exceptionally flavoured heritage varieties of hop. Bruny Island and Fuggle are proving to be the best varieties for their micro climate.

CHEWING THE FAT

FLATHEAD Address

4 Cascade Road, South Hobart Contact

6224 3194 Hours of Operation

Mon – Sat Indicative Prices

$23 - $30, Kids $1 sometimes.

My first job was as a kitchen hand at the Ball and Chain Bar and Grill. Before that I used to eat my steak medium and had no idea what steak tartare was. The head chef there refused to give me a medium steak on the basis that it was tantamount to destroying it. So I had to learn to eat my steak rare. By the time I left, I was eating them blue and having steak tartare for breakfast.

I have been to Flathead several times.

A while ago I was lured in with my family by the sign that said $1 kids’ meals. We sat down, started ordering, and then found out that the kids meals were only in the evening during limited hours.

I used to make the entrees and desserts.

I certainly got an appreciation of how much harder it is to make 200 dishes in a night compared to two. I remember been scared when a food critic came in to eat one night. When I remembered that I knew I had to go back. I had sworn to never darken their napkins again. But in the interests of food reporting I had to give it a go.

Needless to say, I was annoyed at having to pay a lot more per child than I was expecting to. So I stayed away for a long time. In an attempt to review somewhere new I went back in the small window of time where children do eat cheaply, (5:30-7:00pm).

Even if they do not cook the fish in oil that is ‘virtually free of trans fats’ I still baulk at paying up to $27 for a single serve of fish and chips. So I went for the Thai Pink Ling Curry, ($29.90). As soon as I ordered it I regretted it. I had broken a personal rule.

That is to avoid the token Asian dish in a non-Asian restaurant. To spite my fears, I was pleasantly surprised. The dish was well presented, the fish was cooked very well, the flavours were in nearly in balance, but I would have liked to have some lime to add to it.

Walking in was like stepping back in time; the salad bar was in the same place, the tables looked the same, the atmosphere was the same. The service was very good, I am not sure if that was the same as I never ate out the front. My heart almost skipped a beat when I opened the menu.

It was the nearly the same.

I wanted to try the different dish on the menu, but I had to get a rare porterhouse steak with the house BBQ sauce. It is what I used to get for my evening meal when I worked there.

The kids ate all of their fish and chips without even commenting on the lack of trans-fat. Service was good and the wine list featured a good selection of Tasmanian wines.

JASON JAMES

Who would’ve thought brewing was so complex?

Check the website for opening dates and times: www.2MT.com.au 2MT will be at the TASTE with the Wursthaus Kitchen in the brasserie tent, outside the main shed Find Two Metre Tall on Facebook – ‘Fiercely independent Farmers & Fermenters’ Follow us on twitter: @JoHCook and @TwoMetreTall

THE COFFEE SHOP Address

Wrest Point Casino, Sandy Bay Contact

6221 1700 Hours of Operation

Breakfast 6.30am – 10.30am, Lunch noon – 2pm, Dinner 5.30pm or 7.45pm daily Indicative Prices

JO COOK

Jo has been in the Hobart food scene for 17 years, starting Syrup in 1994 originally as a restaurant moving tables aside after dinner for dj,s to play to the club scene.

She is a member of the International movement Slow Food and on the Slow Food Hobart Executive.

warpmagazine.com.au

Continental Buffet Breakfast $22, Full Breakfast Buffet $27 / $16, Lunch Buffet $24.50 / $16, Dinner Buffet $33.50.

I’m a sucker for a buffet. Being naturally a little greedy, the notion of having too much food and piles of different dishes for the taking is extremely appealing. Though a trip to an all-you-can eat restaurant used to mean peril to me when I was younger I would always spend the ensuing hours in digestive agony after my epic multi-course meal. I’m glad to say I have learned a little bit more restraint since youth.

The Coffee Shop at Wrest Point Casino is a bit like eating at your nannas. There is nothing particularly outstanding there to eat, but rather it is good, wholesome fare, and a lot of it. On my most recent visit, my partner and I chose to eat at the quieter 8pm sitting, which I think is preferable, as the hordes of 6pm diners were rolling out, and I didn’t have to battle any crowds at the buffet. The food is refreshed for the 8pm sitting, so there is no degradation in quality for the later session.

Always available are two soups and two roasts, then on one side of the buffet there is a salad bar, and the other has hot dishes such as pasta bake, baked and steamed veggies, a chicken dish, and more. Most of it is pretty healthy. My picks were the spring

rolls, the cold roast beef with relish, and the chicken dish - lovely succulent thigh pieces on the bone, baked in a tomato based sauce. I was also rather pleased to find a bowl full of marinated artichoke hearts in the salad section, of which I snaffled a significant quantity.

When the steak came out I knew it was going to be the same. The sauce was the same, which is a feat. How can a restaurant keep turning out the same BBQ sauce for twenty years? Or rather, why would a restaurant keep turning out the same sauce for that long? Did they just make an oil tanker amount back in the eighties?

JASON JAMES

Eat Out Editor jason@warpmagazine.com.au

Dessert is where you can really accrue the calories. Replete with a chocolate fountain, and a dozen or so assorted dessert classics, it’s like a childhood dinner fantasy realised.

In an unnaturally subdued fashion, I only sampled a couple of things - perhaps due to my fears of what my stick-thin, littleconsuming partner might think if I continued to eat like a behemoth. (Note to self: next time go with a fellow glutton).

The Coffee Shop might not boast the decadent spread that some more expensive buffets elsewhere might offer in five star hotels on the mainland, but at $30 (and less for lunch) for three courses of satisfying food, it really is good value.

SARA WAKELING

warpmagazine.com.au

28 Album Reviews

Live Reviews 29

BLUEJUICE

I can’t deny my excitement when Bluejuice’s third LP ‘Company’ arrived, following ARIA nominations for their 2009 sophomore release, ‘Head of the Hawk’ with the infectious hits, ‘Broken Leg’ and ‘I Ain’t Telling the Truth’.

undeniable energy. The first actual single lifted from ‘Company’ was ‘Act Yr Age’. It has all the vital ingredients in it that made ‘Vitriol’ and ‘Broken Leg’ such big hits; a sing-along chorus and an undeniable sense of immaturity that is immediately appealing.

Their two previous albums have been home to killer tracks, but they haven’t put a solid and consistent set of songs together right the way through - until now. With ‘Company’, Bluejuice still explore their cheeky nature while providing consistent quality.

‘Can’t Keep Up’ kicks off with piano that starts low and rises into an upbeat verse, before unfolding into a pretty eclectic and fun chorus. Pianos, keyboards and synths are staples of this album - it’s one of the key ways Bluejuice distinguish themselves from other Australian rock outfits.

The band released one song for download on their website well before the album’s release. ‘Cheap Trix’ got fans abuzz with what they could expect from the forthcoming album due to the song’s incredible and

COMPANY

NOAH TAYLOR AND THE SLOPPY BOYS

One of the best numbers on the disc is ‘Recession’, which seems to be a song about a guy telling his girlfriend that he loves her but can’t afford to buy her gifts and decides

Sounding every bit like The Birthday Party, it opens with the manic politics of the title track. Jangling guitars dominate as Taylor proclaims “I’m not advocating murder / I’m not advocating murder” over the furious electric guitar work and hysteric rhythm section.

VARIOUS ARTISTS

PRECIOUS JULES

INSOMNIA

REWIGGLED

The adventure continues on the much more accessible ‘Fuck You’ – a delectably juicy sonic offering, each of its parts weaving together beautifully, like a well oiled engine.

‘Bridezilla’s Holiday Sidewinder’ provides backing vocals throughout - adding to the depth of these well written tracks.

Taylor is a more than capable vocalist and shines on the lovely ‘Girl’ - a laid back offering soaked in delay and highlighting his impressive vocals. The Dirty Threeinspired instrumental introduction to ‘Rose’ concludes what is a healthy debut. Based on this impressive set of songs, one senses this outfit would produce a ripsnorter of a live show.

Now, what’s for dinner? Falafels? No. Let’s re-engage ourselves in this tasty collection of tracks instead - it’s a meal in itself!

TOM O’DONOVAN

Kim Salmon (The Scientists, Beasts of Bourbon) has teamed up with producer friend (Mike Stranges of Morning After Girls/Ripe) on drums and spit, polished and christened it Precious Jules.

It’s been a bit over a year since Megan Washington took the Australian music scene by storm with her buzz debut, ‘I Believe You Liar’ and this 8-track follow-up celebrates its release overseas.

Sounding like The White Stripes and The Black Keys, the pair toys with rough garage, punk and pub rock on 11 tracks drenched in beer-soaked youth and rock swagger.

‘Holy Moses’ kicks off proceedings with its notable kazoo, it’s not as instantly likable or infectious as favourites like ‘Rich Kids’, ‘1997’ or ‘Sunday Best’, it takes a few listens to grow on you. ‘Plastic Bag’ is enticing from the get-go, sounding like a stripped back version of ‘I Believe You Liar’.

‘Cheap ‘N’ Nasty’ may have originally been written by Salmon with Dave Faulkner for The Cheap Nasties back in 1977, but here it is given a new lease on life. Then there’s some buzzsaw guitar on ‘You’re A Backlash’ and ‘Pearls Before Swine’ sounds like the soundtrack to an emergency.

These blokes sound as enthusiastic, bratty and vital as a bunch of youngsters who think they know everything about the world, even though they haven’t seen shit.

NATALIE SALVO

She brings the mood down on ‘Skeleton Key’, which is a real sombre and poignant affair. ‘Sentimental Education’ and ‘Public Pool’ are sad yet beautiful tunes. ‘Letterbox’ is a poignant recounting of a run-down old house in which Washington used to live, while ‘High Treason’ illustrates Washington’s bravado in laying emotion on the line. ‘Insomnia’ closes in a softer mood.

Minimalistic and beautiful, low-key and moody, any existing Washington fan will lap this up, although it may take some time to get used to the contrasting feel of this EP. It’s a great second effort and will certainly keep fans happy until she releases her sophomore album, as well as showing her tremendous songwriting chops.

Grunge didn’t die; it just went away for a while. And for fans of the first wave of that fuzzy, distorted goodness to come out of America it’s been a big year or more in Hobart. A damn big year at that.

As if the visit of Dinosaur Jr a while back wasn’t enough of a treat, having groundbreakers of the Seattle sound, Mudhoney, front up for a night at The Brisbane was downright awesome.

Image: Damien Peck

The gig sold out a good month in advance – another indication of how pumped the local scene was to welcome the four-piece to town – and it was no surprise I couldn’t make my way far past the door when I arrived with minutes to spare before the set kicked off.

The crowd was as I expected: plenty of folks who’d been fans of the band in their first flush of youth and plenty of others who looked more likely to have been introduced to the chunky guitar goodness more recently, perhaps by cool older siblings.

cutting through the room. Steve Turner and Guy Maddison looked to be cruising along and while I couldn’t see drummer Dan Peters above the crowd in front of me, it sure sounded like he was giving his kit a hell of a time.

Mudhoney were soon ushered past me and onto the stage - four fairly average looking dudes who were about to make an above average racket to the assembled and hooting fans. Moments into the set, hands and fists and elbows and knees were appearing above the sea of heads at the front of stage.

With a massive back catalogue at their disposal it was always going to be a big night of big sound and Mudhoney didn’t disappoint, leaving punters with just one more question: who’s next?

STU WARREN

Among the first barrage of tracks was ‘Poisoned Water Poisons The Mind’, its bluesy lick and Mark Arm’s caustic vocal

ALEXANDER CROWDEN

WASHINGTON

‘The Precious Jules Theme’ sets the scene, with distorted guitars and lots of fuzzy feedback added to a rough-as-nails attitude and ‘A Necessary Evil’ is like a punk anthem with a pub rock chaser. ‘Shine Some Darkness On Me’ is gritty blues like The Rolling Stones mixed with a country twang, and ‘The Urban Swamp’ evokes scary apparitions caught up in a contemporary and baron wasteland.

THE BRISBANE HOTEL DECEMBER 7

Other highlights include ‘Aspen, New York’, ‘Shock’, ‘Kindaevil’ and the downbeat but brilliant ‘On My Own’. Big choruses, cheeky fun, piano-laden rock and catchy vocals make Bluejuice’s third album easily their best of their short career. The other reviews have been stunning and if you take just one listen to ‘Company’, it’s easy to see why.

PRECIOUS JULES

LIVE FREE OR DIE

More commonly recognized with a falafel in his hand, actor Noah Taylor joins his band The Sloppy Boys on their 6-track debut effort ‘Live Free Or Die!!!’

to break up with her due to the economic downturn. That’s my guess anyway, and if so, certainly marks different songwriting fodder for the band; ‘As much as I love you girl, I will have to let your go, as much as I love you girl, it’s a recession you knowooh-owwoh’.

MUDHONEY

The indie kids were anticipating this release as much as the reunion and tour of pubs that Peter Combe and the Newspaper Mama band did. The Wiggles are celebrating their 20th birthday this year as well as receiving the status of ARIA Hall Of Fame inductees and the contributing artists here make the well-recited songs their own.

Jebediah’s ‘Getting Strong!’ could’ve appeared on their youthful debut album back in ’97 and the Audrey’s ‘Cowboys and Cowgirls could’ve been on their rambling country release of last year. Similarly, the Living End’s ‘Hot Potato’ has a rockabilly flavour and Frenzal Rhomb’s ‘Captain’s Magic Buttons’ is a bratty punk take.

Washington’s ‘The Monkey Dance’ is a surfin’ ‘60s tune set to spin on the jukebox.

Busby Marou’s ‘Dressing Up’ also conjures up sounds from another period with its rolling Led Zep guitars and harmonica. And that’s before Oh Mercy convert the ‘Toot Toot, Chugga Chugga, Big Red Car’ into a pleasant luxury sedan from the ‘70s with its epic drums and easy gliding nature akin to an Eagles classic.

On ‘Rewiggled’ 20 Aussie artists of varying ages and genres prove that even when covering The Wiggles, they can belt out feelgood tunes in their own unique style.

ALEXANDER CROWDEN NATALIE SALVO

SEEKER LOVER KEEPER

THE RAY GUNS

BODYJAR W/ THE RAY GUNS & WOLFPACK REPUBLIC BAR & CAFE DECEMBER 3

W/ CELADORE & FACE THE FIASCO THE BRISBANE HOTEL DECEMBER 3

Three of Australia’s award winning premier female songstresses had joined forces to form this alt-pop five-piece Seeker Lover Keeper; Sarah Blasko, Holly Throsby and Sally Seltmann (of New Buffalo). Their glorious ethereal three part harmonies were a standout feature of the show, and all backed up by an awesome chic drummer and a classy fella on bass.

I was impressed at how flawlessly the three worked together and how comfortable they seemed performing in a cathedral. The show did have a humorous vibe, which was a bit of a relief considering the sobering, religious overtones of the venue.

Although some songs were obviously original band material, a large part of the show covered works by each of the singers retrospectively with that swag of albums under their belts it was hardly surprising.

Their Fleetwood-esque sound was concreted when they covered a Youtube release of the song ‘Wild Heart’ as an encore. The sound was brilliant and it made me think there should be more chic pop gigs in churches - the evening had a soft and strong female sensibility.

During the show we watched the night come replacing the brilliant colours of the stained glass with more subdued hues. I dug the differentness of the venue - and I left totally inspired to race out and buy the album.

ZOEZAC VISIOU

Warp Mag updated its current location to The Republic Bar, Brisbane Hotel, Fresh Cafe and 350 other locations.

\ Launceston

They’re busy boys, The Ray Guns. Not content with playing more shows than just about anyone in Tassie this year, they’ve managed to bust out a debut EP and celebrated its launch in some style.

I only heard late that Bodyjar were reforming and figured I should get along and see what their hiatus had done, so I went along to the Republic Bar & Cafe for the first Saturday of summer.

Their set at The Brisbane was their second for the evening – that’s some way to launch your EP, especially when you consider the night’s first outing was in support of Aussie punk stayers, Bodyjar.

First act on were The Ray Guns. After a slow start, they shifted into gear after two or three songs and gave a high-power combination of hillbilly and rock with the emphasis on rock.

Not content to share someone else’s spotlight, The Ray Guns made the stage their own with a late-night set at The Brisbane, pumping out their trademark mix of rock ‘n’ roll and highenergy to the delight of a steady Saturday night crowd.

The EP tracks were given an airing late in the set, interspersed between a number of new tracks and a very excellent cover of Elvis Presley staple, ‘Burning Love’. Frontman Liam Martschinke mightn’t have the profile of Presley just yet, but he’s got the sideburns in place and swagger to burn.

Tucked away behind Martschinke, but never far from the spotlight, sits flailing drummer James Barwick whose frenetic style sets the scene – and tempo – for The Ray Guns to rock along to.

Apologies to visiting Victorians Celadore and local rockers Face The Fiasco, whose sets I missed, but Martschinke was only too happy to tell one-and-all how good both supports had been as The Ray Guns moved into their last tune or two.

Next on were Wolfpack. This was unusual with the backline of the band playing what could only be described as metal with Anton’s vocals switching between rap/hip-hop then heading into melodic at times.

A very enjoyable set with plenty of energy and I’d like to see that combination again. Quite a surprise and worth checking out.

Bodyjar hit the stage next and with the new PA in the Republic managed to rip it up even after their break.

I normally prefer my punk harder edged, but these guys just do it so well and have still got it. The sound was great, the band pulled it from the start and by now the room was filling up although not a sell-out, but it is Xmas dinner season.

I didn’t mind that, there was a good sized crowd there and they were enjoying it.

I could not fault the band’s performance.

Overall, all bands gave a different view of rock and a very enjoyable evening. The pub was only at three-quarters capacity but that gave better visibility without being packed in like sardines.

Thumbs up.

You mightn’t get the chance to see The Ray Guns for a little while over summer, but surely it won’t be long until they’re playing gigs again – they just seem to love it too much.

Stu Warren

Alchemy Bar Friday January 27th support Akouo

\ hobart

Republic Bar

& THE ROLLING WHEEL

W/ HOT CLUB ROMANESCA THE GRAND POOBAH DECEMBER 3

ST DAVID’S CATHEDRAL NOVEMBER 30 I felt totally privileged and excited to catch Seeker Lover Keeper on their self-titled debut album launch tour, a Heavenly Sounds show at St David’s Cathedral. Being the first pop show I had been to in a cathedral I was thrilled by the standing room only turn out and the large degree of decorum from the crowd.

SAL KIMBER

Saturday January 28th support VJ Grotesque

KEVIN GLEESON

Sometimes I get a bit scared for acts playing the Grand Poobah in Hobart – it can seem big and empty and unlikely to fill up if you get there early. This was the case ahead of the Hobart leg of Melbourne five-piece Sal Kimber & The Rolling Wheel’s album tour.

But people began to file in during the lively gypsy folk set from local quartet Hot Club Romanesca and by the time Sal and her band took the stage there wasn’t a spare sofa in the house and my earlier concern they’d be playing to an empty room proved unfounded.

Hot Club Romanesca played a number of Django Reinhardt tunes, as well as their own multi-faceted concoctions, and generally smiled their way through a set that will only get tighter with time.

Jammed on to the stage alongside her band and a range of instruments, Sal Kimber played a set heavy with songs from the band’s eponymous second album, with a couple of delightful and unexpected touches.

At one point the entire band stepped off the stage and almost into the laps of the audience for an unplugged version of ‘The Rolling Wheel’, complete with a beautiful five-part harmony in the chorus.

There was widespread dancing as Sal asked the punters to boogie, but it could just as easily have been the upbeat blend of slide guitar, banjo, double bass, keys and drums that prompted them forward.

Either way, the night ended with almost everyone on their feet and hardly a thought for how empty the dance floor had seemed a couple of hours earlier - and that’s got to be a good sign.

STU WARREN

30 Event Guide

Hobart Date

Venue

Launceston Acts / Start Time

January

Friday

Saturday

Sunday

Monday Tuesday

Saturday 6

7

8

9

Friday

Date

Acts / Start Time

Date

Saturday

21 The Republic Bar & Cafe

Mr & Miss Alternative: Sin & Tonics + Burlesque Dancer + Fashion Show $10

January

Sunday

22 Birdcage Bar

Jason Patmore

Birdcage Bar

Glen Challice

Birdcage Bar

Glen Valentine

Brisbane Hotel

Brisbane Hotel

Damage Nightclub featuring Snakes + Pappy (acoustic) + Kenji Dj + More TBA

Luca Brasi + Smith St Band (vic) + Ride The Tiger + Your Demise

Brisbane Hotel

Late Night Krackieoke w MC Slinky Tits

Brookfield Vineyard

Open Mic 7:00pm

Brookfield Vineyard

Marisa Quigley 7:30pm

Cargo Pizza and Lounge Bar

Rum Jungle followed by Ado and Devo

C Bar

Michael Clennett

Irish Murphy’s

Jeremy Matcham, Gav & Lina, Dr. Fink

Irish Murphy’s

King Louie, The Smashers

Ivory Bar

DJ Grotesque

Observatory (Main Room)

DJ Mr. B

Observatory (Main Room)

DJ Mr. B

Sails

Billy Whitton

The Grand Poobah

Home of Faux Mo (MOFO Festival Club)

The Telegraph

Ado and Devo followed by The Smashers

The Waratah

Chocolate Bedrock w/ Agent Fontaine

The Grand Poobah

Mess O Reds

The Telegraph

Michael Clennett followed by Entropy

Alley Cat Bar

Log Jam Fury

Sunday

15 Alley Cat Bar

Nic White, Tim Steward (Screamfeeder), Linc Le Fevre & Will Wagner

Birdcage Bar

Glen Valentine

Brisbane Hotel

ALL AGES - I Exist (act) + Surrender + Silent Majority 3:00pm

Birdcage Bar

Jason Patmore

Brisbane Hotel

Paddy McHugh & The Goldminers (qld) + The Sin & Tonics + Pines + Hairyman

Brisbane Hotel

Brissie Bingo w Timmy Jack Ray

Brisbane Hotel

ALL AGES - Absu (usa) + Ruins + Zero Degrees Freedom + Orannis 7:00pm

Brookfield Vineyard

Ethereal Aqua Concert 4:30pm

C Bar

Billy Whitton

Cargo Pizza and Lounge Bar

C Bar

Glen Challice

Irish Murphy’s

Naked Acoustic, Pirates of the Cover Scene

Observatory (Main Room)

DJ Mr. B

Sails

Billy Whitton

The Grand Poobah

Skunk

The Republic Bar & Cafe

Ash Grunwald

The Telegraph

Michael Clennett followed by Dr. Fink

Birdcage Bar

Glen Valentine

Brisbane Hotel

Brissie Bingo w Timmy Jack Ray

C Bar

Pete Thomas

Cargo Pizza and Lounge Bar

Tim Davies

Irish Murphy’s

Ian Murtagh, Joel Everard

Pier One

James Maddock

The Grand Poobah

The Crooked Fiddle Band & The Lawless Quartet

The Republic Bar & Cafe

Ash Grunwald

Birdcage Bar

Billy & Randal

Brookfield Vineyard

Gypsy Indeed 7:00pm

10 Birdcage Bar 11 Alley Cat Bar

Monday Tuesday

Wednesday

Thursday

Franks Flicks Stems’ Organic-soulful hiphop night Glen Challice Noise etc presents Transcription of Organ Music + Gutter Parties

Brookfield Vineyard

Junior Bowles with Tobasco Tom & Doc White 7:00pm

Irish Murphy’s

Joel Everard

Observatory (Main Room)

DJ Mr. B

Friday

Madre Monte

Birdcage Bar

Glen Valentine

Brookfield Vineyard

Valda Marshall & The Heros of Waterloo Orchestra 7:30pm

Friday

13 Tonic Bar

Brookfield Vineyard

Lucy Thorne & Hamish Stuart 4:30pm

C Bar

Tony Voglino

Cargo Pizza and Lounge Bar

Stick and Kane

Irish Murphy’s

Ian Murtagh, Joel Everard

Pier One

James Maddock

The Grand Poobah

Home of Faux Mo (MOFO Festival Club)

Wrest Point Ent’ Centre

Reece Mastin 7:30pm

Jerome Hillier

Fresh on Charles

Lucie Thorn “Bonfires in Silver City” Album Launch

Tonic Bar

Two Strung, Ian Holman

23 Birdcage Bar

Billy & Randal

Saturday

21 Tonic Bar

Andy & The Woodman, Ian Holman

Tuesday

24 Birdcage Bar

Bowerman & Parker

Wednesday

25 Alley Cat Bar

Sailor Jerry Rum presents a night with The Sin & Tonics and The Bone Rattlers

Friday

27 Tonic Bar

Julz & Lee, Damien Maloney

Bolters Bar

Geale Brothers

Ganga Giri $15pre/$20door 10pm

James Maddock

The Grand Poobah

Home of Faux Mo (MOFO Festival Club)

16 Birdcage Bar 17 Birdcage Bar

Billy & Randal Home of Faux Mo (MOFO Festival Club) Bowerman & Parker

Brisbane Hotel

Quiz A Saurus (Quiz Night)

The Grand Poobah

Home of Faux Mo (MOFO Festival Club)

18 Alley Cat Bar

Thursday

Bulls (Members of the Daicos)

Birdcage Bar

Glen Challice

Irish Murphy’s

Joel Everard

Observatory (Main Room)

DJ Mr. B

The Grand Poobah

Home of Faux Mo (MOFO Festival Club)

The Republic Bar & Cafe

Immortal Technique

Friday

26 Birdcage Bar

Where’s Mary

Brisbane Hotel

ALL AGES - Taberah + Elm Street (vic) 3:00pm

Brisbane Hotel

The Comedy Forge (Stand Up Comedy)

C Bar

Michael Clennett

Cargo Pizza and Lounge Bar

Michael Clennett and Guests

Irish Murphy’s

Naked Acoustic, Australian Made

The Waratah

Aus. Day BBQ + Hottest 100 Party

27 Alley Cat Bar Birdcage Bar

Glen Valentine

Brisbane Hotel

The Dark Shadows (nsw) + The Sin & Tonics + The Bonerattlers + Kenji DJ Tim Davies followed by Ado and Devo

Mzaza

Cargo Pizza and Lounge Bar

Birdcage Bar

Where’s Mary

Irish Murphy’s

Michael Clennett, Gav & Lina, Dr. Fink

Brisbane Hotel

Spoonfed (syd) + Last Measure (vic) + Satanic Rockers (vic) + Bulletproof)

Ivory Bar

MS Fest DJ Comp

Observatory (Main Room)

Johnny G

Queen’s Head Cafe Bar

Ebaneza Good 8:30pm

The Grand Poobah

The Grand Poobahs First Birthday Party with Bands and DJ’s

The Telegraph

Michael Clennett followed by Big Swifty

19 Alley Cat Bar

Cargo Pizza and Lounge Bar

Michael Clennett and Guests

Irish Murphy’s

Concrete Lines

The Grand Poobah

Home of Faux Mo (MOFO Festival Club)

20 Alley Cat Bar

The Barons of Tang & Delaney Davidson

Birdcage Bar

Glen Valentine

Brisbane Hotel

TBA

Brookfield Vineyard

Acoustic Night 7:00pm

Cargo Pizza and Lounge Bar

Rum Jungle followed by Tim Davies Duo

Irish Murphy’s

Jeremy Matcham, Joel Everard, Vendetta Behind Closed Doors

21 Alley Cat Bar

Saturday

7

Latrobe

Mackey’s Royal Hotel

Neil Gibson

Devonport

Molly Malones

Midnight

Devonport

Tapas Lounge Bar

Three Faze Three 9:30pm

Sunday

8

Devonport

Tapas Lounge Bar

Ella Rose 6:00pm

Wednesday

11 Devonport

Tapas Lounge Bar

Devonport Cup After Party with Electric Spaghetti 6:00pm

Thursday

12 Devonport

Molly Malones

Third Vine

Devonport

Tapas Lounge Bar

Neva 2 L8 8:00pm

Friday

13 Devonport

Tapas Lounge Bar

Jed, Slats & The Big Naturals 9:30pm

Saturday

14 Latrobe

Mackey’s Royal Hotel

Unbalance

Devonport

Tapas Lounge Bar

Jacob Boote 9:30pm

Devonport

Molly Malones

The Durkahs Open Mic Night 7:00pm

Brisbane Hotel

Brissie Bingo with Timmy Jack Ray

Thursday

19 Devonport

Molly Malones

Proud Phoney

Brookfield Vineyard

Paul Gerrard 7:00pm

C Bar

Brett Boxhall

Devonport

Tapas Lounge Bar

Junior Bowles (WA) 8:00pm

Irish Murphy’s

Sambo, The Smashers

Friday

20 Devonport

Tapas Lounge Bar

Rock Pigs 9:30pm

Observatory (Main Room)

DJ Mr. B

Saturday

21 Latrobe

Mackey’s Royal Hotel

Proud Phoney

Queen’s Head Cafe Bar

Big Swifty 9:30pm

Devonport

Tapas Lounge Bar

T M G 9:30pm

Sails

Billy Whitton

Devonport

Molly Malones

Kool Daddy’s

The Grand Poobah

Columbian Dance Party Number 2

Sunday

22 Devonport

Tapas Lounge Bar

The Telegraph

Michael Clennett followed by The Smashers

Shaun Kirk with special guests Halfway to Forth

Wednesday

25 Devonport

Tapas Lounge Bar

Tapas Trivia 7:00pm

The Waratah

“Aus Day Weekend Tour” - The Bully Hay Band, Cast Iron Pinata (VIC), Samuel Cole & The Mornings, Sarah Jane Trio and Andrew Marshall 8:30pm

Thursday

26 Devonport

C Bar

Colin Harvey

DJ Malakai

Irish Murphy’s

Naked Acoustic, Pirates of the Cover Scene

Irish Murphy’s

Ian Murtagh, Mickey & Kazu

Pier One

James Maddock

Tolosa Park

Jazz In The Park 12:00pm

29 Birdcage Bar

30 Wrest Point Ent’ Centre Birdcage Bar

Tuesday

Saturday

Jarod Minton Connell 6:00pm

Jeremy Matcham, Joel Everard, Vendetta

Ado and Devo followed by Dr. Fink

The Unit 9:30pm

Tapas Lounge Bar

Joel Everard

The Telegraph

Tapas Lounge Bar

Tapas Lounge Bar

Cargo Pizza and Lounge Bar

Home of Faux Mo (MOFO Festival Club)

Devonport

18 Devonport

Helen’s 60th Birthday

The Grand Poobah

6

15 Devonport

Brookfield Vineyard

Monday

Friday

Wednesday

Manhattan

Billy Whitton

Acts / Start Time

Sunday

C Bar

Sails

Venue

Sticks & Kane

TBA

DJ Mr. B

CITY

Claire Quinn

Brisbane Hotel

Observatory (Main Room)

Date

January

Birdcage Bar

28 Alley Cat Bar

Lucie Thorne, Hamish Stuart & Slings & Arrows Sunday

NORTHWEST

Kikuyu, Billy Whims & Peter Escott

Glen Valentine

Versions (Ben Harper)

20 Bolters Bar

Monday

Birdcage Bar

The Waratah

Friday

Pier One

Papa Chango and Gene Bob

Michael Clennett followed by Dr. Fink

Nic & Carmel, Jake Latiner

Urthboy w/ special guests

The Clubhouse feat. Tom Ballard, Matt Burton, Nick Davies and Emesha Rudolf

The Telegraph

14 Tonic Bar

The Republic Bar & Cafe

The Waratah

Home of Faux Mo (MOFO Festival Club)

Saturday

Ian Murtagh, Joel Everard

Michael Clennett followed by Dr. Fink

Big Swifty 8:30pm

Dinner & Jazz 7:00pm

Irish Murphy’s

The Telegraph

Johnny G

Brett Boxhall

The Northern Club

DJ Mr. B

San Cisco + The Jungle Giants w/ Ben Wells & The Middle Names

Queen’s Head Cafe Bar

Bolters Bar

The Waratah

The Waratah

Observatory (Main Room)

Nat & Mat, Jake Latiner

Observatory (Main Room)

Home of Faux Mo (MOFO Festival Club)

The Grand Poobah

Brissie Bingo w Timmy Jack Ray

Rum Jungle

The Grand Poobah

Ivory Bar

Brisbane Hotel

3rd Annual Beach Party

Youri Blow (France)

Irish Murphy’s

Andy & The Woodman, Ian Holman

29 Irish Murphy’s

The Republic Bar & Cafe

Rum Jungle followed by Tim Davies Duo

Tonic Bar

Sunday

R.P.M. 8:30pm

Cargo Pizza and Lounge Bar

Two Strung, Ian Holman

7

Gav & Lina, Vendetta

Queen’s Head Cafe Bar

Gabriel Lynch 7:30pm

Tonic Bar Saturday

Taberah + Elm Street (vic)

Wingit

Madre Monte (vic) + Dublo

Punk Goes Acoustic w Wolfpack + Explosions + Face the Fiasco + Sighs

Brisbane Hotel

Irish Murphy’s

Irish Murphy’s

Brookfield Vineyard

Bolters Bar

Brisbane Hotel

Johnny G

Brisbane Hotel

6

Nic & Carmel, Damien Maloney

Observatory (Main Room)

Saturday

Andy & The Woodman

Friday

28 Tonic Bar

Michael Clennett and Guests

Glen Challice

Acts / Start Time

Saturday

Cargo Pizza and Lounge Bar

Birdcage Bar

Venue

Glen Challice

Ivory Bar

13 Alley Cat Bar

Venue

Birdcage Bar

The Grand Poobah

Bowerman & Parker

Brisbane Hotel

12 Alley Cat Bar

warpmagazine.com.au

Acts / Start Time

Larry Bang Bang and Brite Fight

Chocolate Bedrock and Little Bear

Birdcage Bar

Thursday

Venue

14 Alley Cat Bar

Alley Cat Bar

Brisbane Hotel Wednesday

Date

31 Birdcage Bar

Glen Valentine

Molly Malones

Unbalance

Devonport

Tapas Lounge Bar

Trev heins 8:00pm

Friday

27 Devonport

Tapas Lounge Bar

Ring Masters 9:30pm

Saturday

28 Latrobe

Mackey’s Royal Hotel

Third Vine

Devonport

Tapas Lounge Bar

Midnight 9:30pm

Devonport

Molly Malones

The Pure Blondes

Tapas Lounge Bar

Sunday Slippers 12:00pm

Sunday

29 Devonport

Natalie Cole and the TSO 8:00pm Billy & Randal Bowerman & Parker warpmagazine.com.au