Warp Magazine April 2012

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THE hERD

KRAFTY CUTS

WARP TASMANIA APRIL 2012

HUSKY SATURDAY 14 APRIL at The republic bar & cafe 299 Elizabeth St. North Hobart | www.republicbar.com

3 BRISBANE STREET HOBART 6234 4920

HAPPY HOURS

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Fri & Sun 6 till 8pm

$4 pints $4 Stubbies $4.50 Basics

"The Best Cheapest Pub Meals In The World!"

Lunch - Tues till Fri 12:30 till 2:30 Dinner - Tues till Sun - 5:30 till 8:30

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Warp news in brief W arp Warp BELLERIVE YOUTH FEST

------------------------------------------------Warp Tasmania APRIL 2012 ------------------------------------------------Editor Ali Hawken ali@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 ------------------------------------------------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,Rebecca Whitehead, Loani Arman, Calum Power, ------------------------------------------------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 -------------------------------------------------

Bellerive Boardwalk Youth Week Festival is a free event will take place from 12 to 3pm, and features a live performance from The Ray Guns and music from DJs Nick Berechree and Jase Davis. Sponsored by the Youth Network Advisory Group, Clarence City Council, The Tasmanian Government and Xcel Entertainment, there will be stacks of things to do, see and hear, as well as a free BBQ on the Bellerive Boardwalk.

Bellerive Boardwalk Youth Week Festival happens on Saturday April 14, all ages and free entry.

TALES FROM THE SHED The irrepressible John Butler returns to Tasmania this month after a successful Falls Festival appearance late last year.

Striped back to a mostly solo experience Tin Shed Tales will be performed from an authentic tin shed backdrop decked out with a collection of personal art pieces, old skool skateboards and vintage guitars, these items are laid out in his shed at home where he draws inspiration for his art and songwriting. Joining the performance will be songstress Felicity Groom.

See John Butler in Hobart at the Federation Hall, Thursday April 19 and in Launceston at the Princess Theatre, Friday April 20.

Tickets available from the venues

RECORD STORE DAY Originally conceived in the USA but now celebrated around the globe, was created as a celebration of the unique culture surrounding independently owned record stores. Alongside the mandatory sales and bargains, stores around the world come together with artists for special instore appearances, and limited edition releases. For more information, visit www. recordstoreday.com or drop in to your local independently owned store to find out what they’ll be doing to celebrate.

Record Store Day happens on Saturday April 21 at an independent record store near you.

THE 5.6.7.8’S

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

The 5.6.7.8’s from the film Kill Bill Vol. 1, and music fans might recognize them from the Hoodoo Gurus national Dig It Up! tour last April, or their singles on Jack White’s Third Man Records.

The 5.6.7.8’s play at The Brisbane Hotel on Friday April 27, supported by The Roobs.

Tickets for this 18+ show are $23.50 via Oztix.

SALTER AND MCKEE Ben Salter has put in the hard yards on the gigging front. Before touring solo, he spent ten years touring around Australia as part of The Gin Club and Giants of Science. His debut solo album, released last year and produced by Gareth Liddiard (The Drones) and Robert F. Cranny, has already sparked yet another hefty gigging schedule. Joe McKee’s previous outfit, Snowman, released two classic albums in 2006 and 2009, leading to a move to London, and an extensive gig list before they eventually disbanded and McKee returned to hometown, Perth. Set to release his debut album, he is joining Ben Salter to co-headline a national tour.

Ben Salter and Joe McKee perform at the Alley Cat Bar on Friday April 27.

FAKER FIRST MOST With a new album still fresh in the wind.

Faker have been a flurry of activity with the core two, founder Nathan Hudson and long-term bassist/guitarist Nic Munnings intergrating two new members into the Faker fold. ‘We think GET LOVED is a record which looks up at night in empty cities, sprints through a crowd, which takes pictures of beautiful broken things and which, despite its adult ironies, will carve out a map in your heart. It’s been fun. We hope you like it’, says Nathan.

Faker play an exclusive Tasmanian show at The Republic Bar & Café on Saturday April 28. Tickets on sale at the venue and www. moshtix.com.au

Atmosphere performs at the Republic Bar and Café on Wednesday May 9, supported

by Crixus and band. Tickets are $35 +BF from the venue, Ruffcut Records and Moshtix.

Phil Emmanuel is the older brother of guitar legend Tommy Emmanuel, and is a virtuoso in his own right. Following the performance of the two brothers at the closing ceremony of the Sydney Olympics, Phil has shot back into the limelight in a large way. Pete Hawkes is one of Australia’s most creative composer and blues guitarists, with the ability to transcend several genres.

ATMOSPHERE Popular U.S. hip hop act Atmosphere is returning Australia, this time with Rhymesayers label-mate MC Evidence in tow. Although Hobart misses out on seeing Evidence on stage, we still get to

TZU COME OUT OF THEIR CAVE Following MC Joelistics’s individual success with his Voyager album on Elefant Traks, and Count Bounce’s work with fellow Elefant Traks artists Sietta, the lads have reformed with Yeroc and Paso to reignite the old TZU flame. The band is back in the studio working hard on a new album, which due to be on shelves before year’s end and are hitting the road again to test out the new material.

in Sydney (12 and 13) and two nights in Melbourne (16 and 17), but we’re sure it’s sold out by now. You should leave your cave more often (or get WIFI).

DEF WISH CAST EVOLUTION

TZU performs at the Republic Bar and Café on Friday May 25.

The Funkoars have been riding high since the release of 2011’s The Quickening album.

Their album reached #11 on the charts, their national album launch tour was wild, and their reputation as one of the most hyped acts in the country grew yet again.

Following their recent appearance at Launceston’s Breath of Life Festival, the ‘Oars decided the south of the state needed some love, and added Hobart to the Being Vincent D’Onofrio tour.

Funkoars perform at the Republic Bar supported by MC Greeley and DJs Grotesque and Dameza on Saturday May 12.

BRIAN JONESTOWN MASSACRE Psych-rock legends The Brian Jonestown Massacre are set to release their new album Aufheben via Inertia in a few weeks time, and soon after that, they return to Australian shores on a seven date tour. Visiting Sydney (May 17), Canberra (May 18), Melbourne (May 19), Adelaide (May 20), Perth (May 22), Brisbane (May 24) and Newcastle (May 25), they will be joined by Danish duo The Raveonettes. Tickets are already on sale, for more information, visit www. thebrianjonestownmassacre.com

THE BUTTERFLY EFFECT

Lead singer of The Butterfly Effect has decided it is finally time to part company with the rest of the band. The remaining members of the band, Ben Hall, Kurt Goedhart and Glenn Esmond will continue to work together and will announce their intentions in the not too distant future.

Clint’s departure is an amicable one and the band are giving fans a chance to see them perform together for the last time.

The Butterfly Effect play at Wrest Point Showroom on Wednesday May 23 from 7pm. Tickets for this 18+ event are $51.50 from Wrest Point and www. wrestpoint.com.au

Darlings of that uber cool indie hipster crowd, Grizzly Bear, will be returning to Australia. Leader Ed Droste announced on Twitter that “the good news is: we will release a new album this year and tour the US, Europe AND Australia.” Speculation regarding which festival they will be appearing at has already started doing the rounds on the internet, with the majority of the money being on Splendour in the Grass, or festival newcomer, Harvest Festival. The New Yorkers were here just two years ago for both Splendour and Falls Fest following their Veckatimest album.

JEZABELS TAKE THE AMP

FUNKOARS QUICKENING

HAWKES EMMANUEL

Phil Emmanuel and Pete Hawkes play at Wrest Point Showroom on Saturday May 5 from 7.30pm. Tickets for this 18+ event are $29 from Wrest Point and www.wrestpoint. com.au

All female Tokyo Garage trio The 5.6.7.8’s are making their way to Hobart for a punk rock party. Tarantino fans might recognize

catch Atmosphere playing one night only at The Republic Bar on Wednesday May 9th.

Supported by Crixus and band, with more supports to be announced, tickets are $35 + bf, and are available via the venue, Ruffcut Records, and Moshtix. Get in quick, this one is sure to sell out!

TSOMM’S PERSONAL UNIVERSE

The Scientists of Modern Music will release their long awaited sophomore album A Personal Universe on May 11. The album features material recorded between 2008 and 2010 in Hobart plus an intensive writing trip in London at the end of 2010. Beginning with 20 tracks, a final 11 made the cut with a focus on lyrical content separating the songs from earlier work. The official album launch on May 26 will have a no-expenses-spared audio/visual experience including two stages, three speaker stacks and a curved LED wall. Prepare to be dazzled!

The Scientists of Modern Music launch A Personal Universe at the Brisbane Hotel on Saturday May 26.

SHANNON NOLL One of Australia’s best-loved musicians, Shannon Noll, returns to the Country Club Show Room and Wrest Point Entertainment Centre in July as part of his A Million Suns tour. With a brand new album under his belt, Shannon will be taking in thirty plus dates across States and Territories and is ready and raring to share his impressive live show with music lovers across Australia.

Shannon Noll performs at the Country Club Showroom in Launceston on Friday July 13 and Wrest Point Entertainment Centre on Saturday July 14. Doors for both events open at 7.15pm and tickets are $49.50.

RADIOHEAD For those of you who live in a cave (a cave without WIFI), the insanely popular Radiohead are finally making their way back to Australia. Eight years after their last visit in 2004, the British superstars have since gone on to release two albums (along with countless side projects), with 2009’s The King of Limbs debuting at number 2 in the Australian charts. The November tour includes stops in Brisbane (Nov 9) and Auckland (Nov 6), alongside two nights

Pioneers and stalwarts of the Australian hip hop scene, Def Wish Cast are FINALLY making their way to Tasmania. With their new album, titled Evolution Machine, looking to contain all the raw energy and passion of previous releases, the lead single Dun Proppa has already proven to be the BBoy anthem of the Summer. With a reputation for having one of the most energetic live shows in the business, it is a chance for hip hop enthusiasts to see the act that defined Australian hip hop.

Def Wish Cast are appearing at The Republic Bar on Friday June 1. Tickets on sale soon.

JESS HARLEN Melbourne songstress Jess Harlen is back with her second album, titled Parkyard Slang, on Plethora Records (a subsidiary of Obese Records). The lead single Let You Down produced by the Mercury Prizewinning Plutonic Lab embraces a hearty and clean pop vibe with a driving beat and crunching Gibson, providing a trustworthy pulse for Harlen’s lush vocals. The follow up to 2010’s critically acclaimed Neon Heartache is available now via Obese Records Distribution.

GRIZZLY BEAR ATTACKS AUST

Music awards always come with some degree of controversy, and 2012’s Australian Music Prize is no exception. Mess and Noise editor Darren Levin sparked debate over the nomination and judging process, claiming “I still wholeheartedly believe the AMP’s judging process needs to change.

Its current format… makes it no different to the ARIAs, albeit with a smaller sample size. And isn’t this what the AMP was set up to be an alternative to?” Award winners The Jezabels were typically classy in their acceptance speech, acknowledging the controversy regarding the “safe” shortlist.

“What is clear throughout all the difference of opinion, regarding both the politics of the prize and musical tastes, is that the AMP is made up of people who care a great deal about Australian music and the importance of maintaining the ideals that the prize has come to represent, the encouragement of excellence and quality in Australian albums, regardless of their popularity or success, but to also recognize that those things are not mutually exclusive,’’ the band said.

FIONA APPLE Fiona Apple obviously dislikes anyone trying to enter her music into a database of any kind, so she has decided to yet again take up as much space as possible with her album title. The new release, titled The Idler Wheel is wiser than the Driver of the Screw, and Whipping Cords will serve you more than Ropes will Ever Do is set for release in June, and will be damn hard to squeeze into a hashtag. But this 23-word monster has nothing on the title of her second album, which had 90 words, none of which will appear in this small article.

TORNTS Broken Tooth Entertainment’s MC Tornts has developed one of the largest cult fanbases around Australia. Since his breakthrough debut album Adding Insult to Injury in 2003, his combination of venomous lyricism over dark and gritty production has lead to a following that would make most commercially successful artists envious. His latest installment Concrete Slang contains production from some of the world’s finest, including the UK’s Beat Butcha (Mobb Deep, Lloyd Banks), Holland’s Ciph Barker (Killah Priest), Sydney’s Nebs (Kerser) and Tornts himself. Concrete Slang is available now via Obese Records Distribution.

Music

At the head of the Elefant march is The Herd, the long-standing crew which also makes up the majority of the Elefant Traks back office. It’s been a long road for The Herd, first rising to prominence in 2001 when triple J caught on to Scallops.

Soon after, came 77% and Burn Down the Parliament, these two songs also received widespread airplay, and were the first in a long line songs with heavy political or social themes.

Weaving their messages into one of the more impressive live shows over the past 10 plus years is proof of the old adage that practice makes perfect.

“We’ve basically just gotten better at what we do. It’s a result of a lot of practice. “ says bassist Rok Poshtya. “There’s a tendency in the local music scene to write hype songs for live shows, but we’ve always been fans of utilizing light and shade in live shows to emphasize things more.

“We don’t really write hype tracks, we tend to write songs for songs, and then work out a way to adapt them to a live show, whether it’s by doing some re-sequencing or some subtle re-writing of the music.”

Their high regard for a well crafted live show is displayed in their memories. Rok reminisced on the highlights of their journey with a particular fondness in his voice.

“There have been so many highlights over the years. Playing live always sticks in your mind, a lot of the festival shows, I’ll always

remember the BDO Boiler Room, and a lot of the clubs around Australia. The Zoo is a favourite, the Unibar too, and we always love The Republic.”

Setting out on yet another national tour at the end of March, this time The Herd will be joined by Obese Records artists, Thundamentals, and new Elefant Traks signing MC Sky’High.

“Sky’High is our newest signing, and she’s pretty raw, and pretty awesome actually.

She’s just crazily talented, the first thing we noticed about her was that she’s just a great, great song writer. We wanted to bring her along and get her a bit of exposure, and we’re really big on all our acts getting out and touring a lot, right now we’ve got Hermitude and Sietta, Joelistics, The Herd all out on tour.”

The lead up to the tour has not been without obstacles, Ozi Batla (one of the two MC’s in The Herd, alongside Urthboy) was in a serious bicycle accident in late 2011, leading to a punctured lung and broken jaw. “He’s recovering well; he got his grill off last week, or the week before.”

The accident and subsequent injuries have become the focal point of The Herd vs.

Thundamentals short video series on YouTube.

and pull, and the process is a lot more complex than working on songs for an individual release because of that. It’s all done collaboratively. Someone will come in with a musical bed or a melodic idea, like a basic beat, and that will get passed around and worked on. It’s much more of an unwieldy monster.”

Having played Tasmania many times in the past, it is always interesting to find out what a touring act has come to expect of a Tasmanian crowd, and how we compare to other areas.

“It’s always a mixed bag with Hobart. There always seems to be a lot of pure fans, and a lot of people who just come along for whatever reason, they get dragged along by their friends or they just come to check out something new, but everyone leaves happy.

It’s always good to make new fans. You do get that in other cities too, but maybe not quite to the same extent.

“We’ve got a few new things for the tour.

We’ve got some visuals, we’ve got a completely new version of Under Pressure, and we have a track that we’ve made that’s got everyone on it, The Herd, Thundamentals and Sky’High, so that should go down pretty well.”

SHANE CRIXUS

“There’s so much going on right now, it’s crazy, but we’ve been preparing for the tour.

We’ve also been working on the video series which is really getting going, we just had the big confrontation episode, Ozi was sort of playing up his injury on that.”

With so many of the band members performing as solo artists on the side, the creative mentality for the collective band needs to be somewhat different.

“There are a lot of individually strong song writers in The Herd, so there’s a lot of push

i iF

The Elefant Traks camp is consistently one of the hardest working crews in Australia. With a relentless release schedule, consistent touring grind and savvy promotional hustle, it’s a testament to the quality music they actually produce - as opposed to the countless acts that promote the hell out of themselves, but make terrible music).

W

DALE HARRISON, AKA ROK POSHTYA, IS BASSIST FOR ONE OF AUSTRALIA’S MOST POPULAR HIP HOP ACTS, THE HERD.

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ELEFANT TREK CONTINUES

Music

The Herd plays The Brisbane Hotel on Tuesday April 24, supported by Thundamentals and MC Sky’High. Tickets available now via Oztix.

The Peep Tempel BRINGING AN INVIGORATED, FRESH FACE TO CLASSIC ROCK’N’ROLL, MELBOURNE’S THE PEEP TEMPEL KNOWS HOW TO PUT ON A FIERCE LIVE SHOW. THEY ALSO LIKE TO BE BAD. “I think everyone likes to be a little bit bad, do the wrong thing occasionally,” guitarist and vocalist Blake Scott says. “It [playing rock and roll] makes you feel like you are being a bit naughty. It also comes down to an adrenaline rush, those moments when the hair stands up on the back of your neck; nothing compares to it. When it works, it is head and shoulders above what living is.”

getting caught up in the duo’s endless stream of energy.

After trawling the bars of North Melbourne, Blake met drummer and vocalist Stevie Striker, and in 2009 the two formed The Peep Tempel. With humble beginnings playing at parties and small venues, the boys managed to burn out their own path on the Melbourne music scene.

“It is about taking everything you have heard and learnt over the years and turning it into something people can dance to.”

“We stick with what we are doing and concentrate on that. Sometimes you have to sidle up to people but that’s not the way we are going about things. We just want to make good music, put on good shows and let that speak for its self.”

Forming a love for rock and roll whilst watching Rage on television, Blake headed down the music path, rejecting his family’s love of the extreme.

“All my family are into extreme sports. I was never into that, I just wanted to play guitar.

They’d be out waterskiing and such, one of them is into bungee jumping – I’d just be playing rock n roll.”

For the release of their self-titled debut album, the band recruited bass player Mark Chow of Graveyard Train to assist in giving the album a little bit of spine.

“We always knew that if we were going to continue the band we were going to add bass, just because it holds thing together, gives it a bit more drive. The songs we were wiring were becoming much more rollicking; we needed that spine, something strong in the middle to hold it together. It became glaringly obvious that for what we wanted to make we needed a bass player.”

The Peep Tempel have developed their own distinctive sound, a mix of garage rock, punk and blues. Their live shows are dominated by brutal vocals and killer riffs, with fans 8

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“We try and put our own little spin on [rock and roll]. We like it to be quite fierce – get people going. We have taken a lot of dance beats, stuff off old hip-hop records and put it in there on the sly. A lot of people don’t notice it.”

The lyrics of The Peep Tempel’s debut album are a brooding account of living it rough.

When asked whether the harsh themes of unemployment and police escapades were based on experience, Blake admits the lyrics are little takes on everyday life.

“I get a bit bitter at times. Looking up and seeing the poverty line way above your head gets a little bit tiring when you are trying to make records and you’re working shitty jobs to get them out. Writing lyrics that put a bit of a smear on society are my way of getting it out, so I can remain calm.”

After having a blast on their last trip to Hobart in August 2010, The Peep Tempel is keen to head back down. They should relax while they can though, with a tour to Europe planned in September, plans to start recording another album in July and a new single out in six weeks. However, it is their love for their craft that drives The Peep Tempel on.

“It is an incredible thing music, when it is done correctly in the way I feel– nice and loose, guns blazing – amazing things happen. I draw inspiration from just being part of it, seeing it and playing it – the whole adventure.”

REBECCA WHITEHEAD.

The Peep Tempel plays at the Brisbane Hotel on Saturday April 7.

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Music

Music

JOIN THE CLUB HAVING LAID FOUNDATIONS FOR WORLDWIDE SUCCESS BEFORE THEY EVEN RECORDED THEIR DEBUT ALBUM NOTHING TO DO, GOLD COAST DUO BLEEDING KNEES CLUB IS IN THE MIDST OF BLOWING UP.

One half of the band, Alex Wall, phoned in from in between jumping castles and Sleigh Bells at a Sony Records party in London to chat about the release of the record and the duo’s impending tour.

LESS ROCKIN’ FOR ROLLINS

announced engagements in Sydney and Melbourne earlier this year. With this tour, Rollins aims to be at his provocative and humour-riddled best.

WE KNOW THAT HENRY ROLLINS IS AN ACTOR, WRITER, SPOKEN WORD ARTIST, COMEDIAN, PUBLISHER, MUSICIAN, PHOTOGRAPHER AND RADIO DJ. WHAT YOU MAY NOT KNOW IS THAT HE’D PREFER TO MEET DOSTOYEVSKY OVER HENDRIX AND HE’S DONE WITH MUSIC FOR GOOD.

“My main motivation in life is my audience.

Without them, I go back to minimum wage work. Say I am in your town for a show; the only important part of my day is the two hours on stage, so anything leading up to that is maximising that. I got to the gym to get the stress out of my body. I’m not getting high; I’m not picking up on women in a bar.

I take this very seriously. I take you - sitting in a seat in front of me - I approach that with nothing but fear of failing you.”

Henry Rollins incites a passionate response in people: we either place him on a pedestal or viciously tear him down. Though he maintains a remarkable clarity of vision, he has moved so quickly between different mediums and projects in his long career, that it’s hard to keep up with what turn Rollins will take next.

“There’s nothing more I can do with music that wouldn’t be a karaoke version, and I can’t do that to the audience. I can’t do that to myself. I have to walk away from it,” says Rollins.

Fans of the Henry Rollins Band and Black Flag may be disappointed, but walking away from music has left Rollins with focused intent on the written and spoken word, being the most direct manifestation of his message.

“Words are everything to me. To me, they are a weapon. My mother taught me how to read before I went to school. For me, words have always been a ‘thing’. So many people say ‘what five musicians would you like to meet if you could dig them out from the ground?’, but it’s not as interesting as the five writers I would want to meet. John Coltrane and Jimmy Hendrix I would meet,

and no disrespect to them, but I’d run ten miles through a minefield to meet Albert Camus or Dostoyevsky or Kafka.”

The path to performance perfection lies in the writing for Rollins, who also asserts that good writing has to hurt.

Though accomplished in his endeavors, Rollins doesn’t align himself with those great writers. Instead, the 51-year-old is acutely aware of his limitations as a writer and an intellect.

“If you’re gonna really let it rip, it’s going to bite you. It’s going to hurt. It’s going to leave some scars. It’s going to mess your life up a little, otherwise you didn’t get close enough to it. If I don’t get up close to it - if it doesn’t hurt to write it, then don’t write it.”

“I’ve never figured of myself as an intellectual but I am a fan or ideas, a fan of thinking. My mind is a kind of a mutt, but I think pedigree thoughts. For some people, they can read a book and they can connect it to other ideas. They can connect the dots.

You know the comedian Janeane Garofalo?

Janeane is one of the queens of connecting the dots. She can read the A section of the newspaper and decipher all the information.

“That’s an intellectual – [someone] who can take an idea and do stuff with it. I can’t get from there to there unless someone builds the bridge for me. Being a fan of that, and knowing that I don’t have it, I try and do the best I can with what I’ve got.”

Rollins returns to Australia for a month long odyssey this April and May, which will no doubt please fans that missed his email

“I’ve never figured of myself as an intellectual but I am a fan oF ideas - a fan of thinking. My mind is a kind of a mutt, but I think pedigree thoughts.”

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That transparency with which Rollins embraces his projects is integral to maintaining his objectivity in his work,

stripping it away from sentimentality and ego, to a place where he feels he can accurately and honestly report on ideas.

It’s with that same sense of detachment of self that helps him plough through his enormous workload.

“I don’t feel a real connection with people that much. I live alone, I don’t know many people. I am a workaholic. At 5pm when my building is empty, I just go, work out and do a second shift - I write a lot. On the weekends, my phone doesn’t ring. On a day off, you can’t find me. I have writing obligations. I’ve said yes to a lot of stuff.

I’m at the gym, doing laundry. I don’t make human investments.

“I am not anti-person, quite the opposite, but I’d just rather be doing this stuff. I can wear other people out, but I can’t wear myself out, so I prefer to be alone.”

LOANI ARMAN

Henry Rollins performs at the Theatre Royal in Hobart on May 5.

You want to hate the Bleeding Knees Club.

Hell, you’d be forgiven for thinking the Bleeding Knees Club want you to hate the Bleeding Knees Club. The Gold Coast surf punks have a couldn’t-care-less, cavalier attitude coupled with the open admission that they could barely play their instruments when they first started gaining notoriety, making them easy targets for the scornful.

While you may want to hate them and while they might not care that you do, you can’t help but love everything that the duo is doing.

Their debut album Nothing To Do is garnering praise from all corners of the globe and rightfully so; their particular brand of dirty surf punk is as carefree as it is infectious.

The duo of Alex Wall and Jordan Malane write songs that are impatient and perfectly detail the indulgence of youth and the fear that old age is approaching way too soon.

Nothing To Do’s producer Devonte Hynes (of Lightspeed Champion and Blood Orange) who worked with the lads in his Brooklyn studio has since described the Bleeding Knees Club as “amazing and classic”.

“Dev is such a cool guy, man,” explains Alex Wall. “Like he’s probably the coolest guy I know. Recording with him was fun.

He had like a jam studio; it wasn’t really a studio, it was kind of like a room, pretty similar to where we recorded the EP actually. We’d just skateboard there every day, play live [and] record it. It was really chilled; it wasn’t anything serious or fancy or anything like that.”

The situation couldn’t have been more suited to the style of the Bleeding Knees Club. Listening to Nothing To Do, you couldn’t imagine it being recorded any other way; it bleeds the raw onstage energy that BKC are becoming infamous for. It only adds to the whole stick-it-to-the-man aura that oozes from every fibre that constitutes the band.

Even their choice of label in the boutique outfit I Oh You reflects that absolutely no one can tell the Bleeding Knees Club how to do their thing.

“Johann [Ponniah, I Oh You label manager] is just like one of our friends so it’s really chilled. When we were picking labels and stuff, I dunno, we got heaps of offers from heaps of record companies and I have a real problem with authority and people telling me what to do so it was the best option to work with a friend where I can still have all the control and just have him organise it for me. He’s really cool though, he always likes our ideas so it’s perfect working like that.”

All the band’s decisions seem to be paying off perfectly. Recorded last July, Nothing To Do was held back from release until

‘the right moment’. While such a plan may sound strange to some, the Bleeding Knees Club is now reaping the rewards. Having just played for over 1000 people for a sold out show at London club Koko early last month ahead of a bundle of massive South

By Southwest dates, and with various songs from Nothing To Do getting generous airplay at home, it’s coming up apples for the Gold Coast duo. It’s funny to think that amid all this success, the band very nearly threw it all away.

“We played a bunch of shows when we first started the band and, I dunno, we were like ‘fuck this, we’re pretty shit’ so we just split the band and I was going overseas for a few months. I was in New York and I started getting calls, ‘cause we recorded two songs before I left and sent ‘em around, and e-mails and stuff from Jordan saying we were getting played on triple J and all this weird stuff.”

The Bleeding Knees Club’s whole approach may seem casual bordering on the careless, but the beauty of this band is they truly don’t care what you think.

“We’re just trying to do everything different to the rest of the music people and kind of rub it in their face. Cause, I dunno, like we are both not musicians but we just write these songs. We didn’t choose to be in band, we didn’t even want to be in a band and then we had to tour and we were like ‘we may as well just do this and have fun while we’re doing it’. But it’s pretty funny when we get all this hype and people who have studied guitar for like 10 years can’t get a gig.”

LUCAS THOMAS The Bleeding Knees Club plays The Republic Bar in Hobart on April 22, tickets available through moshtix. Nothing To Do is out now through I Oh You.

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UNDRESSED for SUCCESS WITH A SUITCASE OF INDUSTRY NODS AND A STRING OF SINGLES BLASTING FROM THE RADIO, BALL PARK MUSIC ARE PILING INTO THE TOUR VAN AND HITTING THE ROAD FOR THEIR 180 DEGREES TOUR. With venues selling out across the nation, not only is it ‘Nice To Be Alive’ for this young Brissie band, but it’s also nice to make an arse out of yourself along the way.

The cover of Ball Park Music’s debut album Happiness and Surrounding Suburbs features a man, hands on his hips, standing before some snow-capped Alps. Aside from his woolen socks, the man is butt-naked. His arse beams in the crisp morning light, and his buttocks look proud and taut, as though they were the very first to have ever conquered the remote mountainous terrain.

Such an image might have been in danger of stealing the show from Ball Park Music’s debut effort, if it weren’t for the fact that the album is jammed full of energetic and contagious gems that have hurtled them from obscurity to indie crowd fame.

“When you release your first couple of singles, people start to take notice but they’re not sure what direction you’re going,” says guitarist Dean Hanson.

“Since our album came out, we can prove that we have some quality in our range and we’re not just a flash in the pan that’ll disappear in a year. People are taking us more seriously, and looking forward to what we have to offer in the future.”

The future could be long for the sextet, given they are all only in their early 20s. Emerging from Brisbane out of the solo work of frontman Sam Cromack in 2008, Ball Park Music took form with the arrival of five other band mates - Jennifer Boyce, Brock Smith, Paul Furness, and twins Dean and Dan Hanson.

Creative collaboration worked well for Cromack’s work, with Ball Park Music finding its feet in that deliciously infectious and playful realm that bands like Eagle and The Worm roll around in. It’s the kind of sound that saw Ball Park Music score an album of the year nomination in both the Rolling Stone Awards and Triple J’s ‘ J Awards’.

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The band furthered their success with the national broadcaster, sitting atop the Unearthed throne last year, as well as landing not one, but two spots in the Hottest 100. Their success with Triple J isn’t a surprise, given their persistent airplay of Ball Park Music’s singles iFly, Sad Rude Future Dude, All I Want is You, Literally Baby, Rich People Are Stupid and It’s Nice To Be Alive.

“It’s definitely become more real now,” says Dean of the band’s recent successes.

“Everything’s going great and I link that back to a direct result of having a big year.

We’re all confident with what we do. We set measured goals. We wouldn’t be around for much longer if we weren’t confident. It might sound vain, but we’re happy with the success we’ve achieved, and we’ve achieved it on our own merits. We back ourselves that what we’re doing is good and we enjoy it.”

“Even when I get up in front of a headline show, I still feel like we’re playing at someone’s else’s show, trying to win the crowd over. We always think we have to make sure we win them over.” always think we have to make sure we win them over.”

With six band members, it’s not surprising that there’s a lot going on with Ball Park Music’s sound.

Engaging in a writing process that screams of collaboration, Dean also credits the band’s youthful stubbornness as the reason why they have maintained their unique voice, and not fallen victim to music trends at the hands of producers.

Ball Park Music’s courtship of their audience may seem eager, but it’s a quality that the band are proud of, and something that’s in stark contrast to those band that prefer the more ‘we-don’t-give-a-shit-about-our-fans’ approach to live performance.

“Doing what we want to do and not feeling the pressure of going in certain directions,” cites Dean as the reason the band work well together.

“When we come up with an idea, we just stick to it. No matter if there’s people pushing from all directions. We’ll take into account what they say but we think about it so much, and what we want to achieve, and the image we want to portray. It’s always very natural. We back ourselves. Everyone brings their own thing to the table, but whenever there’s a disagreement there’s never any bitterness about it. ” Though the band are fond of age-appropriate lyrics like “I fucking love you, I think you’re

pretty”, Ball Park Music race ahead of their counterparts with works like All I Want is You, which glimpse into their potential to craft a unique voice in music that’s beyond their years.

“We see a lot of other bands that really do fall into that industry trap and it never really seems to work for them, and we know a lot of musicians we’re friends with, they stop enjoying their part in the industry,

because they’re being told what to do.

When you submit to it once, then you’ll keep submitting to it to the point you’re driving yourself mad. We don’t want to get to being 25 or 26 and being burnt out. One day it’ll probably backfire on us, and we’ll wish we had listened to someone,” he laughs.

Though it’s a wise outlook, it is arguably the band’s pride in musicianship and craft that will cement their longevity.

“The production of it - I don’t know if it’s obvious, but when we do record, we get as many people as we can fit in the room, playing the songs live on the one take. There are no production tricks involved,” says Dean of the recording process. “And with the lyrics, Sam never really holds back on what he’s trying to say. It’s an honest raw sound.

We don’t try to fancy it up with computers.

The honesty of it is what I like.”

Lucky punters who nabbed a ticket to one their fast selling shows on the 180 degrees tour are due to get their money’s worth: Ball Park Music aim to please.

“We’re six normal people up here doing what we love and people are liking it,” Dean says about performing to large crowds. “Even when I get up in front of a headline show, I still feel like we’re playing at someone’s else’s show, trying to win the crowd over. We

“We actively work against it,” says Dean of that nonchalant stage mentality. “Some young bands that aren’t established just get up and do their thing and not care. As a band, we openly hate that attitude and try to be advocates for that old style of enjoying what you do. You’re an entertainer, as much as you like it or not. Live performances people pay for that. They don’t pay to just hear your music live.”

As to whether the butt on their debut record has garnered as much success as Ball Park Music has seen since the release of their album, Dean is uncertain.

“I spoke to him a couple of days ago and he said he’s

lost his game. We get a lot of people asking who it is, but I try to keep it a secret so he doesn’t get harassed. He always says, when people ask, just give them my number,” muses Dean. “He said he got attention a few days ago on the Hottest 100 day. I think he went to a party and when our songs got read out, he said ‘I’m on the album cover!”

With a sophomore album for Ball Park Music surely on the way, Dean hints that the infamous butt may make a reappearance.

“Maybe our next cover will be the same shot,” he considers, before adding, “But from the front view. Who knows?”

It would be a cheeky move, but if their history is anything to go by, then cheeky is the least fans can expect from Ball Park Music.

LOANI ARMAN Ball Park Music plays Launceston’s Hotel New York on Friday April 20 and Hobart’s Waratah Hotel on Saturday April 21.

Tickets are available via www. oztix.com.au

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Music

FLYING HIGH ELEFANT TRAKS MADE A SURPRISE SIGNING RECENTLY, TAKING ON SYDNEY MC SKY’HIGH. KNOWN FOR HER HARDHITTING, SELF-PROMOTING STYLE, SHE’S A FRESH CONTRAST TO THE LAIDBACK, POLITICALLYTHEMED TRAKS STOCK.

Success attracts the successful though – and that’s exactly how and why Sky’High was a hit for the label. With super successful New Zealand DJ & Producer P-Money in tow, and with the well oiled Elefant Traks machine pushing her, not even the sky is the limit for this MC. Warp: For the uninitiated, who is Sky’High?

Sky’High: I am Sky’High! Haha, look up...

Can you see me?

How did the hook up with P-Money happen?

My manager Sam Dutch hit me and said P hit him up and said he had viewed a YouTube video of me spittin’ bars a while back and wanted to work with me. I was like ‘yeah mad!’ From there we met up and here I am now.

HILLTOP TO THE SUN HAVING DEVELOPED A REPUTATION FOR BREAKING NEW GROUND, THE HILLTOP HOODS GET BETTER WITH EACH NEW RELEASE. SUFFA MC LOOKS FORWARD.

The Hilltop Hoods are without a doubt, the biggest hip hop act in Australia. In fact, they’re probably one of the biggest acts in the country, full stop. Their popularity is insane. Their recent album Drinking From the Sun went gold just three hours after it was released, and debuted at #1 on the charts. But the Hilltop Hoods have a history of raising the bar, and have almost single handedly lifted the international stature of Australian hiphop, paving the way for every successful act to follow.

From humble beginnings in the Adelaide hills, the first official drop for the Hilltop Hoods was the independently released Back Once Again, in a period when moving 500 units was a massive accomplishment, they couldn’t possibly have known where they’d end up 15 years later.

“Nuh! We never could have imagined getting to this level, you’re from around that same era so you know there was never a career in this back then,” says MC and producer Suffa.

“We only did 500 copies of Back Once Again, and it took us ages to get rid of, and that was mostly friends and family.”

Six studio albums later, The Hoods are a phenomenon playing recently at Launceston’s Breath of Life Festival before setting off on a tour of the U.S. and Canada.

The North American tour sold out in Banff just a few days after it was announced, and other stops are quickly following suit.“There are a lot of Australians in Banff, so we always do well there, Canada in general is great. We always love playing there, and they’ve taken to us really well. We’ve only just started introducing the new songs into the live show; I Love It, Good for Nothing and a few others. The response has been great.”

The U.S. tour will be bolstered further by the recent new addition to the live lineup,

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drummer and producer Plutonic Lab. “We’ve been thinking for ages that we’d like to get a live drummer for gigs, but we couldn’t think of who would be right. We were actually going to start auditioning drummers the following week, and we saw Muph and Pluto supporting Drapht at a gig, and we just thought ‘oh yeah, why didn’t we think of Pluto?’, so we got him in and things went from there. He’s a great drummer, especially for hip hop; Pluto is a human metronome.”

After State of the Art went two-times Platinum to become the highest selling Australian hip hop record of all time, it was obvious that to raise the bar further, Hilltop Hoods would have to call in some big guns.

They did this by expanding their circle, utilizing more guest appearances than on previous albums.

U.S. stars Black Thought (The Roots), and Chali 2na (Jurassic 5) are joined by Canada’s MC Classified, Melbourne’s Lotek, Solo (Horrorshow), and Adelaide/New York’s Sia. “Classified we’ve worked with before, he came over here and supported us on tour and when we were in Canada we supported him, plus we’re big fans of his, so that just seemed like a natural choice. Black Thought and Chali 2na would be on anyone’s wish list, and we’re no different, we’re definite fans of those guys.”

The majority of the production on Drinking from the Sun has been handled by the likes of newcomer One Above, Jaytee, Pokerbeats, and Trials from The Funkoars.

“I think we definitely have a sort of signature sound that we look for, that ‘country funk’ sort of sound. I think it’s been present on the majority of our records, the Mama Cass sample, the Melanie sample on the

You have a unique sound within the Australian music scene, have any Australian artists influenced your style?

Of course! Heaps and heaps and heaps, from Sarah Blasko, to SFK, to Wire MC, and so on, and so on.

There has been a bit of uncertainty regarding your signing to Elefant Traks; a lot of people thought it was a risky decision given how different your style is from the rest of their roster. Although it was inevitable that you would eventually sign to someone, were you surprised that it was Elefant Traks?

Not as surprised as most! ‘Cos really at the end of day Elefant Traks are doing things right now, it was only right! Good music is good music.

worth. Really.

You’re about to do a few shows with 360, then you’re heading out with The Herd, do you have a preference between live gigs and studio?

The highest of high! Hahaha, Nah, oi, I’m an unpredictable fucker, so who knows... You’ve just gotta be there to see!

Yep 360 then I’m off with The Herd and Thundamentals, I’m full geed! I love live gigs way more than studio, way more! Thing is, every c**t was too scared to put Sky’high on.

But Elefant Traks changed all of that. So just saying, see me live and get your money’s

What should Hobart be expecting when we see you in April?

Shane Crixus Sky’High appears at The Brisbane Hotel on Tuesday April 24 (Anzac Day Eve) with Thundamentals and The Herd. Tickets are $28.60 and are available via Oztix.

Nosebleed Section etc, and very drum heavy, we definitely go for that kind of sound.”

The ‘country funk’ production is often complimented by the use of a string quartet, following on from the successful relationship forged when working on The Hard Road: Restrung.

“We don’t write any of the strings, we worked with Jamie Messenger on the Restrung project and we used him again on this, he just has a great sensibility for our music, so he writes for the quartet, and we record that and then we bring it back and cut it up.”

The Hoods’ managers are obviously working hard, inking a massive U.S. distribution deal with Fontana, a subsidiary of Universal Music Group. A relationship which the North American tour can only bolster and a relationship that can only lead to more opportunities for their Golden Era label mates. Golden Era itself, has gone from strength to strength since the Hoods launched it in 2008.

“We wanted to give ourselves and our mates a way to put out the music we want to put out. There’ll be new albums from Briggs and Vents out this year. That’s super fast for Vents, but he’s putting in the hard yards on it and getting it done.”

With a new album, a new tour, and a new international distribution deal, the future is as bright as ever for the Hilltop Hoods. Grab some shades.

SHANE CRIXUS

Hilltop Hoods Drinking From The Sun available now through Golden Era Records

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Music

ROSIE BURGESS SETS SAIL MELBOURNE ROOTS POP TRIO ROSIE BURGESS TRIO PREPARES TO SET SAIL WITH THE NEW ALBUM ‘BEFORE I SET SAIL’ THIS MONTH. WARP CHALLENGES ROSIE TO A Q&A.

Music

Warp: You’re releasing your fourth album ‘Before I Set Sail’ this month. What’s the story behind the name?

Rosie: Well I guess it just kind of evolved.

Usually I know what I want to call an album before it’s even started, but this time I wasn’t so sure. Then we recorded the song ‘Before I Set Sail’, which is about life being a bit of a crazy journey, and I realised that this was an idea that really set the scene for the whole album.

It’s not your first reference to water. You’ve written a pirate song, sung about throwing ashes into the sea, and gone kayaking in the film clip for ‘Stackhat’...

That’s true! Well, I do love the ocean.

I’ve always lived as close to the ocean as possible and I get a bit freaked out when I go places that aren’t close to the ocean. It feels like you get more breathing space if you’re on the edge of the land.

By water, air or land, you’ve toured extensively this past half decade. How has travelling influenced your world view and your music?

Oh it’s just blown my world right open. I’ve met so many different kinds of people and had so many massive experiences. There’s nothing like being in a strange city with $1.40 in your pocket not knowing where you’ll go next or how you’ll get there. That’s when being a musician is the best - you just crack open the guitar and started playing on the street and you’ve made yourself enough for a room and breakfast by the end of an afternoon!

You must have a bunch of great tales to tell; people you’ve met, places you’ve been...

What is a favourite story of yours?

DIAL INTO DIAFRIX

I remember once they pulled us over when we were trying to get back into the States [from Canada], and for some reason they were convinced we were trying to traffic drugs across the border. They took us into a little isolation room and grilled us with hundreds of questions and then took away our passports and told us they were sending dogs through our van to tear it apart! We knew we didn’t have any drugs but they still make you feel incredibly nervous. Eventually they came back with really serious faces and they said they’d searched the van and they’d found… two tomatoes and a celery stick and they were going to have to confiscate them!

We all totally fell apart laughing.

MELBOURNE BAND DIAFRIX HAVE HAD A BIG YEAR TOURING OZ/NZ WITH BRUNO MARS AND BLUE KING BROWN AND RELEASED THE HIT SINGLE SIMPLE MAN WITH NEO-SOUL GENIUS DANIEL MERRIWEATHER.

It must be difficult sometimes, though, sleeping in cars, moving from place to place, full-time living without sick leave...

Yep, but you learn to just suck it up and roll on. And the truth is, it’s so exciting and interesting that you don’t really mind the craziness so much. That said, I do love coming home and holing up in my house and revelling in the space and the slowness of time that you get when you come home.

“Diafrix has always had production, but we really wanted to reach out to other Melbourne producers, and Styalz is another guy we’ve worked with before. We wanted to remind people that life is simple if you want it to be. We went back to Africa and remembered how simple things really are, so then we just had to put that into a song.”

Where would you like to be in ten years?

Living in a community with a little house on a block of land with a veggie patch and some chickens.

“We’ve known Daniel for 5 – 6 years, and we’ve always wanted to do something with him” says Diafrix’s Khaled Abdulwahab (AKA Azmarino, one of the band’s two MCs).

DANIEL TOWNSEND

With production from another Melbourne stalwart in the ever popular Styalz Fuego, Simple Man was always destined to do well commercially as well as with the underground crowd. Following the success of Simple Man the group scored a spot on the bill supporting American pop superstar Bruno Mars.

Rosie Burgess plays The Royal Oak in Launceston April 12, The King of Burnie in Burnie April 13, Brookfield in Margate April 14 and The Republic Bar & Cafe in Hobart April 15.

“Bruno Mars and his band were really cool guys.

Normally you don’t get to hang out with major pop stars, but they were like ‘hey what are you guys doing?

Let’s go get beers’ so that was really cool.”

FRACTANGULAR FUN-RAISER TRANCE DANCE PARTY CREW FRACTANGULAR IS HOLDING A MINI DOOF FUNDRAISER AT SALAMANCA TO KEEP THE FESTIVAL TRAIN ROLLING.

The husband and wife team behind Fractangular has designed and managed a variety of indoor and outdoor music, art ad performance events in the State over the past four years, with the most recent being Let there Be Doof at Buckland in December.

Fractangular Gathering 2013 will step it up with a third music stage showcasing local and interstate bands, more visual and performing arts, professional development opportunities through interactive creative workshops, local food and market stalls and once again a HUGE variety of top quality local, interstate and international DJ’s and producers across two electronic music stages.

In the meantime, they need to raise some funds to kickstart it and they’re doing it in fun and freaky Fractangular style, with a free, all ages dance party in the Salamanca courtyard. Get jiggy all night with an amazing line-up of local talent covering live music styles from dub reggae, jazz fused gypsy and more, plus DJs spinning electro swing, Balkan, minimal tech, funky progressive, ambient dub, glitch and more.

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With a bar on-site (ID required), the courtyard will be decked out in Fractangular’s trademark psychedelic art installations and artwork, with a raffle to help raise funds for next year’s festival. Prizes have been donated by local and interstate businesses, festivals and musicians with a total prize pool over over $800.

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Directly following the Bruno Mars gigs, Diafrix set off with Blue King Brown to tour Australia and New Zealand, stopping at the University of Tasmania last May. Since the 2011 tour, the lads returned to the studio to continue working on their album Pocket Full of Dreams, set for release at the end of June 2012.

Recently releasing the eclectic and epic Running It as the second single from the album, Diafrix are setting off on tour again.

“We toured with Bruno Mars and then straight after that we played with Blue King Brown, so one week we were playing to kids and then the next week we were playing to their parents. But we got a good reaction from both crowds, everyone was great. Hobart always goes off. We hadn’t been there for 2 years. There’s something about that place, Hobart really knows hip hop.

“We love the Republic Bar, we’ve played there before, that was our first sold out show outside of Melbourne!”

SHANE CRIXUS

To coincide with the fundraising the event is a free sneak peak at the three-day Fractangular Open Air Collaborative Gathering of the Arts in February 8-10th 2013, which is a cross cultural arts festival bringing together local, national and international artists of the various art forms of electronic and acoustic music, visual art, performing art, as well as the involvement of local community members and businesses.

Facebook : Fractangular Gathering / Fractangular Trio Website: www.fractangular.com.au

Diafrix plays the Repbulic Bar on Sunday April 8 with by producer/DJ Ptero Stylus and DJ Surrender with Joelistics. Tickets are $18 plus booking fee, and are available via The Republic Bar, Ruffcut Records, and Moshtix.

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Music

Music

DOWN FOR THE COUNT

DIGGING THE WELLS

THEY’RE NO FLASH IN THE PAN. WHILE THE 5.6.7.8’S SEEMINGLY SHOT TO INTERNATIONAL SUCCESS OVERNIGHT WITH KILL BILL VOL. 1, THIS HAD BEEN A LONG TIME COMING.

A LONG AND FRUITFUL YEAR COMES FULL CIRCLE FOR HOBART BAND BEN WELLS & THE MIDDLE NAMES, WITH THE RELEASE OF THEIR EP ‘HOUSE, COME HOME’.

While they had steadily been carving a name for themselves back on home soil for some time, this widespread recognition came about after they were picked up by none other than Quentin Tarantino - whom they describe as “a genius” - to star in his cult flick, Kill Bill.

How did that happen? Tarantino was in Japan for a meeting about the film.

Rummaging through a thrift store on his break, the shop assistant was playing the new 5.6.7.8’s record. Tarantino asked the shop assistant if he could have her copy of it, but she declined and told him to get his own copy. He went in search of it, but unable to find one before he had to fly back to the US, he returned to the store and pleaded with the girl to sell him her copy, to which she eventually relented, and sold it to him for double the price.

Having just launched ‘House, Come Home’ last month to their adoring Hobart fans, Ben Wells & The Middle Names will perform two more Tasmanian shows before hitting the road for a 11-date mainland tour to really get their music to the masses.

anything,” Ben told Warp.

‘House, Come Home’ has already spawned the successful ‘Robin Hood’ single that was added to Triple J rotation early this year and having ushered in the New Year with a main stage performance at Falls Festival for the second consecutive year, it’s onwards and upwards for the super six-piece.

Hobart and Launceston fans get one more opportunity to see them live, with the band supporting Ball Park Music later this month.

But then it’s onto the real excitement of an extended East coast mainland tour.

“We’ve done other recordings, but this is the first one where we’ve put in a whole heap of effort in terms of getting everything right... taking our time with it all, not trying to rush

The all-girl Japanese rock outfit have been doing what they do best for going on 26 years now. That’s longer than the life span of even some of the most dedicated of bands.

“We’ve all been looking forward to finally getting the EP out there. We recorded it last May, I think, so it will be nearly exactly a year before we get to tour it.”

“In May we’re going on tour and it will be from Brisbane right down to Melbourne.

It will be the biggest tour we’ve ever been on and it will be a little under a month, so that will be fun.

“We’ve kind of just started to get to that point where people will hear us on the radio and decide to come along to the show, which has been really good.”

The whole radio thing has been a huge buzz for the band, particularly given the national exposure afforded through the Triple J exposure, and sets the scene perfectly for the tour.

“The first time was pretty surreal. When you’re a teenager, growing up being a musician, it’s kind of one of your goals to get your song on the radio... when we actually heard it we were all pretty stoked,” Ben said.

“I think the main thing is we love playing live so much it’s kind of one of those things you

You recently joined forces with Jack White to make a record – how did that come about?

When the 5.6.7.8’s did the Detroit tour, one of the local bands gave me a 45” single of Jack’s White Stripes. Then we became friends and did a tour together. Two years ago, we met in Tokyo unexpectedly and he offered us to do recording at his new studio in Nashville, so we did. It was so fun and relaxing; when we recorded, it was like being at a friend’s house. He was great with his sound choice and advice.

Why are you drawn to covering other people’s music?

I’m more of a record collector than a musician. I love the original experimental records, but it’s just fun to do cover songs.

ALI HAWKEN

Now the band is heading back down under for the upcoming Hoodoo Gurus 30th anniversary Dig It Up tour, playing alongside the likes of the Sonics, Died Pretty, Red Kross, the Hardons, the Lovetones, Royal Heartache and The Fleshtones. The band’s guitarist, Yoshiko “Ronnie” Fujiyama tells us about it.

know next time you play there’s going to be a few more people at your show that know your music.”

Get your copy of ‘House, Come Home’ at JB HiFi or on iTunes.

STU WARREN

Warp: Your influences span over many decades - how did you end up with such a broad array of influences?

Ben Wells & The Middle Names play with Ball Park Music on April 20 at Hotel New York and April 21 at The Waratah Hotel.

They then tour from May 2-19 with shows in Brisbane, Byron Bay, Gold Coast, Melbourne, Newcastle, Sydney, Wollongong, and Canberra.

Visit benwellsandthemiddlenames.com for details.

Yoshiko: It’s like patchwork embroidery; we connect them all together. It is a thrill to try to step outside of the rules and mix and mash all different genres that we like together. It keeps things interesting and we think it gives us our own style.

The 5.6.7.8’s play the Brisbane Hotel with The Roobs on Friday April 27. Tickets available from the venue, Ruffcut and Oztix.

Do you use drugs when you party?

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Researchers from the National Drug and Alcohol Research Centre would like to speak to people who use drugs when they party. Face to face interviews will be conducted between April and May. The interview takes around one hour and is held at a convenient location for you. Interviews are anonymous and You will be reimbursed $40 for your time.

If you live in Hobart contact the Research Team on (03) 6226 7697, email estudy@utas.edu.au or SMS details to 0458 748 758 (you do not have to use your real name).

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TOP TEN REGGAE ALBUMS

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Eek-A-Mouse – ‘Wa-Do-Dem’ (1981, Greensleeves) Yellowman – ‘Mr Yellowman’ (1982, Greensleeves) The rise of dancehall saw deejays move away from toasting over dub plates to toasting over fresh production of classic riddims (standard rhythmic and melodic passages suited to re-use – often riddims are based on music from outside Jamaican, for example the Taxi riddim is based on the Cuban ‘Peanut Vendor’, African Beat uses German composer Bert Kampfert’s ‘Afrikaan Beat’, and Darker Shade of Black is essentially ‘Norwegian Wood’), and there’s nothing fresher than the production of Henry “Junjo” Lawes backed by The Roots Radics Band on these two releases - Wa-DoDem further benefits from mixing by King Tubby and Scientist.

I GREW UP LISTENING TO REGGAE, BUT NONE OF IT CAME FROM JAMAICA.

There was Matthew Wilder’s ‘Break My Stride’, Australian Crawl’s ‘The Boys Light Up’, ‘I Can See Clearly Now’ by The Hothouse Flowers, and of course, Boy George. The real doors were opened by The Clash and 2 Tone ska, and then later through dancehall’s influence on New York hip hop.

Once you’ve gone through those doors the Tardic vastness of the genre can be quite overwhelming, but the albums listed below represent a quality snapshot of all the dimensions of what is a frankly quite strange style.

There are tsk-tsk cymbals, beeps and brays, “diddly-dumdehs” and “ribbits”, Shadrach, Meshach, and Abednego, some Ethiopian king, and a reverent adoration for boxing.

Yet despite the foreign façade, the sounds and the emotions they embrace are totally universal – you don’t need an instruction manual to enjoy this music, your body was born with the skills.

Burning Spear – ‘Marcus Garvey’ (1975, Island)

Augustus Pablo – ‘King Tubbys Meets Rockers Uptown’ (1976, Yard Music)

Oh God… Or maybe I should say, “oh, Jah…”, or even “oh, Marcus…”; it doesn’t seem to matter, religion, politics, and Jamaican society are indistinct on this forceful expression of the Rastafarian identity.

Produced by Jack Ruby and made distinctive by the presence of so many horns, the sound powerfully carries Winston Rodney’s militant messages of slavery and redemption. ‘Slavery Days’ is on this one, and you can usually find it paired on CD with the dub version, Garvey’s Ghost.

Any number of dub albums could feature on this list, and this one is probably not even my favourite, but it is just so quintessential it deserves a mention.

A star-studded backing band (many of whom also feature on Marcus Garvey) including Leroy Sibbles, Robbie Shakespeare, the Barrett brothers – Family Man and Carly, and Earl “Chinna” Smith are pulledtogether by Pablo’s distinctive melodica and keys.

The King Tubby gets to play with it all, instruments come in and out of the mix, the echo is maxed, the cymbals splash and tinkle, and the bass throbs throughout. Next time someone says they like dub, ask them what their favourite track off Rockers Uptown is and gleefully watch them stare blankly and wipe the MDMA from their upper lip…

Please note also that alongside the stand-out albums listed below, reggae is served very well by compilations. So much material coming out of Jamaica is in 7” single format, and labels such as Pressure Sounds, Soul Jazz, Blood and Fire, Trojan (Sanctuary), VP, Greensleeves, and RAS are regularly compiling material expertly.

There are many other deejay releases featuring similar superstar ingredients, but it’s the talents of Yellowman and Eek-A-Mouse that cause these two to stand out. The former is easily the king of slackness (vulgar or sexually explicit lyrical content) – when he sings, “give me the morning ride, slip and slide you going broke your back side”, he’s talking about bumming some lady first thing, and you can easily imagine the intent behind the track ‘Cocky Did A Hurt Me’ which features the lyric, “me discharge fresh butter”. Yellowman is hilarious, and no, not because of his albinism… it’s the jodhpurs.

Aside from the astonishing title track, Wa-Do-Dem features the brilliant ‘Operation Eradication’, a song about the Jamaican government’s violent and futile frothing-at-the-mouth-in-a-war-on-drugs-USAsupported crack-down on marijuana cultivation and distribution which resulted in many innocent deaths.

Eek-A-Mouse is also hilarious but not because he jokes around, the themes on this album are genuinely harsh and dark, seeped by a deep mourning – he’s funny because of his “diddly”s and “bing-bing-bing-badda-bing-bing-badda-bing”s in his distinctive pseudo-falsetto. You have to hear it to believe it.

BEN CROTHERS

Sizzla – ‘Black Woman & Child’ (1997, Greensleeves) That this release is the only one on this list representing the last 30 years of Jamaican music is partly due my personal prejudice against the changing sound of the genre, and partly due to the extent to which this incredible album stands-out amongst similar contemporary dancehall releases – although Buju Banton’s Murderer ran close alongside.

Sizzla grew up in a world of slackness and yet this album couldn’t be any less slack with deeply respectful and reverent themes and suitably tender production by Bobby Digital. The warmth of the digital production is actually quite surprising, digital reggae usually lends itself far better to having a dance or maybe even rooting, it is Sizzla’s voice – drenched in emotion – and his devotion to Rastafarian principles that results in an album with far more in common with some of the earlier albums on this list than much of the Dancehall/Ragga sounds of the 90s and beyond.

Epilogue: Bob Marley

Dr Alimantado – ‘Best Dressed Chicken In Town’ (1978, Greensleeves) Dillinger – ‘Cocaine’ (1983, Charly)

Max Romeo & The Upsetters – ‘War Ina Babylon’ (1976, Island) Junior Murvin – ‘Police and Thieves’ (1977, Island) The Congos – ‘Heart of the Congos’ (1977, Black Art) It’s the later 70s and Lee Perry is on fire. Big production, distinct from his itchy and raw earlier work, delivering knockout backing for some of the sweetest and most powerful voices of roots reggae.

Murvin’s distinctive falsettish voice lopes sweetly over washed-out work by The Upsetters, Romeo is clear and powerful, and The Congos operating as a core duo with many friends including The Meditations and Gregory Isaacs are totally supreme.

The result is music that puts your hands in the air, your face to the sky, and tears in your eye. The Island albums include dynamite classics such as ‘Police and Thieves’ and ‘Chase The Devil’, tracks with a lasting influence on music worldwide. As for Heart of the Congos, this is easily my favourite reggae album of all time. Alternating between doom and delight, this shit really soars. Like some kind of cultish youth group, this album made me really dig the stories of God and his crazy mates. Did you hear about this Daniel guy? – he got chucked into a pit full of lions and prayed his way out of it…that’s mental!

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The attraction of the deejay sound is the whole package one gets – there’s the glimpse of original track, the dub mix, and then the toasting on top which more often than not is totally hilarious.

Typically, classic roots recordings are the basis for the deejay mix, the producers and studios who work with the roots artist have a number of deejay voices to utilise and the process is often as simple as pressing record, playing the dub plate of the original track and just letting the deejay go for it, shouting out random lines, echoing lyrical passages of the original track, and bragging about prowess.

Both of these albums are compilations (Cocaine’s recordings date from the late 70s), deejay mixes would appear on 12”s of the original track, or 7”s on their own, but complete albums are rare. Best Dressed Chicken In Town features studio work from Lee Perry, Scientist and King Tubby, and dub plates of roots songs originally voiced by Horace Andy, Gregory Isaacs, and John Holt.

Dillinger’s work more often used backing tracks that are in a more energetic rocksteady style, and the Trojan re-release of Cocaine (released as Cocaine In My Brain in 2000) also includes Lee Perry production featuring backing from Perry cuts in the scratchy and abrasive Upsetter style. It is worth mentioning all the other deejay artists from this period that are worth a sniff: Big Youth, Dennis Alcapone, U-Roy, Prince Far I, I-Roy, and Trinity – again there are plenty compilations which cover the period well.

I love Bob Marley and The Wailers. People in shacks own copies of Legend and listen to it in summer months – you did too. Early major albums, Catch A Fire and Burnin’ were released under the name The Wailers before Marley was marketed as the man to watch, and they each feature extensive input from Peter Tosh and Bunny Wailer before they got a bit shat and nicked-off to do their own thing.

Then came the I-Threes; Rita Marley, Judy Mowatt, and Marcia Griffiths to provide heavenly backing vocals, and some of the best of the Marley output, studio album Natty Dread and Live at the Lyceum followed. From there onwards things are patchy and strange, lots of great songs, but albums that arguably don’t work as a whole – yeah, ok, Exodus is actually pretty good.

However, all of this is pale compared to the Lee Perry productions from the early 70s. Stripped versions of the brash production that Island Records boss, Chris Blackwell, brought to later re-recordings to help push them to a wider western audience, the songs are revealed as sweet and adorable and the Wailers are revealed as truly great writers of the pop song.

These recordings appear on the albums Soul Rebels and Soul Revolution - with a rhythm (vocals removed) version of the latter being released as Soul Revolution Part II - but they will also pop-up all over the place on obscure international labels taking advantage of loose licencing and importing rules; this is the stuff you’re likely to find at Chickenfeed.

Marley’s legacy is as a mighty influence of his Jamaican peers and as a gateway reggae artist for the rest of the world….oh, and really annoying hippies with poor quality facial hair.

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Club / Electronic

Club/Electronic

COOL IN ANY LANGUAGE

Club and Electronic News LOCAL NEWS UNDERGROUND GHETTO FUNK

QBIK DRUMS AROUND OZ

TRITONAL TOTING THE TRANCE

producer Legohead and all round outdoor DJ hero Ozzy (Tribeadelic). Legohead is in the final stages of his new album and will be testing out the dancefloor. Add locals Seanie, Corney and Justin Time and expect it to be a ripper!

American up-and-comers Tritonal are touring Australia this month, touring the infectious blend of techno and trance that saw them burst into the Top 100 DJs list at #83 last year. With support from some of the biggest names in the business, including Armin Van Buuren, Above & Beyond and DJ Tiesto, these boys are sure to tear the place apart, supported by Simon Lovell, Finch and Lids.

THE SYDNEY DJ DUO THAT INFECTED THE INTERNATIONAL DANCE SCENE WITH ONE RECORD, YOLANDA BE COOL’S SECOND SINGLE WITH PRODUCER DCUP, WE NO SPEAK AMERICANO, SOLD OVER 5 MILLION COPIES AND HIT NUMBER ONE IN 18 COUNTRIES.

MOBIUS TURNS 10 This month our beloved underground, back-street lounge bar Mobius celebrates its 10th birthday. Mobius king pin publicans, Ben Hickey and Meryl Naidoo, will be celebrating in style by bringing down three of their favourite DJs to spin the night away.

DJ Flagrant will be showcasing his latest Audio-Visual show, 13x Australian champion J-Red and DJ for Lyrical Commission will be on deck, as well crowd favourite DJ Kuya.

Mobius Lounge Bar Turns 10 on Saturday April 7, featuring DJ Flagrant, J-Red, DJ Kuya and special guests. Doors open at 10pm, $10 entry.

EASTER FREESTYLE

QBik plays at PlanB, Saturday April 14, entry is $10.

Hot off the back of their stellar single Can’t Get Better Than This which has now reach one million views on youtube, Australian electronic duo Parachute Youth are embarking on a national tour over June, including Hobart.

Parachute Youth plays at Republic Bar on Saturday June 16.

The Brisbane Hotel will be trancing it up with the psychedelic sounds of Melbourne

Following an absolutely mad set at the recent Breath of Life festival, party rockers Bombs Away will be back in Tassie for another bumper night at local club PlanB. With absolute party bombs Swagga and Supersoaker already under their belt, these American lads will surely destroy it.

THE GODFATHER OF BREAKBEAT, KRAFTY KUTS IS DROPPING A BRAND NEW LONG-PLAYER AND TOURING WITH HIS GENRE-BREAKING BEATS AND BREAKS.

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The Freshly Breaked Easter Extravaganza featuring The Freestylers, Saturday April 14 at the Grand Poobah. Tickets are $25+BF (early bird) or $30, from Ruffcut Records, Mojo Music and Hotel Tasmania or moshtix. com.au

“I think anyone who knows DJing or DJs would know there are good ones and bad ones. So, obviously there is an art to it.

It’s not just playing other peoples’ music; it is doing it in an interesting and entertaining way.”

STAYING KRAFTY

DAFT PUNK DUE IN JUNE

World famous breakbeat banditos The Freestylers will make their second appearance in Hobart this month, this time at our newest big-room club The Grand Poobah. Freshly Breaked delight Hobart with their Easter Extravaganza this month, encompassing two rooms and more than 5 DJs, including Adam Turner, Mez, Lids, Dagwood and Sami. Early bird tickets for this have already sold out, so get yours now to avoid disappointment.

“I started [DJ-ing] when my friend left his deck at another friend’s house on New Years. I literally played around with his records from when I got up ‘til when I couldn’t stand up. It may have been twelve hours straight, I just loved it.”

DROPPING BOMBS

Bombs Away! plays at PlanB on Friday April 20, supported by Aj Hardy, JimK and Corney. Tickets from Syrup and PlanB or the Vic Tav.

“We got very inspired there. We had a studio under our house, so we’d go out to the clubs and then come home and make music.

Some of the biggest DJs in the world play there.”

With over ten years of DJ experience under their belts, the duo draws inspiration from various genres, ranging from world music to eighties electronic and nineties house and hip-hop. However, as Peterson explains, there is more to DJing than just mixing other’s songs.

LEGOHEAD & OZZY

New Zealand Drum & Bass DJ QBik will be rocking speakers and moving feet at PlanB this month. After 10 years as a professional DJ, and tours spanning Australia, New Zealand, Europe and Asia, this Australianbased ex-pat will surely have enough DnB to shake even the most hardcore junglists.

“I think we like to see ourselves as down to earth Aussies. I don’t think Aussies get as carried away, we are better placed to deal with stuff like that [fame]. I like to think we have stayed cool,” one half of the duo, Peterson said.

“I have a chip on my tooth which was from being in a barrel and having my head slam on my knee. I got it fixed twice but it just kept falling off, so I’ve just left it.”

OPEN THE PARACHUTES

Ghetto funk is a genre that’s getting huge in Tasmanian bars and clubs and is guaranteed to get your dancing shoes moving. Danish producer and DJ Badboe will be headlining this month’s Regrooved event, supported by Tassie ghetto-kings DJ Grotesque and Mez. Regooved featuring Badboe at Ivory Lounge Bar on Saturday April 7, free entry before 11pm, $5 after.

Last year Yolanda Be Cool embarked on an extensive tour, with time spent in North and South America, Australia and Europe.

Using the home of dance music, Ibiza, as a base whilst touring in Europe, the duo drew inspiration from the local scene.

One way these native Sydney-side boys have managed to stay cool is by relaxing and hitting a good set of surf, despite obtaining an unfortunate casualty on Peterson’s behalf.

Legohead and Ozzy play at the Brisbane Hotel on May 25, entry is $12 on the door.

Tritonal plays at PlanB, Saturday April 28.

Tickets are $15 +BF from Moshtix.

Suddenly Yolanda Be Cool were taking over our radios, pulsating from televisions and pumping out of clubs around the globe. Yet Sylvester Martinez AKA Andrew Stanley and Johnson Peterson have managed to keep it real, in face of their ever growing popularity.

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Word on the ‘net is that French electronic production duo Daft Punk are set to give birth to their latest child of synthesis, and that it will be coming out in June. With super-producer Nile Rodgers reportedly teasing out their RnB influences and American songwriter Paul Williams writing songs for the album, it is set to be quite a combination of flavours. www.daftpunk.com

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Warp: What have you been up to this year?

Touring seems to be a big part of your life, but what other exciting things have been happening in the world of Krafty?

Krafty Kuts: Every year just seems to get busier. It’s crazy but I am happy with that.

The last six months I have been involved or working on two videos for new Krafty Kuts tunes, finishing the Let’s Ride LP, three remixes, Loopmasters CD (Sample Music CD), four releases on my new label Instant Vibes and touring Canada, USA and the UK, just for starters - along with radio promo DJ mixes. It has probably been the busiest period in my career so far.

Your latest EP Let’s Ride is to be released this month on Instant Vibes, and the preview mini-mix is already being touted as a genre-breaker. Can you tell us more about what you wanted the songs to convey?

The new LP is a mixture of everything Krafty.

It took over two years to make and whilst I was travelling I took in all the energy I was feeling from certain countries all the good music I was spinning in my sets and my love for the perfect groove, melody and beat. This is definitely my best work to date with loads of new collaborations and new styles for me it is exactly where I am at in my career musically.

You recently launched your own label, Instant Vibes. What other releases have you got planned for the near future?

A new Jay Robinson EP, Bobby C TV Sound EP, Bird Peterson single with remixes, Rory Lyons EP and many more. I am very lucky to have some amazing artists with some incredible releases coming soon especially the next Jay Robinson collaboration with Stereo MCs and Jungle Brothers - this tune is immense.

As well as touring, the boys have been putting the finishing touches on their much anticipated debut studio album. Including a mixture of genres and styles, as well as collaborations with a few unknown artists, the album is sure to be one to watch out for.

“We have pretty much finished our album now and there are tracks on there that are similar to Americano and tracks that are different – we have a ballad on there. I think our album will show all our interests.

We have a hip-hop track, a funk track, a bit of everything, although we don’t want to go too far away from what we have done.”

“We love dance, we love nightclubs, and we love making people dance – that is our primary aim.”

REBECCA WHITEHEAD

Yolanda Be Cool play FRESH Autumn at the Huon Quays, Regatta Grounds Hobart on Saturday May 12. Tickets available from Greentix and Ruffcut.

Most DJs these days are incorporating newer sounds into their mixes, like Moombahton and Dubstep. Do you see this as a necessity in order to evolve, or can modern DJs still stick to one genre and be successful?

I love the multi genre thing and love myself bringing in new flavours, styles etc into my sets to make them more interesting. Move with the times not change your whole set and follow trends but just incorporate and inject some of the amazing new sounds that makes electronic music so interesting.

Ghetto Funk has really taken off down in Tasmania. As one of the producers representing this relatively new genre, you must be stoked with the response that it is getting. Where do you see this extremely funky brand of breaks going?

The funkier side of music has always been popular with likes of Nick Thayer, A.Skillz, Featurecast and Slynk pushing that sound constantly for the last few years, and it’s great to see how it has grown and now beginning to shine. I have always maintained a fresh batch of quality mid tempo bangers in my set and there are some amazing new tunes out there, off which I shall be dropping in Hobart very soon. It can only get bigger and better. The future is bright and the future is FUNKY! CALUM ‘MAX’ POWER

Krafty Kuts plays at The Republic Bar on Friday April 27, supported by The Swiss and Acumen.

Tickets $30+BF from Ruffcut Records or $40 on the door.

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Club/Electronic

Club/Electronic

FRIEND OF TECHNOLOGY THE NEW SWISS STYLE SYDNEY DJ-PRODUCER JONO FERNANDEZ HAS BEEN A STAPLE OF THE INDUSTRY FOR OVER A DECADE AND IS NOT SLOWING DOWN ON HIS WAY TO TASMANIA.

DANCE-ELECTRO ACT THE SWISS LAUNCHES INTO THE YEAR WITH A NEW ALBUM, NEW SHOES AND A NEW LINE-UP.

THREE TONES OF TRANCE TEXAN TRANCE DUO TRITONAL ARE RELATIVELY NEW ON THE SCENE BUT IN THREE SHORT YEARS HAVE PRODUCED A PLETHORA OF ANTHEMIC TRANCE AND TECHNO, GARNERING SUPPORT FROM SOME OF THE BEST IN THE BIZ.

Warp: Trance and progressive tech have gone through some massive changes over the past couple of years, both in the industry and audibly. What do you see as the most important things for producers to take stock of in order to keep their tracks from becoming repetitive of previous works?

Tritonal: Staying unique! It’s hard enough as is in this industry, everything is already ‘4 to [the] floor’ - don’t you want to be as unique as possible? Sound design, new techniques, storytelling and a hooky vocal are all part of the formula, which either way you use it.

Jono Fernandez is a remarkable man. He accomplished more in the first 3 years of his career than most hope to do in their whole lives in the industry. He has remixed and collaborated with an illustrious list of industry stalwarts, including Nick Thayer, Meat Katie, Kid Kenobi and Dylan Rhymes.

He is also currently collaborating with Taxi Ride front-man Tim Watson.

“The project was something that came about after a club collaboration with a friend of mine [Tim]. We decided that there was a lot more to it than just one club track and formed our band Friends of Mine as a result.

We released our first EP last year and have been doing a few gigs on the back of that.

Currently we are working on material for our second EP that we hope to have out later this year.”

It also seems that there is more to this collaboration than just a band, with Mr Watson plying his skills onto a recently released single; “My new single Lights Are Fading is actually with Tim under his moniker Twin Atoms. The track has been Top 5 in the Aria Club chart for the past 3 weeks and is getting some great responses.

“I have also just done a 2012 Re-track of Girl vs Boy that is about to be re released on UK Label Get Down Recordings.”

Jono is certainly not a technophobe, having long ago thrown out the heavy crates of vinyl in exchange for CD’s, and more recently doing in with the physical format entirely to move to Ableton Live, both for his production and live performances.

“Performing from Ableton Live has affected what I’m doing in the studio in the sense that I am able to test out tracks and often edit the arrangement live to suit the crowd. This does often get incorporated into the final version of the track when finishing it off.

Ableton Live is also a good way of jamming ideas together for tracks that might often start as a improvisation,” he said.

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There have been a lot of massive live lighting AND visual shows emerge over the past few years, and it seems a lot of EDM artists view this as important as the music in a live environment, if not more. What do you think of the amalgamation of audio and visual, and do you guys have any plans for an audio/visual show in the future?

With so much innovation over the past few years, it’s easy to believe that the computer is taking over from the 12-hour sequencing sessions, and detracting from the ‘natural’ evolution of production. Jono, however, believes that we should embrace these automations.

“It’s almost to the point where you could say we are making music with computers and it is actually contributing to the writing process now as well. It used to be that we did all the writing and the computer was simply a tool for us to record it but now more and more the computer is able to help with ideas, sound design, sonics and more."

“I for one embrace technology when it comes to music making and will try my hand at just about any new concept that comes along” Unlike many producers and DJs, Jono doesn’t like being lumped into a particular category or genre, instead choosing to listen to and produce all different styles and formats of electronic dance music.

“My love of electronic music stems from the fact that just about anything goes and just about anything is possible. [Because of this] I try not to put up too many boundaries around myself to do with genres when writing because I find you can really stifle your creativeness.”

CALUM ‘MAX’ POWER

Jono Fernandez plays at PlanB on Thursday April 5.

Having a visual performance is nearly as important as everything else audibly. Making the audience “see” what’s happening in the song with a story of visuals makes the performance all the more breath taking and more memorable.

It can really mess with the mind if you think about it and in a good way. For us, yes, we do have plans in the near future to start incorporating a more advanced visual performance. Lots of ideas to come!

Can you tell us a little bit of background on both of you? Where did you learn your Production and DJing skills?

We both simply love music! Influences [include] Sasha & Digweed to Armin Van Buuren, Above and Beyond, Ferry Corsten and many other artists. As far as production skills, it came from a lot of trial and error; mostly through reading from books, studying through specific courses in college and

really most of all, digging deep and spending time to build an arsenal of techniques for production. Even today, we always learn something new to adapt. We like to be sponges and soak haha!

Your debut artist album Piercing The Quiet is heavily drenched in vocal collaborations.

Do you have a particular method to producing with others? Do you write the vocals, or are they written by the collaborator?

We do love our vocal driven tracks! Usually, even with our signature vocalist, Cristina Soto, we like to get as much ‘hands-on’ on the building process of the vocal as much as we can - leaving [the] lyrical creativity up to [the] vocalist though.

As far as everything technically goes, when we do get our hands on the vocal - it all comes down to finding that hook, getting the right chops for the appropriate sections

of the track together and polishing them off. Sometimes, rarely, we’ll even have the vocalist come back in to do just a few more edits for us. It’s all fun!

What releases are you working on this year? Is there another full length album in the works?

We’ll space it out right for the next artist album, however, we already do have quite a bit of new productions in the works readying up our 2012 for us! We have remixes, bootlegs, mashups and definitely fresh originals under way!

Calum 'max' power

Tritonal plays at PlanB on Saturday April 28 supported by Simon Lovell, Finch and Lids.

Tickets are $15 +BF, from Moshtix.

AN ANIMATED RETURN Adelaide-grown dance-electro makers The Swiss have undergone a bit of a makeover during the past year; with the departure of bass player Sid Sidhu the band had not only lost a member, but one third of such a welloiled and popular machine. Luke Million and Tony Mitolo have since been touring through Europe and working on producing The Swiss’ debut album.

“For our Australian tour we enlisted the bottom end from our good mate Tim. He did such a great job in rehearsals and prep that he easily melded and slotted into the live unit. The Adelaide show was incredible.

Tim was a little nervous about it, but at the end of the day, as soon as we got on stage it was about the music and the energy. Not any individual person.

“At first we were a little apprehensive about it [continuing as a duo],” both Mitolo and Million agree. “But those feelings disappeared the minute we stepped on stage. The response from crowds in Australia and Europe were just as good if not better than before.”

“We are super excited to present the full album to the world. It has a lot of ;The Swiss’ sound that people know, but also we feel we have taken it further into new directions without deviating from a dance-friendly aesthetic,” Mitolo and Million state.

Without Sidhu, The Swiss continued to tour the European club scene as SwissCo Disco, where their DJ sets were received to wide acclaim. For the duo, exploring this avenue of performing was as much about experiencing something new, as it was about continuing on with what they had been used to.

“Whilst overseas we toured as a two piece for the first time. It was so much fun and so easy for us to get around and, more importantly, along. The set is so different from the band show. It’s a lot more club friendly and presents a whole new challenge for us live.”

Returning to Australia last year and performing in their hometown Adelaide for the first time with substitute bassist Tim Anderson, The Swiss admit to there being some apprehension in returning to their original format, but that was quickly dissuaded once they were up onstage.

“Working closely with our guiding light, dear friend and producer Donnie Sloan has been extremely rewarding and enjoyable, and we hope that those feelings translate through the sound.

“All life experiences influence it one way or another. It’s easy to imagine performing the songs in clubs of Europe and elsewhere that we have played at when writing. Certain parties always come to mind and may inspire the process further. A few of people we met abroad are going to be on the record.

We met one of our guests when we did a show in Rome. It worked out really well; we went to a small apartment the next day, laid down some ideas and took it from there.”

SOSE FUAMOLI

The Swiss plays at the Republic Bar and Cafe on April 27.

BEING ONE OF AUSTRALIA’S MOST CELEBRATED DANCE ACTS DOESN’T NECESSARILY GUARANTEE YOU SUCCESS OVERSEAS, AS RUPERT OF SONIC ANIMATION TELLS WARP AHEAD OF THE ACT’S RETURN DOWNUNDER.

Warp: Aside from a couple of Big Day Out performances, Sonic Animation has been very quiet for a few years now. Can you tell us why you decided on this hiatus?

Rupert: This is a tough question for me, involving lots of personal stuff, breakups, depression and lack of inspiration, a millionaire, Wal-Mart and pushing myself to the edge of bankruptcy. All the while being addicted to doing nothing, which is a weird addiction to have especially when it isn’t fuelled by drugs or alcohol. Just plainly, lack of life.

How is Canada treating you? Is there a different sound over there compared to the Australian EDM scene?

The area where I live, Rossland in British Columbia, is very into bass electronica.

Glitch-hop and Dubstep and lots of bass and some breaks. There is a little town near here called Nelson, a beautiful place on a glacier-fed lake. It reminds me a lot of Byron Bay, a real mix of dreads and dollars but without the beach. We get lots of great DJ’s from around the world come through and it’s close to where the Shambala

Festival takes place. So from where I am, it seems a little different from what I hear coming out of Australia.

It’s taken me several years but I am slowly building a fan base for my DJing. Every winter I visit the surrounding ski hills to DJ.

"It’s funny but there seemed to be almost zero interest for any success that I’d had in Australia and I basically had to start from scratch again."

Who do you most admire and respect musically?

There are so many great producers around right now! I am really inspired by Elite Force at the moment. It’s not so much about his

music, though he does have some great tracks, but he just seems to produce so much music and is always touring. I wish that I could be as dedicated as he seems to be. I love The Subs too; they have a really nice blend of old trance music and new sounds and production techniques.

And non-musically?

It sounds a bit soppy, but my girlfriend Nadine. She gets shit done and I like that.

It inspires me to do more, produce more, live more. If it wasn’t for her I wouldn’t have done half as much fun touring stuff as I have over the last 2 years. She runs a musical theatre company and hires me to tour manage and sound tech for the tours. I’ve gotten to see a lot of Canada this way!

How has the Sonic Animation sound evolved over the year, audibly and technologically?

From my end I feel like I am becoming a better song writer, using my guitar more

and more and trying to write structured songs on the acoustic before transferring them to the digital realm. I’m happier with my mixes but still trying to learn tricks to get the sound I’m looking for. We’re still working hard on the album and have recently upgraded our technology – it occurred to me last year that the program I was using was from 2004 and I was struggling to produce the sounds that I wanted. I was listening to all this cool electronic, thinking “wow they must have spent so much time programming that stuff”.

CALUM ‘MAX’ POWER

Sonic Animation plays at The Republic Bar on Thursday April 12 and Friday 13.

Tickets $10 from Ruffcut Records or the venue.

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Performing Arts

Performing Arts

Performing Arts Guide

MELB COMEDY ON THE ROAD STUFFING ONE OF THE WORLD’S LARGEST COMEDY FESTIVALS INTO ONE SHOW IS NO EASY FEAT, BUT THE MELBOURNE INTERNATIONAL COMEDY FESTIVAL ROADSHOW 2012 APPEARS TO HAVE DONE JUST THAT.

THE SOUTH CABARET

COMEDY

The Derwent Entertainment and Convention Centre The Melbourne International Comedy Festival Roadshow April 28

The Lower House Lower House Comedy Lounge April 12 The Theatre Royal The Melbourne International Comedy Roadshow April 26 and 27 Waratah Hotel The Clubhouse April 20

DANCE The Theatre Royal Shaolin Kung Fu April 4 and 5 Men in Pink Tights April 28

OPERA

Offering a selection of Australian, international and special guest comedians, the Roadshow is all the best bits of the Comedy Festival condensed into one travelling event. Last year, comedians taking part in Roadshow performed in 60 regional centres and capital cities across Australia. This year they’re visiting Hobart and Devonport, with a line up that features Justin Hamilton as emcee, Mike Wilmot, Celia Paquola, Dayne Rathbone and Sammy J. Sammy J has been treading the boards for years, entertaining crowds at the Edinburgh Fringe, London’s West End and on the TV sketch show, Good News Week. He last Hobart visited in 2008 with the Roadshow.

His first visit in 2004 was to an unknown pub, where he wise cracked for an audience of 18.

Warp: What inspires your material?

Sammy J: I’ve always been a fan of slightly absurd comedy; when things happen for no apparent reason and with no explanation offered. This style isn’t for everyone of course, but then comedy is like music or toilet paper - everyone has their own preference. My favourite show of all time at school was Shaun Micallef’s ABC sketch show, which was jam-packed with random moments and dead-ends. My friends and I loved it but others in our year level didn’t like it at all - that was when I realised how different people’s sense of humour could be.

Do you prefer stand up or improvisation?

The two are usually locked in a tight embrace, doing a foxtrot and stepping on each other’s toes. I can’t say I enjoy one more than the other, but that said I tend to lean towards scripted shows both in my own material and when working with Heath McIvor (Randy). I prefer to have a solid base from which to improvise rather than free fall; but that’s a personal preference.

Perhaps I’m just a large nervous chicken who needs to grow a pair.

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You work with a puppet, Randy, how did this character come into creation?

Randy (aka Heath McIvor) is my long time friend and collaborator and happens to be a purple puppet. We met back in Melbourne on the comedy scene five years ago and for the past few years have been writing full-length shows. When I first saw Randy I thought he was funnier than all the comedians on the bill - and still think so today. He is almost certainly the more human part of our duo. I can’t lay any claim to his character as he’s entirely a creation of Heath’s, but as far as our interaction goes, we know each other very well both on and off stage so it’s become quiet second nature. When the lights go up for a show I don’t think about Randy as a puppet or a performer; he’s just a friend of mine and we get to have ridiculous adventures together. Then when the lights go out we stick him in a suitcase and try to ignore his gentle sobbing.

And the joys of touring...?

As a comedian you have to find your audience, and your home town eventually tires of you. This leads you to seek out new worlds and fresh meat, as they say.

Having arrived in a new town, we plant our flag (poster) in the soil (shop windows), lay claim to the land (venue) and offer the natives (locals) fancy beans (comedy) in exchange for our stay. If we slaughter them (have a good show) we are likely to return; whereas if we are attacked (heckled) we flee in our boats (jet planes) and return to our kingdoms (squalid apartments).

THOMAS HOPKINS The Melbourne International Comedy Festival Roadshow Hobart: Theatre Royal on April 26 and 27 Devonport: Devonport Entertainment and Convention Centre on April 28

ONCE RELEGATED TO RSL CLUBS, BINGO HAS BECOME THE NORM OF BARS AND PUBS PATRONISED BY THE YOUNG AND THE RESTLESS. HOBART’S OWN BINGO CALLERS TALK TO WARP.

FROM THE MOMENT IT BEGINS, CABARET MOVES AT A PACE AKIN TO ITS CHORUS GIRLS; FAST, LOOSE AND FRIGHTENING.

COMEDY Fresh Cafe Fresh Comedy April 19

Southern Lights Hotel Kingston Comedy Bar April 11

LIFE IS A CABARET

The North

The Brisbane Circus Horrificus and Friends April 5

The Brisbane Comedy Forge April 26

CALLING IT

DANCE The Devonport Entertainment and Convention Centre Men in Pink Tights April 30 The Princess Theatre Shaolin Kung Fu April 3 Men in Pink Tights April 27

OPERA Burnie Arts and Function Centre Carmen April 21 Image: Sarah Mashman

THEATRE Burnie Arts and Function Centre Namatjira April 4 War Stories April 28

The Theatre Royal Carmen April 14

Derwent Entertainment and Convention Centre Let the Sunshine April 11

THEATRE

Earl Arts Centre Amadeus April 19-22 and 25- 28

Backspace Theatre The Journey Girl April 26 May 13

Longford Town Hall Shout! The Musical April 20-22 and 26- 28

The Peacock Theatre Blitz April 14

Stanley Town Hall Blitz April 4

The Playhouse Cabaret April 13- 28

The Annexe Theatre Terminus April 18 - 21

The Theatre Royal Namatjira April 18 and 19

The Princess Theatre Namatjira April 13 and14

The Bowery Poetry Club in New York hosts poetry readings, talks, cabaret and on Sunday evenings, it’s standing room only for the weekly bingo game. Patrons come early, game boards, pizza from Rays and jugs of beer clutter the long trestle tables that dominate the audience space. The stage is set up with a ball spinner and the night is emceed by Drag King Murray Hill and Queen Linda Simpson. Prizes vary - on the night I attended they ranged from VHS format porn to a porcelain elephant in garish colours.

I came away empty handed but strangely exhilarated after a night that included nude audience participation and bingo calls that would not be a miss in the aforementioned porno.

Back in Hobart, bingo is becoming increasingly popular. The Brisbane Hotel’s caller, Timmy Jack Ray (TJ) says that the numbers at the Sunday Bingo sessions have slowly risen, although he thinks it could also be the call of Happy Hour that draws the punters out on a Sunday evening. TJ, a bar tender at the Brisbane has been calling numbers for the last two months.

“I was at the Brisbane one afternoon, indulging in a few cheeky ambers, and the Bingo caller didn’t show. I was feeling particularly talkative on this occasion so I said ‘pfft! I’ll do it!’ So I did. Everyone had a bit of a laugh and they asked me back! So I’ve been doing it ever since,” TJ says.

The Alley Cat’s caller, Peter Escott has stepped in to the shoes of Matt Burton on Tuesday evenings. Escott, better known as a stand up comedian and vocalist for the band The Native Cats has enjoyed stepping into the role that has had a succession of Hobart’s comedians reign as callers.

Although legs eleven has stood the test of time, Escott prefers to make up his own numbering system.

“I’m aware of the traditional calls, but I feel that to use them would convey an air of professionalism and experience that I cannot live up to. I do like to yell things out though, but preferably without repeating myself.”

TJ says, “I don’t so much use your regular bingo calls, I could never remember 75 different calls anyway! There are a few classics that’ll show their faces occasionally but I tend to make my own up on the spot, which isn’t always a success.

“Sometimes they can be a little too obscure, a little rude or obscene and sometimes

they’re gold! It usually depends on my mood, whether I am inebriated or hungover. But if I do miss one I can usually count on one or two loud mouths in the crowd to pipe up with something. A bit of audience participation is always encouraged,” TJ says.

While Alley Cat Bingo has a regular following, Escott says that “it’s impossible to know in advance what sort of players will turn up on any given night, so it’s best to just play it by ear. A couple of times I’ve tried calling out old ARIA singles charts along with the numbers, one time it was a big hit and had people singing along, but the next time nobody wanted it. Improvising is more fun anyway. Last time there was a table of exchange students playing and I brought one of them on stage to call out the numbers in Korean for a while.”

The 1972 film Cabaret starred Liza Manelli as Sally Bowles, inspired by the musical which opened in the US in 1966, with Dame Judy Dench as Bowles. They’re big heels to fill and in the Hobart production, Tassie newcomer Lizzie Moore is up for it, having cut her teeth performing on Broadway.

“The audiences at the Playhouse will become the patrons of the cabaret. I am using a small lowered thrust to enable the performers in the club to get really close to the club patrons. Along with other creative people we have researched the clothing, lighting, hair and make-up from the period.

You may be familiar with the storyline; set in 1930’s Berlin, the Weimar scene is challenging societal norms while fascism is rising as the country tries to stave off the depression. The audience will know the film and its songs, but be ready for a fresh take, as theatre director Allan Jeffrey is a newcomer to the material.

“The Kit Kat Klub represents an escape from the realities of a world about to plunge into war, [so] the themes for me are about survival in times of crisis especially human reactions to crisis. Inevitably it cannot escape the upheaval of the times and the characters in the story have to make decisions on how they will survive this time.

“I have never seen a production of Cabaret, not even the film, so I agreed to direct the show based on a love of the music and the shows reputation, of course I read the script first before confirming my availability,” Jeffrey says.

“The show evokes a variety of emotions, audiences will find many scenes funny, but others are gut wrenchingly sad one of the sub plots which was removed for the film is a beautiful love story about an older couple that will make many cry, including a cynical old director, so be prepared and bring tissues.”

“I loved the story the characters and the imagery - this is best written musical I have ever worked with, the plot lines are strong, the characters have real depth, the music is of course brilliant and the underlying messages powerful.”

To recreate the feeling of the Kit Kat Klub, a seedy, crowded cabaret room, Jeffrey is modifying the Playhouse - just a little, he says.

KATHERINE FARRELL

Cabaret is being performed at the Playhouse Theatre in Hobart from April 13-28. www.playhouse.org.au

Like weekly quiz nights hosted in a local pub, TJ says bingo is a great evening out because you can “hang with friends, enjoy a little social intercourse with a bit of competitive rivalry thrown in to make things interesting. We only have one rule: If you call bingo and you do not have bingo, you must shout the bar!

TJ takes on a demi character, fuelled by a few ambers, he is MC Bingo Starr, he says “it’s a lot easier to make a numpty of yourself when you don’t care!”

Escott prefers to be “helpful and encouraging but emotionally distant, beset by imagined calamity on all sides, occasionally mad with power. More or less like if a pub had a relief teacher.”

Everyone loves a prize whether it is video porn or wizz fizz. Both the Brisbane and the Alley Cat provide vouchers for free food and drink. Escott also “throws sugary sweets to people to reward them for paying attention (or at people, to keep them in line).”

Which really, creates a win/win situation for the punters. If you win, you get a prize, if you’re too rowdy, you get a prize.

SARAH MASHMAN

Bingo at the Alley Cat 8pm every Tuesday Entry and boards free Bingo at the Brisbane 6pm every Sunday Entry and boards free

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Arts GALLERY PROFILE

ANDREW VERSUS THE WELD ECHO THE WELD ECHO EXHIBITION, HELD ANNUALLY BY THE BLACK SASSY COLLECTIVE AT THE LONG GALLERY FOCUSES ON ART INSPIRED BY THE WILDERNESS AND THE FORESTS OF TASMANIA. OF AN INTERESTING VOICE IN THE LOCAL CONTEMPORARY SCENE.

It has, in the past, contained some of the worst art I ever see locally; there’s always a lot of god-awful Wilderness Photography, which is a pet hate of mine. There’s bad found object art (another pet hate), and heavy handed “the earth is our mother” spiritual codswallop hanging around as well. One memorable year, someone made a bunch of “forest fairies” and took weird, creepy pictures of them in the bush.

This year, I was disappointed. Not entirely, there was still some laughable garbage that wouldn’t get past grade 10 art class (and that’s generous), but this year there was a general lift in the standard that surprised me a fair bit.

There has always been some good stuff in this show – indeed, I tend to attend because I’ll see something by one of my very favourite local artists, Michael Schlitz, who expresses strong concerns through potent work that has subtlety, technique and real passion without fail, every time.

Some strong paintings by Georgina Richmond stood out; a clear ability to paint and to address an image was immediately visible. Matt Newton’s Activist Series was intriguing as well. Like Georgina Richmond, he needs a dedicated solo show for his work to stand up and really breathe – there’s an intensity and an intent really captured that could have real impact. Not quite so in these cluttered surroundings but that’s a big group show for you.

And that’s the problem right there.

Now, I know very well it’s all for a good cause, and it raises money for that cause, and this is important. It’s also a profile raising exercise, and if a collective like Black Sassy wants to be taken seriously

as something that presents a strong artistic vision of the politics of the forest in Tasmania, then I suggest they curate their annual showcase a bit harder and present something slicker that raises the bar. That’s if that is what they want to do that – if Weld Echo is intended to be a reflection of a community, and there is no reason why it should not be, then continue as is and let anything in, as it is certainly valid that people express themselves, particularly on this matter.

The thing is, I think it’s caught between the two reasons to have a show, and the balance has not been well struck. It must be hard, and I have no doubt that it’s known that some of the stuff that is being hung every year in the Long Gallery is crap, but it’s well meaning crap and, well, they’re nice people and they mean well.

Except, well, for me, at least, the good stuff, and I have by no means mentioned everything I liked in what was a bumper year for me, is a bit swamped by the wellmeaning, but just not so good, and I have to say this – it drags the overall impact of this show down.

It depends on what Black Sassy wants, and I can’t tell them what to do or how to run their exhibition, but what I really see is wasted potential. I would like this to be a must see show that audaciously tackles controversy, that gains respect through quality and is not a back slapping, all in, self-congratulating festival of guff. This year it got closer than ever, and I think the event is really growing up, but I believe it’s time to get bit tougher, get some curators that know a bit about art and are not mates with everyone, and really think about what this show is for.

ANDREW HARPER

ART FORUM

DEAR HOBART

INKA GALLERY

GET INSPIRED BY UTAS ART FORUM, A LECTURE-BASED PRESENTATION HELD AT THE UTAS ART SCHOOL IN HOBART, EACH FRIDAY FROM 12.30PM – 1.30PM. ARTISTS OF ALL WALKS OF LIFE PRESENT A FOLIO OF THEIR WORK.

A QUERY INTO WHY SO MANY YOUNG PEOPLE OF HOBART LEAVE THE ISLAND AND WHETHER THEY CONSIDER RETURNING TO THIS NOW MONA-HIP CITY.

INKA GALLERY IS A NON-PROFIT ARTIST-RUN COOPERATIVE PROMOTING AFFORDABLE CONTEMPORARY TASMANIAN ART. Images: Claire Webber

20 APRIL Nola Farman, Some Ways To Read an Artists’ Book: Since the early 20th century the book has provided artists with a form of expression alternative to painting, printmaking, sculpture or photography and yet as an aesthetic cross-breed, it can be comprised of elements from all of these. Page, text, image, materials, shape and size are aspects of a book that can be deconstructed and reconstructed. The unexpectedness of its contents, its reflexive character and use of wit and humour, push the conventional book to the limit.

It aims to provide a supportive environment for emerging artists and to offer members an opportunity to display, exhibit and sell their artworks. Inka also provides exhibition space for non-members both locally and from interstate.

27 APRIL Linda Dement: Flesh and technology, aggression and trauma, robots and wilfulness, wounds, madness, scabies and general systems theory; Linda Dement will discuss her art practice of giving form to the unbearable and structure to the impossible.

Inka has developed over the years and mentors aspiring artists and provides opportunities for professional development, not only for artistic production, but also in the running of a gallery, business procedures and customer service.

4 MAY Stephen Ormandy: Ormandy will talk to local jewellers and object makers about the key factors in prototyping objects for manufacture and tips on establishing a successful designer/maker business.

ART FORUM @ Dechaineux Lecture Theatre, The Centre for the Arts (UTAS), Hunter Street, Hobart

What is Inka’s aim?

Image:Amy Spiers

Amy Spiers is an emerging artist who made the move from Hobart to the mainland and has since been frequently asked “Would you go back?”

This spawned the idea of her investigation into ex-Hobartians reasons behind leaving for the mainland. During March she collected letters from fellow Hobart expatriates where the writer would begin the letter with Dear Hobart, and end it in Regards, An Expatriate. The body of the letter would be a reflection on the writers relationship to the city of Hobart; why they left and whether they would return.

cAll for EntriES

choices, all of which have been shaped by the culture of Hobart. It is a unique idea and project that has no doubt opened a can of worms for discussion throughout the Hobart community, artists and non artists.

Through this project Spiers has managed to curate a public exhibition of the social nature of Tasmania’s capital city. There is no blogged exact location of these publicly displayed letters but one would assume to find many amongst Salamanca Place - so try your luck and perhaps even participate.

ALISON MCCRINDLE

Coinciding with the Salamanca Arts Centre’s 35th Anniversary Celebrations the letters are placed or “papered”, as Spiers puts it, all over the streets of Hobart during the last weekend of March. The project in turn gives the opportunity of a “right of reply” to Hobartians in their own style of letters placed throughout the city.

Paint and fibre

Hobart is a canvas painted in anonymous correspondence of personal decisions and

two acquisitive prizes of $15,000 $1,000 People’s choice Award

Amy Spiers: www.amyspiers.tumblr.com/about Dear Hobart, Regards, The Expats: www.amyspiers.tumblr.com/ post/18840658188/dear-hobart-regardsthe-expats-call-out-for

Its ultimate aim is to provide a platform from which Tasmanian artists can launch their careers.

In the last couple of years, the gallery has embraced technological change with a website and more recently a blog and Facebook to reach the global community with up-to-date information on Inka’s exhibitions and interviews on new and current members.

How did it begin and are the intentions the same now?

Inka Gallery started back in 1999. The original philosophy of Inka remains unchanged but it has developed and grown over the last 13 years into a contemporary art space covering all two-dimensional mediums. With members ranging in age from 20 to over 60, the diverse example of artists at Inka reflects the eclectic mix of emerging and established print and paper artists across Tasmania.

Who was the driving force behind it?

The driving force behind the gallery was four young local artists who were students and graduates of the UTAS Art School who

wanted somewhere to display their artwork in Salamanca Arts Centre. The gallery got its name for the favoured medium of the original artists - ink-art. However, the range of artwork has broadened over the years to include many different mediums and styles.

How can artists become involved with Inka?

Inka offers a vibrant and lively artists community in which to exhibit works. Artists are invited to join as members however we do offer exhibition space at reasonable prices to outside artists. Inka encourages members to exhibit further afield and in this manner many of our artists have moved on to become well-known in the arts world. To name drop: Tiffany Winterbottom, RobinMary Calvert, Deb St. Leger, Georgina Richmond and Kirsty Butler are all past members of Inka.

Inka encourages artists from all over to be involved with the gallery. For example, in December 2011, we held The Blank Canvas exhibition, which involved not only members and past members, but University Students and past exhibitors.

We welcome young talented artists who are just starting out to enquire about showcasing their works. Inka offers a perfect starting out point for learning the ropes of running a gallery. As our exhibition space has become so popular we are booked out now until June 2013 but we will be reopening the books for the remainder of 2013 and beyond in the near future.

ALISON McCRINDLE Inka Gallery is located at Shop 16/77 Salamanca Place, Hobart and is open every day from 10am – 5pm. www.inkagallery.org www.inkagalleryhobart.blogspot.com

Entries close 5pm, tuesday 1 May 2012 conditions of Entry and Entry forms available at hobartcity.com.au/artprize Enquiries artprize@hobartcity.com.au or (03) 6238 2100 A culturAl initiAtivE of HoBArt citY council in PArtnErSHiP WitH tHE tASMAniAn MuSEuM & Art GAllErY

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Arts

BENCHMARKING SCULPTURE

PAINTING THE TOWN

THIS YEAR’S BIRCH’S BAY SCULPTURE PRIZE FEATURES SOME DIVERSE AND EXCITING ENTRIES. COMMENTS FROM THE PUBLIC SUGGEST THAT IT KEEPS GETTING BETTER EACH YEAR.

HOW DO YOU TURN AN ART COMPETITION INTO A FUN FESTIVAL? WHACK UP SOME BIG BOARDS AND CHALLENGE 9 MURAL ARTISTS TO A 7-DAY PUBLIC “PAINT OFF”.

Image: Robin Fox

Throw in a few other arts activities, from fine art to fun art, and a crowd of over 10,000 festive-loving folk will flock in to paint the town. That’s a pretty big number for a quaint, historical rural community of just over 1,200.

But Sheffield, Tasmania’s “Town of Murals”, isn’t known for doing things in small measure. In fact, this year’s festival is enormous for the tiny town with jumbo art. Celebrating 25 years since the mural makeover saved the town, this now worldrenowned arts hub is about to hit another milestone in April: the 10th Anniversary of International Mural Fest.

As an arts competition, Mural Fest is unique.

It was the first of its kind and continues to draw interest from around the globe.

This year’s lineup of finalists includes a young female artist from the USA, three Queenslanders, last year’s winner, aerosol artist Christian Griffiths from NSW, and five Tasmanians - one of them a Sheffield girl.

At 20, Aimee Bell is among Mural Fest’s youngest finalists and looks more like a

Having painted in five Mural Festivals, Julian Bale is excited to share the experience.

“I love engaging with people, and this mural is all about the participants. It’s not just about watching somebody paint, but actually

IF YOU HAVEN’T HIGH-JUMPED THE FENCE AND HEADED NORTH RECENTLY, YOU MAY NOT BE FAMILIAR WITH THE CONTEMPORARY ARTISTS WORKING WITH SAWTOOTH ARI, BUT HERE’S YOUR CHANCE IN HOBART.

Sawtooth is an Artist Run Initiative (ARI) that supports the Northern Tasmanian contemporary arts scene. They have a number of gallery spaces and showcase contemporary and experimental art by local and national artists at various stages of their career.

The exhibition includes many art forms including painting, furniture, photography, sound, sculpture and video. It reflects the different craft skills and approaches to artmaking found within the artists working with Sawtooth ARI .The exhibition questions ideas of location and our relationship to barriers (visible or invisible) within these spaces.

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With “Food Bowl” as the 2012 theme, participants will paint a mural tribute to Matthew Evans, the Gourmet Farmer. The event is open to all - artists who want to heighten their skills, or those just eager to play with paint. Innocent bystanders can enjoy a coffee and watch the magic unfold.

For lovers of fine art, don’t miss the joint exhibition of the Mural Fest Finalists and the RACT Tasmanian Youth Portraiture Prize 2011 at the Sheffield Town Hall. Bring your intrigue. Then ‘Meet the Artists’ at a local cafe on Tuesday, April 10 from 7pm. For the poets, drop your lines at the Poetry Slam

Viewing this year’s entrants and seeing those pieces from the past, that now live permanently on the trail could take all day, or you might just power walk around in 20 minutes! Do that and you will want to come back again before the trail closes at the end of June.

and be the inspiration for the 2013 Mural Fest artists, or just enjoy the readings on Wednesday, April 11.

Art aplenty, no festival is complete without music. After ‘brushes down’, the crowd can belt out their best tunes in the “Blue Faces” karaoke competition. The festival will reach its crescendo with an evening of distinctive, original music with the Kyron Howell Trio.

DANIELLE RODGERS

For all event details and bookings go to www.muralfest.com.au

ROBIN FOX ZERO-CROSSING LONG GALLERY, SALAMANCA ARTS CENTRE MARCH 7-18 Image: Robin Fox

FENCE JUMPING WITH SAWTOOTH

Fence Jumping is the first group exhibition in Hobart of the artists involved with Launceston’s Sawtooth ARI and is currently on at 146 ArtSpace from now until April 19, including works by Fernando do Campo, Liam James, Kate Kirby, Matt Prince, Amelia Rowe, Troy Ruffels, Mel de Ruyter and Matthew Carey.

being involved with the whole process.”

The work explores the notions of landscape, place and social geography within the Tasmanian model.

So I sit here, contemplating where some of these wonders will sit in the landscape. It’s an exciting mix of strange geometric figures lurching down the hill on spindly legs – wild flowers in a proliferation of metal; timber, ceramics, steel, whimsy and defiance.

The annual sculpture event aims to take art from the gallery and juxtapose it with nature – opposites attracting, creating an interesting dialogue. Take a scenic drive 40 minutes south of Hobart, and you can find yourself at Fleurtys Café, Farm and Forest Walks, the venue for the seventh Benchmarking Birchs Bay Sculpture Prize.

Images: Alison McCrindle

pin-up girl from the 50s than a product of Generation Y. And while the protective eyes of Sheffield focus on Aimee, visitors will be treated to a feast of arts festivities.

This year it’s all about hands on. In another first, you can leave your mark on a Sheffield mural. The town’s mural curator and previous Mural Fest winner, Julian Bale, will conduct interactive mural painting workshops in a local cafe.

It’s peaceful, atop the grassy hill at Fleurtys, gazing down at the Dentrecasteaux channel, through the fronds of peppermint foliage and all is quiet - if you can ignore the chatter and call of the birds in the trees. For a month or so, the chatter of birds give way in part to the chatter of visitors walking this year’s Benchmarking Birchs Bay Sculpture Prize.

The entries are in and the artists are in their studios working away at the final touches on their pieces for this year’s prize.

Robin Fox is no stranger to Hobart; his live laser and sound shows have proved exciting highlights of MONA FOMA over the last few years. He makes sound and that sound controls the movement of lasers. Very simple in description, the end result is always a memorable feast for the eye and ear.

It’s true 21st century art that’s born of a long tradition of making light and sound work together and Fox is clearly committed to his practice. Resisting schtick, his overall project evolves with each permutation.

Zero-crossing is very different from what you may have seen before from Fox – the green lasers are present, but the smoke they usually project onto has been replaced with carefully scrunched clear cellophane, which creates a very different experience. Fox has not composed the sound either - and this is where it gets truly fascinating.

Zero-crossing is the end result of a residency at the Salamanca Arts Centre that allowed Fox to interact with the CSIRO. He was granted access to a month’s worth of data gathered by the wave-rider buoy off Cape Sorrell – this device reads the rise and fall of waves and the fluctuations of the ocean. Fox

The pieces are installed on a 1.5km-long trail, with spectacular mountain and channel views - a unique gallery experience. So grab some friends, maybe a picnic and the dog if it is well behaved and on a leash - make a day of it.

Apart from the simple joy of developing work for display and sale in a wonderful outdoor gallery, artists have the added encouragement of awards: Kingborough Council’s Mayor Award, Premier’s Artist Award, a Fleurtys’ prize by acquisition, Rabobank Award, and the People’s Choice Award voted by the visitors themselves (who are then in the running for the prize of a night for two at the spectacular Woodbridge Hill Hideaway).

WENDY EDWARDS

The show begins on Good Friday and runs until the end of June – open every day from 11am till 4pm. The café is ready to serve refreshments, lunch and afternoon tea from Wednesday to Sunday. Artist Awards are on Saturday May 26. Phone: 6267 4078.

Entry fee: $2 per person $5 per family

has converted this information into sound and light.

The result is a gentle undulation of melody, a comforting hum and an occasional trill of an arresting, peculiar sound while the lasers throb green loops which move with the notquite-on-the-beat rhythm of the ocean. It’s somehow comforting, as if Fox has emulated life itself. The installation is beautiful, soothing, hypnotic and enveloping.

Fox has moved quite laterally in his field here and the effect is breathtaking – this is a potent work that has a wide degree of resonance and cleverly makes use of scientific data. The work will not be the same from one moment to the next as it is not on a loop, and each moment one watches, ones is seeing something unique.

The work inhabits the Long Gallery like an astounding special effect, all the more amazing because it’s no such thing: its data made into something with the potency of a hymn. Science really is wonderful.

ANDREW HARPER

It also provides a great opportunity for new audiences to view the professional and dynamic quality of contemporary artists currently thriving in Northern Tasmania.

EDWINA MORRIS See Fence Jumping by Sawtooth ARI artists at 146 Artspace (146 Elizabeth St, Hobart) until April 19.

Learn more about Sawtooth ARI and get in contact via www.sawtooth.org.au Learn more about 146 ArtSpace exhibitions www.arts.tas.gov.au/146artspace Want to exhibit at 146? Contact Laura Harper on 03 6237 6302 or email laura.harper@arts. tas.gov.au for an Application Tool Kit

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VIDEO THRILLED THE GALLERY STAR

Arts Opportunities OUR MONTHLY LIST OF UPCOMING WORKSHOPS, GRANTS, RESIDENCIES AND OTHER ARTS OPPORTUNITIES IN TASMANIA & BEYOND.

ARTWORKS TRAVEL ACROSS THE BOUNDARIES BETWEEN EARLY VIDEO ART, COMMUNITY TELEVISION VIDEO SHARING WEBSITES AT CAST.

Workshops The Deal free-spray workshops at Kangaroo Bay Sports ground amenities building (opposite Eastlands), once a month on a Saturday between 1pm-4pm on April 21. All paint provided, free bbq for more info contact: 6245 8780 or 6247 1230.

Wonderful Wet Watercolour, make and laminate a bookmark with all materials supplied. Come anytime between 10.30 and 2.30, $5 at the Forth Art Studio 51 George St, (03) 6428 2675.

Journaling, make a small book/artist’s journal at the Sheffield Working Art Space 10.30 till 1.30, some materials provided more info when booking, $15 TRA members, $21 for non TRA members, contact Evelyn on (03) 6428 2675 or 0419 282 673.

GRANTS Fellowship: The Australia Council for the Arts invites individuals to apply for the fellowship visual arts grant. The two year grant provides financial support to craftspeople, designers, media artists and visual artists with an outstanding record of achievement in their field. Applications close April 16, for more information visit: www. australiacouncil.gov.au/grants Assistance to Organisations: Art Tasmania is calling for applications from organisations which support arts activities that employ professional arts practitioners and engage the community in arts activities. Applications close April 30. For further information visit www.arts.tas.gov.au or contact Arts Tasmania on 1800 247 308.

Image: Matt Dabrowski

The current exhibition at CAST Gallery This Is What I Do centres on seven artists who have made video-work embracing the theme of self-broadcast aesthetics. The exhibition consists of six video based artworks on screens and monitors.

Curated by Wes Hill the exhibition features the collaborative work of Michael Stevenson and Danius Kesminas as well as works by Matthew Bradley, Matt Dabrowski, Richard Grayson, Andrew Harper and Tim Woodward.

Inspired by Wes Hill’s PhD research into video art as a contemporary form of folklore – often regarded as inferior to fine art; this exhibition explores the do-it-yourself, sometimes amateurish appearance of self- broadcasting.

From its roots in Warhol’s early films, through to You Tube and community television, self-broadcasting has its own special aesthetic where the traditional definitions of professional and amateur are impossible to define. All of the works in this exhibition refer to the way that the do-ityourself video broadcasts of the past have become revitalised by the everyday normality of digital culture.

WARP GALLERY GUIDE

Matt Dabrowski’s Fortuna (2006) is taken from a series of appearances screened on Brisbane community television station Bris 31, while Tim Woodward’s Desert of Mortification and Reward (2011) centres on an interview with an actor from a defunct Channel Nine show.

Matt Bradley records the construction and testing of an air cannon, and Richard Grayson’s A history of reading (1999) reflects upon the artists’ studio relative to those artists who work through the spread of cultural ideas rather than from specific materials or working practices.

As a response to the overwhelming presence of user-generated videos online, This Is What I Do aims to promote a dislocation in the audience that is at the core of the very idea of broadcasting - the export of one environment (or medium) to another.

SARAH HEWITT

This is What I do runs from March 23 to April 29 at CAST Gallery, open 12pm -5pm Wednesday – Sunday.

Small Museums and Collections . Arts Tasmania is calling for applications from smaller public and community collections and museums to assist with the curatorial and collection management practices of Tasmania’s moveable cultural heritage. This program is particularly focused on improving information about collections, increasing public access to information and on enhancing curatorial practice and collection management. Applications Close: 9 July 2012, for more info go to www.arts.tas.gov.au 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 outside 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 Scholarship: The Freedman Foundation Travelling Scholarship for Emerging Artists provides assistance towards travel for educational purposes and/or tuition costs for young people building a career in the visual arts. Applications close June 5. For further information visit www. visualarts.net.au/grants/freedman-foundationtravelling -scholarship

Other Opportunities Residencies: The Australia Council for the Arts invites artists working in interdisciplinary and hybrid arts to develop proposals for professional development residencies in Australia or internationally. Applications close May 1, for more information visit: www.australiacouncil.gov.au/ grants Exhibition: 2012 Bendigo Bank Material Girl Exhibition has a prize pool of $3,500 is on offer for Tasmanian women artists in this year’s Material Girl award and exhibition. With the theme of “Speak to Me!” as inspiration the competition is open to all visual artforms. Entries close May 1. There is a participation fee of $15 per entry, further information and entry forms can be found on the Tas Regional Arts website: www. tasregionalarts.org.au, or contact TRA office on 6426 2344.

Poster Artwork Commission: The Australian Wooden Boat Festival is seeking to commission an artist to create the poster artwork for the 2013 Festival. Entries close April 1, for more information contact Paul Cullen: manager@ australianwoodenboatfestival.com.au Studio/Gallery/Apartment Swap: 14th century within the walls of the castle in the historic centre of Conegliano “City of wine and art” 50km from Venice. Would like to swap for a studio/ gallery, must be very visible in Hobart. Periods to be negotiated. Please contact Claudio Polles, claudiopolles@hotmail.com, www. claudiopolles.com Gallery: 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

more ONLINE Arts Tasmania - www.arts.tas.gov.au Contemporary Art Spaces Tasmania -www. castgallery.org Moonah Arts Centre - http://mac.gcc.tas.gov.au/ Pages Tasmanian Regional Arts - www.tasregionalarts. org.au *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

SOUTH 146 ARTSPACE Fence Jumping, Sawtooth ARI, ends Apr 19.

Remote Control, David Hawley, Apr 26 - May 24, OPENING Apr 26 at 5pm ART MOB Martumili Artists at Art Mob, group exhibition of paintings an baskets by Martu Artists WA, Apr 4 22, OPENING Apr 4 at 6pm.

Queen in Arnhem Land Drawings, Alexander Nganjimirra, May 4 - 22, OPENING May 4 at 6pm.

BETT GALLERY Other Stories, Jane Burton, Apr 5 - 28, OPENING Apr 5 at 6pm. Light Cities, David Stephenson, May 4 - 26, OPENING May 4 at 6om.

BACKSPACE: Renaissance & Modernism, Contemporary Aboriginal Art, ends May 2. The Stain, Meg Walsh, May 4 - Jun 30, OPENING May 4 at 6pm.

CARNEGIE GALLERY A Measure of things, Group Exhibition, Apr 27 – May 27, OPENING Apr 26 at 6pm.

CAST This is What I do, group exhibition, ends Apr 29.

Bad Samaritans, group exhibition, May 5 - Jun 3.

ENTREPOT GALLERY MAIN: The Continuous Craft Motion, Katrina Peric, ends Apr 19. Pen to Paper, Group Exhibition, Apr 23 - May 10.

LOUNGE: Jaffy Doll Express, Jake Williams, ends Apr 19. Sound and Video Collaboration, Apr 23 May 10.

GOULBURN ST GALLERY Woven, Marcia Jones-Hill & Diana Michalek, ends Apr 14.

HANDMARK GALLERY Special Event - Jewellery Patricia Bromley-Marks, ends Apr 11.

New paintings by Josh Foley, Apr 13 - May 9, OPENING Apr 13 at 6pm.

INFLIGHT MAIN SPACE: Communication facilitation devices for everyday conversation or other emotional outbursts, Astrid Joyce. PADDY LYN MEMORIAL SPACE: Human Space, Tyler Faulstich. Both shows Apr 6 28, OPENING Apr 6 at 6pm.

MAIN SPACE: Inchoate, Rhani Allan & Holly Radunz. PADDY LYN MEMORIAL SPACE: Engagement: a discourse, Samara McIlroy. Both shows May 4 - 26, OPENING May 4 at 6pm.

INKA GALLERY INC. Prana - “The Breath of Life”, Phillip Frankcombe, Apr 6 - 25, OPENING Apr 13 at 5.30pm.

Cryptid Creatures of the Wildwoods, Belinda Graudins, Apr 26 - May 16, OPENING Apr 27 at 5.30pm.

LOVETT GALLERY Chinese Brush Paintings, Cygnet Chinese Brush Painters Group, ends Apr 22.

MUSEUM OF OLD AND NEW ART Monanism, permanent collection.

Wim Delvoye, first solo exhibition in Australia, ends Apr 10.

Tattoo Tim Tours every day until Apr 9, week days: 3-4pm, weekends: 11am-12noon & 3-4pm. $15 per person.

NOURISH CAFE Coloured Pencil Illustrations, Fearless, Apr 4 - May 2.

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

PLIMSOLL GALLERY RHD Examination Submission Exhibition, Chalit Kongsunan, Apr 2 – 13. ArtRage, group exhibition by year 11 & 12 students of Tasmania, Apr 21 – May 13, OPENING Apr 20 at 5.30pm.

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

SALAMANCA ARTS CENTRE SALAMANCA PLACE: The Pageant, SAC 35 The Big Weekend, Apr 1 at 2pm.

KELLY’S GARDEN: Porphyry’s Gnat, Elizabeth Woods, ends Apr 15.

LONG GALLERY: Images Beyond the Fern tree Printmakers, Fern Tree Printmakers, Apr 3 – 17.

Magenta & Black Show, The Hutchins School, Apr 24 – 29. Art From Trash 2012, May 4 - 20.

SIDESPACE GALLERY: The Colours of Flowers, Alfredo Meloni, Apr 18 – 30.

TOP GALLERY: inBALANCE, Harry Edwards, Apr 6 – 30, OPENING Apr 6 at 6pm. Behind Closed Doors, Trish Verdouw, May 1 - 31.

LIGHTBOX: Contrary Motion, Amanda Connor, Apr 3 – 30. Australian Native Beasts & Birds Preview, May 1 - 31.

SCHOOLHOUSE GALLERY & BARN Eastside story: New Shards of History from the Eastern Shore, group show, ends Apr 4.

Hunter Island Press Mini-print Sale, members of HIP printmaking collective, Apr 20 - May 3, OPENING Apr 19 at 5.30pm.

60th Blake Prize Touring Exhibition, May 12 - Jun 17, OPENING May 11 at 6pm.

SHAMBLES BOOKSHOP SORELL Extreme Environment, finalist photographers in the 2011 Extreme Environment Photographic Competition, Mar 5 - May 9.

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

TASMANIAN MUSEUM AND ART GALLERY Within & Without, Colonial to Contemporary art, ends Sep 23. Isle of Many Waters, an exploration of Tasmania’s Waterways, ends Aug 26. Regarding Landscape, TMAG Collection, Apr 7 - Sep 23.

THE WHISPERING TREE GALLERY Exhibiting works by Aly Keats and is open by appointment with tours taken through the workspaces. Contact Aly on (03) 6295 0245.

NORTHERN TAS WELLINGTON GALLERY Thomas Anderson last available works original paintings, gallery open by appointment Ph. 6223 6643

BRUNY ISLAND ART AT THE POINT Focus on the Ferry...The Mirambeena-A Ferry at work, Jude Viney & Kath Lanham, ends Apr 13.

nortH HANDMARK GALLERY David Lake, ends Apr 25.

POIMENA GALLERY Skin, Group Exhibition, ends Apr 27.

POWER HOUSE GALLERY The 2012 Committee Show, Power House Gallery committee members, Apr 18 - 29, OPENING Apr 18 at 6pm.

Open Call Student Show - theme of ‘Political Correctness’, an open show by students of UTAS, Apr 25 - May 2, OPENING Apr 25 at 6pm.

SAWTOOTH ARI FRONT GALLERY: April: I’m dancing for you from the other side of the room, Hyun Jung Cho, Hossein Ghaemi. May: Title Doing Lines , Sonya Brough.

MIDDLE GALLERY: April: Unconscious Model, Grant Dale. May: Title Dissolve, Melissa Smith.

PROJECT GALLERY: April: Drone Dream, Elena Papanikolakis. May: Title TBA, Jennifer Dickens.

NEW MEDIA GALLERY: April: Pink Cliffs, Jaya Fausch & James Barnett. May: Title TBA, Chris Morgan. * April exhibitions end April 21. May exhibitions open Apr 27 at 6pm and end May 19.

SHEFFIELD WORKING ARTSPACE Celebrating Vision ll, Evelyn Antonysen, Apr 1 – May 31. Meet the artist on April 7 from 10am to 3pm.

THE ACADEMY GALLERY Hidden Treasures of Launceston, group exhibition.

It’s a good time okay, Mae Finlayson. City Project, Young people from meenah mienne, Launceston.

All exhibitions end Apr 27.

Phototropic, Penelope Davis. Work, Place and Change, Academy Gallery Volunteer Club. Both exhibitions run May 4 - 25.

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

2011-2012 season: 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. THREE WINDOWS GALLERY Changing Southern Midlands Artists

BURNIE REGIONAL ART GALLERY Recent Acquisitions, Australian Prints. Namatjira: The Next Generation, curated by the Ngurratjuta Many Hands Art Centre. Upstairs & Downstairs, Suzanne Hennessy. All shows end Apr 22.

Waterfront, Christl Berg Max Dupain. In Response, Rick Eaves, Lisa Garland & Peter Lord. Both shows Apr 28 - Jun 3, OPENING Apr 27 at 6.30pm.

DEVONPORT REGIONAL GALLERY The Good, The Bad, The Ugly: Works from the permanent collection, ends Apr 29.

Moving Parts, 2D and 3D works by Tasmanian Artists, May 5 - Jun 10, OPENING May 4 at 6pm.

PARADOX BAZAAR Unique Tasmanian Art & Craft creations operated by, and featuring the works of, local Artists and Craftspeople and is constantly changing throughout the year www.paradoxbazaar.com.au ULVERSTONE VISITOR INFORMATION CENTRE Woodwork Pyrography, Leslie Collins, ends Apr 30.

Art by Evelyn Antonysen, Evelyn Antonysen, May 1 - 31.

WONDERS OF WYNYARD GALLERY Points of Interest on the North West Coast, Wynyard Camera Club, Apr 3 – 30.

KING ISLAND LOLLIPOP GALLERY + BOATHOUSE GALLERY Paintings by Caroline Kininmonth and Bridget Levy on exhibit throughout the year and continually changing. * Are you an exhibiting gallery or space in Tasmania and want to be included in the Warp Free Gallery Guide?

Email: alison@warpmagazine.com.au

Album Reviews

Album Reviews

It’s seven years since the Dirty Three’s last effort, Cinder, and the minimalist trio has gone off the radar.

DIRTY THREE TOWARD THE LOW SUN

That’s not to say it’s members (Warren Ellis on violin, Mick Turner on guitar and Jim White on drums) have been quiet, in fact it’s quite the opposite. Ellis particularly has been busy, helping journalists all around the world discover new synonyms for sleazy and depraved by releasing two Grinderman albums with repeat collaborator Nick Cave as well as resuming his role as an active Bad Seeds member. Here, the trio has unlearned everything they ever learned from Dirty Three music and in ‘Toward The Low Sun’, have created something else entirely.

Single Reviews Dallas Frasca – All My Love (Single of the Month) Hard to refute the rhythm & substance of this song - rocking fuckers. It’s a great blues sentiment to be all out of love, and laughing.

The Fearless Vampire Killers – I Won’t Stay Too Long They’re indie (No kidding? With ‘vampire’ in their name?) and flippant about sex/kissing and being young. Genuine throwback to early Rock’n’Roll though.

Witch Hats – In The Mortuary This one’s intentionally depressing (open strumming above slow whining plucks) and emotionally moribund.

Pajama Club - TNT For 2 How you’d expect Neil Finn to sound; not modernised. It’s got a genuine, appealing intensity and is layered with a dreamy melancholy.

Fairchild Republic – Villages Starts alright, maybe promising. Gets worse and worse. Indie pop rock electro club sound – wah wah kiss kiss pout pout we’re special...

It starts as an oddly dissonant collection of sounds that weirdly slide into place quite well, then develops a far more sincere imprint reminiscent of their 2000 effort, Whatever You Are, You Are – particularly on Ashen Snow and You Greet Her Ghost.

Each mournful screech of of Ellis’ violin bringing you closer in to the world that they are creating. Not all of the album is as easily digestible however, with shambolic opener Furnace Skies sure to scare off a few listeners before they even give the album a chance.

like a side project for these three. They all reside on different continents and do their own projects where they can spend years apart without the thought of the Dirty Three even crossing their minds.

In the two years since their EP Back from the Dead, Last Dinosaurs’ music has changed quite a bit. This album’s release has been preceded by stellar reviews and while brilliant reviews always give you nearly unattainable expectations, fans won’t be disappointed - the production is first rate and makes this album an absolute treat for the ears.

That said, Toward The Low Sun shows that there is still a spark that burns for these chaotic rockers and proves that after close to twenty years freaking us out, they’re still pretty good at it.

TOM GRANT

Opener Zoom begins with intricate and frantic guitars of Lachlan Caskey weaving around brother and frontman Sean Caskey’s soaring vocals. It really starts the album off in fine fashion with Sean uttering the album’s title during the song, ‘In a million years when we’re older, finally we can be part of history...’

LAST DINOSAURS IN A MILLION YEARS

One trouble with the Dirty Three nowadays is that it seems increasingly more and more

BAND OF SKULLS

JOSH RAWIRI

DAS RACIST

SWEET SOUR

MOLECULAR TELEPORTATION

RELAX

Time and Place features a funky beat by drummer Dan Koyama and is intertwined with Lachlan’s technically precise guitar work. During the chorus those two combine with Sam Gethin-Jones’ bass and perfectly underpin Sean’s effortless lyrics. Andy is a bright number than feels like it arrived slightly too late as it is a perfect summer tune. Satellites is pretty much an interlude as it has no vocals, and usually interludes are a waste of time, yet this one isn’t as bad as most as it fits the album’s mood.

Gross misuse of name. A mandolin, kazoo & accordion? You’re talkin’ about love in physical terms as if it’s more. How “theatrical & deep”.

Rocco – Thunder “Your love is like thunder”? Dumb and/ or not quite Hipster girls will like this dancey track and Rocco’s either gay, vapid, or needs a hug.

Howl At The Moon – Just A Kid Maudlin tones with raindrop guitar picking, soft snares, and forcefully deep vocals for a woman that’s too sleepy and shy or just vague.

Butterfly Boucher – 5678!

A song deriding & defining the traps of ye olde dancing (desire), delivered by a “strong” woman who isn’t slutting it up.

Still boring.

Neon_Knights – In With The Romance We like electro. We like the bad 80s pomp. We will drown you with a web of irony. There’s almost a guilty charm, then the auto-tune starts.

Southampton trio Band of Skulls are back.

Three years in making, the sophomore album from the alt-rockers is not quite as rocky as its predecessor. Single Devil Takes Care of His Own is slow in tempo, full of dirty feedback and reverb that sit nicely alongside the harmony of both frontman Russell Marsden and bassist and part-time vocalist Emma Richardson singing together.

Sweet Sour is a slow thumping track that is home to numerous guitar hooks that develop into fully blown riffs that would make The Darkness blush, simplistic drums and understated vocals that blend into the music.

The guitar riff at the beginning of Bruises is distorted and sounds like it was recorded live at a festival. Wanderluster is an interesting track with a strange hook. It ebbs and flows, is quiet and loud, and somehow manages to remain a coherent song.

You’re Not Pretty But You Got It Goin’ On is a relentless rock gem. ‘Lies’ is another punchy tune, one of the five or six out of the 10 songs on the album that are interspersed with contrastingly quieter tracks. While it’s not exceptional, this album is a quality listen that’s certainly worth checking out.

ALEXANDER CROWDEN

Josh Rawiri’s latest LP is a confused collection of blues, roots, country and rock.

Residing in Portland on the southwest Victorian coast, Rawiri is a 6’ 8” giant of Maori descent who looks like he ought to be playing rugby. Both his dad and his brother do.

CHRISTA HUGHES & THE HONKY TONK SHONKS

With Rawiri, what you see is what you get, and while this will win over the Jack Johnson fans, others will be disappointed by the lack of depth. The production value is top notch.

With the exception of the occasional string section, the band is a stark three piece affair well suited to his country two-step singles, War on Religion and Feel Good but sometimes feeling a little thin on the ground in other places. They’re a tight unit indeed, driven by percussionist Declan Kelly and bassist Mark Power, with passages of brilliant guitar work by Rawiri, notably on the title track. Tasty bursts of harmonica give the music soul.

However, in attempting to reveal his many musical stylings - surf rock, country, blues, pop - Rawiri has left us with a record that feels unfocused and even unfinished. With a refined musical direction and co-writers, Rawiri could be onto a good thing.

Opening and title track Relax kicks off with a chilled out, groove heavy, percussion that also demonstrates the group’s ability to compose and deliver smooth and clever rhymes. The attitude levels amp up for Michael Jackson, an album highlight, thanks to its scattered samples and heavy beat.

Perth’s Serial Killer Smile have delivered a debut EP that shows sophistication and depth that is lacking with some other acts.

Their melodic sound attacks the fringes of metal and perches within the grooves of hard rock, and it is mesmerising, even if influences from Karnivool and Cog are worn prominently on the sleeve.

Opener The Baker has vocalist Ben Bowden embracing you with a bravely sweet and melodic vocal journey matched with an orchestral interlude. The Irrepressible plays with rhythms and puts it in its paces whilst matched with melodically thick vocals. I couldn’t help being hooked in, even if I did feel outside of my comfort zone. I don’t know why, I can’t really explain it… but it felt like as if I was listening to the physical equivalent of a hug within the chaos of a warzone.

It’s a job well done by Grant Arthur (banjo, trmobone, sousaphone), Leonie Cohen (piano), Ben Daley (guitar), Justin Fermino (saxophones, clarinet) Nick Garbett (trumpet), Samuel Golding (tuba) and Pete Neville (percussion).

The Elephant in the Room does sound similar to other alternative acts that preceded and greatly influenced Serial Killer Smile, but that in no way is a deterrent, as this EP would seem more like a serving suggestion of what may come.

Franz Ferdinand’s Take Me Out becomes a smooth, toe-tapping celebration of the tuba.

She destroys two Iggy Pop songs, tackles and makes out with White Stripes’ The Hardest Button to Button and the enormous Aerosmith hit, Walk This Way, closing with La Roux’s Bulletproof.

The record closes with the snare laced thuds of The Trick, and the 80’s-flavoured Celebration. Das Racist has effortlessly produced one of the most progressive hip-hop records of recent times and are paving the way for one of the many futures of hip-hop.

DRINKING FROM THE SUN

THE ELEPHANT IN THE ROOM

This record opens with a whiskey-soaked version of Motorhead’s Ace of Spades before sobering up somewhat for a banjo-driven Back in Black and a sultry Britney tune. Who would have thought Dee-Lite’s Groove is in the Heart could get groovier? Or that a torch version of the Jackson 5 classic I Want You Back would work?

The group incorporate a strong use of synthesisers and dance beats into their hip-hop on tracks like Girl, a bright, Rondo Brothers, sounding jam. Man has a stripped back beat that puts the focus on the flow with guest verses from EL-P. Another highlight is the melodic Power, featuring guest spots from Danny Brown and Despot. Percussion is a prominent element of the group’s production with various bongo drum sound making up the main beats, especially in Selena.

HILLTOP HOODS

SERIAL KILLER SMILE

Christa Hughes’ newest release picks up where her ARIA nominated 21st Century Blues left us in 2012. This is New Orleans meets metal, cock rock and brainless pop.

Hughes performed for many years as KK Juggy with Machine Gun Fellatio. These days she’s Ring Mistress with Circus Oz.

If Das Racist is a joke band, I must be missing the joke. This record is too well planned and executed to be considered anything less than a serious contender for hip-hop record of the year.

ALEXANDER CROWDEN

Weekend is a top-notch song that got a hell of a reception when played during their album launch tour at the sold-out Toff In Town. Honolulu is the only song to be recycled from their EP. It’s no doubt why,

SHONKY

The Bon Scotts – Here Comes Summer

it’s a quality tune that deserves to make the cut for their debut. This is one of the finest debut debuts by an Australian band in a long time. The songs are all winners and listening to the Brisbane boys’ debut album is a pleasure.

SEB ALVAREZ

After going platinum with the first single I Love It featuring Sia, it was almost an expectation that the album would do massive things. Only a few hours after its release, it went gold, and sales have only climbed since.

The first thing I noticed about the album, is a cohesiveness throughout the production, which wouldn’t be a big deal if the album hadn’t been produced by so many people.

Suffa, who generally handles the majority of production, only contributed six beats this time, with the rest being handled by newcomer OneAbove, Jaytee and label-mate Trials.

There’s also a host of guest appearances from the likes of Black Thought (The Roots), Chali 2na (Jurassic 5), Classified (Canada), Solo (Horrorshow) and Lotek (UK). It’s good to see that all of the guests brought their A-Game to the table, there are no weak verses on this album. Suffa and Pressure are typically tight, displaying wide variety in flow structure and rhyme patterns, with subject matter ranging from general braggadocio to reflection on the industry, to loss. Another rock solid release from the Golden Era camp.

SHANE CRIXUS

If modern music didn’t come from New Orleans, it can certainly find its way back there.

DANIEL TOWNSEND LUKE CARLINO

Jarred Keane

DANIEL TOWNSEND

for the signs of depression

to your friends’ experiences

about what’s going on

together!!

Help someone find a way back from depression and anxiety.

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35

Event Guide

Event Guide

Hobart CONT.

Hobart Date

Venue

Acts / Start Time

APRIL Friday

Saturday

6

7

Birdcage Bar

Glen Challice 9pm

Brisbane Hotel

Damage Nightclub - Ballpoint + Explosions + Linc Le Fevre + Ben Davids + DJ Peta Rabbit & The Cool Kids + DJ Kenji

Brookfield Vineyard

Open Mic

Cargo Pizza and Lounge Bar

Nic Balcombe followed by Ado and Devo

Irish Murphy’s

Micheal Clennett, Joel Everard, Dr. Fink

Ivory Bar

Millhouse

Observatory (Lounge Room)

Malakai

Observatory (Main Room)

Johnny G

Republic Bar

Sugartrain 10pm

Republic Lounge Bar

DJ Everton 8pm

The Grand Poobah

Dublo, DJ Pit & Sissta Annie, Nel Degrassi & DJ Kireesh 8:30pm

The Kissing Room (Grand Poobah)

Dali and the Paper Band & The New Saxons

The Telegraph

Michael Clennett followed by Entropy

Birdcage Bar

Glen Challice 9pm

Brisbane Hotel

The Peep Tempel (vic) + Mess O’ Reds + The Crazy 88’s

Brookfield Vineyard

Priestessa

C Bar

Mojo 8pm

Cargo Pizza and Lounge Bar

Johnny G

Irish Murphy’s

Brett Collidge, Mashups

Ivory Bar

Regrooved feat: Badboe supported by Grotesque and Mez

Observatory (Main Room)

DJ Mr B.

Republic Bar

Deligma (Album Launch) 10pm

Sails

Billy Whitton 6pm

The Grand Poobah

Pop Up Club featuring Anorexic Olsen Twin, Native Cats, Phat Meegs, Mick Davies & DJ’s

The Telegraph Sunday

Monday Tuesday

Wednesday

Thursday

8

9

Glen Challice 8pm

Brisbane Hotel

Rock n Roll Bingo with Timmy Jack Ray

C Bar

Pete Thomas 2pm

Cargo Pizza and Lounge Bar

Rum Jungle followed by Grotesque

Irish Murphy’s

Ian Murtagh, Mickey & Kazu

Republic Bar

Diafrix & Joelistics 9:30pm

Birdcage Bar

Bowerman & Parker 8pm

Republic Bar

Quiz Night 8:15pm Nerd Night

Republic Bar

Joe Pirere 9pm

Fritz

Wednesday

Friday

13 Republic Bar

Sonic Animation 9pm

Saturday

Sunday

Where’s Mary 8pm

Cargo Pizza and Lounge Bar

Joel Everhard

Irish Murphy’s

Joel Everard

Observatory (Lounge Room)

Millhouse

Observatory (Main Room)

DJ Mr B.

Republic Bar

Concrete Lines + Darlington 9pm

The Kissing Room (Grand Poobah)

Skunk & Friends

12 Birdcage Bar

Date

12 Irish Murphy’s

Billy & Randal 8pm

Brisbane Hotel 11 Birdcage Bar

Acts / Start Time

Thursday

Garod Matcham followed by The Smashers

Birdcage Bar

10 Birdcage Bar

Date

Nic Waters 9pm

Brisbane Hotel

Spheres (CD Launch) + M.O.1.O + Evil Goat

Brookfield Vineyard

Sitar Lounge

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Monday

Venue

Wednesday

The Grand Poobah Thursday

Date

Peter Hicks and the Blue Licks 9pm

Tuesday

24 Republic Bar

Joe Pirere & The Blackberries 9pm

My Blackson, Dog Tower & Dead Comic

Wednesday

25 Birdcage Bar

Where’s Mary 8pm

Horehound

Birdcage Bar

Mojo 9pm

Brisbane Hotel

Convict City Roller League FUNDRAISER!! Bands and DJ’s

Brookfield Vineyard

Resonator Night

Cargo Pizza and Lounge Bar

Rum Jungle followed by Tim Davies Duo

Irish Murphy’s

Jeremy Matcham, Ben Castles, Ethol the Frog

Observatory (Lounge Room)

Grotesque

Observatory (Main Room)

Johnny G

Birdcage Bar

Jason Patmore 9pm

Republic Bar

Sonic Animation 10pm

Brisbane Hotel

Republic Lounge Bar

DJ Everton 8pm

Poor People (vic) + The Native Cats + Naked + Adam Sherry (vic)

The Grand Poobah

Gorilla Pits & Friends play with Dirty Beets 9pm

The Telegraph

Micheal Clennett followed by Dr Fink

The Waratah

Friday

19 Birdcage Bar

Acts / Start Time

Alley Cat

Joel Everhard

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Irish Murphy’s

Joel Everard

Federation Concert Hall

John Butler - Tin Shed Tales 8pm

Observatory (Lounge Room)

Malakai

Irish Murphy’s

Radio Silence

Observatory (Main Room)

DJ Mr B.

Republic Bar

4 Letter Fish

The Grand Poobah

Sam Cole & The Mournings

The Waratah

Passenger - “All The Little Lights” Tour w/ Special Guests TBA 9pm

20 Alley Cat

Tim Davies followed by Ado and Devo

Dark Matter of Story Telling w/ Seth David & The Beautiful Chains 9pm

Irish Murphy’s

Steve & Fee, Joel Everard, Dr. Fink

Ivory Bar

Frequency Fridays - Lids & Simon Lovell

Rosegarland Hotel

Observatory (Lounge Room)

Millhouse

Birdcage Bar

Jason Patmore 9pm

Observatory (Main Room)

Johnny G

Brisbane Hotel

ALL AGES - Cashman + Explosions + Depths + Whisperers

Republic Bar

Mic Dons + Local Supports 10pm

Brisbane Hotel

18+ - Ride The Tiger + Cashman + Explosions + Whisperers

Republic Lounge Bar

DJ Everton 8pm

The Telegraph

Micheal Clennett followed by Entropy

Brisbane Hotel

Late Night Krackieoke with M’C OCKFOREST

The Waratah

Brookfield Vineyard

Rosie Burgess supported by Christopher Coleman Collective

Clubhouse Comedy Feat. Karl Chandler, John Campbell, Peter Escott, Emesha Rudolf and Andrew Harper 8:30pm

21 Alley Cat

Thursday

Nerves, Chris Burrows & Your Demise

Cargo Pizza and Lounge Bar

Saturday

Acts / Start Time

Cargo Pizza and Lounge Bar

Acoustic Night (ukelele’s)

14 Alley Cat

Venue

Glen Challice 9pm

Brookfield Vineyard

Friday

26 Birdcage Bar

Trevor Weaver 9pm

Brisbane Hotel

The Comedy Forge (Stand Up Comedy)

Cargo Pizza and Lounge Bar

Micheal Clennett and Guests

Federation Concert Hall

Last Night of the Proms 7:30pm

Irish Murphy’s

Darlington

Republic Bar

Liz Stringer 9pm

27 Alley Cat

Ben Salter (The Gin Club) & Joseph McKee

Birdcage Bar

Trevor Weaver 9pm

Brisbane Hotel

The 5, 6, 7, 8’s (Jpn) + The Roobs + The Sin & Tonics

Brisbane Hotel

Convict City Rollers Bout Afterparty w/ DJ Kenji and The Get Down Kids

Brookfield Vineyard

Piano Marathon

Cargo Pizza and Lounge Bar

Sticks and Kane followed by Tim Davies Duo

Irish Murphy’s

Micheal Clennett, Joel Everard, Atari 26 Hundred

Ivory Bar

Behind Closed Doors

Observatory (Lounge Room)

Grotesque

Observatory (Main Room)

Johnny G

Lenoleum

Republic Bar

Krafty Kuts + The Swiss + Acumen 10pm

Mojo 9pm

Republic Lounge Bar

DJ Everton 8pm

ALL AGES - Psycroptic + Depths + Ruins of Gaia + Outcry

The Telegraph

Micheal Clennett followed by Dr Fink

The Waratah

Versions - Oasis 9pm

C Bar

Michael Clennett 8pm

Cargo Pizza and Lounge Bar

Millhouse

Federation Concert Hall

Bold as Brass 7:30pm

Irish Murphy’s

Ben Castles, Ethol the Frog

Brisbane Hotel

18+ - Psycroptic + Gape + Redemption Denied

Ivory Bar

Chardy, Mez and Grotesque

Brookfield Vineyard

Peter Kalla

Birdcage Bar

Trevor Weaver 9pm

Observatory (Main Room)

DJ Mr B.

C Bar

Girl Friday 8pm

Brisbane Hotel

UV Race + Dick Diver + The Native Cats + Naked

Queen’s Head Cafe Bar

Basil The Rat 9:30pm

Cargo Pizza and Lounge Bar

Johnny G

Brisbane Hotel

Republic Bar

Husky 10pm

Federation Concert Hall

Eigth Blackbird 7:30pm

Brand New Second Hand “Animals” with DJ BTC + DJ Good Gorilla Biscuit + Psycho Deric + DJ Mary Jane

Sails

Billy Whitton 6pm

Irish Murphy’s

Mickey & Kazu, Pirates of the Cover Scene

Brookfield Vineyard

Piano Marathon

The Grand Poobah

Sea Shepherd Fundraiser

Ivory Bar

Malakai, Mez and Kenny Beeper

C Bar

Jason Patmore 8pm

The Telegraph

Ado and Devo followed by Dr Fink

Observatory (Main Room)

DJ Mr B.

Cargo Pizza and Lounge Bar

Millhouse

The Waratah

Yacht Club DJ’s - “They Mostly Come Out At Night...

Mostly” Tour w/ Tiger Choir 9pm

Republic Bar

Boil Up 10pm

Irish Murphy’s

Alex Hutchins, Vendetta

Billy Whitton 6pm

Ivory Bar

Dylan Sanders - Kenny Beeper and Grotesque

Bigbadboogiebass night with Adam Turner & Friends

Observatory (Main Room)

DJ Mr B.

The Telegraph

David Wicks followed by Pirates of the Cover Scene

Queen’s Head Cafe Bar

Basil The Rat 9:30pm

The Waratah

Ball Park Music - “The 180” Tour w/ Ben Wells & The Middle Names 9pm

Republic Bar

Faker 10pm

Sails

Billy Whitton 6pm

Jason Patmore 8pm

The Grand Poobah

Drunk Elk, Ragtime Frank, Manchester Mourning and Untermorast

The Telegraph

Tim Davies Duo followed by Entropy

15 Birdcage Bar

Birdcage Bar Brisbane Hotel

Sails

Jason Patmore 8pm

The Grand Poobah

Brisbane Hotel

Rock n Roll Bingo with Timmy Jack Ray

C Bar

Billy Whitton 2pm

Cargo Pizza and Lounge Bar

Tim Davies followed by Grotesque

Irish Murphy’s

Ian Murtagh, Micheal Clennett

Republic Bar

Rosie Burgess Band + Christopher Coleman 9pm

Brisbane Hotel

Punk Gig!

Bowerman & Parker 8pm

Brisbane Hotel

Rock n Roll Bingo with Timmy Jack Ray

16 Birdcage Bar Republic Bar

Tuesday

Venue 18 Republic Bar

Sunday

22 Birdcage Bar

Carl Rush 8:30pm

Brookfield Vineyard

Tasmanian Song Company

Saturday

Sunday

28 Alley Cat

29 Birdcage Bar

Pearly Whites, Nick Pappadakis & The Mangus Trio

Trevor Weaver 8pm

Billy & Randal 8pm

C Bar

Manhattan 2pm

Brookfield Vineyard

Piano Marathon

Brisbane Hotel

Quiz-A-Saurus (Quiz Night)

Cargo Pizza and Lounge Bar

Sticks and Kane followed by Grotesque

C Bar

Joe Pierre 2pm

Republic Bar

Baker Boys Band 9pm

Irish Murphy’s

Ian Murtagh, Joel Everard

Cargo Pizza and Lounge Bar

Ado and Devo followed by Grotesque

Bleeding Knees Club 9pm

Irish Murphy’s

Ian Murtagh, Mickey & Kazu

Bowerman & Parker 8pm

Republic Bar

Republic Music Quiz 3pm

Billy Whitton 8:30pm

Republic Bar

Wahbash Avenue 9pm

17 Birdcage Bar

18 Birdcage Bar Cargo Pizza and Lounge Bar

Where’s Mary 8pm Joel Everhard

Irish Murphy’s

Joel Everard

Observatory (Lounge Room)

Grotesque

Observatory (Main Room)

DJ Mr B.

Republic Bar Monday

23 Birdcage Bar Republic Bar

Tuesday

24 Birdcage Bar Brisbane Hotel

Billy & Randal 8pm The Herd + Thundamentals + Sky’High + DJ Dameza

Monday

30 Birdcage Bar Republic Bar

Bowerman & Parker 8pm Quiz Night 8:15pm

Event Guide

NORTHWEST Date

CITY

Venue

Launceston Date

Acts / Start Time

Thursday

Friday Saturday

Acts / Start Time

4 5

6 7

Devonport

Molly Malones

Wednesday

Nic Waters 8:30pm

Devonport

Spurs-Warehouse

Twin Peaks

Devonport

Tapas Lounge Bar

Tapas Trivia 7pm

Devonport

Tapas Lounge Bar

TMG 9:30pm

Devonport

Tapas Lounge Bar

Midnight 9:30pm

Friday

Saturday

4

Hotel New York

Emmy Bryce & Kate Vigo

Hotel New York

UNY Night

6

Tonic Bar

Nic Waters 7pm

Tonic Bar

Ian Holman 10pm

7

Tonic Bar

Julz & Lee 7pm

Tonic Bar

Ian Holman 10pm

Latrobe

Mackey’s Royal Hotel

Nic Waters 7pm

Devonport

Molly Malones

Darren & Mark 9:30pm

Wednesday

11

Hotel New York

UNY Night

12

The Royal Oak

The Rosie Burgess Trio

13

Bolters Bar

Trevor Weaver 7pm

Devonport

Spurs-Warehouse

The Ringmasters

Thursday

Devonport

Tapas Lounge Bar

Under The Covers 9:30pm

Friday

Wednesday

11

Devonport

Tapas Lounge Bar

Open Mic 8pm

Tonic Bar

Two Strung 7pm

Thursday

12

Devonport

Molly Malones

Jeff Woodward 8:30pm

Tonic Bar

Ian Holman 10pm

Devonport

Spurs-Warehouse

The Doctor Rocksters

Hotel New York

Ministry of Sound - Electro House Sessions - The Only

Devonport

Tapas Lounge Bar

Pie & Stu 8pm

Tonic Bar

Nic & Carmel 7pm

Devonport

Tapas Lounge Bar

Electric Spaghetti’s Final Show with (Ben Tome) Fright Night (Fancy Dress)

Tonic Bar

Ian Holman 10pm

Wednesday

18

Hotel New York

UNY Night

Friday

Saturday

Sunday

Thursday

13

14

15

19

Saturday

14

Burnie

The King of Burnie

The Rosie Burgess Trio

Thursday

19

Fresh on Charles

Fresh Comedy

Latrobe

Mackey’s Royal Hotel

Neil Gibson 7pm

Friday

20

Bolters Bar

Chris Lynch 7pm

Devonport

Molly Malones

Gypsy Rose 9:30pm

Hotel New York

Ball Park Music

Devonport

Tapas Lounge Bar

The Unit 9:30pm

Tonic Bar

Two Strung 7pm

Devonport

Tapas Lounge Bar

Neil Gibson 6pm

Tonic Bar

Ian Holman 10pm

Devonport

The Alex

Sandstone Relics

Tonic Bar

Erin & Cabe 7pm

Devonport

Molly Malones

Proud Phoney 8:30pm

Devonport

Spurs-Warehouse

Devonport

Saturday

21

Tonic Bar

Ian Holman 10pm

Ring Masters

Wednesday

25

Hotel New York

UNY Night

Tapas Lounge Bar

Chris Meek 8pm

Friday

27

Bolters Bar

Tash & Dave 7pm

Tonic Bar

Julz & Lee 7pm

Tonic Bar

Damian Maloney 10pm

Albert Hall

Last Night of the Proms 7:30pm

Friday

20

Devonport

Tapas Lounge Bar

Under The Covers 9:30pm

Saturday

21

Latrobe

Mackey’s Royal Hotel

Third Vine 7pm

Devonport

Molly Malones

Cheeky Monkey 9:30pm

Devonport

Spurs-Warehouse

Bombs Away!

Tonic Bar

Nic & Carmel 7pm

Devonport

Tapas Lounge Bar

The Titz (Launceston) 9:30pm

Tonic Bar

Damian Maloney 10pm

Sunday

22

Devonport

Tapas Lounge Bar

Kirby Edwards 6pm

Thursday

26

Devonport

Molly Malones

Unbalance 8:30pm

Devonport

Tapas Lounge Bar

Live Music TBA 8pm

Devonport

Tapas Lounge Bar

Ringmasters 9:30pm

Devonport

The Central

Sandstone Relics

Latrobe

Mackey’s Royal Hotel

Jerome Hillier 7pm

Devonport

Molly Malones

The Unit 9:30pm

Devonport

Spurs-Warehouse

The Unit

Devonport

Tapas Lounge Bar

Live Music TBA 9:30pm

Devonport

Tapas Lounge Bar

Live Music TBA 6pm

Friday

Saturday

Sunday

27

28

29

Saturday

28

First Thursday of every month $5 entry at door Drink specials New Tapas menu Doors open 6.00pm Comedy starts at 7.30pm This is an over 18 event

38

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