Warp Magazine February 2012 by Warp Magazine

W arp Warp

The Naked And Famous heading up MSFEST this March

WARP TASMANIA FEBRUARY 2012

3 BRISBANE STREET HOBART 6234 4920

HAPPY HOURS

LIVE MUSIC

7 days a week British India

Feb 10 & 11

Canyons

Fri Feb 17

Kerser

Fri Feb 24

British India Fri, February 10 & Sat, February 11 Peter Kalla (USA) Sun, February 12 Graham Rix Mon, February 13 The Baker Boys Tue, February 14 Rory Ellis Wed, February 15 Slyde Thu, February 16 Canyons Fri, February 17 The Fauves Sat, February 18 Darlington Sun, February 19 Mick McHugh Mon, February 20 Hoot Owl Tue, February 21 Joe Pirere & The Blackberries Wed, February 22 Kniki and Mike Beale Thu, February 23 Kerser Fri, February 24 Qbert & Reeps One + Doll Fit DJs Sat, February 25 Wahbash Avenue Sun, February 26 Quiz Night Mon, February 27 Peter Hicks & The Blues Licks Tue, February 28 Trumps Wed, February 29 Diego Guerrero (Spain) Thu, March 1 Mark Easton Tue, March 6 Hermitude Sat, March 17 The Beards Sat, March 24

Hermitude

Sat March 17

REPUBLIC UPSTAIRS LOUNGE BAR NOW OPEN FROM 8PM EVERY FRIDAY WITH DJ EVERTON (FREE ENTRY)

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

Fri & Sun 6 till 8pm

$4 pints $4 Stubbies $4.50 Basics

SUNDAY FEBRUARY 12 @ BRISBANE HOTEL Doors at 8pm

4 News

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

W arp Warp REPUBLIC LOUNGE

------------------------------------------------Warp Tasmania February 2012 ------------------------------------------------Editor Ali Hawken ali@warpmagazine.com.au ------------------------------------------------LOCAL MUSIC Stuart Warren stuart@warpmagazine.com.au ------------------------------------------------CLUB / ELECTRONIC Nic Orme nic@warpmagazine.com.au ------------------------------------------------ART Alison McCrindle alison@warpmagazine.com.au ------------------------------------------------Performing Art Sarah Mashman sarah@warpmagazine.com.au ------------------------------------------------DESIGN Miu Heath catspop@gmail.com ------------------------------------------------ADVERTISING ads@warpmagazine.com.au ------------------------------------------------GIG GUIDE Submit your events to gigs@warpmagazine.com.au ------------------------------------------------Writers Sose Fuamoli, Sarah Leary, Eva Lubulwa, Josh Clements, Lyn Geisel, Daniel Townsend, Jervis Dean, Jarred Keane, Lucas Thomas, Caity Rode, Lisa Dib, Brett Neuling, Sybelle Foxcroft ------------------------------------------------NEWS Submit your press releases plus publicity images through to the appropriate editor for consideration. ------------------------------------------------www.warpmagazine.com.au www.facebook.com/warp.mag ------------------------------------------------INTERESTED IN WRITING FOR WARP? contact ed@warpmagazine.com.au -------------------------------------------------

ALL SUBMISSIONS REMAIN THE PROPERTY OF WARP MAGAZINE. ALL CONTENT IS COPYRIGHT TO WARP MAGAZINE AND CANNOT BE REPRODUCED IN WHOLE OR PART WITHOUT WRITTEN AUTHORISATION OF THE PUBLISHERS. WARP MAGAZINE makes no guarantees, warranties or representations of any kind, whether express or implied, as to the accuracy, reliability, or completeness of the information provided. WARP MAGAZINE will not be liable for incorrect use of the information and will assume no responsibility for consequences that may result from the use of the information. WARP MAGAZINE is not responsible of any kind arising out of use, reference to, or reliance on such information. The opinions expressed in Warp Magazine and Warp online do not necessarily reflect those of the editors or publishers.

Josh Pyke has Tasmanian shows planned for his ‘Only Sparrows’ tour, showcasing album tracks including the brand new single ‘Punch in the Heart’ ft Katy Steele. ‘Only Sparrows’ is Josh’s third album to debut top five in the ARIA charts, written on the road and in New York City and recorded back home with ARIA Award-winning producer Wayne Connolly. See him at the Waratah Hotel on Friday February 10 and Hotel New York in Launceston on Saturday February 11. Tickets from Oztix. BRITISH INDIA BACK

The Republic Bar recently started a new weekly night in their upstairs room. Starting at 8pm every Friday night, resident DJ Everton spins the best of reggae, calypso, ska, latin, afrobeats, funk, soul, R&B and Hip Hop. The Republic Lounge Bar stocks a large range of beers, spirits, wines, a few cocktails, and entry is free. NEIL MURRAY

Doors open at 2pm.

GAME ON AT THE BRISBANE

‘Sing The Song: The Essential Neil Murray’ is the latest album from the popular musician, singer and songwriter. To celebrate its release, Murray will be making two special appearances in Tasmania at the start of February, Friday February 3 at Coal Valley Vineyard at Cambridge, and Saturday February 4 at Brookfield Vineyard in Margate. Neil Murray has penned such Australian classics as ‘This Good Earth’, ‘Melbourne Town’ and ‘My Island Home’. ONLY SPARROWS TOUR

The Tasmanian Symphony Orchestra will be holding Symphony Under the Stars on Saturday February 18 at Tolosa Park, Glenorchy, and Saturday February 25 at City Park, Launceston. Patrons will be taken on a journey from Verdi to Stravinsky with multiple stops along the way. Bring a basket of goodies and join the crowd. There’s plenty of room and plenty to enjoy at these free summer concerts.

It’s been a long time between drinks for Dirty Three, but February 24 will see the release of their first album since 2005’s ‘Cinder’. Their remarkable new album ‘Toward the Low Sun’ is being billed as “a punk, avant-garde, art-jazz record”, and Warren Ellis seems pretty damn happy with that, stating: “I think we may have cracked it. This may well be the definitive album from Dirty Three.”

Australian hip hop juggernaut Hilltop Hoods’ new single ‘I Love It (feat. Sia)’ attained platinum status recently, heralding yet another milestone for the band. To go along with the success of the first single from the upcoming ‘Drinking from the Sun’ album, the Hoods signed a marketing and distribution deal with American label Fontana (a subsidiary of UMG). Hilltop Hoods will be in Tasmania for the Breath of Life Festival, and the new album ‘Drinking from the Sun’ will be available March 9.

More news from Sydney’s Elefant Traks camp, instrumental powerhouses Hermitude are set to release their fourth album ‘Hyperparadise’. Billed as “a beautifully inventive record of future beats and electronica”, the album has already been receiving rave reviews from those in the know. Set to hit shelves on Friday February 3, this should definitely be the best work to date from the NSW duo. To celebrate the release the lads are embarking on a national tour with label mates Sietta, Hobart will get a chance to see them on Saturday March 17 at the Republic Bar & Café.

CHARLES DU CANE

SKY’HIGH

For the past five years, Charles Du Cane has impressed and entertained crowds with his slightly quirky style. The time has come however, for Charles to call it a day. Stating in a recent press release “When I first played as Charles Du Cane in 2007, I promised myself that I would stop performing in the event that I started dedicating songs to my partner or offspring during live sets. It has been five years, and that day has come.” Thanks for the music, Charles!

Sydney MC Sky’High was recently announced as the most recent signing to hip hop label Elefant Traks. This adds a noted difference in styles to the Elefant Traks roster, with artists and label representatives admitting it is something of a gamble. Sky’High has recently been gaining mountains of popularity with her high energy live shows and ‘Your Highness EP’ featuring production from renowned New Zealand DJ & producer, P-Money.

THE McCLYMONTS

Hobart has a new temporary artist collective retail space on Collins St. Located at 137 Collins St within the Artery building, Pop Up Shop will run for an initial 3 weeks, with the opening on Friday February 10, from 6pm. The shop is a platform from which local artists can experiment with the science of retail without the ongoing commitments and will feature a variety of work, such as prints, soft furnishings, jewelry, paintings, accessories, sculpture, clothing, and transformed objects. Artists involved in Pop Up Shop! include David Focks, Emma Bugg, Katy Fleay, Jamin, Rag Tag, Sabio Designs, Rag Tagplus and many more. MSFEST announces Matt Corby, San Cisco and the best value festival ticket in Australia!

03 6424 2727 03 6424 2727

NOVEMBER JANUARY WED 2ND - TAPAS TRIVIA 7PM

FEBRUARY

WED 4TH TRIVIA8PM 7PM THURS 3RD- - TAPAS EVIL CISUM FRI 4TH - THREE PIECE THU 5TH - TARYN & 9:30PM ERIN 8PM WED 8TH SAT 5TH - CANDY FEET 9:30PM OPEN MIC FRI 6TH THE UNIT 9:30PM 8PM SUN 6TH -- ELECTRIC SPAGHETTI (LONG WEEKEND) SAT 7TH - THREE FAZE THREE

THUR 9:30PM9TH WED 9TH - LIVE OPEN MIC NIGHT 7PM MUSIC

SUN 8TH - -ELLA ROSE 6PM THURS 10TH JIM BEAM PROMO NIGHT - HEAPS OF10TH GIVEAWAYS WED 11TH DEVONPORT CUP 6PM FRI FRI 11TH - T M G 9:30PM AFTER PARTY WITH GUV’NOR SAT 12TH - THE UNIT 9:30PM ELECTRIC SPAGHETTI SUN 13TH - CHRIS MEEK 6PM DOORS OPEN 6PM

SAT 11TH THU 12TH -ROCK NEVA 2PIGS L8 8PM WED 16TH - TAPAS TRIVIA NIGHT 7PM THURS 17TH LINOLEUM FRI 13TH - -JED, SLATS & THE BIG SUN 12TH (NO FX TRIBUTE BAND) 8PM NATURALS 9:30PM NEIL GIBSON FRI 18TH - UNDER THE COVERS 9:30PM SAT 14TH - JACOB BOOTE 9:30PM SAT 19TH - SLATS & THE BIG NATURALS 9:30PM SUN 15THTHUR - JAROD16TH MINTON’CONNELL SUN 20TH -LIVE NEIL GIBSON MUSIC6PM 6PM WED 18TH - OPEN MIC NIGHT 7PM

WED 23RD - TAPAS TRIVIA 7PM FRI 17TH THU 19TH BOWLES THURS 24TH- -JUNIOR T M G (SHOW DAY EVE) THREEZA CROWD FROM WA FRI 25TH - ELECTRIC (BLUES ARTIST ) 8PM SPAGHETTI 9:30PM SAT 18TH SAT 26TH - ROCK PIGS 9:30PM FRI 20TH - ROCK PIGS 9:30PM ELECTRIC SPAGHETTI SUN 27TH - LIVE MUSIC 6PM

THE BEARDS

PUTA MADRE BROTHERS

Since the release of ‘Queso y Cojones’ in 2010, Puta Madre Brothers have been busy, touring Europe twice and Australia three times. On top of all of that, they will have a second album available on February 10. ‘It’s a Long Way to Meximotown’ contains covers of CW Stoneking and Those Darlins songs. They are playing at The Grand Poobah on Saturday March 3. Tickets are $10 + bf.

Pop Up Shop!

www.tapasloungebar.com.au

www.tapasloungebar.com.au Rooke Street Mall, Devonport,Tasmania. Rooke Street Mall, Devonport,Tasmania.

SAT 21ST - T M G 9:30PM MSFEST have announced the addition of two of Australia’s current hottest acts: Matt Corby & Sans Cisco plus the announcement of a new festival ticket price of $77 (+ booking fees).

WORLD PARTY The 2011 World Party attracted 6000+ patrons throughout the course of the day, and the 2012 World Party is expecting to build on that. Taking place on Saturday February 25 at Princes Wharf (PW1) in Hobart, patrons this year will be treated to a smorgasbord of food, craft, clothing stalls and music. Designed to celebrate the diversity of the Tasmanian multicultural community, this free event will also help assure members of the International Student Community that Hobart is a safe and caring community. Some of the performances include: Mayur Kamble, Fabio Chivanda, Roman Astra, The HotKings, Yyan Ng, and the Chinese Han Transmission Esoctericism Academy Cultural Celebration.

3 MIN FILM COMP The State Cinema and Wide Angle Tasmania are bringing shorts back to the big screen and are offering filmmakers the chance to get their films seen by 180,000 movie-goers. The competition for films 3 minutes and under is open to all Tasmanian residents. To help contestants with their entries, Wide Angle Tasmania is offering grants of up to $6000 worth of equipment hire. For more information contact Wide Angle Tas at www. wideangle.org.au or via email on info@ wideangle.org.au or 6223 8344 to apply for a production grant and an entry form.

Virtuosi Tasmania begins its 20th Anniversary Season with a festival of chamber music in Hobart’s newest icon, MONA. Over the February long weekend, an exciting program of old and new music will be presented by members of the internationally acclaimed Tasmanian Symphony Orchestra and top Tasmanian Jazz musicians. Tickets for each of the four concerts, consisting of String Trio, Baroque, Jazz, and Beethoven respectively, will be $30/25. For more information, visit www. virtuositas.org.au.

Indy favourites British India return in 2012 with two shows at The Republic Bar on Friday 10 and Saturday February 11. Having been holed up writing and recording new songs for the past few months Hobart will receive a special sneak peek into the new album material before they hit the main stage at the St Kilda Festival on Sunday February 12.

SYMPHONY UNDER THE STARS

HERMITUDE IN PARADISE

VIRTUOSI TASMANIA

DIRTY THREE RETURNS

From the bowels of the local warlock’s imagination nerd night has arrived at the Brisbane Hotel. Gamers will enjoy 16-player XBox LAN, as well as classics like GoldenEye and Mario Kart on Nintendo 64, Atari, Sega Master System and more soon. With ladders, tournaments, prizes and more surprises to come. Every fortnight on Tuesdays, from February 14.

HILLTOP HOODS PLATINUM & US DEAL

HAPPY HOUR HAPPY HOUR THURS AND FRI 6-7 THURS AND FRI 6-7

After spending the majority of 2011 touring the States, The McClymonts have returned home to announce their third album ‘Two Worlds Collide’. With the album set for release in June, the first single ‘How Long Have You Known’ has already hit the airwaves. Fans can get a peak at behind the scenes on the set of their video shoot for the single in the Latest News section at www. themcclymonts.com.au

Indie heroes are back with album number three, and an extensive Australian tour to go along with it. Just when you thought The Beards couldn’t possibly write any more songs about beards, they’re back with eleven new songs about beards. ‘Having a Beard is the New Not Having a Beard’ is the follow up to 2009’s ‘Beards Beards Beards’. “It will be our third concept album about the same concept – the only concept of any importance to any of us – beards,” explains frontman Johann Beardraven. The Beards will be playing The Royal Oak Hotel in Launceston on March 23 and The Republic Bar in Hobart on March 24.

Matt Corby’s massive hit Brother came in at #3 in the Triple J Hottest 100 and San Cisco hit #7 with their track Awkward. The ticket price has been reduced to $77+bf also with the promoters stating that “this move was to pre-empt what is happening on the mainland and to provide what the festival goers are asking for: value for money. It’s a super tough market out there and a time when organisers need to consider the scale and style of their event. It seemed easy for festivals to over spend and then just increase the price of the ticket and expect punters to foot the bill - but that approach is failing now” Get all the details from www.msfest.org.au

WED 30TH -SUN TAPAS 19TH TRIVIA 7PM

SUN 22ND - SHAUN KIRK WITH JESSI OUTRAM SPECIAL GUESTS HALFWAY TO FORTH ADMISSION THUR 23RD$10

DECEMBER LIVE MUSIC

WED 25TH THURS 1ST - TAPAS PARIS TRIVIA WELLS 7PM 8PM FRI 2ND - T M G 9:30PM THU 26TH - TREV HEINS 8PM FRIMUSIC 24TH9:30PM SAT 3RD - LIVE PIECE 9:30PM FRI 27TH - MICK RINGAHEARNE MASTERS SUN 4TH -THREE & REX WATTS 6PM SAT 28TH - MIDNIGHT 9:30PM

SAT 25TH

SUNKNICKI 29TH - SUNDAY SIPPERS FROM & MIKE BEALE 12 MIDDAY

SUN 26TH PHIL EDGELEY (NSW)

Music

MEN TALK ABOUT BOOTY BROOKLYN-BASED PERFORMANCE / ART COLLECTIVE MEN EXPLORES THE RADICAL POTENTIAL OF EXPERIMENTAL DANCE MUSIC WITH LIBERAL SOCIAL THEMES. JD SAMSON SITS DOWN FOR A Q&A WITH WARP AHEAD OF THEIR TASSIE TOUR.

Warp: MEN began as a side project to Le Tigre in 2007. With those beginnings in mind, where does the band sit now? JD Samson: The band is always changing, that’s what I like about it. It goes through these peaks and valleys; personalities of itself and its members. It’s 2012. We have been through the recession, surprised at first, and now we are sitting in the middle of the rest of the world’s response. You’ve described MEN as an ‘art performance collective’. What exactly does that mean and how does that differ, if at all, to your work in the past with Le Tigre or New England Roses? The band started as a project that was heavily influenced in visual arts. We were artists before musicians, building a band with songs, and a community with ideas. So it was all very easy for us to create visual moments in shows and to further our understanding of the rock show environment. We have had performance art pieces in the middle of the show. We have had live painting, musical collaborators, dancers, backdrops, props, costumes; all of it. Your album ‘Talk About Body’ explores gender in many forms. It’s an album where dance music and politics exist together. How much change is possible through music? Change is really just about how much people are allowing themselves to let go. To push themselves to get what they want; to believe in themselves enough to think they are worthy of the change. We have a song called ‘If You Want Something’ and the message is plainly: if you want something, then you got something, basically. In a space where music fills the room and people have the potential to let go even more, of their bodies and their souls. I would hope change would be even a bit more of an option. Does the MEN project allow you all the voice you want or need as an activist, or do you seek other avenues? Is music the best 6

warpmagazine.com.au

voice you have for activism? It has been a great voice for activism, including the internet presence of being able to speak my mind anywhere all the time. That has been a huge change for activism in this day and age. Are you able to keep MEN’s distinct gender pride without alienating a larger audience?

do you marry such upbeat musicality with serious content? It was a complicated moment to marry these two songs. We had the instrumental and I had the idea for the concept. And at first, it felt forced, but with a moment of understanding that there is an anthem in the coming together of our community (happy or sad), i was excited; and the song was born.

Well it is complicated to be honest - we have pigeonholed ourselves as queer and feminist and gender-variant, I suppose. And although I have a lot of pride in that, it is difficult to grow past that community without writing music that is more widely understood, or if you will, watered down. Our new record has some new tracks in which I do feel complicated feelings about. Is my presence in the pop world enough of a subversive element to call myself an activist artist, or am I plainly giving in? We’ll see what they say.

Same sex marriages are still not permitted under Australian federal law, so the gay and lesbian community here were ecstatic over the same-sex marriage bill being passed in New York. What did the passing of that bill mean to you?

If MEN’s music aims to make a difference , what music makes a difference, to you?

There seems to be even more pressure now for the gay community to come out and be visible. Do you think that bands such as MEN, and indeed your past projects, offer a public support network?

To me, music that makes a difference is music that comes from making art. Not being afraid to say what you want to say. Not being afraid to use conceptual structure and instrumentation. Not being afraid to make something different and believe that it will reign. You’ve spoken about dance music being a radical art form because it allows people to find a release through dancing. Is creating music the same kind of release, for you? Creating music is a brain project for me most of the time. It’s creating a concept, and building a structure of elements - a symphony around that concept. So it may not feel cohesive. It is my brain that creates the ties, not necessarily my ears. And from this yes, I am releasing what feels good to me. Some point at which brain and fingers work together. ‘Credit Card Babies’ is a great dance anthem about queer reproduction. How

I wasn’t sure how I would feel. I have honestly wondered about marriage; the construct, under god. But when the bill passed it was clear to me that part of my criticism was that I was not allowed. I cried my eyes out. It was a beautiful day.

I think our band does help younger people to find a space, a community, and even to learn about what’s going on. But I also think there’s so many great places to get help on the internet now that music has lost that element of creating that space to learn. Or find that family. Shows just aren’t the same. You’re in the spotlight as an openly gay woman with a very vocal and public voice for queer rights. Does being that woman carry a lot of responsibility or pressure? It does. Just last night, we played a show in NYC and some young girls were physically assaulted at the show. I felt it was my duty to create action around it, because I can’t sit by idly and ignore that. I just can’t. That is personal. I consider my fellow women, queers, and allies my family and I would never let that happen without giving an earful. I try my best. That’s all I can say.

Have you ever felt like you’ve failed your fans expectations that you will be a forerunner for the gay community?

KEYS TO THE CANYONS

I can only be myself. That’s the truth. So I realize I must not pretend to be anything I’m not or fight for something I believe in. I’m an artist, not a politician. So who I vote for or what I believe can’t and won’t shape the world. It will only give people insight on a deeper JD.

WITH THE RELEASE OF ‘KEEP YOUR DREAMS’, SYDNEY DUO CANYONS HAVE THE KEY TO SUCCESS IN THE PALMS OF THEIR HANDS. BUT AS WARP DISCOVERS, THERE ARE SOME KEYS THAT BAND MEMBER LEO THOMPSON SHOULD NEVER, EVER BE GIVEN.

Do you think there will come a time when sexuality or gender isn’t a factor in determining civil rights? I certainly hope so. But judging by the numbers, it won’t happen very soon. Your parents were both artists, who turned to other occupations. Should you ever turn to another occupation, what would it be? Oh gosh, I have no idea. Perhaps something more academic, perhaps writing music for television or movies, perhaps a doctor... Right now I have no limitations. \What do you think of the likes of Lady Gaga – an artist who appears intent playing up to a queer image, but doesn’t label herself as a gay woman? I think Lady Gaga has done a lot for the art/ fashion/queer communities. She has created a lot of visibility and I appreciate that greatly. I don’t care what she identifies as. What future projects and shows do MEN have coming up in the future? We are putting out an EP very soon of three new songs. Also we will be putting out videos and more songs all year long! Loani Arman

Men appear at The Brisbane Hotel on Wednesday, February 29

“We played last night and when we went to drop all our gear back to our studio, I realised I’d locked our studio keys in our studio, so we had to go and find someone else who had a key to our studio,” Thompson laughs, though his tale of misfortune doesn’t end there.

Since then, they have been touted as one of Australia’s best DJ collectives, and been responsible for acclaimed remixes for Empire of the Sun, Ladyhawke and Lost Valentino; and somewhere along the way, they also discovered little known Perth psych-rock act, Tame Impala.

“I drove home and realised I’d taken my house key off my key ring the other day so couldn’t get into my house, so had to call my friend at 2am and slept on his couch last night,” he says.

In what Thompson describes as an ‘act of good faith’, the cool-as-all-hell Modular Records signed the duo in 2009 and two years later, the lads had an album in ‘Keep Your Dreams’ that saw them performing with a six piece band, and dancing into unforeseen realms. With tracks sitting somewhere between electronica, soul, disco, and psychadelic rock, listeners are thrown into the playground of sonic experimentation, and it’s all one intriguingly good ride.

“I have my friend’s car that I borrowed, and just went down to the shops then, and when I went to lock his car, his car key snapped in the lock. I don’t understand what’s going on with me and keys at the moment.” Lucky, then, that Canyons’ success isn’t reliant on the opening hours of Mister Minit’s key cutting services. Instead, it seems owing to something that Canyons’ have in spades - a knack for making unexpected choices work in their favour. Along with his long-time cohort Ryan Grieve, Thompson has been on the radar since founding their Hole in the Sky record label. After two individually crafted singles under that title, their second release – the acclaimed ‘Lovemore’ EP - saw them pool their creative energies into a combined sound, and the Canyons moniker was born.

and it’s an agenda they share with their Hole in the Sky label signings – which includes Sydney’s Tortoiseshell, who have been the buzz of indie pop circles and festival crowds with hypnotic tracks like ‘This Girl’. What makes Thompson’s musical heart tick? “A sound that has some originality to it; stuff that makes my ears prick; those innovative things that make records already great, even more great - we try to apply to our music, and music we want to release.” A close friendship and open communication lines seem to have been Canyons’ key to stripping back ego and arriving at music that’s close to their core. “We’ve been best friends for a long time. We’re just very honest with each other. If you want to have any sustained collaborative relationship with anyone, I think you need to be clear, and not harbour things. It helps because we do have lots of the same tastes, so neither of us is going to throw a serious curve ball. When we’re both in the same zone, and bouncing off each other - it’s not telepathic, but you feel like the thing

you’re creating is taking on a life of its own and directs itself,” Thompson says, though admits to their being room for improvement. “There have been times when Ryan may have had an idea and I couldn’t specifically see where it might go, and vice versa, so we didn’t experiment with something much. In terms of writing the next album, we only have a small studio we share, but we were saying it’d be great to have a little set up at home each, so we have even more freedom and push things in different ways.” If ‘Keep Your Dreams’ is any indication of their continued success, Canyons may need those extra studios. Let’s just hope that no one gives Leo Thompson the keys. LOANI ARMAN

Canyons play live at the Republic Bar, Hobart, Friday February 17 with free after party at Syrup featuring a Canyons DJ set.

“We didn’t have a clear outline or trajectory of where we wanted the album to go. It was about us finding the best way for us to combine the stuff that we’re into and try to make it into a cohesive record,” Thompson says. “What we’d want people to get from our music is that feeling when you connect with something and you can hear that it’s honest, and it comes from a place you relate to. It’s not contrived or too aware of itself.” With their own music, Canyons seem intent on being part of a fresh and original sound, warpmagazine.com.au

Music

Music EE FR W

RECORDING LIKE A BOSS

i iF

FEBRUARY GIGS

AS WELL AS THE MILLIONAND-ONE THINGS THAT ANY ARTIST NEEDS TO DO AHEAD OF A NEW RELEASE, BEN KWELLER IS WEARING A SECOND HAT THIS TIME ALONG – THAT OF LABEL BOSS.

SAT FEB 4

MAX SAVAGE AND THE FALSE IDOLS & THE MANGUS TRIO WED FEB 8

THIEVES & MANGUS FREE / 8:30PM

Special event showcasing Greenhouse artists

SAT FEB 11

STONE TROLL, KREIGAN HILL & JOHNNY LIZARD SAT FEB 18

MY GIRLFRIENDS SISTER

“I’ll tell you this much,” Ben Kweller says. “I’ve noticed my first grey hairs. You know, they say the President goes grey. Every President we have, the first few months they have in office they fuckin’ go grey.”

Rocking The Fox Saturday Feb 18 Johnny Fox room from 9pm $10 entry - all goes to the bands

CHRIS RUSHWORTH THE SKETCHES RADIO SILENCE FRITZ

And while he’s not expecting to shoulder the same load as he would leading the country, Texan troubadour Ben Kweller admits the pressure is on ahead of the release of his fifth studio album next month. ‘Go Fly A Kite’ is set to be the first release on his new label, The Noise Company, and signals a break from ATO, the label Kweller spent an enjoyable and harmonious decade with. Although there’s the odd grey hair sprouting from his 30-year-old head, it seems there’s still plenty of the fresh-faced kid from Radish in Kweller and he puts it all down to a strict regimen of rock ‘n’ roll.

“I will say rock ‘n’ roll keeps you young. I know a lot of people my age that seem so old.” “I’m definitely stressed out right now because the album is about to come out and all hands are on deck... there is so much to it so when you have your own record label it really makes you respect the good record labels that are out there. “It is hard work but soon I will be able to get back into just being an artist full time which I’m really looking forward to. I can’t wait to get on that tour bus or aeroplane, hit the stage and play these songs for the people.” Australian fans don’t have long to wait until they get to hear Kweller’s new wares, the album due for release through Shock Records on February 10. While Kweller’s albums to date have had him exploring distinctly different parts of his musical psyche, the biggest change to wash over the music industry during the course of his career has been the growth of the Internet and social media. Now, musicians and artists are able to reach their audience without even leaving home and with his 8

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Saturday 17th march ‘label boss’ hat back on Kweller admitted to being staggered at how much things have changed since he was pounding the pavement in days of yore. “It’s huge,” he agrees. “You can reach your entire fan base globally with the click of a button and that’s an amazing thing. I still have a floppy disk, the old school floppy disks, that has 2000 addresses on it... that was our original mailing list and we used to mail everything, like our newsletters were in the mail ‘cos there wasn’t email, no one really did email. It’s just funny how things have changed.” Long gone are the days of printing flyers and stapling them to telegraph poles around town. “That was the reach you had, just a few square miles reach, now it’s the click of a button and you’re around the world. It’s really interesting, it’s really cool. I’m mesmerised by the Internet, the power of the Internet on so many levels even outside of entertainment.” As if to illustrate the point, an hour or so after our conversation, Kweller posted a

picture on his Twitter account of the tour poster that had been spotted and snapped by a fan in Australia. And just like that, 25,000+ fans around the world were given their first glimpse of the Aussie dates. At the rate he’s been making music throughout his career, it seemed fair to ask whether the prospect of a ‘Best Of’ was on the horizon. Happily, Kweller reported that he’s still looking forward to more original releases, but that’s not to say the potential for compilations is out of the question. “I have a dream of making an album of the Best of Ben Kweller Ballads. All my best love songs on one CD would be really fun. The New York Years... I have all these ideas but at the same time I’m not there yet. I’m not ready to make a statement on the past. I’m still really working on the future.”

explaining how the well-rounded sound on ‘Go Fly A Kite’ had come to be.

Open from 7am for breakfast. Full menu available from 11am with classic Irish favourites.

“Overall I’m a rock ‘n’ roller at heart and you get that most of all in this album. There are harmonies and lush arrangements with pianos and guitars... it wasn’t about me trying to throw back to those albums, it was just about me encompassing everything I do as a writer.” STU WARREN

Of course, the immediate future holds the new album and tour and for fans of any or all of the previous BK releases, rest-assured there’s something here for you. “I think what I wanted to do with this album was really kind of make one concise album of everything I do, all in one,” he said,

Loads of live entertainment, promos, giveaways and Irish Craic!

There are definite hints of the quirky pop songs that characterised much of ‘Sha Sha’ and the raw guitars of ‘On My Way’. There’s more piano and poetic lyrics. There’s ‘Changing Horses’-style country as well, but rather than sounding stilted or muddled, ‘Go Fly A Kite’ seems like proof that age isn’t wearying Kweller. Grey hairs aside, he’s maturing like fine wine.

Serving great mealS for lunch & dinner everyday!

SUNDAY FEBRUARY 12 @ BRISBANE HOTEL Doors at 8pm

21 Salamanca Place, Hobart | 6223 1119

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Ben Kweller’s new album ‘Go Fly a Kit’ is out now.

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YOUNG BLOOD NO MORE NEW ZEALAND INDIE QUINTET THE NAKED AND FAMOUS TURNED HEADS WITH ‘PASSIVE ME, AGGRESSIVE YOU’ IN 2010. RETURNING DOWNUNDER, AARON SHORT TALKS FUTURE PLANS. In 2010, a song driven by harmonies and synths entered the Australian charts, peaking at Number 26 having held the Number One position on the New Zealand charts. The song was ‘Young Blood’ by The Naked and Famous; a sharp five-piece who were about to give the public an album full of material which would become synonymous with the summer season for many. With the band’s debut album ‘Passive Me, Aggressive You’ released in September of that year and a heavy round of touring which continued straight through until only a week or so ago, TNAF (as they are affectionately abbreviated) finally have some time to wind down. From their summer house somewhere in NZ, the band’s man behind the electronics Aaron Short reflects on their last few shows, which saw TNAF branch out into the Asian

market on The People’s Party tour. Playing alongside acts including Metronomy and The Jezabels, The Naked and Famous were able to be exposed to a variety of sounds and catch up with some friendly faces. “We all agreed that it was a really cool mix of bands that were playing, there was a little bit of everything; Bombay Bicycle Club as well were playing with us and we have some friends who are in the crew for them, so it was nice seeing some familiar faces. Unknown Mortal Orchestra as well - we did a couple of shows with them and they’re such a cool band. And obviously New Zealanders as well - so it was cool to meet up with some familiar faces there. “Apart from Japan, which we did last year been attracted to ‘Passive Me, Aggressive You’ and to the extent of the material being featured everywhere, from TV show themes to advertisements for alcohol. “I don’t know; I guess it’s that mix of the pop melodies along with the emotional relationship people can make from it, whether it’s from the melody or the lyrics. It definitely has clicked with people really well and has made it grow so fast.”

When I mention that songs like ‘Punching in a Dream’ and ‘Young Blood’ often conjure up yearnings for summer and therefore their ‘anthemic’ qualities, Short agrees, yet still has difficulty finding certain aspects to pinpoint this feeling on. “It’s hard to explain why, saying that a song reminds you of summer. It’s so weird, how can you explain that? It doesn’t really make sense, but it’s so true. It just has that feeling of… I don’t know. Everyone says that it would sound amazing at a summer festival and it just has that feeling attached to its sound.”

Alongside becoming one of NZ’s fastest rising indie exports since Ladyhawke, Short and his TNAF crew managed to also dominate and earn deserved respect amongst the NZ and Australian music industry, coveting many awards including the APRA Silver Scroll for ‘Young Blood’. For a band who (in every interview I’ve seen) appear to be such a humble and genuine group of people, it’d be understandable if any egos were inflated along the way. According to Short, it appears that they underwent a different experience entirely. “It was way out of our comfort zone, that whole thing. I guess that almost sums up our whole approach towards it. Doing all that red carpet stuff, it doesn’t feel natural to us and I think that’s a dead giveaway, that it’s obviously not the reason why we’re doing it. We couldn’t help but feel amazingly overwhelmed by that whole situation; leaving our own country for a year and then coming back at the end of that year and taking that many awards away, it was definitely a shock to all of us.” So now, already having entered 2012 with a successful Asian tour, The Naked and Famous are taking a few weeks off before coming back to Australia for both the Future Music Festival and MS Fest in March. “We’d heard of the name [MS Fest] before, but the cause and stuff was what we weren’t familiar with.” Short admits. “We were also quite interested with how it was going to fit in with the Future Music Festival, because I think it falls in the middle? We’re going to be doing some crazy flights to get down there and get back to fit it all in! But no, we’re really looking forward to it, the line up looks cool and it’s a cool place.” Not only does it mark the first Australian tour for the band this year, but it also signals the wrapping up of the touring for the first record. After being attached to this baby for so long, is Short keen to be letting go of this tour cycle? “Yes and no. It’s exciting because once we get to that point, we know it’s time to start that process all over again and ideally do what we’ve done for the last two years and start from square one and enjoy the whole process from start to finish all over.” With the band already setting aside time for recording a follow up record to ‘Passive Me, Aggressive You’, Short reveals that quite frankly, he doesn’t know where the band will be heading creatively. “I wish we knew! We haven’t solved that one ourselves just yet. We’ve all definitely agreed that one of the big differences between who we are now as a band and how we were as a band when we did ‘Passive Me, Aggressive You’ is probably our live performance aspect. Before this album we had done touring, but we did 180 shows last year and we’d obviously done nothing else like that before.

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“As live musicians, we’ve evolved quite a lot and I’m sure that will reflect quite a lot in how we go about creating this next album. It could mean that stuff is less sequenced on a computer and more played with human hands and more of that feel is introduced in the music. Who knows where it’s going to go, really?” Short agrees with me on the topic of exploring and developing the ideas and sounds introduced on the first album, however sees it as taking a full plunge down a creative rabbit hole of sorts. “I think that every bit on that album is just going to evolve further. I mean, our skills have improved as producers, in the production and in how good we are with our instruments. Everything’s just taken a step up and we’re just going further and further down that hole. Everything you have on that first album, we’re going to go in and explore that extra bit further this time round.” In terms of knuckling down and pumping some new material out, it seems as though the main challenge facing The Naked and Famous is the demand and desire for them to be on the road. “We’ve got to put a firm foot down after the American tour [March through until April] and say ‘Right, that’s it, no more!’, because if we stop touring and start recording stuff and then some big festival comes up and we go and do one show, we’re going to end up touring until we die if we stay that way! We’re putting our foot down and saying ‘That’s it, we’re stopping now, leave us alone for a year while we make something new’!” Indeed, for a band such as The Naked and Famous it will be hard for both the band and the crowds to have them out of the live circuit spotlight for a long period of time. However, with 2012 being the year for many bands heading back into the studio, we can only sit and wait to see what this one in particular produces. SOSE FUAMOLI

The Naked and Famous will be appearing at MSFest 2012 on Saturday the 3rd of March. General Admission Tickets are $77 + BF, available via oztix.

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Music

FROM THE ROOTS UP ROOTS MANUVA HAS BEEN A HOUSEHOLD NAME FOR THE PAST DECADE. AHEAD OF HIS MS FEST SHOW, HE SHARES HIS PLAN FOR THE NEXT DECADE.

Since his 1999 debut full length ‘Brand New Second Hand’, Rodney Smith (better known as Roots Manuva) has toured the world, doing everything from playing backroom bars to headlining Summer Festivals. It is only natural then, that the 39 year-old Jamaican-Brit’s eighth full length release ‘4everevolution’, has acquired international and cross-genre influences. “In my mind my style grows without me noticing,” he tells Warp. “My artiste remit is still the same as when I was fifteen. The standard hip hop and pop monikers of ‘greatest of time’ do not serve me. I am happy to take part in the wider culture of groove and word – hip hop - more specific to the less empowered getting a voice or platform by any means, regardless of so called mainstream recognition. The evolution is forever, the mutation is infinite

as in the age old hip hop saying ‘hip hop, we don’t stop.” The continual growth can be overwhelming. With new subgenres popping up weekly, it can be difficult to keep up, especially when you’re busy on the touring grind. “At this moment I honestly cannot keep up with the sub genres in hip hop, let alone electronic music. But I would like to think that I am influenced by everything because I have been blessed with the chance of hearing so much music that my 12 years of travel have provided me and my touring party.” Travel and experiences play a part, but he is also quick to point out the continuing importance of technology in today’s music development.

“Hip hop is a wild beast with regional colour and slants but today’s technology allows for a new sense of Internationalism.”

”The very fact that my new record contains musical production and vocals from Australian residents demonstrates this digital Internationalism in one breath. A British style and sound are not an issue as I make my home where ever I lay my hat. The language of Bass is the same the world over.” Yet despite that constant international expansion and mingling of music, every country still likes to claim a successful act as its own. Having been dubbed “The Voice of Urban Britain” by ‘The Times’, it is refreshing to find that he hasn’t been weighed down by the burden of such labels. “The media need to term its objects of note. Hype like this merely serves as hype. My day to day life is full of so much ordinary pressure that I have never sat down to think what the voice of Urban Britain would, could or should sound like. And when I think about it literally no one voice can be it. My noise is an Urban based noise but I fine tune it in the country side. With that said, might I be the voice of Rural Britain with Transpacific and Atlantic leanings?” But “The Voice of Urban Britain” isn’t just a throwaway term; it is specifically applicable to an artist advocating positivity in what have been harsh times in tough socioeconomic area. “The overall message is based on the universal hip hop message of love, peace, unity and having fun. As a social scientist and modern day griot/town crier, the message is beyond the constraints of words and I would like to think of it more as an exercise in transcendental meditation.”

SINGULAR NEUROSIS SCOTT KELLY FORMED NEUROSIS IN 1995, A THREE-PIECE MIX OF HARDCORE PUNK AND THRASH THAT WOULD GROW IN SIZE AND AMBITION OVER TEN YEARS, UNDERPINNED BY A COMMITTMENT TO NEUROSIS FOR LIFE.

In the years since they made that commitment, Neurosis has released eight studio albums, a ton of music under the moniker Tribes of Neurot, and formed their own label, Neurot records, through which Kelly has also released two solo albums. Neurosis are widely regarded as one of the most influential heavy and experimental bands of the past few decades, with their influence recognisable in bands such as Mastodon, High on Fire, Isis and Converge, to name a few. In February, Scott Kelly will tour Australia for the first time, with a set that was created out of a desire to remove himself from the familiarity of Neurosis and to enter a space where he can explore a different set of ideas.

Equally at home on club and festival stages, Roots Manuva is returning to Tasmania for MSFest2012 with full band in tow. Creating songs that work in both arenas is another natural result of incorporating such a vast array of influences.

“Neurosis is a much more comfortable space for me than just doing the solo material,” Kelly said. “It’s much easier to lean on other people and depend on them to be there and hide behind that wall of sound than it is to just sit there with an acoustic guitar and sing.

“Roots Manuva records are just sonic reference points for live re-workings. In a sense, I only truly come alive when we play live. Normally we tour Australia after a break, this time it will be off the back of a British tour so the crew will be on fire. We like to mutate the sonic template of the day, part Jamaican Sound System, part London Carnival Band, part old-school lyric barber shop harmonic quartet, and topped off with poetry in motion.”

“I definitely like the idea of doing something completely opposite. That was the idea of doing this really stripped down, bared bones approach… It’s literally supposed to be just one man and his guitar. That’s it… as stripped down as you can get.”

The future looks as bright as ever for Roots Manuva, an Australian visit is just a brief stop on a journey that will surely see him continue to evolve and progress. “We have been developing the Roots Manuva live sound for 12 years. The core of the band is made up of Bananaklan sound system, the collective I started as an anti label experiment as the home of an equal sonic fusion of Ragga and hip hop. We now have a sound system that is the testing ground for the songs and production that turn up on Roots Manuva records. Bananaklan is the sonic circus of Roots Manuva. The future will see more recording and live projects seeded and funded by Roots Manuva.”

SHANE CRIXUS

Kelly’s solo material is more than simply a departure from Neurosis; it is also a chance to channel his earliest musical influences. “I grew up listening to a lot of Willie Nelson and Waylon Jennings and stuff like that. Because that was what my dad was listening to. So when I first started to get back into those sounds - in my late twenties to early thirties, subsequently I discovered Hank Williams, and Townes Van Zandt and David Allan Coe. “I’m continually blown away by what those guys do, what they’re able to do with the simplicity of their approach, the heaviness of the music, the heaviness of the words. And then, I just thought I had something to offer to that idea.” That neither Kelly nor Neurosis have toured Australia seems surprising given the touring they’ve done elsewhere. Kelly is optimistic that Neurosis will follow his lead and eventually bring their solo shows here. “Neurosis is a kind of difficult band to tour. Even in the best of circumstances it’s not easy for us to get what we need to another continent. It’s one of those things that needs to be worked out and will probably take a long time before it can happen, but it will happen at some point, I’m sure.” JERVIS DEAN

Roots Manuva will be appearing at MSFest 2012 on Saturday the 3rd of March. General Admission Tickets are $77 + BF, available via oztix.

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Scott Kelly & John Baizley perform at The Brisbane Hotel on Sunday, February 12

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Music

WALKER UNDER THE RADAR WITH NINE ALBUMS TO HIS NAME, MELBOURNE ROOTS ARTIST VAN WALKER IS TOURING WITH HIS RETROSPECTIVE ALBUM ‘UNDERNEATH THE RADAR’, SHOWING CRITICS WHY HE HAS BEEN PROCLAIMED ONE OF AUSTRALIA’S MOST UNIQUE SONGWRITERS.

Before relocating to Melbourne in 2001, Van Walker was a born and bred Tasmanian. However, like so many budding, ambitious artists, the opportunity of more gigs lured Van over the strait. He jokes that the trip was big enough and he has stayed rooted ever since. Van is notable for writing songs of varied genres, making his versatility one of the reasons he has attracted respect from fellow musicians and a loyal following. “I do a lot of different styles, whereas some writers just do a lot of different speeds or shades of the one idea,” he says. “A lot of friends of mine are country musicians and just do country music, as I tend to just write songs and then work out which bunch of musicians could best perform them. I couldn’t play all the songs I write with the same band.” Van’s love of song writing led him to launch his first solo album ‘Celestial Railroad’ in 2008. This was swiftly followed by four more independently released albums including ‘The Last Record Store’, ‘Greetings from Penguin Tasmania’ and ‘Love Fate’. For Van, his albums are simply just collections of different songs - in 2003 alone he wrote over a hundred songs, leading one to ask the question where he draws his inspiration from. “I have fond memories of all my records, and there are things about all of them that make me cringe,” he says. “I just write songs, I doodle about on the instrument. It is quite mysterious where things come from. Everyday stuff, you try to make sense of it but most of it just

FAUVES FOR THE LONG ROAD FEW BANDS LAST 23 YEARS, BUT THE FAUVES HAVE WITHSTOOD THE TEST OF TIME. LAUNCHING A NEW PROJECT – A DUAL ALBUM SET ‘JAPANESE ENGINES’ AND ‘GERMAN ENGINES’, FRONTMAN ANDREW COX HAS BOTH EYES ON THE FUTURE. What has allowed The Fauves to thrive where others have failed has often been difficult to pinpoint. Having met in high school, drawn together by a love of music, The Fauves are a rarity in the industry, having stuck together throughout the years. “I grew up listening to music, watching ‘Countdown’, and it just struck a chord with me. From there my brother had a guitar, it only had three strings on it but I taught myself a whole bunch of three string cords. It is just a thrill when you first learn to play guitar and you have some mates who know how and you play something that sounds like music; it’s a bit of a buzz.” Apart from rethinking the band name, which Andrew admits has been mispronounced numerous times over the years, The Fauves wouldn’t change a moment of their journey, were they allowed their time over again. “I wouldn’t change anything; we have made a lot of mistakes but across a quarter of a century you are going to. It has been an amazing journey, amazing fun. So whilst there are plenty of things we have done wrong, and probably points in our career where if we had made different decisions we could have become a bigger, more 14

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successful band, we just don’t look back at it that way. The bad is mixed in with the good and that is what a journey is about.” Having released nine albums and two more independently, The Fauves are old pros at touring, having done so extensively after the release of their third album ‘Future Spa’ in 1996. Yet as Andrew reveals, it is recording that really does it for them. “I prefer recording to touring. We have done a lot of [touring] and there are elements that you get sick of. Getting in and out of airports, getting on and off vans, setting up, packing up; it all can become a bit of a drag. We have always been a band that marks ourselves by our records.” The band’s versatility and desire for personal satisfaction over commercial success has gained them a loyal following and respect from industry critics. It has been reflected in their numerous other projects, including their documentary ‘Fifteen Minutes to Rock’, released in late 2000 and Andrew’s own non-fiction novel titled ‘I’ll Work When I’m Dead’. “[The book] is about being in a band, being on the dole. There are a lot of books written

about and by millionaire rock stars. I guess this is a book about being at the other end of the scale. It was also what our documentary was focused on; an exploration of the other side of the music industry.” “Our music has never been a main stream proposition. If commercial success comes knocking and it is on your own terms, you are not going to turn it down. But the way we play music, it was never going to be something that was accepted by people that are into Kylie Minogue or Michael Jackson. On a general scale we have been astoundingly unsuccessful commercially, but I suppose there are artistic pay-offs for that.

“If we had become a band trying to make millions of dollars, we would have stopped years ago. When you start out you are attuned to recognition, but after a while you stop caring. If we make music that we are happy with, then that is all we really care about.” With the release of the bands dual album set ‘Japanese Engines’ and ‘German Engines’, The Fauves’ list of achievements continues to grow, yet they still hold all the albums in deep regard.

happens. You have to name it something to differentiate it from something else.” Despite his obvious talent, Van has still managed to stay one of Melbourne’s best kept secrets. In 2011, Fuse Music Group announced it would showcase Van’s talent nationwide through the retrospective album ‘Underneath the Radar’, a collection of the best songs compiled from his five independently released albums between 2008 and 2010. The title of the album leaves the listener with the impression that Van is describing his own career, one that some say deserves more recognition. “[Title track] ‘Underneath the Radar’ was written about a friend of mine who was trying to get me gigs and he sent an email to these bookers saying, ‘this Van Walker, you may not have heard of him, he tends to slip underneath the radar.’ I wrote this song about that idea [of slipping underneath the radar], whether an artist does that intentionally or unintentionally or whether it’s bad luck or good luck. “The idea also that my music deserves more recognition, I’m not even sure if that is true. I’m sure there is a lot of art or music that could deserve a lot more attention; there is also a lot that deserves a lot less. The idea that I think my music deserves more attention is not necessarily the case. It’s just a song that came out of that email. To call the album Underneath the Radar wasn’t a planned thing. It was just a song, one of many.” REBECCA WHITEHEAD Van Walker plays a free gig at The Republic Bar & Cafe in Hobart on March 18.

“[The albums] are all like our children, really. I have a deep affection for all of them in their own way. Some of them are more troublesome than others; some have gone off the rails. But I love them all. They form part of what we are, for better or worse.” Having been three years since the band last released an album, the duel set is a long time coming. Drawing inspiration from Guns ‘n’ Roses ‘Use Your Illusion I’ and ‘Use Your Illusion II’ album set, The Fauves look again to push the boundaries of convention. With pop/rock album ‘Japanese Engines’ having already been launched, fans can look forward to its twin, ‘German Engines’, being released in February. After that Andrew reveals The Fauves will do a few more shows and then “disappear again until we do our next one.” So after nearly 24 years of cruising the music scene, one has to ask whether the era of The Fauves will ever end. “I don’t see an end to the band - or an official end, anyhow. I don’t see us doing some big farewell tour or album. We still love doing it. Hey, tomorrow we might get at each others’ throats and it will end in a huge brawl, but at the moment we are just going to keep going.”

F E B R U A R Y E V E N T S

FRI 10

FRIDAY NIGHT BURLESQUE SAT 11

SKUNK AND RIME SAT 18

SKA / FUNK / ROCK NIGHT WITH PHAT MEEGZ, BRING SOPHY TO ME & PEARLY WHITES THUR 23

SAVE LIVE AUSTRALIAN MUSIC SHOW (SLAM) FRI 24

REBECCA WHITEHEAD

A FRENCH BUTLER CALLED SMITH SAT 25

THE DEAD LEAVES & ENOLA FALL SAT MARCH 3

The Fauves will be playing at Republic Bar in Hobart on February 18. ‘Japanese Engines’ is out now.

PUTA MADRE BROS AND THE SIN AND TONICS

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Music

TEMPTATION BY THE LAZYS HAVEN’T HEARD OF THE LAZYS? JULIETTE LEWIS TOTES THEIR T-SHIRT FOR PAPARAZZI AND THIS FEBRUARY YOU CAN CHECK OUT WHAT THE FUSS IS ABOUT AS THEY HIT THE ROAD WITH THE NEW EP ‘TEMPTATION NEVER LIKED YOU’.

Music

The tour had already started when Warp caught up with The Lazys’ lead singer Leon at home in Terrigal on the Central Coast, NSW. And it was off to an interesting start. Playing to a home crowd, including a good mix of family and friends, ‘interesting’ ended up being a slight understatement. “It was a really good turn out,” Leon said. “Lots of our friends were there, there was a bit of crowd surfing going on, but then it all went a little crazy.” The craziest bit involved the boss of a certain band member getting into a bit of a tussle with his brother. “It was a brawl, full on. There was blood everywhere. It was all messed up.” Hopefully the rest of the tour will be ‘interesting’ in other ways. Hitting the east coast, from Brisbane all the way down to Tasmania, the Lazys boys are on the road to promote ‘Temptation Never Liked You’. “We love playing music. We love recording music, and it’s always a good reason to tour; after you record it, you want to play it live and do what you can do to get it into people’s minds,” Leon said. Just for a bit of a change, the EP was recorded in a live music venue, rather than the classic studio set up. “It’s a bit more informal. It was recorded in a similar way to studio recording, but in a not so sterile environment.” The raw product was then handed over to Matt Lovell (Silverchair, Cold Chisel, Eskimo Joe, INXS) who was “ruthless on the mix” and gave them a real “filthy” sound. But they trusted him and went with his style and ideas, and are more than happy with the

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outcome. As a limited promotion, a copy of the EP is being given away with each presale ticket. “It’s hard to master a song in the studio and it’s hard to master a song live. You can’t always recapture exactly what you did in the studio,” Leon admits. Both forms need to be good, but not necessarily the same. But live is what these boys are known for. The sheer energy of their live set is something that needs to be seen to be believed - especially their lead guitarist, Matt.

“Matt’s a bit of a show pony, he just loves it. Plus, he’s a great guy, one of the reasons we are still doing this,” Leon says. “He loves to get out in the crowd with his guitar, and up on the bar to play if he can. “We’ve been to Tassie heaps of times. We love it - they really look after you well down there, and the crowds really get into it.” Let’s prove Leon right, and show him just how much we love our live music and “get into it”. If you’re after a high energy, good old fashioned rock show, get yourself along and check out The Lazys. KYLIE COX

The Lazys play Devonport’s Spurs Tavern on February 17 and Hobart’s Brisbane Hotel on February 18.

PIONEERING A NEW KIND OF GOSPEL AGAINST ALL ODDS, THE BEARDS ARE ON THE CUSP OF THEIR THIRD ALBUM TOUR WITH ‘HAVING A BEARD IS THE NEW NOT HAVING A BEARD’, AN OFFERING THAT MAY JUST SILENCE THE LONGEVITY SKEPTICS AMONGST US. Beards. For centuries they’ve adorned the faces of men (and in more unusual cases, women) everywhere. They’ve stood as a symbol of status, power, masculinity and wisdom. They’ve roused feelings of envy, intimidation and awe among the peers of those who have worn them. But at some point, Australian society took a turn, and these days having a beard usually just means that you’re either a scruffy bogan or a pretentious hipster. That was until four guys from Adelaide decided to grow their beards, start a band called The Beards, and write a bunch of songs reminding us all just how awesome facial hair is.

Beard, You’ve Got Two Mums’ and ‘No Beard, No Good’. They even managed to score a spot in the Triple J Hottest 100 this year – albeit by a hair, at number 99 – with their latest single ‘You Should Consider Having Sex With a Bearded Man’. “We definitely underestimated the public demand for songs about beards,” says Beardraven thoughtfully, “we just ended up playing another gig, and then another gig, and it just kind of grew out of control…much like our beards.”

“It was so we could support ourselves,” explains frontman Johann Beardraven, talking to Warp from his home in Adelaide. “We were playing a gig with our other nonbeard-related band – they were an awful, awful band in hindsight – but we didn’t have a support act, so we created The Beards as a one-off.”

“We’ve been touring pretty hard for the last two or three years now. The last tour we did, the 100 Beards Tour - where we convinced 100 new beards to grow on clean-skinned faces - was a huge success, probably our biggest ever, and we’re hoping that this new tour with our new album will be even bigger than that,” he says, adding: “If not, our beards will be bigger... at the very least.”

But it wasn’t meant to be. Since that day in 2005, The Beards have taken off as one of the country’s hottest novelty acts – touring the country and scoring hit after hit with tracks like ‘If Your Dad Doesn’t Have a

As their beards continue to grow, so does their fanbase, and after being invited to perform at The World Beard and Moustache Championships in Alaska – where they “ran the town”, Beardraven is confident that an

international tour may be on the cards for the band.

The Beards must feel about their female compatriots.

“I think certainly the world is starting to realise the glory of the beard, and that’s definitely all due to us and our excellent songs. So potentially in the future we wouldn’t say no to spreading our message as far as we can.”

“As long as they’re pro-beard, and they hang out with bearded men at all times, and also wear a fake beard at all times, then we’re fine with them,” says Beardraven, adding that if the band were to ever come across the elusive bearded lady, “there would be fights over who gets to wed her.” Until then though, it’s just the fellas and their music.

Of course, the guys are not ignorant to the fact that the day might come when people grow tired of hearing songs about beards, which is why they have a backup plan. “If it comes to that, we might potentially look at some other medium to convey our beard message… perhaps literature or film. But certainly we’re very strong believers in the message, and the message is ‘grow a beard’.” The boys have already dabbled in filmmaking of sorts, having released a hilariously inflammatory YouTube short entitled ‘Street Talk With The Beards’ early last year. In it, they roam around the streets of Adelaide, verbally attacking everyone who doesn’t have a beard – including a poor, clueless swan. “We’ve had mostly positive feedback from that,” says Beardraven with a chuckle. “Some people weren’t happy, obviously, but they were mostly beardless people…so we don’t care for them, or their opinions.” “We actually tried to write some songs that weren’t about beards at one point, and we just couldn’t do it. I mean, we wrote a song, but it sucked. Eventually I think the song turned into a song about beards anyway.” With all this abuse for beardless people being thrown about, one wonders how

Before leaving them to enjoy their Australia Day barbecue, Warp thought it best to pluck out some final words of wisdom. Johann Beardraven’s Top Tips for Beard Maintenance: * Don’t shave is the first tip. It’s just a rookie mistake. The most important part is just to get through the itchy stage. That’s where most men cave. If you’re a real man, you’ll fight through that and you’ll come out on the other side with a good, healthy beard. * A bit of shampoo and conditioner doesn’t go astray to keep your beard healthy and shiny. * Keep it clean. But if you get some food stuck in it, then that’s ok… you can save it for later. That’s just one of the many advantages of having a beard. There you have it kids, straight from the horse’s bearded mouth. KELLY SNYDER

The Beards play March 23, Royal Oak Hotel, Launceston and March 24, Republic Bar and Cafe, Hobart

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Music

MUSCLES GOING STRONG

RORY ROLLS WITH THE BLUES IT’S NOT EVERY DAY YOU LISTEN TO A FORMER PUB SECURITY GUY SINGING THE BLUES. BUT THAT’S EXACTLY WHAT YOU GET WITH RORY ELLIS, CURRENTLY TOURING AUSTRALIA WITH HIS DISTINCTIVE VOICE.

MELBOURNE ELECTRONIC DANCE PRODUCER MUSCLES IS KNOWN FOR SETS BLENDING MELODIC HARMONIES AND DANCEFLOOR FILLERS. HE TALKS UPCOMING TOURS AND MS FEST WITH US.

Victorian born and bred, Rory has been forging a successful career as a solo singer/ songwriter on the blues and country music scene since back in 2000, but has been making music for more than two decades after starting out in a blues band. Touring and festivals are now a far cry from his former life, when he worked as security for some of Melbourne’s notorious establishments in the 1980s before an encounter with a colleague propelled him into making music.

Speaking from the rainy Tamworth Country Music Festival, where he was performing for the third year running, Rory spoke to Warp about the past, the present and his future plans. “[Working in the pubs] was very interesting and I find it funny now when I watch the ‘Underbelly’ series and think ‘I used to know that guy,’” he said. “I’ve been playing music since 1989. I was working on a building site with a mate of mine who played guitar and he said ‘come around’, so we played guitars and had a muck around. Then we had a bit of a blues band and the rest is history. “I started off in the band playing blues but then started leaning towards country, probably because it was played to death by my mum and dad when I was growing up in Victoria. My dad had a load of records that we used to listen to but we didn’t know what they were until we got older. I found the blues while everyone else was listening to Abba. “I’ve been solo since 2000, but it wasn’t a conscious decision. I always wrote my own stuff and I think the best way to convey that is to go out solo. It’s probably the best thing I ever did because it’s taken me all over the world.” Rory’s style is all about telling a story and his past experiences have no doubt influenced his songwriting. “It’s really nice to present material to people and give them a sense of familiarity,” he said. “It gets lost on people if they hear songs but don’t know what they are about. It’s nice to invite them into our world and let them know what it’s about.” Touring is a huge part of Rory’s life and since 2003 he has spent three to nine months out of every year touring the UK and Europe, with his sights now set on Nashville in Tennessee, USA. Rory will be appearing at the Australian Blues Music Festival in Goulburn from February 10 -12 before heading to Tasmania for a string of downright bluesy shows. HAYLEY MAGUIRE

Muscles (Chris Copulos when he’s at home) is one of Australia’s most prolific original electronic music artists. When he released his first original album ‘Guns Babes Lemonade’ back in 2007 it flew to the top of the dance charts within its first week of being released, and the live acoustic version of his first single ‘Ice Cream’ even made its way onto the Triple J Hottest 100 2008 at number 45. His first long player was actually a collection of 20 random songs called ‘Four Months’, which he doesn’t like calling an album as such. “At the time I was very anti-albums, and didn’t think people were buying albums any more or if it was worth producing one,” he says. “Four Months was more of a collection of songs I’d produced, rather than an album in the traditional sense. It got a lot of attention from radio and at the time I was performing pretty much every second week in Melbourne or Sydney. People loved it, and it really all grew naturally from that.” Since then, Muscles has been busy touring and producing, melding his sound to fit into the newer and more varied landscape of modern dance music. The latest EP ‘Koala / I’ll Follow You’ is an audible experience of extreme opposites. While ‘Koala’ is a hardhitting dance floor monster, ‘I’ll Follow You’ is a return to his more mellow side, with dreamy vocals and melodic harmonies. 18

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With a new fully-original album being released this year, what can we expect from the next chapter of the Muscles adventure? “It’s very different – darker, and a bit more techno. I suppose it is me reacting against the safe, pop disco music I’ve been hearing on the radio recently,” he says. “I’ve spent the last two years working on the new album, and am currently getting the tracks ready for mixing and mastering. The new album is a lot of extremes, but is pretty much divided into two parts. One is very party, and more techno, while the second half is more sophisticated, and a little more like 70’s disco. There should be single off the new album out before MS Fest, so keep an eye out for that!” After touring the world with many big name acts, such as Daft Punk, Soulwax and 2ManyDJs, he says his favourite performance was alongside dance music mega-stars The Chemical Brothers. “I just remember being side-stage while they performed, and was blown away! They had like 50 synthesisers on the stage, and it was really about the visuals on the giant screen matching the music. Incredible!” How does a solo performer get prepared for these massive gigs?

“I drink a lot of beer before I go on stage, and sometimes carry a hip flask in my pocket. It helps with the nerves, and also goes a long way to lubricating my voice so that I can perform without my voice going to death. But other than that I don’t have much in the way of preparation. I’ll just be chilling in the green room drinking with my mates, the sound guy will walk in and say ‘Muscles, you’re on!’ and I’ll just walk up to the mic and go.”

in DOS. When I was in year 8 or 9 [at high school] when Reason came out, and have used that a lot. Many of the beats for the second album were written in Reason, using samples that I have collected over the past 15 years or so.”

He admits he uses a lot of software VSTs (Virtual Studio Technology) in his production, which allows producers to use many synthesisers, new and old, without having to buy the actual hardware synthesiser – which are often very expensive!

“The top 40 this year has gotten really dirty and sleazy, and I hope there will be a backlash to more respectable, less shock tactics songs and lyrics. You can write a good song without talking about how many times you’ve had sex!

What gives music that Muscles sound?

“I’m very interested in where Australian hiphop is going at the moment, and if there’s any Tasmanian MC’s out there reading this, I’d love to work with you!”

“My voice! I’ve been doing a lot of falsetto, and harmonising my own voice, which gives the sound a lot more depth and definitely more craziness! Aside from that, I listen to commercial radio a lot and try to find sounds that no-one is using any more, or old synths that I can bring back. I definitely steer clear of the [Roland] 808 drum samples that have been done to death, and try to create my own samples instead.” “I do a most of my producing in Pro Tools these days, but I started producing using a old German program called SoundClub, which was a very simple sequencer that ran

Rory Ellis plays at the Republic Bar on February 15, at Ulverstone’s Oz Rock Inn on February 17, Launceston’s Royal Oak on February 18 and back down to the Longley Hotel on February 19.

There have been a lot of different sounds coming out of the Australian music scene recently, so what is exciting this one-man producing machine at the moment?

V I RT U O S I TA S M A N I A

FESTIVAL

CHAMBER

M U S I C AT

MONA

MONA FOCM

CALUM ‘MAX’ POWER

Virtuosi Tasmania Festival of Chamber Music at MONA

Muscles performs at MS Fest 2012, Saturday March 3. Tickets are on sale from Ruffcut Records, Red Hot CDs and online from www.msfest.org.au

Saturday 11, Sunday 12, Monday 13 February 2012 Virtuosi Tasmania will present four chamber music concerts in the stunning surrounds of MONA. Bookings: Tasmanian Symphony Orchestra Box Ofﬁce $30/$25 1800 001 190 www.virtuositas.org.au

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Music

ILLMATIC – NAS

RAISING HELL – RUN DMC

APOCALYPSE 91 – PUBLIC ENEMY

THE CHRONIC – DR. DRE

MATTER OF TIME – HILLTOP HOODS

DO YOU WANT MORE?!!!??! - THE ROOTS

Why: This should REALLY be at or near the top of everyone’s list. I’ve found that a lot of people younger than me rate ‘It Was Written’ above this, I found ‘It Was Written’ to be a lot less intricate and seemed to be aimed toward more of a commercial market, which ain’t my thang. Nas’ lyricism is smooth as hell on ‘Illmatic’; it manages to be complex, without being complicated. The production (handled by legends such as DJ Premier, Pete Rock, Large Professor, etc.) is equally smooth, equally layered, yet still completely head-nod-able.

Why: The back and forth that Run DMC had worked so well. It was a raw energy and a synergy straight from the streets of Queens, New York. The production proved that all you need is a classic drum break with a few basic sample chops and you can make something classic and timeless. Add a few of Jam Master Jay’s pioneering (at the time) cuts and it all comes together. Every song is a banger, but people will probably remember the cross-genre hit “Walk This Way” (with Aerosmith), and the original version of ‘It’s Tricky’.

Why: Public Enemy have been outstandingly significant over the years. Even during the ‘Flava of Love’ years. Chuck D has a dominant and commanding voice, the Bomb Squad beats are fierce and frantic. Flava Flav adds just enough of a break from the onslaught to keep it from turning into an ear-beating. It’s the perfect combination. This selection could have easily been ‘Fear of a Black Planet’ or ‘It Takes a Nation of Millions to Hold Us Back’, I just really dig ‘By the Time I Get to Arizona’; that’s my jam. I love anything by Public Enemy. Almost everything Chuck D said 20 years ago is still just as relevant today.

Why: I’ve never been big into the weed culture surrounding hip hop, which makes me something of an outcast, but if it’s executed well enough, I can get into almost anything. ‘The Chronic’ was executed almost flawlessly. The combination of Dre’s baritone with Snoop Dogg’s higher pitched voice (see what I did there?) over the ‘G-Funk’ based production (which spawned an avalanche of G-Funk in hiphop on the west coast of America throughout the early 90’s) with the consistent weed theme, make this a “concept album” (Oh noes! It is. Get over it) of the highest order (see what I did there again?).

Why: This album was light years ahead of what the majority of other hip hop acts in Australia were doing at the time. There were already other acts who had been doing great stuff for a long time (Def Wish Cast had a few classics by this stage, Koolism, Prowla, Bias B etc. were all killing it back then too), but when Matter of Time dropped, it raised the bar. Nowadays, raising the bar is just something we’ve come to expect from the Hoods.

Why: Once again, this selection could be almost anything from The Roots discog. They’re amazingly consistent. Black Thought just rips. Always has, and it seems like he always will. He remains raw on music that has progressively become more refined over the years, and it always works. DYWM was The Roots first label album. It never attained the commercial success of Illadelph Halflife, Things Fall Apart, or any of their later albums, but it laid the foundations and set the precedent for everything that followed. There really aren’t any songs that can be skipped on this album. It’s a sweet, sweet package deal.

TOP 10 INFLUENTIAL ALBUMS: HIP HOP WARP MAGAZINE’S NEW ARTICLE SERIES ASKS LOCAL MUSICIANS ABOUT THEIR TOP 10 INFLUENTIAL ALBUMS. PRODUCER AND MC SHANE CRIXUS OFFERS HIS HIP HOP SELECTION. SHANE CRIXUS

Ok, so, writing an article on the “Top Ten Hip Hop Albums of all time” is essentially impossible, there is entirely too much subjectivity involved and not nearly enough objective criteria to even begin rating albums. We all know that sales are not equal to quality, and things such as cultural significance are impossible to accurately quantify for a fat white guy from the ‘burbs of Hobart, even if he has spent the last eighteen years observing them. THE TASTE OF RAIN... WHY KNEEL? – DEEP PUDDLE DYNAMICS / FUNCRUSHER PLUS – COMPANY FLOW

So with that in mind, the only way I could create a “Top Ten Albums” list of any kind, is to take a much more personal approach, I decided to look at the Ten(ish) albums that have influenced me the most. Some happen to be landmark albums in the history of hiphop, others not so much.

Why: OK I’m putting both of these on here and I don’t care what you think, this is my list, damnit. Deep Puddle Dynamics bought introspective lyrics to the fore, blending poetry, lyricism (there is a difference, especially in hiphop), and a touch of arrogance in a way which hadn’t been done prior. The MC’s were angsty, arty, and held together by a roster of underrated underground beatsmiths who all added specific elements of emotion into their production. I still rate the ‘July 26th’ instrumental. This whole album was made in just 2 weeks. Insane. ‘Funcrusher Plus’ sparked a massive underground push, which seemed to tear at the resolve of the purists and really ignited the whole Rawkus Records/ Dex Jux movements. Managing to maintain a frantic power to the production similar to that of Run DMC, Public Enemy and Beastie Boys, whilst pushing the boundaries of style, rhyming patterns, and lyrical content, El-P, Bigg Jus & DJ Mr Len managed to single-handedly add a new string to hip hop’s bow.

PAID IN FULL – ERIC B & RAKIM

Why: All killer, no filler. This album just works well, Rakim was one of a handful of New York MC’s who helped define what it is to be a modern day MC, and although there were other oldschool luminaries killing it around the same time (BPD’s classic “Criminal Minded” came out the same year, for example), I think this album has stood the test of time better than nearly any of them. Funky, minimal beats (rarely more than drum break, bass line and a handful of samples), Rakim is consist.

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MIDNIGHT MARAUDERS – A TRIBE CALLED QUEST / BUHLOONE MINDSTATE – DE LA SOUL / STRAIGHT OUT OF THE JUNGLE – JUNGLE BROTHERS Why: It’s near impossible for me to separate these three albums, and I really could have interchanged these with (almost) anything from the collected Native Tongue’s discography. With the majority of production and guest appearances being handled by their crewmates, there was an almost Wu-Tang-ish cohesiveness throughout their albums (albeit, with a much happier, bohemian vibe). They managed to cultivate non-aggressiveness into a hiphop scene that had consistently been becoming more and more gangster-oriented. Q-Tip, Phife Dawg, Posdnous, Trugoy, Maseo, Mike Gee, Afrika Baby Bam; all legends.

Honourable mentions:

•

Jay-Z – Reasonable Doubt

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Ultramagnetic MC’s – Critical Beatdown

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Nwa – Straight Outta Compton

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Beastie Boys – Paul’s Boutique, Ill Communication

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Cypress Hill – Black Sunday

•

Snoop Dogg – Doggystyle

•

Souls of Mischief – 93 Til Infinity

Sat 25 February $25 pre sale $30 door warpmagazine.com.au

Club / Electronic DJ PROFILE

Club and Electronic News LOCAL NEWS DEXTER BACK TO LAUNNY

, e r u t l u c s s a b f o n o i t lu o v e e r u t u f e h t s s e n t Wi . e r r a z i B s s a B e h t s i s thi s J D t i F l l o D e h t m o fr with local support

y r a u r b e F f o h t 5 Saturday 2 r o o d e h t n o 0 3 $25 pre sale / $

CANYONS anyons

supp. supp. Oceans + Alta

Oceans + Friday, ALTA 17 February $15

Launceston lads Recreational Thugs are once again bringing down remix mastermind DJ Dexter to play at the Northern Club this month. Dex will be bringing a banging blend of hip hop, island music, funk, soul, reggaeton, blues, and bass cannons. It is always an awesome show, so get in early to get down with this international legend. Dexter: Friday February 10 at the Northern Club. Tickets 12+BF presale from greentix. com or $15 on the door from 9pm.

COVEN GOES CARNIVALE The Coven alternative night club hits PlanB for another dose of goth, industrial, EBM and dark alternative music being played all night by the freaky fingers of some devilish DJs. This month, enjoy all the sights of The Coven: Carnivale. There’s bound to be strongmen, midgets, bearded women as coven gets its freak on for the first big event of 2012.

PSY AT THE BRISSIE Fresh off an appearance at the ever-amazing Rainbow Serpent festival, Electrypnose will be gracing our shores with his brand of minimal psychedelica. Supported by Phsiris (Live) and DJs Seane and Ham, as well as art installation by local artist Shell-A-Vision. Psy at the Brissie: Friday February 17 at the Brisbane Hotel, supported by Phsiris (Live), Seane & Ham. Tickets $10 on the door from 9pm.

CANYONS KEEP THE DREAM West Australian natives Canyons are heading south to The Republic Bar this month with Oceans and Alta to play their infectious debut EP ‘Keep Your Dreams’. The duo will also be playing a DJ set at official afterparty club Syrup, as well as a DJ set the following night in Launceston at the Northern Club supported by DJ Akouo and DJ DB. Canyons: February 17 at The Republic Bar & Cafe, Tickets: $15+BF Presale from the venue & Ruffcut / $20 on the door. Plus February 18 at The Northern Club in Launceston (DJ Set) Tickets: $12+BF from the venue / $15 on door.

show in Tasmania at Mobius Lounge Bar on Hobart’s waterfront alongside Seven Milligram. He is supported by Audio/ Visual sets from local DJ’s Grotesque and Dagwood, as well as well known Tasmanian AV masters Acumen.

LIGHT YEARS AHEAD Surrey Hills native Light Year has been a busy man this year with tours through Europe and America, as well as the release of his latest EP ‘5 Girls’. With support from big names such as Bag Raiders, Soulwax, Erol Alkan, Tiga and Mr Oizo, this young Australian electronic producer is set to smash stages worldwide. Light Year: Saturday February 25 at PlanB with Corney, Kir and Lids. Tickets are $10+BF from the venue and Ruffcut or $15 on the door.

MS FEST KICK ON AT IVORY This year has added a lot of new changes to the MS Fest format, the latest of which to be announced is the official festival afterparty at Ivory Lounge Bar. With turntable maestro DJ Kuya and TripleJ House Party musicologist Nina Las Vegas to grace the decks, it should be a stormer way to make the amazing day taste a little sweeter. MS Fest Afterparty: Saturday March 3 at Ivory Lounge Bar, featuring DJ Kuya, Nina Las Vegas and local guests. Tickets $10 on the door from 10.30pm.

HEDFLUX HITS HOBART Integrating chunky tech-funk with refined psychedelia, Hedflux is sure to twist minds when he plays his debut Tasmanian show early next month. The Scottish producer (who also holds a PhD in Quantum Physics) will be slamming down tunes at Halo alongside a selection of excellent local DJs including NewPort, Ladi Sami, DJ Lids and local producer Project_Weekend. Carpe Noctem presents Hedflux + Guests: Saturday March 3 at Halo. Tickets $15+BF from Ruffcut Records or $20 on the door.

JOHN GLOVER RETURNS TO HNY Launceston’s Hotel New York this month hosts Australian dance music legend John Glover. While mixing up ‘anything and everything’ is his party trick, he is currently influenced by the big room house sounds, tech, fidget, electro and a smidgen of pop, all with a solid salute to his Deep House roots. John Glover: Saturday February 18 at Hotel New York in Launceston.

MOBIUS GHETTO FUNK This month ghetto funk and break beat genius Nick Thayer will perform his debut

299 Elizabeth Street North Hobart 03 62346954 www.republicbar.com

HEAPS DECENT FOUNDING MEMBER, TRIPLE J PRESENTER, PARTY MIXER AND ALL-GIRL DJ COLLECTIVE MEMBER NINA LAS VEGAS IS FORGING HER SOLO CAREER BEHIND THE DECKS.

Mobius Nick Thayer and Seven Milligram: Saturday February 25 at Mobius Lounge Bar, supported by Grotesque, Dagwood and Acumen. Tix $10 at the door from 10pm.

The Coven: Friday February 10 at PlanB. Tickets are $10 on the door (includes drink card) from 10pm.

VIVA LAS VEGAS

Warp: Growing up in rural NSW must have had its challenges, but musically you still managed to have a reasonably traditional upbringing being primarily a piano player. How were you taught, and how do you find your musical upbringing applies to your current musical influences?

at the moment. Check the website www. heapsdecent.com. We’re incredibly diverse!

Nina Las Vegas: I learned the way most other people learn instruments, from a tutor! I did one hour a week lessons until about year 12, then switched it up to play different instruments. Being able to hear the differences in tone definitely helps me in my sets, but I don’t particularly mix ‘in key’, as it takes a lot more time to prepare. When you’re doing three 40 minute mixes a week, you tend to keep it simple!

We were all friends at FBR for the longest time, and used to go out together quite a bit.

Heaps Decent is an incredible project, which has connected a lot of under privileged guys and girls with some amazing producers and opportunities. Now five years on, how do you see the progression of the project and how do you imagine it progressing in the next five? We recently did 8 workshops in Wilkanya in under two years, and we’re doing monthly workshops in Wagga, too, so it’s really exciting at the moment! I’m not involved so heavily in the project’s workshops any more, but I still do one day a week with them, and I’m still one of the directors of the project in a managerial and creative sense. We started the project when we were 20 or 21 years old, when everything was very much below board. Now everything is above board and we’re a registered charitable organisation. Even though it was started by three DJ/ producers, the project is very culturally sensitive, and not just angled toward electronic producers, right? Yeah! We have a whole bunch of kids from western Sydney that are into folk music and stuff, and are recording guitar pieces

How is your all-girl DJ trio Hoops going? Can you tell me more about how you guys met, and how you decided to start the troupe?

One day we put on a party together, and had so much fun we decided to keep doing it! We just played in Brisbane, and we’re doing Melbourne and Sydney very soon. These are sort of our farewell gigs, as Anna [Lunoe] is moving to Los Angeles for a while. With your radio show being called “House Party”, it would be easy to deduce that you are a fan of House music. Are there any other genres that excite you? With my work at the radio station, I really have to be open to everything. I can get quite excited about tracks one week, but the next week turn my attention to something completely different. I like lots of styles, but I would like to get over the harder styles of dubstep. CALUM ‘MAX’ POWER

Nina Las Vegas plays at MSFest 2012 [TCA Grounds, Hobart] and MSFest After party [Ivory Lounge Bar, Hobart] on Saturday March 3. Tickets on sale from Ruffcut Records and www.msfest.org.au

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Club/Electronic

THE BASS BIZARRE FOUR-TIME DMC WORLD CHAMPION QBERT AND TWO-TIME UK BEATBOX CAMPION REEPS ONE COMBINE FORCES TO CREATE THE BASS BIZARRE.

The Bass Bizarre Tour will be a free-form conglomeration of hip hop, dubstep and drum ‘n’ bass, in what QBert calls his most musically diverse performance project to date. The innovator of countless new scratch techniques, founder of the QBert Skratch University (an online community where turntablists from around the world can watch tutorials and have one on one lessons with the legend himself), and one of only two DJs to be Knighted by the Grand Masters of the hip hop culture (along with Roc Raida), QBert is often referred to as the Jimi Hendrix of the turntables. His ability to make them sing is unparalleled. Joining the illustrious DJ QBert will be Reeps One, the two-time UK Beatbox Champ who utilises an “all through the mouth” technique, which has earned acclaim from pundits for the purity of his skill. Bypassing loop pedals, effects, samples or gimmicks has earned him respect among the beatbox community, earned him the 2009 Vauxhall UK Beatbox championship title and saw him invited to the World Beatbox Championships in 2010. Reeps has performed alongside a veritable who’s who of hip hop, breaks, dubstep and drum‘n’bass, listing acts such as Bonobo, Rusko, Benga, Skream and Emalkay, The Prodigy, Roni Size, De La Soul, and many, many more. The Bass Bizarre’s UK/AUS/NZ tour is sure to be an explosion of beatboxing, turntablism and raw adrenalin that will blow minds and rock eardrums like nothing before. This is not QBert’s first time pushing boundaries; in 2001 he released the revolutionary ‘Wave Twisters’, an animated film and the first turntablism-based musical. More recently he has been creating sound and music for video games such as Tony Hawk’s ‘Underground’, ‘Marvel vs. Capcom 2’, and ‘Street Fighter IV’. The Bass Bizarre represents a new chapter in his quest to break artistic boundaries. Not only a tour, The Bazz Bizarre will also result in an album, with Q and Reeps collaborating with some of the biggest names in bass culture today. Shane Crixus

Airwolf Takes Flight ANYONE WHO NAMES THEMSELVES AFTER A KICK-ASS ‘80S ACTION SHOW IS AUTOMATICALLY COOL. WHEN HE’S ALSO FOUNDER OF A PHOTOBLOG CAPTURING PARTIES, GIGS AND RANDOM SHINY THINGS, YOU KNOW HE’S IN PRIME POSITION TO SHINE. OH YEAH, DID I MENTION AIRWOLF IS ALSO A DJ?

The multi-talented DJ Airwolf has been doing the rounds in Melbourne for quite a while now, holding down residencies, popping up at festivals and supporting some big time international touring acts. He’s also been busy dropping remixes and originals for record labels Common Trolls while working his day job at “Sweat It Out!”. Above and beyond all that, he’s somehow found the time to work on his debut single, ‘Believer’. The son of a wedding DJ and nephew of an old school Melbourne club DJ, it was almost inevitable that Airwolf would become a fiend for decks. From there his abilities have lifted off and carried him all around the country, they have even earned him a recent spot on JJJ’s popular Mix-Up show. Airwolf once again impressed, with his eclectic range,

playing everything from Kanye and Jay-Z’s ‘Otis’, to Daft Punk’s ‘Burnin’. ‘Believer’ has also grown and developed; what set out to be a funky/new wave/disco release has mutated into what is looking like being an electro bass beast, already garnering great feedback from his peers and labels in the same way his remixes have, some of which have even attracted acclaim and radio play on Kissy Sell Out’s show on BBC1. Getting his start in the production field by remixing the likes of DCup, LexiconDon and Gilsun, it started as a small bedroom thing. Airwolf would email the artists themselves and ask if he could remix their songs for his own promotion. But like everything else

Opiuo is back WITH A NAME AND REPUTATION GROWING THROUGH THE YEARS, OPIUO HAS TOURED, WON AWARDS AND ACCOLADES, MADE FANS OUT OF SOME OF THE WORLD’S MOST ADMIRED PRODUCERS AND RELEASED WITH LABELS AROUND THE WORLD. OH AND HE LIKES APPLE CRUMBLE.

Airwolf, it has taken off. Nowadays Airwolf is a highly sought after remix artist, with people tracking him down and requesting his skills. From DJing, the trend towards production was a natural step. The expansion into the Airwolf Paradise brand however, was not. www.airwolfparadise.com is the photoblog and brand of Airwolf, documenting his journeys and the characters that cross his path in all their glory (and in some cases, shame). It’s another thing that has grown into a monster over the last year, taking up a large chunk of his time, but Airwolf is sure this too will slow down after the release of ‘Believer’ in March. With so many fingers in so many pies, and

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SHANE CRIXUS

Airwolf will be playing at The Metz in Sandy Bay on Sunday 12th of February with local supports Sexy Lucy, Malakai and King Brown. Doors from 4pm.

Originally from a small town deep in the New Zealand countryside, Opiuo now resides in the pimp hustle back streets of Melbourne, where he has gone about building an international reputation for his extremely original, party fuelling creations.

tunes, he’ll be touring Australia with a live band throughout March. The band will consist of live drums, sax, trumpet, keys, synths, guitars and samplers, all played and morphed by a few massively talented and carefully selected musicians.

The popular electronic producer and performer, known for his “scrumptious, glitch laden, bass dolloping, luscious soundscape brooding world” which Tasmanian fans have loved entering and exploring on each of his recent visits over the past few years, favors fun and funk fuelled body shaking sonic manipulations, which we will all get to enjoy again next month.

For some lucky areas, the much anticipated tour will also feature the album launch of Sunmonx. Sunmonx (consisting of Opiuo and Albino) is a hybrid dub, funk, rocking fusion of all things beautiful performed live for our enjoyment. Their debut album “Power Salad” is coming out on the 13th of March on Canada’s highly respected Interchill Records.

His debut full length release ‘Slurp and Giggle’ was nominated for Best Dance / Electronic Release at the Australian Independent Music Awards, reached number 10 on iTuned and was the most downloaded album for 2010 on addictech.com. His releases as singles have spent time at #1 on beatport in the breaks, electronic, dubstep, and even chillout charts.

The Bass Bizarre plays the Republic Bar and Café on Saturday February 25. Tickets are $25 +BF from Ruffcut Records, The Republic Bar, and Moshtix.

all of those pies turning out delicious, we can only dream of how good a full Airwolf release would be. But fortunately for Tasmania we won’t have to wait long for a little taste,

As one of Australia’s most respected DJ’s and Producers, we thought Opiuo had pretty much done it all. We were wrong. In 2012 Opiuo will be releasing a 3-part series of EP’s called “Butternut Slap” on Addictech Records. The series will display Opiuo’s passion to include organic live instruments into his work, and to showcase his new

SHANE CRIXUS

Opiuo and Russ Liquid play Wednesday March 21 at The Grand Poobah on Liverpool St. Tickets available via Greentix and Ruffcut Records from Feb 4.

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Reason appears at The Grand Poobah on Saturday December 10 with Mdusu, Crixus and Paddles, Two Toes and Topski, Stray, Afterthought, Sporatik and Skurge, plus guests. $10 cover charge, doors at 8pm.

Arts

Alicranka There seems to be more and more happening around Tasmania, it continues to amaze me the amount of talent oozing out of this little island, along with the opportunities abound. Sometimes I find myself in a blunder of where to begin each month’s collection of Warp art articles, too much to choose from. Little Bruny Island is alive with exhibitions on show at Art at the Point with a particularly interesting show coming up From the Mountain to the Channel by the Ferntree Printmakers group. Dodges Ferry has a reputation for workshops at their monthly market for adults and kids. Moving up the coast

to St Mary’s the Gone Rustic Studio is always in action with workshops and exhibitions. Forth on the North West Coast, home to the Forth Valley Blues Festival is also home to Evelyn Antonysen’s Forth Art Studio where you will find creative workshops are abound over the month of February and most likely beyond! Even Ulverstone’s (of all places) Visitor Information Centre exhibits artists work and is currently showing a photographic exhibition by Brum Robaard. The list goes on... I could go on. But I won’t. Have a fab Feb, readers ALISON McCRINDLE Alison@warpmagazine.com.au

Image: CWA

ANDREW DISCOVERS THE CBD CWA BEING PLEASANTLY SURPRISED BY A NEW CONTEMPORARY ART PROJECT IS RARE – BUT THE GROUP OF WOMEN BEHIND THE CBD CWA BRANCH MANAGED TO ENGAGE ME IN A GENUINELY FRESH WAY. This community art project is a genuine branch of the Country Women’s Association, with procedure to create a branch correctly adhered to in the timehonoured traditions (the CWA is 90 years old this year; the Tasmanian Branch opened in 1936), making it the first new branch in Tasmania in nearly years. Each of the participating artists (Paula Silva, Elizabeth Woods, Bec Stevens, Lucia Usimiani and Judith Abell) is now a bonafide, badge-wearing CWA member. The concept for making an actual CWA branch as an art project, with the blessing of the parent organisation (one thing I really like about this whole venture is that this is not some kind of snide, covert mockery or ironic posturing) evolved from the investigations and interests of Paula Silva, and the whole thing seeks to ask a few questions about what an ‘exhibition’ is and what a ‘community’ might be. The end result is that the artists involved, as members, are making things happen around Hobart, and doing it well outside of the gallery space and quite removed from traditional ideas of artistic expression – well, sort of. So, what has the CWA CBD Branch been up to? Commitment prevented me from attending Elizabeth Wood’s event at Town Hall, but the Beauty Pageant organised there was well attended, and by all reports, rather fun. The intention was to open up ideas about traditional notions of beauty, and given Member for Denison, Andrew Wilkie participated in a rather spectacular pink outfit, it seems the goal was achieved.

I did manage to have a quick look at the remarkable STOP. REST. PLAY. Project though. Germinated by Bec Stevens, a disused shop space on the corner of Murray St became a space where people bring children and sit down for a bit. It was nicely timed for the end of the year and Christmas shopping madness, and did genuinely attract people. All manner of activity took place in this temporary space: children and adults were asked to imagine, and draw, a better city to live in; a small temporary garden of seedlings was planted, and a series of conversations were held where people were asked to think about making a city better for children, and how to get those things to actually occur. This is where something genuinely interesting happened I felt – a space was made for people to get a few ideas out and about, and it was aimed at people who have to spend time caring for children – a full time job if ever there was one. I was struck by the strong idea of positive and engaged community action potentially arising from this project, and the will to make even a temporary space where such ideas could get aired was pretty admirable – lots of people talk about such stuff, but here one could encounter people doing it. There’s a lot of community art around in Tasmania and Australia and it can have mixed results. It’s exciting to see something that focuses on the actual city of Hobart, rather than a remote area, and something that very deliberately invites in, and creates events for, people who due to having family commitments, don’t get to see as much or say as much. The results of STOP. REST. PLAY. are still being processed by the CBD Branch, but even starting by using an empty shop in Hobart (how many are there in a four block radius of the mall again?) and getting anyone at all to think about how to make Hobart more accessible for children is just the type of socially engaged art I think that is needed. This is clever, responsible stuff, and as ever, the ladies from the CWA deserve commendation. ANDREW HARPER

Arts Opportunities Check out the list of upcoming workshops, grants, residencies and other arts opportunities. This is only a hint of what’s out there for artists and alike so jump online and do some surfing around the websites I have listed to find out more awesome stuff to do and be part of.

Workshops

Other Opportunities CONT.

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

to share in a panel, presentations or workshops. Nominations close February 28th. For more info contact Jo McDonald 0423 290 436, joanne.mcdonald@ countryarts.org.au or visit: http://artsalexandrina.org.au/

Creative Arts at Forth Art Studio with tutor Evelyn Antonysen - award winning artists and registered teacher. FEB 6th - Finger Painting for Adults 10am to 12noon, $20 materials included. FEB 17th - Working with Kiln Formed Glass, 1 to 3pm $30 includes all materials. FEB 23rd - 3D with Polymer Clay, 10am to 12 noon $30 includes materials. For more information contact Evelyn Ph. 6428 2675 M. 0419 282673 Journals Anonymous at Gone Rustic Studio & Gallery for anyone who is interested in making artists books, journalling and mixed media, Feb 25th at 11am - 2pm, cost by donation byo lunch and project materials. 37 Main Street, St Marys Ph. 6372 2724. Kids Easel Painting with Carol Kingston at The Boat Park, Tiger Head Rd Dodges Ferry, Feb 19 10.30-12.30 $2. Bookings essential, contact Okines Community House ph: 6265 7016.

GRANTS Artsbridge Connect is for individuals and organisations to assist in bringing a leading national or international arts professional or practitioner to Tasmania to conduct professional development opportunities for the benefit of a group of Tasmanian Artists. Available for projects and opportunities that arise a relevant grant round closing date and which cannot be delayed until the next funding round. Applications always open, for the Artsbridge toolkit visit: www.arts.tas.gov. au/artsbridge

Other Opportunities

Lots more here to be found here: cwa-cbdbranch.com.au Follow them on Twitter: @CWA_CBDBranch For good measure, the ‘traditional’ CWA website cwaintas.org.au

The Melbourne Sculpture Prize 2012, a $20,000 non-acquisitive award open to all Australian and New Zealand sculptors working in any medium. Entries close Feb 29, for more info visit www. melbournesculptureprize.com.au

Benchmarking Birchs Bay Sculpture Prize 2012, calling Tasmanian Sculptors working in an medium for the seventh outdoor sculpture exhibition. Entries close 9th March 2012, for more info visit www.fleurtys. com.au Q&A with Acclaimed Cinematographer Sandi Sissel. Wide Angle Tasmania and the Australian Cinematographers Society (Tas) are delighted to host a screening and Q&A session with acclaimed cinematographer Sandi Sissel, ASC. Sandi presently serves as Head of Cinematography in the graduate film program at New York University. Feb 16, 5:00pm - 7:30pm, Free to WAT & ACS members at the Peacock Theatre, Salamanca Arts Centre. Opportunity to meet with Sandi Sissel, Sandi has very generously agreed to a limited number of one-on-one sessions to provide specialist advice on cinematography. Feb 16, 10:00am - 4:00pm at Salamanca Arts Centre, $75 to WAT & ACS members. for more info: info@wideangle.org.au or phone 6223 8344.

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

2012 Regional Arts Australia National Conference, hosted in Country Arts, South Australia, is open to applicants with ideas warpmagazine.com.au

Arts

STUART RINGHOLT: MONA NUDE TOUR

WARP GALLERY GUIDE

146 ARTSPACE 2012 PROGRAM

SOUTH

146 ARTSPACE IS A NOT-FOR-PROFIT GALLERY SHOWCASING CONTEMPORARY EXHIBITONS BY TASMANIAN ARTISTS WORKING ACROSS THE SPECTRUM OF VISUAL ARTS, CRAFT, DESIGN AND NEW MEDIA.

146 ARTSPACE Metamorfosis, Nicole O’Loughlin, Jan ends Feb 9. The Unquiet Landscape, Megan Perkins, Feb 16 - Mar 15. ART MOB Mangkaja, recent paintings from Mangkaja Arts Western Australia, Feb 10 - 26, OPENING Feb 10 at 6pm.

Image: Stuart Ringholt

‘Preceded by a tour of the show by artist Stuart Ringholt (The artist will be naked. Those who wish to join the tour must also be naked. Adults Only)’ (2012) That’s the complete title of the work, and it’s pretty descriptive. We met the artist at the entrance to MONA and then proceeded down the stairs, into the cinema space, where with little ceremony, the disrobing occurred. Stuart has already suggested that it’s clothing that is sexualised, not the naked human body, and it becomes apparent that the interesting thing about this idea is that it’s actually quite a gentle thing that isn’t really confronting at all. The group of 38 people had a fairly good range of genders and ages and reasons to be there; gradually it’s revealed that some of us are artists, some are members of the naturist community (who Stuart quite pointedly defends at one stage as being just people who prefer not be clothed and nothing more), some want to confront something about themselves and some were just curious about the idea of being in a gallery naked.

I liked it myself, and found the moments where I could wander off from the group and have a tiny moment to my nude self really quite nice. Stuart has an idea that experiencing a work without clothes makes it more interesting, and while I do not completely agree, he is onto something in his ideas: he’s looking for ways to create genuine sensation, ways to overcome the baggage of culture that may prevent complete immersion in a work of art. He certainly wanted the group of people to talk to him and to one another, and we all grew comfortable with the situation rather quickly. This was the revelation for me – it all became pretty regular quite fast. Overall, this was a charming, gentle experience and an interesting work by an artist whose sincerity and interest in people would seem to be the cornerstone of his work. And yeah, there were people I knew on the tour. Of course there were. It’s Hobart. ANDREW HARPER

Situated on Elizabeth Street between Hobart’s CBD and North Hobart’s buzzing arts and cultural precinct, 146 ArtSpace is a highly accessible and visible gallery space, which offers artists a fantastic opportunity for exposure. The gallery is housed at Arts Tasmania’s headquarters in the historic old Bridges Brothers Building and presents an annual program of exhibitions that are diverse, stimulating and sometimes surprising. With only ten exhibition slots available per year, Tasmanian artists are selected through a competitive application process. Artists, designers, curators, artist-run-initiatives and arts organisations are invited to apply each year for a four week exhibition to feature in the 146 ArtSpace exhibitions program. If successful, artists are provided with the exhibition space for free as well as technical, marketing and curatorial support. The primary aim of 146 ArtSpace is to support local artists by creating opportunities for them to present their art in a professional, nurturing and accessible environment.

In 2012, the gallery has a dynamic series of exhibitions in store. With a mixture of mediums ranging from design and installation-based artworks to photography, painting and printmaking, there is sure to be something that interests everyone at 146 ArtSpace. Want more information on the 146 ArtSpace 2012 exhibitions program? Register for arts-e newsbyte, arts@work’s fortnightly e-newsletter, keeping you informed about upcoming news, opportunities and other significant arts stuff both locally and interstate. LAURA HARPER To register, visit the Arts Tasmania website (www.arts.tas.gov.au) and in the top right hand corner (under google search) enter your email address into the field labelled E-newsletter sign up. Presto! arts-e newsbyte will be emailed straight to you every second Wednesday. For more information on how to apply for 146 ArtSpace contact Laura Harper: laura. harper@arts.tas.gov.au.

BETT GALLERY New Paintings by Nicholas Blowers, Feb 10 Mar 3, OPENING Feb 10 at 6pm. BACKSPACE: BBQ This Sunday, BYO, Joan Ross, Feb 10 - Mar 3. CARNEGIE GALLERY Surface, Maeve Woods, ends Feb 26. CAST Missing Presumed Dead, group show, Feb 11 Mar 18. COLVILLE GALLERY Jerzy Michalski, paintings, ends Feb 8. Contemporary Sculpture Group, Feb 15-29, OPENING Feb 15 at 5.30pm. COURTHOUSE GALLERY Extreme Environments, photographic competition held in 2011 by Antarctic Tasmania presented by Derwent Valley Regional Arts, Feb. DESPARD GALLERY Despard Gallery 24th annual summer show, ends Feb 15. New paintings by Susannah Hart, Feb 17 - Mar 8, OPENING Feb 17 at 6pm. DUALLEY WATERFRONT CAFE & GALLERY The Painter and The Sea Urchin, Patricia Turner Smith & Eve Smith, Feb 12 -Mar 19, OPENING Feb 11 at 4.30pm. ENTREPOT GALLERY Jack Robins, sculpture, Jan 30 - Feb 17. Research Life Objects, various UTAS students, Feb 20 - Mar 2.

cAll for EntriES

FLEURTYS CAFE Forest Impressions in Pastel, Sue Miller, Jan 16 - Mar 4. GOULBURN ST GALLERY Into Being, Raymond Dean, Feb 3 - 23, OPENING Feb 3 at 6pm. Tiger Serpent, Jonathan Barnard Feb 24 - Mar 22, OPENING Feb 24 at 6pm. GOULBURN TOO Nudes, Vivi Ooi, Richard Onn & Dan Villars, Feb 26 - Mar 17.

Paint and fibre

HANDMARK GALLERY All About... Summer, Junko Go, ends Feb 15. Michaye Boulter & Anna Weber, Feb 17 - Mar 14, OPENING Feb 17 at 6pm.

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

INFLIGHT You’ll always be my #1, Sarah Jones, Feb 3 - 25, OPENING Feb 3 at 6pm. MAIN SPACE: IITYWIMIWHTKY, Matthew Greaves, Mar 2 - 24, OPENING Mar 2 at 6pm. PADDY LYN MEMORIAL SPACE: Listening Room for the DF ARTE/INFLIGHT exchange CD Project, Mar 2 - 24. INKA GALLERY INC. Blue, Members’ Exhibition, Feb 2 - 22. Black and White, Margaret McAteer, Feb 23 Mar 16. JIMMY’S SKATE & STREET Nocturnal Subconcious, Ben Florance, Feb 3 17, OPENING Feb 3 at 5.30pm. LOVETT GALLERY Southern Exposure, Southern Tas Artists, Mar 2 - 18, OPENING Mar 2 at 6.30pm. MUSEUM OF OLD AND NEW ART Monanism, permanent collection. Wim Delvoye, first solo exhibition in Australia, Dec 10 2011 - Mar 26 2012.

nortH west work by key artists who have travelled to Antarctica and the sub-Antarctic region, ends March 4 2012. THE BRISBANE HOTEL Playing In The Traffic, Sammy G Gnome, Feb 7 Mar 4, OPENING Feb 7 at 6pm. WELLINGTON GALLERY Thomas Anderson last available works original paintings, gallery open by appointment Ph. 6223 6643 YOUTH ARC GALLERY Walks of Life, Andrew Otto, Feb 2 - 20, OPENING Feb 2 at 3pm. From the Mountain to the Sea, Young people from around Hobart, Feb 21 - Mar 8

BRUNY ISLAND ART AT THE POINT New works by Bruny Island Artists, February. From the Mountain to the Channel, The Ferntree Printmakers, Mar 17 - 30.

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ABORIGINAL HEALTH SERVICE - Ulverstone The Aboriginal Birthright Quilt booeegigattongberangi, on show until end of Feb. ARTSCAPE Wickham and all its glory, Bridget Levy, Feb. BURNIE REGIONAL ART GALLERY Remote Control, David Hawley. Corpse, Anna Austin, Greg Harrison & Graeme Peebles. Celestial, Terri Hall. All exhibitions Feb 4 Mar 12. DELORAINE HOSPITAL Selections from the RACT Insurance Tasmania Youth Portrait Prize on exhibit during February, presented by Arts Deloraine. DEVONPORT REGIONAL GALLERY MAIN GALLERY: Owen Lade Retrospective, Owen Lade, ends Mar 4. LITTLE GALLERY: Video in a Box - MCA Touring Exhibition, ends Mar 4. GALLERY OF ULVERSTONE HIGH SCHOOL Large wall hanging quilts, Leven Regional Arts, on show during Feb.

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

GONE RUSTIC STUDIO & GALLERY Journals Anonymous, workshop day Feb 25 at 11am to 2pm.

PLIMSOLL GALLERY Research Higher Degree Examination Submission Exhibition, Peter Waller (PhD), Feb 11 - 17, OPENING Feb 10 at 5.30pm. Jake Thomashow (MFA), Mar 3 - 16, OPENING Mar 2 at 5.30pm.

POIMENA GALLERY A vision of Summer, Julian Thompson, Feb 2 23, OPENIG Feb 2 at 5.30pm.

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

POWERHOUSE GALLERY The Best of Summer, Summer School Exhibition, ends Feb 5.

ULVERSTONE VISITOR INFORMATION CENTRE Photographic Exhibition of Black Bluff & its environs, Brum Robaard, ends Feb 29.

A series of theatre productions and a sale of donated artworks to raise funds for the Fred Hollows Foundation, Mar 1 - 26, OPENING Feb 29 at 6pm.

WONDERS OF WYNYARD GALLERY Mycological and Magical - Fungi & Fairies, Chris Wilson, Feb 3 - 28. Table Cape Art Circle, Mar 3 - 31.

SADDLERS COURT GALLERY Exhibiting over 100 Tasmanian artists & crafts people. SALAMANCA ARTS CENTRE KELLY’S GARDEN: Porphyry’s Gnat, Elizabeth Woods, Feb 10 - Apr 1, OPENING Feb 10 at 5.30pm. LONG GALLERY: Weld Echo 2012, Feb 17 - 29. SIDESPACE GALLERY: At Home, Jane Higgins, Feb 1 - 14. Relics, Alex Gouldthorpe & Marion Abraham, Feb 18 - 26. Between the Tide Lines, Henrietta Norris, Feb 27 - Mar 11. TOP GALLERY: Behind Closed Doors, Trish Verdouw, Feb 3-28. SCHOOLHOUSE GALLERY Rotary Club of Howrah Tasmanian Art Sale, Feb 18 - Mar 1, OPENING Feb 19 at 2pm. SONA GALLERY Ongoing stock exhibition TASMANIAN LANDSCAPES GALLERY Luke O’Brien Photography. Art printing & mounting services also available.

QUEEN VICTORIA MUSEUM & ART GALLERY ArtRage, folios of work of the Tasmanian Certificate of Education, ends Mar 11. THE ACADEMY GALLERY Hits & Memories - Ten Years at the Academy Gallery, Group exhibition, Feb 10 - Mar 9. 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.

KING ISLAND LOLLIPOP GALLERY + BOATHOUSE GALLERY Paintings by Caroline Kininmonth and Bridget Levy on exhibit throughout the year and continually changing.

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

THREE WINDOWS GALLERY Changing Southern Midlands Artists

TASMANIAN MUSEUM AND ART GALLERY To Catch a Tiger, James Newitt, ends March. Traversing Antarctica: the Australian experience and Artists in Antarctica & the sub-Antarctic,

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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Performing Arts

Performing Arts REVIEW

RARE AND RAW COMEDY WHAT MAKES PEOPLE LAUGH IS SUBJECTIVE. ONE MAN’S WITTY ONE-LINER IS ANOTHER MAN’S DAD-JOKE. SO CAN YOU REALLY JUDGE COMEDY?

Raw Comedy is a nation-wide competition produced by the Melbourne International Comedy Festival dedicated to uncovering potential “stars of the future.” The formula is simple: compete on stage, in front of an audience with five minutes of original standup material. Similar to a primary school presentation, you receive marks for your presentation and work. However, unlike primary school, you want those watching to laugh at you. David Bakker competed in the 2010 National Finals as a wild card alongside Peter Escott, the Tasmanian State finalist. A Hobart local who rarely appears on stage without his guitar, David’s decision to enter the competition was less of a plan, more of an afterthought with minimal preparation. “It was something that was coming up and I thought I had a really good song that I should enter into Raw.” The Melbourne International Comedy Festival takes over the city’s bars, clubs and theatre for over 3 weeks attracting over 500, 000

attendees. A draw card for comedians and comedy lovers, David was already in Melbourne for the Festival when he got the call to tell him he was one of the wild cards and expected on stage for the finals the following week. “It was a bit surreal, more exciting than a call back for a job!” Tracey Cosgrove was the 2009 Tasmanian State Finalist. This year she returns to the Melbourne Comedy Festival with her own show, ‘Half a Wake’. After competing in 2008 she chose to prepare thoroughly for the 2009 competition. “I printed out a year’s worth of material and took it to the pub where I meet an Irishman named Kevin with a highlighter pen – he helped me weed through forty minutes of material and cut it to five,” she said. “It was good to have a fresh set of eyes. I had jokes that were my very favourites that never got any laughs but I kept flogging them because I loved them, they were my unfunny wonky babies and I was keeping them. We highlighted what always got a laugh and crossed out what had never got a laugh.” Like David, Tracey was in Melbourne for the Comedy Festival, she was performing in a two week run as one of five Tasmanian comedians in a show called Premium Laughs, which gave her invaluable experience as she could perform her set in front of paying punters before the final. Tracey’s new show ‘Half a Wake’ is about “planning your funeral details to help stop arguments and doctor the truth so you can be remembered the way you want to be.” She cites her lack of experience performing in Melbourne as both a challenge and a gift; “nobody knows me in Melbourne. I’ll be one of 430 something shows. People will be coming with no expectations, with no idea of who I am, what they’re in for or if I’m funny.” Both David and Tracey have been performing in Hobart for a while. David’s advice to someone starting out in Tasmania is to meet and learn

from those already involved in the scene. “Because it is so small, if you go along to a room and watch some comedy and talk to the organiser and say that you want to get involved they’ll point you in the way of somewhere like comedy forge or Gavin Baskerville’s workshops.” Tracey signed up for Adult Education classes, “It was entertaining, friendly and lovely, and yes, funny. It made me happy in my heart. I can’t remember how I ever lived before I discovered pre- performance anxiety.”

THE BARBARIANS (Part One)

21 years into the history of one of the most innovative companies Tasmania has ever seen, whose reputation for solid, powerful work that will engage and thrill is just about proverbial, I expected IHOS to produce something wonderful. I was not disappointed.

IHOS OPERA MONA FOMA CITY HALL

‘The Barbarians’ is a modern opera that interprets and engages with a poem from 1904, that may be about the fall of Rome, but could just as easily be about the end of any civilisation; given the propensity to predict Doomsday this year (and every year I’ve been alive, actually) and the fascinating revolutionary moments of Occupy and The Arab Spring, the century old source is relevant as it ever was, perhaps even more so.

Raw can open doors to interstate comedy rooms. Past finalists include Tim Minchin, Chris Lilley, Josh Thomas and Hannah Gadsby. The grand prize is a trip to the Edinburgh Festival Fringe to compete in So You Think You’re Funny. For a competition with no entry fee, if you have the guts, determination and jokes to get you there, it makes sense to enter. For the rest of us, there’s a fairly solid guarantee of laughter and awkwardness. And how do you judge comedy without being subjective? Well you don’t. Judging is done by a panel of people with experience in the industry. The judging is qualitative and the final decision is based upon notes they take and discussions.

‘The Barbarians’ realised as an opera by IHOS whilst engaged with these things, also seemed to go deep into issues of male sexuality and identity. I have to same seemed as much of it was sung

Performing Arts Guide CABARET

RAW COMEDY FINALIST FOR 2010, PETER ESCOTT SHARES HIS THOUGHTS ON COMPETITION, THE LOCAL SCENE AND WHY SOME ASPECTS OF YOUR LIFE SHOULD NOT BE USED AS MATERIAL IN STAND-UP.

What was your experience of competing in Raw Nerve and what advice would you give to participants? As a lifetime teetotaller and introvert I can safely say that Raw Comedy state finals over the years are the only good times I have ever had at the Uni Bar. The organisers always keep the show running smoothly and make the happiness of the performers their number one priority, so to anyone anxious about performing: nothing will go wrong for you that you yourself could not have prevented. Good luck! How did the National Finals differ from the State? My experience was a bunch of scared funny people being trapped together in the kitchens and corridors of Melbourne Town Hall for an entire day. By the time of the actual show the camaraderie was so strong that none of us especially wanted to win any more, as all that mattered was that we all pulled together and put on a great show. That said, I could not manage even this and died thoroughly in front of 1500 people. But it was worth it and I would recommend the entire experience to anyone. How did you get started in comedy? I started doing comedy because I’d been picking it apart and studying it my entire life and I didn’t want all that obsessing to go to waste. Then I kept doing it because it’s loads

warpmagazine.com.au

of fun, I’ve made a lot of great friends and it’s a thrill to get up on stage, but mostly because comedy for me is a stultifying intellectual exercise from which death is the only escape. You are producing a new comedy room in Hobart, what’s it all about? My new show is called Pinball at Hanging Rock, it takes place at the Grand Poobah on the first Thursday of every month. It’s a mix of stand-up, sketches, songs, games, mistakes, interruptions, anything at all so long as it fits the basic goal of serving up my brain on a plate for public examination and criticism.

adopting either an overly gushing or an overly cruel tone when talking about their children, not to mention how even the greatest comedic minds can be fooled by the basic evolutionary urge to find one’s own offspring endlessly amusing so as to make constant care and attention less of a chore, and - aww look! He was crawling and looking right at me and making this little clicking noise with his tongue! Oh you missed it! Maybe he’ll do it again! THOMAS HOPKINS

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THEATRE ROYAL Cooee Cabaret February

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SOUTHERN LIGHTS HOTEL Raw Comedy Heat 1 February 8

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THEATRE ROYAL The Boy with the Longest Shadow February 1- 4

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ワールドパーティ世界派 MAIN STAGE ENTERTAINMENT MC Tori Hodgman, Alphonse Toussaint & Vajra Yong Ming 世界派世界派 LIVE PERFORMANCE BY: Chineseィ Han Transmission Esotericism Academy - Jin-Gang-Dhyana Cultural Celebration Presentation, Young Living Buddha, Xiao Xia Jiang, 世界派ワールドパーテ Chicada Percussion Troupe, ZUMBA, Karen Burmese Choir, Africa Gospel Choir, Fabio Chivanda, Mayur Kamble, Maya Ramdin, Sangita Gautam, Indra Khadka, Meena Khadka,

Do you use material from your own life, parenthood, etc...?

It’s a much-maligned subject area because many comedians fall into the trap of

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I’ve always been very, very funny, in much the same way as Kim Jong-Il was always very, very good at golf.

My opinion is that stand-up comedy about parenthood is always going to alienate a certain percentage of any audience unless it’s written in such a way as to still address some kind of mutual life experience with which even those with no immediate interest in children can identify.

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THE WARATAH The Clubhouse February 17

Have you always been a funny guy?

PRINCES WHARF (PW1) COMES ALIVE THIS FEBRUARY WITH THE FLAVOURS AND SOUNDS OF THE GLOBAL COMMUNITY COME AND HELP CELEBRATE THE DIVERSITY OF THE TASMANIAN MULTICULTURAL COMMUNITY FREE CONCERT AND FOOD FAIR

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TASMANIA 2012 世界派世界派

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THE GRAND POOBAH Pinball At Hanging Rock ワールドパーティ February 2

THE THEATRE ROYAL Ross Noble February 15 & 16

ANDREW HARPER

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THE BRISBANE HOTEL Circus Horrificus and Friends February 2

THE LOWER HOUSE Raw Comedy Heat 2 February 9

Powerful singing and music captivated me, especially where discordance

PARTY

CURLYS Burlesque Night at Curly’s February 3

THE BRISBANE HOTEL Comedy Forge February 23

SLAM TILT LAUGHS

‘The Barbarians’ has a huge amount of magic moments and goes to dark territory. I personally wanted more and given that there’s a part two of this work to come, I relish the possibilities. As ever, I expect a lot, but I remain confident that Constantine Koukias and his talented crew will deliver.

WORLD

THE SOUTH

Tracey Cosgrove, Half A Wake (Melb Comedy Festival) April 10- 21 from 7:45pm. Tickets $18/ $15 from www.trybooking.com

The astonishing performance of Christos Linou, who spent the entire performance stark naked, was almost too engaging, but his lithe body, a classic dancer’s form – a rope of muscle – was lit incredibly well, with every contour casting a shadow. He looked skeletal, inhuman, mad, and was impossible to not watch.

WORLD PARTY IS A FREE, NOT-FOR-PROFIT EVENT

SARAH MASHMAN

Raw Comedy 2012 Tasmanian State Heats Heat 1 Southern Lights Hotel, February 8 from 8pm. Tickets $12 from www.trybooking.com Heat 2 The Lower House, February 9 from 8pm. Tickets $12 from www.trybooking.com

I have my own views on what was at this work’s core ( I think there was a bit of commentary about capitalism but then again I’m a bit of a bloody pinko) but I rather enjoy the way it was kept open for each individual to impose their reading onto. This is the sign I feel of a really rich work: that it may be many things to many people.

erupted and the chaotic nature of the performance really swelled up, and mention must be given to the beautiful Bass Baritone work by Nicholas Dinopoulos – his singing was just gripping. As his voice rang throughout the City Hall, cutting through the smoke and the haze as lasers scrabbled upon the roof like radioactive insects, I got the sense I was seeing something very potent. It may have been the jewel in MOFO’s crown this year from what I saw, in a year of very heavy hitters.

in Greek, and I was left with blistering sound and potent imagery to carve an interpretation from.

Pinball at Hanging Rock will be performed at the Grand Poobah on Thursday February 2. Entry is $10 on the door.

世界派

ワールドパーテ Yyan & McDougall, Sooshiant Kiafar, Roman Astra Magic Carpet Ride - Indian Classical Ensemble, Japanese Taiko Drum Ensemble, Sunnyman ィ Wech Kelei & The 5Gs, ワールドパーティ South Pacific, The HotKings, Spearset & Apoorv David. Dub Reggae DJ Set by DJ Ever & DJ Vibes. Bollywood Dance Set by DJ Satish Kumar. World Dance Hour – Balinese, Indigenous, Greek, Ethiopia, Saudi Arabia, Congo, & Sudan Madi Ceremony Dance Styles. Welcome To Country. ワールドパーティ Rock Against Intolerance - & Promote the Diversity of Tasmania’s Live World Music Community. ワールドパーティ World Party is a Free, Not-For-Profit Concert. ALL WELCOME.

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engageinteracteducate

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warpmagazine.com.au

Live Reviews

IMMORTAL TECHNIQUE

GIRL TALK

W/ AKIR, POISON PEN, BLADEL, DAMEZA REPUBLIC BAR & CAFE JANUARY 18

MONA FOMA PW1 JANUARY 18

Pittsburgh’s most famous party boy (to my mind anyway), Girl Talk, had taken only moments to whip the sold out crowd at PW1 to a feverish state. Never mind that it had taken significantly longer for most of the audience to get into the hulking wharf shed given the seemingly underprepared ticket-takers/wristbandgivers had their hands more than full. I tried texting myself some of the beautifully mashed-up song combos, but gave up within a minute. The list read as follows: Vampire weekend + Fiddy Cent + No Diggity + headband/sweatshirt combo = a DJ/MC that knows what he’s doing and why he’s there. I gave up list making and danced – along with everyone in the place – as confetti rained down and toilet paper was blasted into the crowd by a couple of dudes handling some kind of toilet paper-blasting contraptions that would probably become painfully annoying if they ever fell into the wrong hands. Back to the list making for a minute: I wish I was a little bit taller (the song)... and to see

Image: Martin Nester

more. Strokes + ODB. Yep, I was having a great time trying to pick out the samples – tiny as they may have been – and when I could see him over/between the heaving crowd, it looked like GT was having just as much fun dropping them on our heads. Looking like a crazed calisthenics instructor, he leapt from foot to foot, hands either busily bashing his laptop or thrown back and forth

above his head. And you better believe we put our hands up when we were told to, too. This was a super-fun gig, maybe bordering on genius in terms of how simply the man took well-known tunes – both classic and cringe-worthy – and blasted them back at us in a brand spanking new and almost unrecognisable form that made it all so hugely cool. The proof? A massed sing-along

to Bon Jovi when you could almost guarantee the very people doing the singing wouldn’t have a bar of it on any other night out.

Image: Martin Nester

SOLE STICKERS

CHARLES DU CANE FALLS FESTIVAL DECEMBER 31

I was utterly gobsmacked; at the technological feat, at the power of the actual sound, at the giant projected vision of Pierre himself: no distant performer on a stage, one could see the sweat of his brow, one loose white hair hanging from his head. He is 84, and I found out later unwell: he was running a fever that left him unable to stand at the end of the set. Still, he was giant: his

warpmagazine.com.au

In terms of booking gigs for Tassie bands, surely it doesn’t get much better than being offered a slot on the bill at the Marion Bay incarnation of The Falls Music & Arts Festival. So Launceston three-piece Sole Stickers must have been pretty chuffed with themselves standing on the Field Stage as the first band to pluck a string in anger at the festival proper. It was the laid back vibe of ‘Country Ballad #8’ that kicked things off for a picture perfect, sunny afternoon of sounds. Though frontman James Dilger claimed to be feeling under the weather at the top of the set, Matt Labedzki seemed to be in

MONA FOMA PW1 JANUARY 15

I saw a living legend, Pierre Henry, musical polymath, inventor of musique concrete, the grandfather of the sampling technology and one of the most important sound wranglers in history sit in his home studio in Paris and play new noise. The performance was live, captured with technology and using the most sophisticated telecommunications available the sound and vision, it traversed the globe to be viewed in Hobart. I saw a master at work, inter-cut with the collaged concrete paintings made of parts of audio equipment throughout his house: blocks of noise given new context and shape.

hair scratched across his balding head, his beard unruly, every tiny hand gesture writ massive as he gently rode the faders on his mixer. The sound travelled from Paris, then was mixed by Robin Fox through fifty speakers in the PW1 shed. I could feel it in my breastbone and fingers at times. “Thrilling” does not do the moment justice. This was a spectacular event that in its presentation showed the attendant throng a new way to experience a live concert. MOFO does a lot of things but this is surely one of the most amazing feats thus far: the defeat of distance that presents a new way for us to experience live sound. Pierre Henry has been an innovator throughout his life, and through his willingness to present new music in this new way, despite his age he is not slowing down on that front. ANDREW HARPER

Good times and sad during the Charles du Cane set under the big top in The Village at the Marion Bay Falls Festival. Fantastic, quirky pop songs played sweatily during a mid-afternoon slot that dragged plenty of people away from their place on the grass at either of the bigger stages, but, alas, it all wrapped up with a rather disappointing announcement. The Falls set was to be the penultimate outing for Charles du Cane and it was top drawer stuff. 2011 album ‘Port and Rail’ had to be up there among the best Tasmanian releases of the year and seeing the imaginative and eccentric album tracks laid bare and played live was a treat, ‘Heart’s Blood’ and ‘Something Goin’ On’ both highlights.

Akir followed as the final support and received a tremendous response from the crowd. He showed Hobart exactly why Immortal Technique had him on tour, performing a set that busted out socially conscious and politically motivated lyrics and had the whole crowd loving him.

First up was DJ Dameza with a quick set that got the early crowd ready for bigger things. He showed off his awesome technical abilities, before being joined onstage by MC Bladel as the local support. Bladel got the crowd excited early with a powerful set of locally conscious and quick-witted songs. The highlight for me was his inspiring a capella finish.

Immortal Technique took to the stage last and whipped the crowd into frenzy. Playing a good mix of both his older material and dropping tracks from his latest album, ‘The Martyr’, Immortal showed everyone why he is considered a revolutionary of modern hip hop. The whole crowd left in awe of his commanding stage presence. Being joined onstage by P.P. and Akir for the finale, Immortal showed The Republic a brilliant time.

Poison Pen was up next and worked the crowd into a state with a killer set that showcased what a stalwart of the New York battle scene can do when given the reigns in a live setting. Awesome crowd interaction, fast delivery and a sense of humour kept everyone on their feet.

DECLAN HUNN

STU WARREN

FALLS FESTIVAL DECEMBER 30

PIERRE HENRY, PAROXYSMES

When the crowd is filled with local hip hop stalwarts and the first support already has people dancing, you can tell that you are in for an intense night. Immortal Technique proved this at the Republic Bar to a crowd that was ready and waiting for a night of passionate live music.

dancing fans. It all ended with handshakes and chats with fans which was a nice touch and another indication that music isn’t the be-all-and-end-all for the Launceston songwriter/producer behind the music. At one point there was also a dedication with his daughter’s favourite song, and if you believe the press release announcing the end of Charles du Cane it was probably the straw that broke the camel’s back. Ah, well. We’ll always have the memories *sniff, sniff*. STU WARREN

TRUMPS LONG GALLERY JANUARY 6

Smooth reggae/ska grooves booming from the Long Gallery’s open windows and there couldn’t be a much better place to be going to a gig on a Friday night. Salamanca Place takes on a particularly agreeable atmosphere on a summer evening. Twilight seems to make the sandstone buildings glow and there’s plenty of hustle and bustle as people take advantage of our privileged al fresco lifestyle. The grooves, of course, came courtesy of Trumps, the guys airing out sounds from their new album – ‘Derailed’ – along with a bunch of others from their previous release. The quartet was joined on stage by

rude health behind the drum kit, coming across as something akin to Animal from The Muppets crossed with an old fashioned Jack-in-the-Box. He and bassist Andrew McDougall played with energy and flair and it didn’t take too long for them to drag Dilger into the swing of things with fuzzy riffs and solos coming thick and fast as the set progressed. Tracks from debut album ‘We Got All Things That Are Good’ made up the bulk of the set, highlights including ‘Where Do You Get Your Wardrobe?’ and ‘Let’s Go Play Records’, the punchy power pop making for great grooving conditions for the fans at front of stage. After

a three-piece horn section, giving real depth and an overriding ‘dance to me’ vibe to the music that the diverse audience simply couldn’t resist. The album’s title track ‘Derailed’ must have resonated with anyone who’s felt the pinch of a failed relationship and the inevitable rebound. While the lyrics tell a story of need and despair, there was freedom and light in the playing – particularly the keyboard solo – that saved it from being a true tale of woe. As the set progressed and the vino flowed, more folks found themselves drawn to the front of stage and the band loosened into their work, playing with plenty of smiles and

half hour or so the boys were done with the important stuff and no-doubt headed off to enjoy the delights of Falls. Or did they? A couple of sets later, Dilger was back on stage – if only for a fleeting appearance helping J Mascis get things sorted. And with that in mind I’ve got no doubt that, for James at least, gigs really don’t get any better! STU WARREN

undoubtedly enjoying the experience. Frontman Finn Seccombe took a few opportunities to thank people for turning out as well as explaining some of the inspiration for his heartfelt and well-honed tunes. Camera flashes flicked around the room as it kept filling throughout the set and the bar continued to do a roaring trade. Throw in the fantastic live, local music and all of it added up to make the Trumps album launch an entirely pleasurable experience. STU WARREN

Fred and his gang plucked, pounded and poked at their range of instruments to faithfully recreate the album’s unmistakable sound and looked to revel along with their

warpmagazine.com.au

Album Reviews

For album number seven, indie blues rockers The Black Keys have returned with super producer and co-writer Danger Mouse (Brian Burton). ‘El Camino’s title comes from a Chevrolet sedan (a slightly modern version of a yank tank) but also translates to “the road” or “the path” in Spanish. Strangely, the car featured on the cover is actually a Chrysler Town & Country, which was chosen due to the band touring America in one at the beginning of their career.

THE BLACK KEYS EL CAMINO

‘El Camino’ shows what can be achieved when talented musicians head into a studio for a month without outside distractions – even if you can hear influences from The Cars, The Beatles, T. Rex, Ramones and The Clash.

The whole album really feels like a bunch of genres mashed together, but at the same time very coherent and certainly feels like one body of work. There’s a dirty unpolished feel to the album that is evident from the first track, ‘Lonely Boy’ which is part singalong and equal parts blues rock with a fuzzy guitar laden feel. Recorded in Nashville’s old-fashioned Easy Eye Sound Studios, which frontman Dan Auerbach built in 2010 and is essentially a home made studio, the band utilised its amateur nature to its advantage. They even used the bathroom as an echo chamber and recorded vocals and handclaps in it. The buzzy, old-school nature of recording leads me to think that listening to this album on a

It’s such a solid album, that it’s no surprise it has made lots of “best of 2011” lists despite being released in December. I feel picking out tracks is unfair because it just needs to be consumed as a whole, and not on shuffle. Highlights include ‘Gold on the Ceiling’, ‘Little Black Submarines’ and ‘Run Right Back’. At the end of a review I normally either recommend an album or not, on this occasion I simply must insist you go out and get this, because this is already a classic.

PATRICK WOLF

FIRST AID KIT

THE FAUVES

BRUMALIA

THE LION’S ROAR

JAPANESE ENGINES

Wintry romanticism and bleak pop balladry abound as Wolf’s melodrama reaches new heights with ‘Brumalia’ and his confessional style lyrics are so laid bare that they are almost cringeworthy with the troubadour’s oversharing of emotional turmoil. This is insecure, hormonal, neurotic glory expressed through a whirl of fantastical melodies. Although an accompaniment to ‘Lupercalia’, ‘Brumalia’ does hold its own as a standalone release. “Together” is a sweeping affair full of loving sentiments that are made poignant by their simplicity. Lyrics such as “forgive my jealousy, that’s not the man I long to be, by your side my whole life, true love knows no sacrifice” are bound to make ladies swoon the world over. The moody atmospherics of “Bitten” with its resplendent mix of strings and electronics are perfectly complimented by Wolf’s impassioned vocal delivery. Oxymarons abound as the record ends on “Trust”; a beautifully constructed tune brimming with whimsy and longing that will stay with you long after the music ends. ‘Brumalia’ will leave you feeling oddly satisfied, like running into an old friend who offers a rare moment of solace in an otherwise dreary existence.

The second record from this Swedish duo is impossible to hate. Jam-packed with the sugar-coated lyrics and folky sounds that stole hearts with 2010’s ‘The Big Black and Blue’, The Lion’s Roar follows the same winning formula. Sweet voices harmonise about love, family and loss, but strong acoustics add plenty of oomph and depth to the majority of their tunes. And the album offers enough variety to keep you listening with percussion and upbeat melodies. Track two, ‘Emmylou’, has strong country roots and with lyrics like “Stockholm’s cold but I’ve been told I was born to endure this kind of weather”, is the sort of song you can imagine listening to as you huddle around a toasty warm fireplace in a cottage in the middle of the woods. Track four, ‘Blue’, on the other hand, takes you to another climate – reminiscent of Australian pop starlet Lisa Mitchell, loads of poppy upbeat percussion and high notes pull you back to that bright sunny day the album started with. Their similarities with the Fleet Foxes are hard to ignore, and their cover of the Fleet Foxes’ ‘Tiger Mountain Peasant Song’ shows that these girls deserve all the praise they’re getting.

KATHRYN MAHINA SHANNON CRANE

Break out the glitter and feathered capuchins for Of Montreal’s glistening new album ‘Paralytic Stalks’, bringing together the old and the new in a brilliant experiment for the band considered beyond genre classification. Lyricist Kevin Barnes may have invented a new musical genre here, but they’re something like a light-hearted indiepop calypso vibe act. And that still doesn’t do them any justice.

record player that was made in the seventies would be one hell of an experience.

These Melbourne indie-rockers have been making quality music for the last 20 years and ‘Japanese Engines’ is their tenth album. Alongside this release’s partner album ‘German Engines’ (due for release in early 2012), singer Andrew Cox sees ‘Japanese Engines’ as the lighter of the two albums recorded in four days. It’s a solid collection of upbeat, guitardriven pop-rock, but further listening shifts focus to the lyrical humour; they are selfdeprecating and honest, without trying too hard to be funny. First single ‘You’re My Type’ is a ditty about internet dating and looking for love later in life - is a prime example of this; “You hate child stars, all good so far… Apart from several minor things, which I can forgive, you score six out of ten – highest possible score for a human. You’re my type”. Not all songs are so upbeat; more serious themes of heartbreak and damaged relationships occur with ‘Flag Of Convenience’ exploring infidelity, and album opener ‘Don’t Say When’ discussing a break-up.

ALEXANDER CROWDEN

ERROL JM & THE TRADE SECRETS IN THE POCKET, IN THE BAG

With lashings of soft folk rock, indie sound, guitar and crisp vocals, this album is Errol’s third full length album and when three out of the four bands members were expecting children they decided to take the year off, that year being 2011, but through sleep deprivation and watching their children grow up, the band someone wrote songs for their latest album titled In The Pocket, In The Bag. ‘Last Beer Blues’ is light-hearted while ‘The Ins and Outs of Ups and Downs’ is a softer rock track. Blending indie rock passion with Moyle’s clear vocals, ‘Woe is Me, Woe is You’ is heartfelt as Errol Moyle sings “Woe is me, woe is you, there is nothing we can do”. ‘Come and Take Advantage’ is a faster tune that reminds me of the band The Mess Hall. When reviewing an album, I like to listen at least four times to get a feel of the music, style and theme’s portrayed. It took about two to three listens, but as its still in the CD played, that surely is a good sign. LYN GEISEL

Sometimes funny, sometimes heartbreaking, and always enjoyable to listen to, standout tracks here are ‘You’re My Type’, ‘Don’t Say When’ and ‘Lost My Page’. I look forward to hearing more from this band. BESS PATERSON

This new release introduces new elements to their musical pallet. Opening track ‘Gelid Ascent’ is dark and obscure, sieved with heavier sounds compared to the band’s usual tracks. ‘Parlaytic Stalks’ marks another serious turning point for the band’s style since the release of ‘Hissing Fauna, Are You The Destroyer?’. Of Montreal has evolved into something entirely different – obscure, darker, and more truthful.

OF MONTREAL PARALYTIC STALKS

THE BON SCOTTS

CANYONS

WE WILL ALL DIE AT THE HANDS OF CGI

KEEP YOUR DREAMS

The Bonn Scotts’ first album ‘Oddernity’ paved a way and raised a fan base before they disappeared from our shores for a while. Folk rock is key here; if you like Arcade Fire, Flaming Lips or Beirut, this will grab your attention. There’s a myriad of sounds, ukulele, banjo, accordion, guitars and instruments and harmonies blended throughout. ‘Reminder’ starts with banjo and drums, a light lyrical song including brass and the sounds of prisoners chinking around a fire. ‘Here Comes Summer’ is a faster lustier song, “Marriage would be a comfortable way to spend summer with me, here comes summer, my favourite lover”. “Let’s Do What the Catholics Do’ is more of a pub style tune and ‘The Way Home’ is catchy, sprouting the passion in Zimmerman’s vocals and just to keep us on our toes. ‘Polluted Sea’ is like a grand jam session. ‘Kids In Counterfeit’ is delightfully harmonised and reminiscent of a song at the end of a gig when punters have downed brews and a swaggering. Closing track is a softer lullaby called ‘Get Back’ - a cruisy ending to a versatile album. LYN GEISEL

One of the album’s strongest, and most contagious songs is ‘We Will Commit Wolf Murder’; a perfect example of the bands charming and eclectic nature of mixing heartbreaking, and humorous lyrics with up-beat melodies. Barnes’ eccentric lyricism “you’re the only beauty I don’t want to strangle” brings a perplexed smile. ‘Dour Percentage’ is classic of Montreal, bursting with harmonies and that catchy ooh-oohahh-ahh Barnes does so well. After listening to the first couple of tracks you have the feeling of the album being much like its predecessors, with chuckleworthy lyrics and distinctly vaudeville influences but after further listening you will find this whimsical side has faded. ‘Wintered Debts’, ‘Exorcismic Breeding Knife’, and the second half of ‘Authentic Pyrrhic Remission’ are gloomier tracks. Some tunes are largely

Canyons aren’t a dance act, but their experimental boutique electronica certainly lends itself to the dance floor and the Sydney electro duo’s debut album encapsulates the energy of live performances while retaining the precision of a carefully crafted studio recording. Single ‘My Rescue’ is catchy and melodic, and one of the only tracks with a conventional verse-chorus-verse structure. There is an undeniable 80s synth-pop style here, while remaining free from retro atmosphere. Obscure brass samples and syncopated rhythms help create an unusually modern sound. Unfortunately there aren’t too many catchy hooks or real amazing tracks individually. Experimentation can only go so far and there is a point where Canyons could have employed a few more traits from conventional pop music to be more engaging. When Canyons bring their new live sets to the nation, it will interesting to see how they execute their beautiful strangeness. ‘Keep Your Dreams’ is a fairly strange record, with some really out there electronic experimentation, however the sound created, is somewhat original and although the music isn’t exactly made for repeated listening, it is a very cohesive and fairly enjoyable album from an informed perspective.

instrumental, which is unusual looking back at their previous albums ‘Skeletal Lamping’ and ‘False Priest’. Touching on several themes of heartbreak, love, hate, and emotional illness ‘Wintered Debts’ is an orchestral pop epic weaving a tale of headache and heartache. ‘Exorcismic Breeding Knife’ was the only track I had a real issue with, consisting of almost eight minutes of psychedelic noise sounding a little unfinished. Of Montreal have exceeded my expectations once again - this new release is just as bizarre and delightful as their previous works, only this time they have ventured into previously unexplored territory. CHRISTINE AI

DANNY AND THE CHAMPIONS OF THE WORLD

EDDY CURRENT SUPRESSION RING

HEARTS & ARROWS

SO MANY THINGS

Danny George Wilson’s ninth record is almost unbearable. Lyrically, this is cliché city. Opening with people “talking in the street” about “a wanted man”, Danny’s “gonna leave this town tonight” because someone’s a “pawn in a dirty game”. Then “the boys are back looking for a fight”, and Danny needs “shelter from the rain” because he’s “gonna set fire to the city”. And there are 14 tracks of it. This is a middle of the road alt-country Springsteen derivation - like Jon Bon Jovi without sex appeal or John Cougar Mellancamp without the starved optimism. And it keeps going and going. For a man covered in tatts and proudly strapping a valve amplified Strat, Wilson comes across as just a little emasculated. His vocal range is limited and his voice is nasal and small. The five-member backing band is left with little space to play. Wilson put it best when he said “I’m so fucking bored of ‘new folk’, and the trendiness that surrounds it, everyone pretending that it’s 1971 again. Forget 1971,” wait for it... “This is 1976: Just great rock’n’roll.” Pretty sure ‘Born to Run’ was released in 1975... DANIEL TOWNSEND

Eight years, four lads, three studio albums and dozens of singles: Eddy Current are prolific as anything and this chaotic 22-song set by the garage punk rockers features rarities to out-of-print singles. music can bite, scratch, scream and shout its way out of some busted speakers than you’ll be sure that Eddy Current Suppression Ring are making it. The common thread is Brendan Suppression’s vocals, sitting somewhere between Mick Jagger and The Fall’s Mark E. Smith; energetic, obnoxious and punk rock. Three covers include The Pagans’ ‘Boy, Can I Dance Good’, The Chosen Few’s ‘T.A.L.O.I.G.A’ and The Go-Gos’ ‘We Got the Beat’, sounding like The Stooges’ ‘No Fun’ even though they are having – ahem – a very good time. ‘Noise In My Head’ sounds like The Stones and ‘We’ll Be Turned On’ boasts some groovy organ that squeals emphatically. The guys also find the time to put in some political digs at war in ‘Iraq (It’s on the Map)’ and a garage and surffuelled ode to construction workers on ‘Wet Cement’. The quartet’s albums make for a better introduction to the group but there is no denying that this set has a little something for everyone. NATALIE SALVO

JOSH Clements

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

warpmagazine.com.au

Event Guide

Hobart CONT.

Hobart Date

Venue

Acts / Start Time

February Friday

Saturday

Monday 10

Venue

Acts / Start Time

Date

Birdcage Bar

Billy & Randal 8pm

Saturday

Venue

Acts / Start Time

Date

Tolosa Park Glenorchy

Symphony under the Stars 7pm

Friday

Wesley Hall

Be My Florentine 2012 Presents: Love Stinx - The Anti-Valentine’s Ball

Birdcage Bar

Jason Patmore 8pm

Saturday

Brisbane Hotel

Brissie Bingo with Timmy Jack Ray

C Bar

Billy Whitton 2pm

Cargo Pizza Lounge Bar

Rum Jungle followed by Grotesque

Irish Murphy’s

Ian Murtagh, Mickey & Kazu

Republic Bar

Darlington 9pm

The Metz

Sexy Lucy, Malakai, King Brown 4pm

Birdcage Bar

Billy & Randal 8pm

Republic Bar

Mick McHugh 8.30pm

Birdcage Bar

Bowerman & Parker 8pm

Brisbane Hotel

Quiz-A-Saurus (Quiz Night)

Republic Bar

Hoot Owl + Twice Bitten

Simmons Park (Lindisfarne)

The Blue Channel Jazz Ensemble, Billy Whitton and the Swinging Hepcats 6pm

Birdcage Bar

Glen Challice 8pm

Irish Murphy’s

Kenny

Birdcage Bar

Glen Valentine 9pm

Organ Room MONA

Beethoven - Septet in Eb Op20

The Moreland City Soul Revue (vic) + Little Bear + Skunk

Republic Bar

Graham Rix 8.30pm

Birdcage Bar

Glen Valentine 8pm

Brisbane Hotel

Nerd Night//Franks Flicks

Republic Bar

Baker Boys Band 9pm

The Point

Joel Bowerman

Birdcage Bar

Trevor Weaver 8pm

Brisbane Hotel

ALL AGES - Breath of Life Playoff 4:30pm

Brisbane Hotel

18+ - Breath of Life Playoff 8pm

Irish Murphy’s

Mickey & Kazu

Observatory (Lounge Room)

DJ Grotesque

Observatory (Main Room)

DJ Mr B.

Queen’s Head Cafe Bar

Organ Doctors 8.30pm

Republic Bar

Rory Ellis 9pm

Birdcage Bar

Trevor Weaver 8pm

Brisbane Hotel

Radio Silence + The Sketches

Irish Murphy’s

Fritz

Republic Bar

Slyde + Active Delight 9pm Acoustic Sessions - Nick Balcombe - 7pm

Montagu Bay Park (Conora Rd Reserve)

Cake Walking Babies, Fiona Stewart Quartet 6pm

The Waratah Birdcage Bar

Trevor Weaver 9pm

Observatory (Lounge Room)

Millhouse

Brookfield Vineyard

Chris Cruise in the dark 7:30pm

Cargo Pizza Lounge Bar

Rum Jungle followed by Ado and Devo

Irish Murphy’s

Jeremy Matcham, Gav & Lina, Dr Fink

Ivory Bar

MS Fest DJ Comp

Observatory (Lounge Room)

DJ Grotesque

Observatory (Main Room)

Johnny G

Queen’s Head Cafe Bar

Big Swifty 8.30pm

Republic Bar

British India + The New Saxons 10pm

Republic Lounge Bar

DJ Everton 8pm

The Telegraph

Micheal Clennett followed by The Smashers

The Waratah

Josh Pyke + Nick Balcombe 9pm

Alley Cat

Stone Troll, Kreigan Hill & Lizard Johnny

Barrel Room MONA

String Trio - Taneyev & Ryden 11am

Birdcage Bar

Glen Valentine 9pm

Brisbane Hotel

Sunday

Date

Tuesday

Wednesday

Thursday

ALL AGES - Northlane (syd) + Anguish + Save The Clocktower + Ending Atrophy + Depths 3pm 18+ - Alarum + Mephistopheles + Redemption Denied

Friday

Sunday

Monday

Tuesday

Wednesday

Brisbane Hotel (Front Bar)

Late Night Krackieoke w/ MC Sing Song Dong

Brisbane Hotel

Electrypnose (Swz) + Ham + Seane

Observatory (Main Room)

DJ Mr B.

Brookfield Vineyard

Billy Whitton 12pm

Cargo Pizza Lounge Bar

Sticks and Kane followed by Tim Davies Duo

Republic Bar

Joe Pirere & The Blackberries 9pm

C Bar

Jerome Hillier 8pm

Irish Murphy’s

Michael Clennent, Joel Everard, Attari 26100

Birdcage Bar

Where’s Mary 8pm

Cargo Pizza Lounge Bar

DJ Millhouse

Ivory Bar

Frequency Events

Brisbane Hotel

The Comedy Forge (Stand Up Comedy)

Irish Murphy’s

Naked Acoustic, Stickey Sweet

Observatory (Lounge Room)

Millhouse

Grand Poobah

Save Live Australian Music (SLAM) Show

Ivory Bar

Kenny Beeper, Mez and DJ Grotesque

Observatory (Main Room)

Johnny G

Irish Murphy’s

Kriegan Hill

Observatory (Main Room)

DJ Mr B.

Plan B

Republic Bar

Kinki and Mike Beale 9pm

Organ Room MONA

Baroque - Bach, Vivaldi & Handel 11am

Canyons Afterparty with Canyons DJ Set - Free entry

Rosny Barn Jazz Lounge

James Maddock Swing 4 8pm

Queen’s Head Cafe Bar

Ebaneza Good 9.30pm

Queen’s Head Cafe Bar

Rosny Farm

Steve Young Trio, Swingtime 6pm

Republic Bar

British India + The New Saxons 10pm

Republic Bar

Canyons 10pm

The Waratah

Acoustic Sessions - Nick Balcombe - 7pm

Sails

Billy Whitton 6pm

Republic Lounge Bar

DJ Everton 8pm

Wrest Point Show Room

Charmaine Wilson 7.00pm

The Telegraph

Micheal Clennett followed by Dr. Fink

The Telegraph

Micheal Clennett followed by Dr Fink

Bellerive Boardwalk

Birdcage Bar

Jason Patmore 8pm

The Waratah

Clubhouse Comedy 8.45pm

CJF Scholarship Winners with Apple Slice, Skunk with Mia Palencia, Transit 6pm Bowerman & Parker 9pm

Saturday

Thursday

R.P.M. 8.30pm

Friday

Birdcage Bar

Glen Valentine 9pm

Brisbane Hotel

Brand New Second Hand “Sampler”

Brookfield Vineyard

Peter Adler 7:30pm

C Bar

Tony Voglino 8pm

Cargo Pizza Lounge Bar

Johnny G

Grand Poobah

The Dead Leaves and Enola Fall

Irish Murphy’s

Naked Acoustic, Vendetta

Ivory Bar

Millhouse, Mez and Grotesque

Observatory (Main Room)

DJ Mr B.

Plan B

Lightyear

Queen’s Head Cafe Bar

Big Swifty 9.30pm

Republic Bar

Qbert & Reeps One + Doll Fit DJs 10pm

Rosny Barn Jazz Lounge

Ian Pearce Quartet with Anita Van Riet, Monica Trapaga and the Bachelor Pad, Julius Schwing Quartet Album Launch with Elly Hoyt, Acumen vs. Jazz 1pm

Sails

Billy Whitton 6pm

The Telegraph

Micheal Clennett followed by The Smashers

The Waratah

My Girlfriend’s Sister, Red Sugar, Seth Henderson 9pm

Bellerive Boardwalk

Wire Choir, Dixieland Express, King Cake, Dan Barnett Festival Allstars 11am

Birdcage Bar

Jason Patmore 8pm

Brisbane Hotel

Brissie Bingo with Timmy Jack Ray

Brookfield Vineyard

Alan Gogall CD Launch 5pm

C Bar

Manhattan 2pm

Cargo Pizza Lounge Bar

Joel Everhard followed by DJ Grotesque

Irish Murphy’s

Ian Murtagh, Mickey & Kazu

Republic Bar

Wahbash Ave 9pm

Rosny Barn Jazz Lounge

Ian Pearce Quartet with Christine Lincoln 3pm

The Metz

Sexy Lucy, Malakai, King Brown 4pm

Birdcage Bar

Billy & Randal 8pm

Republic Bar

Quiz Night 8.15pm

Birdcage Bar

Bowerman & Parker 8pm

Brisbane Hotel

ALL AGES - Kerser (nsw) + Aimz + Mic Dons

Brisbane Hotel

The Lazys (nsw) + The Roobs + Driftwood

Brisbane Hotel

18+ - Mess O Reds + Naked + Treehouse

C Bar

Micheal Clennett 8pm

Brookfield Vineyard

Acoustic Night 7pm

Brisbane Hotel

Nerd Night (New monthly event for gamers alike)

Cargo Pizza Lounge Bar

Tim Davies followed by Ado and Devo

Brookfield Vineyard

Anne Vriend 8pm

Grand Poobah

A French Butler Called Smith

Republic Bar

Peter Hicks and the Blue Licks 9pm

Birdcage Bar

Glen Challice 8pm

Behind Closed Doors

Brisbane Hotel

MEN (Le Tigre) + KIR

Observatory (Lounge Room)

DJ Grotesque

Irish Murphy’s

Mickey & Kazu

Observatory (Main Room)

Johnny G

Observatory (Lounge Room)

Grotesque

Queen’s Head Cafe Bar

Barry Pilkington 8.30pm

Observatory (Main Room)

DJ Mr B.

Republic Bar

Kerser - The Nebulizer Tour + Mic Dons 10pm

Queen’s Head Cafe Bar

Billy Whitton & The Hepcats 8.30pm

DJ Everton 8pm

Republic Bar

Trumps 9pm

Luke Plumb 5pm

C Bar

Pete Thomas 2pm

Cargo Pizza Lounge Bar

DJ Johnny G

Cargo Pizza Lounge Bar

Tim Davies followed by DJ Grotesque

Grand Poobah

Phat Meegz, Bring Sophy to Me & Pearly Whites

Irish Murphy’s

Ian Murtagh, Micheal Clennent

Irish Murphy’s

Brett Collidge, Mashups

Irish Murphy’s

Michael Clennent, Joel Everard, Dr Fink

Observatory (Lounge Room)

Millhouse

Ivory Bar

Malakai, Mez and Grotesque

Ivory Bar

Observatory (Main Room)

DJ Mr B.

Observatory (Main Room)

DJ Mr B.

Organ Room MONA

Jazz - A Tribute to ‘The Modern Jazz Quartet” 6pm

Queen’s Head Cafe Bar

Midnight Revival 9.30pm

Airwolf (Melbourne) + Sex Lucy, Malakai, King Brown 4pm

Rosny College Stage Band, Modern Operative, Hot Club Romanesca, MIQ 4pm

Bowerman & Parker 9pm

Brookfield Vineyard

The Metz

Tuesday

Micheal Clennett followed by Big Swifty

Bellerive Boardwalk

Birdcage Bar

Brissie Bingo with Timmy Jack Ray

Peter Kalla (USA) 9pm

The Telegraph

My Girlfriends Sister

Brisbane Hotel (Front Bar)

Republic Bar

Monday

Monica Trapaga and the Bachelor Pad, The Benjafield Allstars, Acumen vs Jazz 6pm

Alley Cat

Scott Kelly (Neurosis) + John Baizely (Baroness) + Oceans

James Maddock

Acts / Start Time

Rosny Barn Jazz Lounge

Birdcage Bar

Brisbane Hotel

Pier One

Sunday

Venue

Republic Bar

The Fauves “Japanes Engines” Album Launch + The Ray Guns 10pm

Sails

Billy Whitton 6pm

The Telegraph

Ado and Devo followed by Dr Fink

Republic - UPSTAIRS

Lounge Bar

Friday Nights From 8pm

Republic Lounge Bar

Wednesday

Resident DJ EVERTON (UK)

spinning the best of Reggae, Ska, Calypso, Latin, Afrobeats, Funk, Soul, R&B and Hip Hop. 299 Elizabeth Street North Hobart 03 62346954 www.republicbar.com

Event Guide

NORTHWEST Date

CITY

Launceston

Venue

Date

Acts / Start Time

Friday

Saturday

Devonport

Molly Malones

Proud Phoney 8.30pm

Thursday

Tonic Bar

Comedy Festival

Devonport

Tapas Lounge Bar

Chris Meek 8pm

Friday

Bolters Bar

Brett Boxhall 7pm

Tonic Bar

Andy & the Woodman, Ian Holman 7pm

Devonport

Tapas Lounge Bar

Electric Spaghetti 9.30pm

Devonport

The Central

The Pure Blondes 9pm

Saturday

Tonic Bar

Two Strung, Ian Holman 7pm

Mackey’s Royal Hotel

Two Piece 9pm

Friday

Bolters Bar

Geale Brothers 7pm

Molly Malones

Kool Daddy 9.30pm

The Northern Club

DJ Dexter

Tonic Bar

Nic & Carmel, Jake Latiner 7pm

Hotel New York

Josh Pyke

Tonic Bar

Kram, Jake Latiner 7pm

Latrobe Devonport

Sunday

Devonport

Tapas Lounge Bar

The Unit 9.30pm

Ulverstone

The Arms

Rock Pigs 8pm

Devonport

Tapas Lounge Bar

Live Music 6pm

Devonport

The Alex

Sandstone Relics 8pm

Monday

Kennedia at Swansea

Trigon Ensemble 11am

Friday

Bolters Bar

Chris Lynch 7pm

Tonic Bar

Julz & Lee, Ian Holman 7pm

The Northern Club

Canyons (DJ Set)

Tonic Bar

Andy & the Woodman, Ian Holman 7pm

Wednesday

Devonport

Tapas Lounge Bar

Open Mic 7pm

Thursday

Devonport

Molly Malones

Unbalance 8.30pm

Devonport

Tapas Lounge Bar

Live Music 8pm

Friday

Saturday

Sunday

Thursday Friday

16 17

Saturday

Sunday

Thursday

Devonport

Tapas Lounge Bar

Guv’Nor 9.30pm

Devonport

The Central

The Durkas 9pm

Mackey’s Royal Hotel

The Pure Blondes 9pm

Devonport

Molly Malones

Two Piece 9pm

Devonport

Tapas Lounge Bar

Rock Pigs 9.30pm

Ulverstone

The Arms

Guv More 8pm

Latrobe

Spreyton Devonport

Tapas Lounge Bar

Neil Gibson 6pm

The Alex

The Pure Blondes 8pm

Devonport

Molly Malones

Jerome Hillier 8.30pm

Devonport

Tapas Lounge Bar

Live Music

Devonport

Tapas Lounge Bar

Threeza Crowd 9.30pm

Devonport

The Central

The Sandstone Relics 9pm

Mackey’s Royal Hotel

Kram 9pm

Devonport

Molly Malones

The Pure Blondes 9pm

Latrobe Devonport

Tapas Lounge Bar

Electric Spaghetti 9.30pm

Ulverstone

The Arms

Jesse & Jase 8pm

Devonport

Tapas Lounge Bar

Jessi Outram 6pm

Devonport

The Alex

Jesse & Jase 8pm

Devonport

Molly Malones

Darren Lloyd 8:30pm

Devonport

Tapas Lounge Bar

Live Music 8pm

Ulverstone

The Arms

Brett Boxhall 8pm

Tapas Lounge Bar

Three Piece 9.30pm

Mackey’s Royal Hotel

Unbalance 9pm

Devonport

Molly Malones

Wolfe Brothers 9pm

Devonport

Tapas Lounge Bar

Knicki & Mike Beale 9.30pm

Ulverstone

The Arms

Electric Spaghetti 8pm

Devonport

Tapas Lounge Bar

Phil Edgeley (NSW) 6pm

Devonport

The Alex

Two Piece 8pm

Devonport

Saturday

Latrobe

Saturday

Tuesday

Country Club Show Room

Charmaine Wilson 7.00pm

Friday

Bolters Bar

Jerome Hillier 7pm

Tonic Bar

Two Strung, Damian Maloney 7pm

City Park

Symphony under the Stars 7pm

Tonic Bar

Nic & Carmel, Damian Maloney 7pm

Saturday

Hans Vonk Music House Trigon Ensemble 2pm

Devonport

Friday

Sunday

Acts / Start Time

February

Thursday

Venue

Hermitude Tour

WITH SPECIAL GUESTS

201 2

Saturday 17th March

Republic Bar

Tickets on sale now from hermitude.oztix.com.au / Oztix outlets / 1300 762 545 Moshtix outlets, moshtix.com.au or 1300 438 849; Ruffcut Records and the Venue

HyperParadise out now Digital / CD / 2LP on Elefant Traks / Inertia. Feat Speak of the Devil — j Award Best Video / Triple J #44 Hottest 100 www.elefanttraks.com /

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ELEFANT TRAKS & NEW WORLD ARTISTS present

plus

SPECIAL GUESTS

Tuesday 24 April (Anzac Day Eve)

A Thousand Lives Tour 2012

BRISBANE HOTEL Future Shade out now on Elefant Traks / Inertia iTunes Best Australian Hiphop Album 2011

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Help someone find a way back from depression and anxiety. ■

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TICKETS ON SALE NOW theherd.oztix.com.au and OZTIX 1300 762 545 and The Venue and Ruﬀ Cut Records (Elizabeth St)

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