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Brendan Gallagher Friday January 24
Van She Tech Friday January 31
Freq Nasty Sunday February 2
Unknown Mortal Orchestra Wednesday February 5
January Jed Appleton and Friends Friday 3rd House Guests From Hell + The Racoon Saturday 4th Soul Sunday Session 2pm Sunday 5th Peter Hicks & The Blues Licks 9pm Sunday 5th Joe Pirere Monday 6th Baker Boys Band Tuesday 7th Dave Wilson Band Wednesday 8th Bob Malone (USA) $10pre/$15door Thursday 9th Mrs Cash $10 Friday 10th Sugartrain Saturday 11th Wahbash Avenue Sunday 12th G.B. Balding (Finger Pickin Blues) Monday 13th Richard Perso Tuesday 14th Charlie Brown Band + Michael Priest Wednesday 15th Calypso Thursday 16th Boil Up $5 Friday 17th Typhoon Haiyan Benefit $10 Saturday 18th Soul Sunday Session 2pm Sunday 19th
Jaja 8:30pm Sunday 19th Billy Longo Monday 20th Billy Whitton Tuesday 21st Laurence & Clare Wednesday 22nd The Elliots Thursday 23rd Brendan Gallagher (Karma County) $10 Friday 24th The Beatiful Chains + Leo Creighton + Ali Probin Saturday 25th Joe Pirere & The Blackberries Sunday 26th *Closed* Monday 27th Dave Johnson & Simon Marks Tuesday 28th Edge Radio Social Night Wednesday 29th Hobart Reggae Inc Thursday 30th Van She Tech $10pre/$15door Friday 31st February Corona Summer Party with Freq Nasty + Guests (Free) Sun 2nd Unknown Mortal Orchestra $30pre/$35door Wednesday 5th Kim Churchill Saturday 8th
3 BRISBANE STREET HOBART 6234 4920
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January 11th ival Trading Places Fest CT)
10th y r a u n a J cords e R c i t n Rawthe Presents j Rellik
Best Friends (A Clowns(VIC) + Super berah + Captive + Wolfpack (VIC) + Ta (SA) + Inedia (VIC) + Sincerely, Grizzly + Drifter (VIC) + Speech Patterns cle Geezer + Verticoli + Skun Knees + Un rs Epiphany + Adventure + Rhino + Drayfus'
D J-Mac & + t a p n Dow lekt P-Link + h + Ref t u o S 2 + 4 + Dunn D + Statik + Stray
15th January golia) n o M ( d o Wo on Horse & on Robs w/ Dev
January 17th Flyying Colours January 18th Muscle Car (Vic)
January 16th Wehrmacht (USA) + Grave (Swe)+ Primate (USA)
Feat Bill Kelliher Of Mastodon and Kevin Sharp of Brutal Truth + Eternal Rest (Qld) + Mephistopheles
ic) ic) + Riff Fist (V w/ Dead River (V Phosphenes + Roadkill + The
January 25th Tumbleweed
w/ Sun God Replic a (Vic) + Captives
January 31st Be'Lakor (Vic)
a Vetosus + Gape w/ Claim The Throne (WA) + Atr
1st February lators (Vic) Calcu R) e iv it im r A P (BACK B
tive Cats ach w/ The Na Heart Be + s t n a f The In BAR) (FRONT
January 24th Confusing Anal Me ss (Vic) w/ Intense Hammerage + Gape
January 26th Oz Day Extravaganza
Band (Vic) The Bennies (Vic) + The Smith St asi + Apart From This (Vic) + Luca Br + Phat Meegz (BAND ROOM) Vinyl The Lawless Quartet & Friends + DJ ) Ritchie & Friends (FRONT BAR Dameza (then) Blunt Instrument (Qld) + Dj ty Boomsticks + Dagwood + Secret Powers + Fat
Pub Meals
Lunch - Tues till Fri 12:30 till 2:30 Dinner - Tues till Sun - 5:30 till 8:30 *** New Mexican Night!!! Mexi-Cantina Wednesday's with Sir Mex-a-Lot*** Tuesday, Thursday, Friday, Saturday and Sunday are counter meals as usual. Awesome and cheap
News
News in Brief SILENCE IS GOLDEN The Sounds of Silent is a five-piece ensemble featuring some of Melbourne’s most versatile and accomplished musicians. Members of the nostalgic quartet have played with the likes of Harry Belafonte, The Temptations, The Four Tops, The Drifters and heaps more. They recreate the silent movie experience from the ‘20s & ‘30s with improvised performances featuring fun, familiar and popular music in the style of the period. The result is a vibrant and entertaining musical and movie event for the whole family. For fans of the wacky and charming hijinks of Buster Keaton, Charlie Chaplin and Laurel & Hardy. They’ll hit the Waratah Hotel on Saturday January 4 and Sunday January 5.
playing a Jazz @ MONA concert on Friday January 10 (at MONA, obviously), and later that evening he’ll be appearing at the Homestead Tavern. It’s always a great gig, definitely worth checking out!
THE BOYS ARE BACK IN TAS
A LITTLE TONGUE
SUMMER LOVIN’
A TWIST OF LIME AND STEEL
Direct from the Blue Mountains in NSW, packing a driving banjo, doghouse bass, a tasty fiddle and an old snare drum, Lime and Steel’s sweet harmonies twang through bogan bluegrass lovesongs and convict murder ballads for a unique show: Like a tent boxing call-up on the culture wars crossed with a fast-pickin’ wine-soaked family singalong. Before they head to the Cygnet Folk Festival, you can catch them at the Grand Poobah on Thursday January 9 with local potato-punks Craicpot, and a stripped-back acoustic version of the Dead Maggies. SWOOPING BUZZARD I was going to start this news article with “Guess who’s coming back to Hobart? That’s right! Pugsley Buzzard is returning…”, but I’m not entirely sure he ever left after his last “visit“. In fact he could live here for all we know. Just sleeping under a piano somewhere like a bridge troll. You better practice your piano scales, kids, or the Pugsley Buzzard gon’ getcha! Anyway, Pugsley Buzzard is
Warp Tasmania january 2014
Quirky Sydney rap-dude, The Tongue, will be returning to Hobart for the first time in a while, playing at The Homestead on Saturday January 11. A veteran of the battle scene that then went on to become a successful song-writer and performer, The Tongue’s recent Surrender to Victory album featured the likes of Suffa (Hilltop Hoods), Ngaiire, Illy and Thundamentals. For information on supports and tickets and all the whatnots, get in touch with the good folk at the Homestead on (03) 6234 4589.
Editor Nic Orme nic@warpmagazine.com.au
DESIGN Miu Heath catspop@gmail.com
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A TRIP TO WINE ISLAND
Tattersall Hotel: Beer and Food Hall have been quietly going about their business, putting on some of the coolest events around town. This new thingie is guaranteed to be an addition to their list of awesome. ENDLESS SUMMER Rooftop Cinema Series is essentially a choose-your-own-adventure dealy where you jump on the Tattersalls Facebook page and vote for which movie you want to watch on a lazy summer evening in a rooftop beer garden. It’s craft beer and popcorn and mates and beanbags and classic movies. Summer just doesn’t get much better than that. Every Sunday afternoon during January and February. Jump on the Tattersalls Hotel: Beer and Food Hall Facebook page for details. GYPSY SWING
Bob Malone will be doing four gigs in four days in four spots around one state (Tasmania, of course). The Los Angelesbased Malone plays keys with rock legend John Fogerty, and continues a long-running solo career. His one-of-a-kind hybrid of blues, rock, and New Orleans R&B, delivered with high-energy piano virtuosity and soulful vocals will be on stage, in front of your face, at The Republic Bar & Café on Thursday January 9. It will also be at The Royal Oak in Launceston on Friday January 10, MONA on Saturday January 11, and the Longley International Hotel on Sunday January 12.
andrew@warpmagazine.com.au
www.warpmagazine.com.au www.facebook.com/warp.mag
Gordie MacKeeman and his Rhythm Boys are touring Australia, bringing their traditionally inspired, down-east music from Prince Edward Island, Canada. The award-winning lads serve up oldtime roots music at high energy. Touring their 2013 release Pickin’ N Clickin’ down under, Tasmanians will get two opportunities to catch them. On January 11 and 12, you’ll be able to see them at the Cygnet Folk Festival, and on Tuesday January 14, they’ll be out at MONA, taking part in the Jazz @ MONA events.
GIMME A CALL ON THE BOB MALONE
ART Andrew Harper
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The ever versatile Brendan Gallagher has pretty much done it all. He’s scored films, documentary and TV shows. He’s produced ARIA award-winning albums. He’s played guitar on albums for artists like David Bowie, Jimmy Little, and Kylie Minogue. He even wrote The Open Tuning Chord Book for Guitar which was favoured by artists such as Peter Buck (REM) and Arlo Guthrie. For over 30 years, Brendan has maintained a busy and productive career in the music industry, possibly most famously, as singer/songwriter for Karma County. Now in 2013, Brendan has just released his third solo album, Wine Island, and he’s visiting Tasmania to show it to you in person. Friday January 24, he’ll be appearing at the Republic Bar & Café in Hobart.
GIG GUIDE Submit your events to
gigs@warpmagazine.com.au
See Lolo Lovina’s Serbian Gypsy Quartet touted as Australia’s premier gypsy band. With Members from the Ukrain, Hungary,
Writers MARK ACHESON, SHANE CRIXUS, LISA DIB, STEPHANIE ESLAKE, HANNAH GREY, ANDREW HARPER, BRIDGET HICKEY, BRIONY KIDD, ERIN LAWLER, CALUM MAX POWER, LUCINDA SHANNON, PIP STAFFORD NEWS Submit your press releases plus publicity images through to the appropriate editor for consideration.
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.
Serbian, Macedonia and Australia, virtuosic Gypsy world fusion band Lolo Lovina draw influences from the Balkan Gypsies, musette, Gypsy swing jazz and tango. They are considered, musically and culturally, to be at the forefront of contemporary world music coming out of Australia. Their performance skills are highly energised with an air of hair raising excitement and professionalism. Their music is authentic to its Ukranium/Romanian, Hungarian and Brazilian roots and is played with vigour and precision. With an already impressive performance history including Guca Trumpet Festival in Serbia, Brian Eno’s Luminous Festival at the Opera House in 2009, the Spiegeltent at Brisbane Festival, Karavan Festival, Bellingen Global Carnival, ABC Limelight Award Nomination and much more. These guys are set to jig n jive our little Island in Hobart at The Homestead on Friday February 7. MECHANICS OF ZEN ZEN MECHANICS is the Psychedelic Trance project of Wouter Thomassen, label owner of Sourcecode Transmissions, born and raised in Holland, but currently dividing residency between Byron Bay Australia and his homeland. Drawing from his 12 year experience as a DJ he formed Zen Mechanics around 2003 and started working on a powerful sound brimming with vibe and atmosphere, tailor made for the big open air dancefloors. For years now he's been traveling the global Psychedelic Trance circuit nonstop, rocking dancefloors far and wide. From underground bush doofs to virtually every major festival on the planet. Supported by interstate legend Interpulse and Local hero’s Psywise & Justintime. Catch this premier trance artist LIVE at The Homestead on February 8. Super entry price of only $10.
This one is gonna be insanely badass. DJ Shadow. In the Void. At MONA. If those things aren’t gonna a match made in heaven, I dunno what the hell is. Wednesday February 12 will see A SHADOW OVER MONA (yes, that IS crazy corny, I know, but I didn’t come up with it). For those of you that haven’t been to a DJ Shadow live gig, it’s definitely an awesome experience, and the oddball surrounds of the Void will only amplify the awesomeness. Supports are an AV set from Dameza, and Kid Paul. Tickets available from mona.net. au. This one will sell out super-quick, so get in super-early. Super!
The world famous Spiegeltent is coming to Hobart, and it’s about freakin’ time, too! Unveiling the next step in what promises to be an exciting new direction, Ten Days on the Island has revealed the first event in a new year-round program. Executive Director and Producer, Marcus Barker promises Tasmanian audiences will be treated to breathtaking acrobatics, intimate encounters, and dance and cabaret including headline world-class performances from La Soriee and Cantina. The Spiegeltent will be erected on the forecourt of PW1 from March 6-March 23 2014.
SAVE IT FOR A GRANEY DAY
IF IT’S NOT BAROQUE, DON’T FIX IT
Dave Graney has been around forever. Almost literally. Forever. The dude is like Wolverine. He doesn’t seem to get any older, but we all know he must be at least a couple hundred years old by now. How else would you be able to put out 25 albums and maintain the touring schedule that he has? There’s definitely something dodgy going on there. You should probably investigate this bizarre mystery of time and music and style by seeing it for yourself, and the Republic Bar and Café on Saturday February 15. Just don’t let him suck your blood or eat your brains or whatever, or you might end up an immortal rock legend too.
Hobart Baroque is a brand-spanking new development in the festival world. It promises to be nine days of high-brow arty classical baroque music and events based in Hobart. Events include Handel’s Orlando at the Theatre Royal, Julia Lezehneva at Federation Hall, Xavier Sabata, Duelling Harpsichords, Latitude 37 at Hobart Town Hall, Timo-Veikko Valve, Ensemble HB, Smaro Gregoriadou, and 5x5x5@5. For more information on these events and more, head over to hobartbaroque.com.au. You can learn about the artists and events, buy tickets, sign up to the newsletter, and learn more about the festival. It’ll run from March 28 to April 5.
BOLD AND BRASI
Popular local punk rock quartet Luca Brasi are set to unleash their second album By A Thread via Poison City Records this March. Though they’ve only been around for a few years, they’ve already released a successful debut album in 2011’s Extended Family, and toured all around the country. Now in 2014, they’ll be doing it all again, kicking off the national ‘By a Thread Tour’ at the Breath of Life festival on Saturday March 8, before doing a lap of the country and returning to Tasmania to play the Brisbane Hotel in Hobart on Friday April 11, a very hush-hush all-ages gig at a secret-squirrel location in Hobart on Saturday April 12, and the Royal Oak in Launceston later the same day.
THE SULTAN OF SKIN
SET FIRE, TO THE BAY Bay of Fires could be one of the mostest coolestest named places in the world. Imagine it, a big bay with burning water. It’s like a scene from ancient Greek literature, or modern Hollywood bollocks. Anyway, Bay of Fires Winery is having a couple of nifty events over Summer! Wine, sun, music, win. On Sunday January 5, from 10am to 5pm, you’ll be able to see Sara Jane (reggae/blues/pop-folk), and DJ Grinning Cat. On Sunday February 2, you’ll be able to see Paper Souls (folk n roll), and DJ Grinning Cat. Entry is free for both events, bring a picnic rug and a hat! CAST A SHADOW
After four years, Dan Sultan and his band unleashed single ‘Under Your Skin’ upon both waiting fans and eager radio. ‘Under Your Skin’ is a peek of what it to come; sultry and blasting, Sultan’s LP will drop early April. Recorded in Nashville’s legendary Blackbird Studio, Sultan is continuing along a promising and accoladespeckled path, including the 2007 Deadly Award for Single Release of the Year, 2010 AIR Award for Best Independent Artist, and 2010 ARIA for Best Male Artist. Cairns band The Medics’ will join Sultan and band for the tour, hitting up capital cities with a thump and a roar. Check it all out on Friday February 28 at the Waratah Hotel. Head to oztix.com.au for info and tickets. . GET SPIELGESLSPENT!
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Music
IT’S TRUE BLUE, MATE CLIENT LIAISON KNOW WHAT IT MEANS TO BE TRUE BLUE. HARVEY MILLER’S KEYS AND MONTE MORGAN’S (OFTEN FALSETTO) VOCALS ARE MORE AUSSIE THAN YOU CAN POKE A STICK AT, AND THEY PLAN TO CRANK THEIR DATED ‘80S SYNTHS AT MOFO ON SUNDAY JANUARY 19. If you’ve ever watched the music video to their song End of the Earth, you’ll understand exactly what Client Liaison are all about. It’s got Ansett, it’s got Shane Warne, it’s got Bob Hawke slamming a beer and even features John Howard walking. It may actually be impossible to provide a closer representation of ‘80s Australia. Monte looks to this golden era of Australian culture with respect and pride, recognising the ‘80s as a “high point for morale.” “In the arts, we had massive success, and we were also celebrating Australian culture like Mad Max, Man From Snowy River, Crocodile Dundee. We were quite proud of our country, but we were also doing great things in the arts as well, so we align ourselves with that celebration of Australia. We seem to be in sync with ourselves, and not self-doubting, not ashamed of our history.” Monte and Harvey are born and bred Aussie, and through their music they comically share their admiration for our big island. But while they understand the
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importance of acknowledging their national identity, they also contemplate what it really means to fly our country’s flag today and the unfortunate connotations that have become linked with Aussie nationalism. “We are a lucky country and I think that we should celebrate that, and in doing so it’s important to make a distinction between nationalism and patriotism. I think nationalism is doing something like the Cronulla Riots which is quite shameful, and unfortunately we lost the Australian flag to the Cronulla Riots. If you fly the Australian flag, you’re a total bogan.” “Compare that to America – all the big, popular artists perform in front of the American flag and it’s kind of accepted and there’s no cringe in it. In Australia, if we perform in front of our national flag, it’s unfortunately linked to nationalism.” To show their love of Australia without sending the wrong message, Client Liaison creatively make use of Australia’s Bicentennial flag – and with its golden,
diagonally striped impression of our island printed over a solid green backdrop, the design couldn’t possibly look more ‘80s. “We grew up in Australia, so it ties into our self-awareness, self-identity, and national identity.” Although the pair admit they were still “in the womb” in the ‘80s, they still shared an intimate connection with the era that so deeply inspires them. “Growing up, we wore clothes from the ‘80s because they were hand me downs from our siblings, and the architecture of the houses we grew up with were all left over from the ‘80s, so we still feel an actual connection with the late ‘80s and early ‘90s.” The boys’ passion for incredibly dated synths and electronic instruments takes us back to that time and place whether we lived through it or not.
Client Liaison are setting their newest release for January, and it’ll feature two new tracks with a house vibe. Yes, you will get a taste of it at MONA FOMA. Both Baby Boomers and Gen Y accepted – as long as you bring the moves. “Our live audiences are pretty young – we’re actually quite dancey when we’re live, we get the party going. But studio-wise, I think it’s fairly open. You get a lot of people going, ‘yeah, this is how I remember music, how it was back in the day’. I’ve noticed some older people and I think they like the conceptual exploration beyond the music.” Just make sure you get down like Prince – and not John Farnham. “John Farnham was one of our biggest influences, but he could not dance to save himself.” STEPHANIE ESLAKE
“There’s something in the sound which correlates with that culture. We kind of like that radiating sound – instead of the early, rough mechanical synths, we like the digital sampling synths that are like crystal bells and strings.” “Really, we’re quite late 80s, and with our next release we’re going to be popping our head into the early 90s.”
If you missed the ‘80s or want to relive them, head to MAC2 on January 19 at 10pm. Tickets available from www.mofo.net.au.
Music
Music
BACK FROM THE OTHER SIDE A LOT OF ‘90S BANDS WE KNEW AND LOVED GOT LOST IN THE PASSING OF TIME. IT’S RARE TO HEAR OF OUR OLD FAVOURITE GROUPS REJOINING TO RELEASE NEW MATERIAL – BUT THAT’S JUST WHAT AUSSIE BAND TUMBLEWEED HAVE DONE AFTER 15 YEARS. IF YOU’VE WONDERED WHERE THEY’VE BEEN, THEY’LL SHARE THEIR SOUNDS FROM THE OTHER SIDE WITH TASMANIA AT THE BRISBANE HOTEL THIS JANUARY. TUMBLEWEED SINGER RICHIE LEWIS FILLS US IN ON WHAT WE’VE MISSED. The Tumbleweeds are classic Aussie stoner-rock. The boys got together in 1990 in Tarrawanna and made fame with their post-psychedelic grunge that landed them on the same stages as Nirvana, Mudhoney and The Lemonheads. After years apart, they have just released sixth studio album Sounds From The Other Side. Richie says the decision to release new material was made in a moment of clarity, after realizing the band had been performing the same music for far too long. “We thought, ‘what are we doing? Are we going to continue doing the same old set that’s nearly 20 years old for the rest of our lives?’. Bands, by their nature, create. So we sort of had to decide whether we were an act or a band.” More than a decade has passed since the band turned out new music, but it hasn’t stopped the boys from doing what they do best. “We tried to backtrack to when we were last together and pick up the pieces from that point. A lot of it happens naturally – we worked together as a collective unit and sort of feed off each other’s ideas.”
Richie reckons these ideas are even better than before, as each band member has brought back new influences and experiences gained from working with other musicians in different genres. “In 15 years, you do learn a little more about what you do and the craft of your instrument and songwriting, and you’re influenced by a lot of different views. But it’s happened subconsciously. It’s natural growth as writers and musicians.” “A lot of the differences we used to think were uncool and divisive in the band actually create the flavour and the energy. Those differences are what makes the individuals the individuals.” Tumbleweed came up with 19 demo songs over two years for Sounds From The Other Side. Although the 13 that made the final cut are a mixture of older, unreleased songs and newly written ones, the consistency of sound came “effortlessly” to the boys and goes to show that some instincts can’t be swayed. What has changed, Richie says, is his confidence in himself both as a musician and a man.
“I have a lot clearer idea about who I am and I think everybody else in the band has improved with playing. I think we’ve just improved as human beings – we’ve learned how to tolerate things. We’ve learned acceptance and how to exist in a good way, and also be able to enjoy music.” Despite still making that good old Tumbleweed sound, the improvements that have stemmed from the years apart are audible in the new release. Through direct and honest lyrics, Richie sings with less restraint and is able to truly let go through his vocals. This is also due to the band’s matured outlook and absence of the “youthful illusions of grandiose.” “Now, when there’s less pressure to actually make a living or a career, we can get together and enjoy the process of creating and the process of playing together.” “This time, everything was in our court. We could sort of do whatever we want. There was no expectation for us to put out anything, so there was no pressure and I think it allowed for a little bit more freedom, a little less stress and a little bit more purity in the creative process.” While the band weren’t too sure what to expect from their fans after so many years have gone by, Richie has found that staying true to himself as a musician has secured his listeners – and even inspired them.
they’ve really sort of taken it on as another Tumbleweed record.” “There’s a lot of people now that listen to Tumbleweed stuff that weren’t even born or were just getting born when our first stuff was coming out. They’re discovering the older stuff after they’re discovering this new stuff, which is really interesting.” The joy his listeners get out of Tumbleweed’s new release is matched by the band’s positive experience making it, and the album was a way for Richie and the boys to get back to unfinished business. “It was really a vehicle for ourselves. It was something to tie up a lot of loose ends. We really wanted to do something that was creatively satisfying for ourselves and make a record that we’re really happy with.” Although a lot has changed since they last hit the scene, Richie says the band has no interest in keeping up with changes in the music industry. “We were always rooted firmly in the past when it came to our influences. We’ve always lived on the periphery of the music industry and that’s something we’re comfortable with.” “We don’t want to compete. What Tumbleweed is what Tumbleweed is.” STEPHANIE ESLAKE
“We’ve been really lucky to have some really loyal fans for a long time. I was really conscious of making something that wasn’t going to be too far removed from what we’ve done in the past and something that they’d be happy with.” “They’ve embraced it as a part of our music just like the old stuff they fell in love with when they were teenagers or early 20s, so
Catch Tumbleweed in Hobart at The Brisbane Hotel on Saturday January 25. Doors open 8pm and tickets are available from www.oztix.com.au.
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Music
KING OF THE CASTLE CLAIM THE THRONE HAVE RETURNED WITH THEIR THIRD FULL LENGTH ALBUM FORGED IN FLAMES, AND IT HAS MADE AUSTRALIAN MUSIC REVIEWERS GIDDY. LOUD ONLINE SAID “SUGGESTING THAT IT WOULD BE ONE OF THE MOST EPIC METAL RECORDINGS EVER PRODUCED IN AUSTRALIA WOULD NOT BE FAR FROM ACCURATE.
The Melodic Death / Folk Metal band will tour with Melbourne’s BE’LAKOR for their Forging an Empire Australian Tour, placing Hobart’s Brisbane Hotel on the map. Band member Dysie talks of the exciting times ahead for the five piece outfit. To me ‘folk metal’ seems like a pretty niche genre. Does this differentiate the band in the metal industry, making you guys more of a draw card, or is it a tough gig regardless? It’s definitely a niche genre in Australia, especially when we started 8-9 years ago! It’s been great for us really, because it has meant less competition and differentiated us from a pile of other bands that are in danger of all sounding alike. On the other hand, it’s a genre that arguably doesn’t suit the Aussie scene and often crowds can be super confused as to what they’re hearing! So has its pros and cons.. I like to think we blend the folk influences pretty well with heavy tunes and an Aussie attitude. When I hear your music (and see your name) the popular tv series ‘Game of Thrones’ instantly pops into my head. Is that a fair assumption? Do you guys rate the show? Haha yeah fair call! I rate it, can’t fault a show about battles, beer and midget orgies. Hard to go passed Tyrion as a fav, little legs and big member.. The mother of dragons is a bit of a hottie too. You claim to have outrageous live performances. Well tell us then, what’s been your favourite/ most rowdy show so far? We used to go all out on the theatrical side of things, so we had shows all dressed in medieval-wear, weapons, haystacks,
onstage roasts for crowd members, sculling contests etc.. The most rowdy? Perhaps a CD Launch in Perth where after blowing candles on the CTT cake the stage was invaded for drinking and singalongs before the cake and turkey legs were embedded into the stage carpet & the crowd stole our axes and smashed up the venues toilets… These days we’ve tamed back the theatrics and focused on the riffs and windmilling, so the “outrageousness” comes from the shit talking, beer funnels, crowd interaction and general intensity. Your new album Forged In Flame has been nominated in the 2013 Kill Your Stereo Album of the Year Award. Does this reflect just how much work you put into it? It took you guys a few months to record it. Would suggest to every band to take as much time out as possible? It’s our fourth album and by far our best, finally coming out with a product we are extremely stoked with. We did spend a good few months recording it, but that was because we set up a home studio and did it all ourselves which gave us heaps of flexibility in terms of taking that bit of extra time to get it right. Recording can be expensive, so instead of taking extra time in the studio, bands should focus a huge amount of effort to ‘prepare’ for recording, so when they get ‘on the clock’ they’ll be on the ball and it’ll sound tip top. Don’t rush a recording just to get a release out there quickly, take your time writing awesome songs and nailing your musicianship and it will pay off! You guys played alongside Cradle of Filth in May this year. How was that support hooked up and what was it like playing alongside such a huge international metal band?
We played as a support at their Perth leg of their tour, was killer! Great fun getting onto a big stage sharing with a massive band like that! Also awesome to get in front of a huge new audience and getting a bunch of new fans out of it. It was hooked up by putting our name forward and being lucky enough to be given a chance by the promoter. We actually wrote an article on how to tee up support slots on our blog at claimthethrone.net if young bands need some food for thought. Thanks for putting Tassie on the map for your national with BE’LAKOR. Have you ever been down here and what can Hobart patrons expect to see/hear from your performance? Our pleasure, thanks in advance for letting us come! We’ve never been to Tassie before so mega pumped to get over there. Patrons can expect to see a bunch of Perth bogans having a ball, playing heavy but catchy tunes, windmilling, and most of all getting drunk with you all before, during and after our set. Catch you guys soon. MARK ACHESON
Claim The Throne and BE’LAKOR will perform at Hobart’s Brisbane Hotel on the 31st of January. For more information visit: www.claimthethrone. com
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Music
LOW FREQUENCY ORIENTED RAGGADELIC CRUNKSTEP BREAKBEAT ELECTRONIC MASTER FREQ NASTY IS SET TO RETURN TO HOBART NEXT MONTH AS PART OF AN INTERNATIONAL TOUR TO SPIN AND SHARE HIS UNIQUE SOUND, WIDELY KNOWN AS BREAKBEAT.
While his electronic music has been described as everything from dubstep, brostep and drumstep, I asked the musician if he could sum up his sound in five words. His answer? “low frequency oriented raggadelic crunkstep”. So what has this raggadelic crunkster been up to? The la-based producer says that 2013 is a year that “worked well in some ways, and not so well in others”. 2013 saw the musician return to the studio, producing the Dub Kirtan All Stars album and the Atmaspheric EP, a fresh work that he describes as “lush melodic deepness that dives into the more downtempo side of things… underwater blues for electric space sailors and retired time travelers.” While his personal projects have been developing slowly, the DJ is glad that he has managed to “stay sane through it all”. I ask if one of the highlights included his performance at the Burning Man festival in America, one of the world’s most intense music festivals, as a scene that combines sound, community spirit and self-expression in a warped desert environment. The musician enjoyed every second. “Thirteen gigs in four days was a sort of extreme DJ event but it was epic, and such a great way to connect with the Burning Man community. Loved it!” Having performed globally, FreQ Nasty favours the West Coast festival crowd in California due to the strength of the community and loves how “they [West Coast crew] support each other in the love of great music. [It is] so dope to see music gel such an incredible group of people.” However, the mix-master believes that crowds don’t really differ from culture to culture. “I think the people who love underground music are very similar around the world. Their reaction to the music is similar in that there is a great passion for it
PUTTING IT BLUNTLY BLUNT INSTRUMENT ARE A BRISBANE-BASED PRODUCTION DUO WHO ARE MAKING HUGE HEADWAY IN THE INTERNATIONAL ELECTRONIC MUSIC SCENE, GARNERING SUPPORT FROM SOME OF THE BIGGEST IN THE INDUSTRY ALONG THE WAY INCLUDING THE NONE OTHER THAN THE PIONEERING DJ SHADOW.
We Love Bass head honcho Calum ‘Max’ Power caught up with them for a chat before they make their way to Hobart. When did you make the first Blunt Instrument track? Was it Glitch Hop from the start, or did that evolve? We made really dodgy instrumental hip hop for a while on old samplers... once we got into the software side of things we moved very quickly into glitch hop. DJ Shadow has said some awesome things about your remix of his track ‘Scale it Back’, and has recently played your tunes in his own sets. That’s a pretty impressive endorsement. How did it feel when you received that feedback from one of the best DJs in the world?
That was both very unexpected and a massive massive compliment... it was pretty surreal to have one of your inspirations giving you that kind of feedback and support. How did the Shadow remix come about, and is there any chance of a future Blunt Instrument/DJ Shadow collaborative track? Ha... that would be nice! It was actually pretty last minute that I decided to download the stems and have a go at remixing the tune and it was one of those tracks that just clicked and came together pretty fast (for us anyway... we are notoriously slow) What’s the biggest & most memorable show you’ve ever done? What made it so damn awesome? Last year’s Earth Frequency festival was probably the biggest we’ve done. We got to play just before Opiuo on the Sunday night when everyone was super hyped the sound system was tuned to perfection and we just found a great groove and had an awesome time. What’s one of the weirdest or funniest moments from your live shows? The number of dodgy shows we’ve played is hard to count... you often have to laugh at the absurdity of it sometimes. We once had to play in this tiny space where my only option to setup was underneath the actual table space and our ‘monitors’ were literally across the other side of the room on the ceiling.
and they love to dance rather than watch or ‘hangout’.” His aim doesn’t change either, explaining that a set is about “taking them [punters] somewhere they may not know they want to go yet.” I ask the DJ how technology has impacted on the underground dance scene, and if partygoers can still switch off and enjoy electronic bass without whipping out their iphones. “Good question. I do miss the days when if you turned around for more than five seconds and lost your mates at a festival you’d have to find a whole new set of mates and hang out with them for 2 days... no cell phones. I think the ‘phones out’ thing has gotten a bit silly in that we’re all thinking “what this is going to look like on Facebook” rather focusing on the cool thing that is happening in front of us.” The musician elaborates. “We’re all taking pictures of people being in the moment without being there ourselves. Kind of odd and funny. We’ll get over it... I’m waiting for the backlash”. FreQ Nasty has just kicked off his tour. Is he keen to revisit Australia? “I’m really happy to be able to come back to OZ again and be with the people and the culture that has been really special for me and good to me over the years. I played in Tasmania years ago and it was off the chissizzle… Really hot and really sweaty. This time it’ll be a little more chill and outdoors I hear. Perfect!” HANNAH GREY
FreQ Nasty will be spinning at a summer afternoon session in the beer garden at The Republic Bar Sunday February 2. Supported by B Side, Max Power vs DJ Secrets, Rola and Kireesh, the event starts at midday and is free entry.
Can you tell us a bit more about each of your tastes in music outside of the genre(s) you produce? We like to listen to as much non electronic music as we can just to give our ears a rest... lots of blues, funk, and rock, anything that our friends can suggest really. There’s so much awesome mid-tempo music coming out of Australia at the moment. Can you tell us some of your favourite home-grown artists? Opiuo is of course leading the charge but we’ve also been digging Cheshire, Dusty Fungus and a Brisbane guy called Blunt B (yeah... totally unintended name similarity!) What’s your Top 5 (local or international) tunes that you’re digging at the moment? So hard to not just list 5 Noisia tunes...
1.
I am Legion - Choosing for you
2.
Joe Ford – Culture
3.
Culprate - That Sound feat Maksim
4.
Koan Sound and Asa - Tetsuo’s Revenge
5.
Greg Reve - Untitled (off the Bully EP) CALUM ‘MAX’ POWER
Blunt Instrument are playing a very special We Love Bass Australia Day Party at The Brisbane Hotel on Sunday January 26 from 10pm. Tickets available from Ruffcut Records & Moshtix.
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Music
CLOSER TO GOD INJURY IS NOT UNHEARD OF AT PUNK AND METAL GIGS. IT GOES WITH THE TERRITORY. ALL THAT THRASHING CAN BE PROBLEMATIC FOR THE NECK, AFTER ALL. BUT FOLK MUSIC IS SAFE AS HOUSES, SURELY? WELL, WATCH OUT, BECAUSE THE LONDON KLEZMER QUARTET IS TOURING TASSIE THIS JANUARY.
It’s folk music with no holds barred. Melancholy one moment and dizzying ecstasy the next: you’ll laugh, you’ll cry, it’ll change your life. I caught up with bassist, IndraBuraczewska for a chat about the sublime perils of Klezmer music. ‘Even at the most sedate gigs we almost have to put a health warning up for anyone with ankle problems because even if you’re not dancing there’s going to be a lot of involuntary toe tapping,’ Buraczewska tells me with a laugh. Klezmer music is the Jewish folk music of Eastern Europe and while it provides a rollicking good time, there are deeper spiritual and sometimes sorrowful elements to the music. ‘Klezmer music is part of a Hasidic movement where to get closer to god, rather than an austere approach, they focus on celebrating and being happy to move to a higher spiritual plane,’ Buraczewska explains. ‘Even though it’s in a major key, so the happy key, it’s got a melancholic sound because of the scale that they use, so a lot of its for celebrations, weddings and dances and the violin and the clarinet are very prominent. They imitate the human voice in some songs. [Klezmer] covers all the bases, all the emotions, laughter, tears the whole lot.’ Buraczewska is a veteran of the world music scene in Melbourne, however, the other members of The London Klezmer Quartet (as the name suggests) hail from the UK, but she says that Australia has become a must go tour destination for the Quartet. The interest Australian audiences have in Klezmer music has made an impression. ‘Australian audiences in general - the girls have been blown away with how receptive they are,’ says Buraczewska ‘the acoustic line up is still very much alive and in demand.’ Even though the London Klezmer Quartet’s sound is unmistakably ‘Klezmer’they are not rigidly traditional. Buraczewska points out that musicians are like ‘gypsies’. When they hear something good, they don’t care where it comes from, if they like it, they use it. ‘There are certain tunes that are so called standards, but the girls write a lot of stuff that will become standards in the future,’ she explains. For Buraczewska the complicated interplay of new and old is essential. It’s the reliance on older, traditional sounds and forms that make music ‘sound traditional’ but its vital that new tunes get written and new ideas enter the Klezmer vocabulary. ‘Music is alive when it keeps getting written and people come up with new things,’ Buraczewska says.‘Its like language – it’s dead if it doesn’t change or if it doesn’t get developed with the times.’ Perhaps it’s The London Klezmer Quartet’swillingness to embrace new ideas while keeping the distinctive Klezmer sound that keeps audiences around the world laughing, crying and stomping their feet, ankle injuries and all, for more. LUCINDA SHANNON
The London Klezmer Quartet will be playing a bunch of shows in Tasmania from January 5 – 14. Check www. londonklezmerquartet.com for full details.
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Music
SWING TO THE KING
A BIT OF OH PEP MELBOURNE BAND OH PEP! ARE GOING FROM STRENGTH TO STRENGTH IN THE AUSTRALIAN MUSIC LANDSCAPE AND ARE SURE TO BE ONE OF THOSE BANDS YOU’LL KICK YOURSELF FOR NOT SEEING BEFORE THEY “GOT BIG”. . THEY LAUNCHED THEIR SECOND EP, II, TO A SELL-OUT CROWD IN THEIR HOME CITY IN OCTOBER AND WILL BE TAKING THEIR MUSICAL WARES ALL OVER THE COUNTRY.
II was produced and engineered by ARIAAward Winner and CMAA Producer of the Year, Shane Nicholson on the Central Coast. Success on national and local radio and slots at much-coveted music festivals around the country have made sure that more and more people know the Oh Pep! name. Oh Pep! began after vocalist/guitarist Olivia Hally and mandolin/violin maestra Pepita Emmerichs met at the Victorian College of the Arts Secondary School in Melbourne. Now joined by Paddy Montgomery (Mustered Courage), Justin Olsson (Fearless Vampire Killers) and Stu West (Box Rockets), the band have developed a perfect storm of melancholy pop, alt-folk and dreamy poise. The band also have added to their arsenal of unique ‘party tricks’; a favourite being
NEEDLESS TO SAY, TONY J KING’S SIGNATURE SOUND IS TOUGH TO PIN DOWN. CYCLING BETWEEN THE CONTEMPORARY ALT-ROOTS SOUND, TO THE JIVING DIRTY TUNES OF THE 40S AND 50S, KING OSCILLATES BETWEEN WORLDS, SOUNDS AND MOODS. A blues-’n-roots muso at heart, King has had decades of experience in order to perfect and change and shift his art. His “fascination with the unusual, the exotic and the downright bizarre” is at the heart of his craft. A Melbourne lad for the moment, his epic career resume makes you want go home and do your musical homework. Having grown up in the ‘Northern Badlands’ of South Australia, King has had many a unique and interesting job in his life, from truck driver to salesman, teacher to labourer...but always with music as his prime directive. Like a multi-skilled performer should, King puts his hand to a slew of different instruments, including the ever-faithful guitar, banjo, foot drum, tambourine, harmonica, as well as “assorted junk”, all the while singing his experiences and fantasies to a rapturous crowd. His debut album “Reap” was recorded in the Dandenong Ranges, during a quiet winter. Pretty poetic, hey?
the ability to perform the whole of Paul Simon’s Graceland. A must-see. no doubt. As Triple J’s David Ruby Howe said on their 2012 track War Song: “Whenever this comes on the radio I stop for a second to listen a little more closely as there’s something really special about this tune. Olivia’s got a great voice and the delivery is perfect here and each deftly plucked note sounds spot on. Very well done”
Having performed at such joyous festival events like the Woodford Folk Festival, Bendigo Blues and Roots Festival, Queenscliff Music Festival, Cygnet Folk Festival and Groovefest Festival to name but a small few, King is forever on the move and bringing his rootsy, boisterous folkrock to venues big and small.
Give your ears a special treat and check out the magic of Oh Pep! LISA DIB
LISA DIB
See Oh Pep! Play the following shows: Friday February 1 - Waratah Hotel, Hobart Saturday February 2 - Waratah Hotel, Hobart Saturday February 2 - Salamanca Market, Hobart
A WONDERFUL WORLD THE AUSTRALIAN ART ORCHESTRA HAS A LONG HISTORY OF PERFORMING DARING AND EXPERIMENTAL WORKS. HAVING PLAYED INSTRUMENTS MADE OUT OF CONFISCATED MEXICAN WEAPONS,FUSED TRADITIONAL INDIAN MUSIC WITH WESTERN JAZZ, AND MASTERED BOTH VISUAL AND AURAL ASPECTS OF A SHOW, THE ENSEMBLE KNOWS A THING OR TWO ABOUT HOW TO OPEN OUR EARS. THE AAO WILL JOIN WITH NGAIIRE TO GIVE US THEIR TAKE ON LOUIS ARMSTRONG WHEN THEY PRESENTSTRUTTIN’ WITH SOME BARBEQUE AT MOFO ON JANUARY 15. ARTISTIC DIRECTOR PETER KNIGHT TELLS US HOW LOUIS LEFT US A WONDERFUL WORLD. Although the Australian Art Orchestra is steeped in jazz, their music is timeless and unbound by the restrictions of a single genre. Juxtaposing contrasting cultures, styles, and traditional and unconventional instruments, the award winning ensemble makes us think about how music from another place or time can still hold significance in the contemporary musical landscape. Artistic Director Peter Knight, who has won an abundance of awards for his work as a sound artist, composer and trumpeter, knows exactly why the music of the AAO is so well received despite being incomparable to anything we’ve heard before. “What we like to do, and certainly what I like to do as a musician and creator, is to take people on a journey,” Peter explains. “Take them to somewhere they don’t necessarily expect to go, but in a way that
See Tony perform two free shows on Saturday January 11 and Sunday January 12 at The Waratah Hotel.
creates an opening for that experience. Rather than bashing people over the head with some kind of an idea, you have to lead them into it, and that’s a really good feeling when you can achieve that.”
While Peter himself admits the temptation of imitating Louis’ distinctive vocals, he says the AAO didn’t want to take the easy road and found perfection in Ngaiire as a less obvious choice.
This time, the AAO will explore the life of Louis Armstrong through an interpretation of his classic hits, and Peter says the old jazz legend’s influence runs deeply through our culture today.
“The classic Louis Armstrong songs are loved by so many people, so we’re presenting them and doing a little bit of a twist on them. Ngaiire is a great person to sing those songs. She’s got a huge voice, but she’s a very small girl. When you see her live, she absolutely tears it up.”
“The Art Orchestra is interested in looking at these jazz musicians who have made really, really strong and unique and lasting contributions to the music,” he says. “Rather than just playing the songs and trying to imitate what’s gone before, what we’re always trying to do is put our own slant on it, bring audiences to enjoy this music,and also ask questions like,‘what does this music actually mean?’,‘how does it relate to the music that we listen to today, and to Australian culture?’. All of those questions are very interesting, and to me, more interesting than just playing the tunes and imitating.”
Along with belting out the classics like ‘When You’re Smiling’ and ‘Struttin’ With Some Barbeque’, she’ll also help to take us through Louis’ life from the early New Orleans days, right up to the ‘60s pop era through poetry and sampling. “It’s all new, it’s all first. We’re trying to push boundaries, we’re trying to create something that will be amazing and enjoyable, fun, fascinating.” STEPHANIE ESLAKE
With Ngaiire as a female vocalist and an orchestra of turntables, this’ll be far from your average Louis Armstrong imitation. Composed by Eugene Ball, Struttin’ with some Barbeque will feature Tassie artist Linzee R. Nold’s projected illustrations and video installations by Sabina Maselli for an entirely immersive experience. “We’re trying to create a bit of an abstract kind of environment that will draw the audience in and really add to the experience of listening to the music.”
The Australian Art Orchestra with special guest Ngaiire will perform Struttin’ With Some Barbeque at the Theatre Royal on Wednesday January 15, 6pm. Tickets and more info are available at www.mofo.net.au.
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Music
OUTDOOR FUN TASMANIA HAS BOTH GRANDIOSE NATURAL BEAUTY AND A SOLID ROCK AND ROLL SCENE- SO, AS THE PARTY IN THE PADDOCK FOLK WONDERED, WHY NOT COMBINE THE TWO? AND AN ANNUAL TRADITION WAS BORN.
Jesse Higgs, PITP head honcho and singer/ guitarist of local band Young Dryas, “When I first conceived the idea of trying to create a festival, it was a dream of mine to have this event at my favorite place in the world. I dabbled with the idea, and on a drive from my family home into the nearby town I was in a daydream, looking out at the countryside in a tandem of thought, arguing with myself: “There’s not enough time, Jesse.. It’s a stupid idea, how would you really pull this off?”” “And then, as we drove round a big winding corner a perfect paddock came into view; open sky, distant horizons and a perfect stretch of freshly-rolled hay bales and it hit me. “Mum! Stop the car!” I hopped out of my mother’s van and proceeded to remove my pants - this epiphany of some sort that I was having was pretty strong, I had decided right then and there, that, what the heck, I’m going to make a festival and right now I’m going to get naked and run out into that paddock, climb atop of one of those freshly rolled hay bales and get my lovely, thankfully understanding mum to take a photo and so it began” Without thinking too much of the effects upon Higgs’ body left by prying hay needles, we move onto the ethos behind the festivities: the Party in the Paddock manifesto. 16
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“We are very ‘from the ground up’ and have a large love and pride in all things unique and independent, especially Tasmanian wares, like our fully flourishing music scene and other hardworking businesses/ organisations who are doing it right and that we love to work with.” The line-ups, obviously, aren’t too much of a hassle, either. “I have been lucky enough through my line of work to meet some really great bands around Australia; some well-known, others completely unheard of in Tasmania. So, in the festival body, it has been one of my main roles to communicate with some of the best live acts that I know of around the country over these last six months, and the best thing about great live bands is that they know of others. We are here also to, of course, showcase our abundant Tasmanian music scene and it is something that I have only an equal say in with the rest of our very serious panel that we have developed here at PITP.” Higgs explains the advantages and pitfalls of living off the mainland. “The band has been based in Tasmania now on and off for the past four years, but is never far from touring or stints of part-time relocation, such as recording or to escape the Tasmanian winter.
During these last four years, the band has managed to achieve a satisfying amount as a Tasmanian-based band; playing on big festival stages, receiving airplay on various stations in several different countries, including Triple J and being able to support international touring acts. But to reach the next level and become a fully-fledged international touring act ourselves, we have been given the advice several times that it would be best for our band if we relocated to where there are bigger audiences and those slight bit bigger opportunities. But we love Tassie and will never be far from returning home for a party, but it seems it could be time for some new adventures for the band this coming year.”
“Last year, some of my favourite acts were Tasmanian bands: The Christopher Coleman Collective brought a tear to my eye in the afternoon sun, The Embers made me dance like a madman in their Friday night set and Zac Slater had me grooving along for a mid-day party- who we are all very lucky to have back again this year! I can’t wait to see Kingswood tear a hole in the paddock, Sticky Fingers will be one constant bopping anthem and a wild card for you, The Beautiful Chains, one of favourite Tassie bands!”
With many an Australian festival going down the plughole for any number of reasons, Higgs is optimistic, as well as chuffed that the Party in the Paddock will work out well for all concerned.
“Sticky Fingers. I’ve partied with those boys a bunch of times now, and it wouldn’t really surprise me what they did. Dizz, the lead singer, climbed onto the roof of a stage at a festival in WA and stage-dived into the crowd, he then was arrested (laughs) but luckily no-one was hurt. I am making him promise he won’t do that at Party in the Paddock, but he’s welcome to a cow.”
“Well, we are only puppies, but as an active festival-goer myself, I have experienced the hole in my pocket at the end of summer... there are so many to go to and so many beer tokens to buy. They seem to want to sting you for everything they can. So I feel, maybe it’s something to do with the events’ underlying intention, but it is a fine line between making money and putting on a great time. And the costs for some of these big name acts these days... as for us, we know what it is to be the common folk, to be kids borrowing money off your parents to go and have the time of your life. So, if we can make it a BYO event and save everyone some money and always remain an approachable group of enthusiastic people, hopefully we can build a sustainable from the grass-roots event and continue for years to come.” As mentioned, Higgs considers himself as much a punter as any of the ticketholders. He’s just as excited as you are to see some kickarse local acts!
And which band do you think will end up riding a soft-eyed cow into the sunset? I was wondering the same thing…
And for the Younger Dryas? “[To] Have more good times. There are some great people and stops that have become custom for this particular little tour route that we are looking forward to revisiting.” LISA DIB
Head along to Burn’s Creek on February 21 – 23, to get yourself some Party in the Paddock action. Tickets available from Ruffcut, Mojo Music and Red Hot Music.
Music
FROM HOLLYWOOD TO BOLLYWOOD (TO MOFO) THE BOMBAY ROYALE IS COLOUR, DANCE, DISCO, INDIA, AND PSYCHADELIA – ALL ROLLED INTO ONE. AFTER KICKING OFF IN MELBOURNE WITH THE GOAL OF BRINGING RETRO BOLLYWOOD TO THE AUSSIE EAR, THE BAND ARE READY TO BRING THEIR REFINED SHOW TO MONA FOMA ON JANUARY 18. READ AHEAD TO FIND OUT EVERYTHING YOU EVER WANTED TO KNOW ABOUT BOLLYWOOD (BUT WERE AFRAID TO ASK).
Vocalist of the group, Shourov Bhattachary (The Tiger) gave us his insight into the Bollywood genre. Top five genre-defining Bollywood films? Very hard to choose, but here goes: Sholay (Hindi western and longest running movie in history); Don (vintage Bollywood crime thriller with killer ‘70s soundtrack); Padosan (unlikely combination of slapstick comedy and sublime classically inspired music); Mughal-e-Azam (opulent historical drama from the ‘50s); and Guide (brilliant, quirky storyline paired with genius musical composition). These are all from the vintage era – there have been a bunch of great releases in more recent times as well, such as Delhi Belly and Tare Zameen Par. Bollywood is the fastest growing film industry in the world, producing around 800 films a year. When will Bollywood finally take over Hollywood? Does Hollywood need better soundtracks or better costumes to stay in the game? Bollywood and Hollywood can coexist in much of the world because they each have their strengths. We love good movies from anywhere, but the unique thing about Bollywood has always been the music. Hollywood stopped making musicals back in the ‘60s, but maybe they need to be revived. Contemporary Bollywood is catching up with Hollywood in terms of realism, but for us the fantasy world of the old Bollywood movies still holds a lot of appeal. We’ve got enough real life already. The popularity of film music in Bombay and Madras in the ‘70s and ‘80s saw its introduction into radio and mass distribution on cassette tapes throughout India. Why does Bollywood film music have such a cult following compared to Hollywood film music? Hindi film music speaks to Indians across language and class barriers in a way that is unmatched by other popular art forms. There is an incredibly rich musical heritage in South Asia, but the average Indian on the street only got access to it when it Bollywood began blaring from their radios. It’s been an incredible unifying factor for India in the half century or more.
People have their different reasons for getting into Bollywood – sometimes it’s because of their love of India or Indian culture, sometimes just wanting to be different for the novelty factor. Bollywood has that element of surprise as well - it doesn’t follow the usual formulas that we expect in the West. But vintage Bollywood is all about the music. The vintage era movies have a cult following because the music was so damn good! A lot of the films coming out of Bollywood are Eastern remakes of Western films. Is this a way of spinning classic Western film formulas to give foreign audiences access to understanding Indian culture? The remakes were more common 30 years ago when Bollywood was not international. Back then, it was partly because India was more insular and directors could get away with it. The contemporary scene is definitely telling more of India’s own stories. At the same time, Hollywood has the power of the dominant narrative, so the urge to copy is always there to some extent. In recent times though, the ‘remakes’ rarely do well. How has your music been received in India? To be honest, we haven’t put a huge priority on releasing our music in India – the rest of the world is keeping us too busy! Like anywhere else, we have a following over there, but it’s a different proposition for them. We are definitely messing with something familiar for the Indian audience so there is always going to be the traditionalists who won’t like it - a lot of them would prefer that we played covers. There are plenty of Indian people who love our stuff as well, as we see a lot of Indian faces at gigs everywhere. We are hoping to get over to India someday soon!
the
Winston
alehouse & eatery.
kitchen 5pm-9.30pm ! ! american style food !! ! ! & craft beer...
381 Elizabeth Street North Hobart 7000 ph - 6231 2299
STEPHANIE ESLAKE
Get your Bollywood on at MAC2 on January 18, 5pm. Tickets available from www.mona.net.au.
live music fri/sat nights - 10pm till late... speakeasy sundays - live jazz & blues & classic cocktails... www.facebook.com/warp.mag 17
Music
IF MUSIC BE THE FOOD OF LOVE WHEN THE TOWNSHIP OF CYGNET HOSTS ITS ANNUAL FOLK FESTIVAL, THE POPULATION QUADRUPLES. MUSICIANS FROM TASMANIA AND AROUND THE GLOBE WILL HIT CYGNET ON JANUARY 10 FOR THREE DAYS OF WORLD CLASS FOLK, ETHNIC, ROOTS AND ACOUSTIC MAHEM. LOCAL SINGER SONGWRITER HANNAH MAY WILL INVITE HER FATHER ONTO THE FESTIVAL STAGE FOR AN UNPRECEDENTED AND INTIMATE PERFORMANCE OF HER ORIGINAL SONGS.
Hannah May has worked her way around the stages of Hobart for the past four years, hinting at her ideas about love through R&B influenced originals. As a multi-talented artist, Hannah usually braves the stage alone with a microphone and set of keys – but this January she will be supported by her father Ian with guitar and vocal harmonies.
‘that time’ to produce something of higher quality and accessible to a wider audience,” she explains.
Ian is himself no stranger to the festival, having performed alongside The Colemans ten years ago. This time, Hannah is “really looking forward to having him on board.”
Hannah’s recently composed song ‘Too Many People’ also made it to the studio and into the microphone. The songwriter expressed her frustration toward those “making their own opinions on opinions, as opposed to facts.”
“After having a few sessions with my Dad, I realized how much I loved playing my songs with him – and also that it’s not nearly as much fun playing by yourself!” To Hannah, music has always been about the powerful bonds between family, friends, and lovers. Her songs are both dedicated to and amplified by the feelings of love – and not always her own.
While Hannah has spent many years disseminating the feelings of others, she found inspiration a little closer to home through her recent marriage to her soul mate Grady. The young songwriter describes her new husband as “100 per cent supportive – he is my roadie, my producer, my critic and my manager.”
“Most of my songs were and are written about love, breakups, and everything in between,” Hannah reveals.
“One song I wrote when I was 17, I often dedicate to him, saying, ‘this is the song I wrote about you before knowing you’.”
“Lyrically, I am finding that I am turning to friends for inspiration, as opposed to my own life. There are things that happen and conversations, that I often think, ‘there is a song in that’.”
“I sing my other tunes now with more depth and strength, understanding better what I wrote about now than when I actually wrote it.”
Hannah’s most recently recorded song ‘Bottle of Tea’ is a classic example of her ability to express her observations on love with grace and profundity. Written about a friend who experienced divorce before finding new hope, Hannah says the song is “universal” and plans to play it at the festival. “After my application for the Cygnet Folk Festival was accepted, I realized it was
IN FOR THE LONG RUN I RING EX-BAD SEEDS GUITARIST HUGO RACE AT A RATHER BAD TIME, JUST AFTER HIS DOG HAS DONE A RUNNER. WHEN WE RECONNECT SOME 20 MINUTES LATER, JACK THE BEAGLE IS HAPPILY ACCOMPANYING HUGO AS HE WALKS ALONG ST. KILDA BEACH CHATTING EASILY ABOUT HIS LIFE IN EUROPE, HIS FOUR SIMULTANEOUS MUSICAL PROJECTS AND THE INFLUENCE THAT TEXT MESSAGES HAVE HAD ON HIS LATEST RECORD WITH FATALISTS.
Hugo spent over 20 living in Europe, and met the member of Italian band Sacri Couri, who now also make up Hugo Race’s Fatalists. The distance between countries has not stopped them from being extremely busy. “We released the record We Never Had Control last year in Europe, and here in June. But since last November when it was released we’ve done three European tours and an Australian tour,” he explains. The rhythmic blues of this record feels dark though gentle, and the musing lyrics are clearly quite personal. Hugo says that they have been so for 15 years. “That was a conscious decision that I took some time ago to only write exclusively from real things, because it seems to me the most important things and the most interesting things are when life is as incredible as it is. Every day you know, incredible things happen.” Hugo is able to see the beauty, even, in text messages as a form of communication. “Strangely enough,” Hugo says, “a lot of the lyrics on the record are drawn from text messages, which I thought at the time could be interesting, because people can be very unguarded when writing texts.” He adds, “Often when someone’s in a traumatic moment, it’s the first thing that they’ll do.” Hugo’s Australian based band, True Spirit gets together less often, playing
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“Doing the recordings in a studio session meant stepping back and handing over the technical side of things, which gave me a lot of freedom to focus on the performance and arrangement.”
“Love in marriage is much deeper. There is that extra strand that runs within the relationship that I never thought existed.” STEPHANIE ESLAKE
Fall in love with Hannah May and other local and international acts at the Cygnet Folk Festival from January 10 – 12. Further information and bookings are available at www.cygnetfolkfestival. org.
three or four times a year. He says, “We actually get together to record in the studio but we don’t actually get together to work out how to play a concert. It does require a different set of skills because the recorded music itself is quite experimental and the live concert is less so, [it’s] more of a traditional thing.” When Hugo visits Hobart and Launceston in early 2014 it will be with Michelangelo Russo from True Spirit, performing a range of True Spirit, Fatalist, and cover songs from the album No But It’s True, a compilation of favourite love songs. Also coming out in March is Troubles, a double album recorded with his other band Dirtmusic. It was recorded in Mali with the contribution of many local musicians. Hugo says, “It sounds absolutely amazing… it’s got a lot of afrobeat elements, but what’s different about this record is it’s like a mix of west-African and electronic.” You can’t keep this man from moving for long, and he will return to Italy in March to put out a record with Sepiatone, his 12-year-old project with Sicilian singer Marta Collica. ERIN LAWLER
To catch a snippet of what this prolific musician can do, catch him on Friday January 31 in Hobart at The Homestead and Saturday February 1 in Launceston at Fresh On Charles.
warpmagazine.com.au www.facebook.com/warp.mag 18
Music
Wednesday Jan 15 Wednesday Jan 15 Theatre Royal
St David’s Cathedral
Baha’i Centre
Theatre Royal
Faux Mo
Morning Baha’i Meditation Centre
9am St David’s Cathedral
CAT MAC2
CAT
$25 concession $25 concession $40 concession $40 concession
2am
MOFO 2014 brings a dancing robot, a band from outer space that has been touring this planet for over fifty years, a musico-architectural hive, forges and anvils, saxophone heroes, free-styling philosophers, metal, lasers, and more metal,Ticketing gender warriors, improvised pipe organ, tympani meditation, string quartet protest music, bluegrass Bach, 21st century tango, unearthed recluses, prog-punk space opera, a BBQ tribute to Louis Armstrong, wind-operated This is your best bet, giving you access to all events at MAC1 & MAC2 central) on Thursday Jan 16, Friday Jan cartoons, 17, Saturday Jan 18 and drawing(party machines, symphonic Sunday Jan 19. food, booze, tea, coffee, beanbags $99 adult $85 concession or parent with child under 12 and punters. 7pm
Chris Thile
8pm
9pm
10pm
$99 adult $85 concession parent with child under 12 This is your best bet, giving you access to all events at MAC1 & or MAC2 (party central) on Thursday Jan 16, Friday Jan 17, Saturday Jan 18 and Sunday Jan 19.
And anyway, there wouldn’t be much to study. These days, we have to clean up $99 adult our $85 concession or parent with child undermess. 12
Hinterlandt
MOFO Eastern Sho: DASH
Tyondai Braxton: HIVE
Orquesta T pica Fern ndez Fierro
11pm
12am
Tyondai Braxton: HIVE
Festival Ticket 1am
Check www.mofo.net.au or the MONA FOMA app for updates.
Festival Ticket
Door
6pm
Festival Ticket
1am
Venue opens
2am
Conrad Shawcross: The ADA Project Installation
12am
Check www.mofo.net.au or the MONA FOMA app for updates.
Festival Ticket
Lar Gid
Conrad Shawcross: The ADA Project Performance
11pm
5pm
This is your best bet, giving you access to all events at MAC1 & MAC2 (party central) on Thursday Jan 16, Friday Jan 17, Saturday Jan 18 and Sunday Jan 19.
Astronautalis
$30 full $30 full $50 full $50 full
2am Check www.mofo.net.au or the MONA FOMA app for updates.
Brian Ritchie
$99 adult $85 concession or parent with child under 12
MOFO Eastern Sho: Mzaza Slave Pianos & Punkasila
Our biannual feast won’t last thousands of years, and it doesn’t depend on the largesse of the Derwent. Our intervention has made the Derwent’s bountyTicketing unpalatable, except as a feast for the eyes (it would be nice to fix that). Our celebration is a celebration of Ticketing celebrating, not a cultural phenomenon that future archeologists and historians should put under a microscope. MOFO This is your best bet, giving you access to all events at MAC1 & MAC2 succeeds because it doesn’t bear the (party central) on Thursday Jan 16, Friday Jan 17, Saturday Jan 18 and Jan 19. burdenSunday of stultifying ambition.
1am 2am
2pm
Door Sales
10pm
12pm
1pm
Conrad
Slave Pianos & MOFO Punkasila Eastern Sho: Sun Ra Arkestra Mzaza
9pm
Ansgar Wallenhorst
Morning Meditation
Conrad
8pm
Ansgar Wallenhorst
MURAL & Kjell Bjorgeengen
11am
Shawcross: Shawcross: There’ll be day passes available at the MAC Precinct Box Office — The ADA The ADA Project Project if thePerformance events areInstallation not sold out.
Day Pass - Thursday Jan 16 Day Pass - Friday Jan 17 Day Pass - Saturday Jan 18 Day Pass - Sunday Jan 19
Faux Mo
Mick Harvey Does Serge Gainsbourg
The ‘Family, isn’t it about time?’ Deal
12am 1am
18+ Faux Mo is our festival nightclub and by now, you should know the drill. This year is door sales only — but don’t worry, you’re still totally VIP to us, promise. For more information about the upcoming shenanigans, download the MONA FOMA app. It is available now.
11pm 12am
Venue opens
On the peninsula immediately north of MONA, there is a midden containing oyster shells and other detritus of Aboriginal culture, and it is several metres thick. This, apparently, was generated by biannual feasting, a great place to party near a migratory route. It may have been used for thousands of years. 7pm
This counts as quality time with your sproglets. Not only do under-12s get in for free, they also score you a reduced-rate parent concession. About time the little s@*&s pulled their weight. (Proof of age may be required. Applicable to Festival Ticket and online sales only.)
10pm 11pm
AAO: Struttin’ with Some Barbecue
6pm
Theatre Royal
4pm
5pm
AAO: Struttin’ with Some Barbecue
Rosny MONA MAC1 MAC2 BarnBackspace
9am
3pm
4pm
Door sales are $30 per night, or $20 with a concession or Festival Ticket.
9pm 10pm
David Walsh
MAC2CAT
Curator
3pm
4pm 5pm
Morning Meditation
MONA
Faux Mo
Melanie Herbert: ‘it called out’ —a sound installation
2pm
3pm 4pm
Baha’i Centre
MONA Owna
1pm
2pm 3pm
8pm 9pm
Melanie Herbert: Melanie ‘Herbert: it called out’ ‘it called ’ —aout sound installation —a sound installation
Morning Meditation
1pm 2pm
7pm 8pm
MAC1
10am
12pm
Morning Meditation
12pm 1pm
6pm 7pm
Rosny Barn
11am
11am 12pm
MAC2 MONA Backspace
10am
10am 11am
5pm 6pm
Rosny Barn
9am
Faux Mo
Morning Meditation
9am 10am
Friday Jan 17
Thursday Jan 16
ACO Quartet
Since the FOMA ha with an in quality lin
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Check www.mofo.net.au or the MONA FOMA app for updates.
The Tasm supporte recently D Music is around us every day, everywhere, Concession Tickets availableworld-cla at: whether webewant itavailable or not. people There’ll day passes at the Some MAC Precinct Box Officeto—pension and health Available www.mofo.net.au if the events are not sold out. well as orcard holders, asTasmania are lucky to find ‘their’ music to playcare or students. Parents too — an adult Museum Reception Day Pass - Thursday Jan 16 $30 full $25 concession and with innov entering the MAC Precinct 655 Main Rd, Berriedale listen to at least once in their lifetime.
Door Buy Sales Tickets Buy Tickets
For starters!
Day Pass - Friday Jan 17 Tickets available at: Day Pass - Saturday Jan 18 www.mofo.net.au Day Pass - Sunday Jan 19 or Museum Reception 655 Main Rd, Berriedale Faux 03Mo 6277 9971 18+ or
$30 full $25 concession a child is eligible to 03 under 6277 12 9971 $50 full $40 concession purchase or one reduced-rate parent $50 full $40(online concession concession salesOffice only). MAC Precinct Box ID may be requested entry. Macquarie Wharf,upon Hunter St, Ho Open Jan 16 & 17, 4pm-late The ‘Family, and Jan 18 & 19, 2pm-late
Others are not so lucky. MOFO, as a curatorial gambling operation, aspires to increase your odds by widening options.
Since its MONA F example
Saturday Jan 18 Baha’i Centre
Faux Mo
CAT MAC2 MONA Backspace
MAC1
MAC Forecourt
Baha’i Faux Centre Mo
9am
10am
MONA Lawns
2pm
Venue opens 3pmAnsgar Wallenhorst
MoMa Market
12pm
1pm
2pm
3pm
MAC Forecourt
Venue opens
DEC
5pm
6pm
Colin Stetson
Ngaiire
Drink Demo
Food Demo
Pixar in Conce
Ticketing
Psycroptic
Lara Giddin Conrad Shawcross: The ADA Project Installation
This is your best bet, giving you access to all events at MAC1 & MAC2 (party central) on Thursday Jan 16, Friday Jan 17, Saturday Jan 18 and Sunday Jan 19.
$99 adult $85 concession or parent with child under 12
Door Sales
The Perch Creek Family Jug Band
Festival Ticket
Brian Ritchie
There’ll be day passes available at the MAC Precinct Box Office — if the events are not sold out.
Blacksmiths & Nick Smithies: Bent, Twisted & Upset
MAC1
11am
4pm
Day Pass - Thursday Jan 16 Day Pass - Friday Jan 17 Day Pass - Saturday Jan 18 Day Pass - Sunday Jan 19
Conrad Shawcross: The ADA Project Installation
Russell Haswell
6pm
Faux Mo
Ticketing
18+ Faux Mo is our festival nightclub and by now, you should know the drill. This year is door sales only — but don’t worry, you’re still totally VIP to us, promise. For more information about the upcoming shenanigans, download the MONA FOMA app. It is available now.
Door sales are $30 per night, or $20 with a concession or Festival Ticket.
The Bombay Royale
MAC2 Backspace
Conrad Shawcross: The ADA Project Performance
Ansgar Wallenhorst
4pm
Conrad Shawcross: The ADA Project Performance
ra David Ticketing Ticketing ddings Walsh MP
MAC2
Curator
Melanie Herbert: ‘it called out’ —a sound installation
1pm
MONA
10am
Melanie Herbert: ‘it called out’ —a sound installation
Premier
12pm
5pm
Rosny Barn
9am
MONA Owna
11am
Morning Meditation
CAT
Morning Meditation
Morning Meditation
TownMAC2 Hall
Sunday Jan 19
Matmos
9pm
Roland Tings
12am
1am
2am
$25 concession $25 concession $40 concession $40 concession
Door Door Sales Sales
$30 full $30 full $50 full $50 full
11pm
8pm
9pm
John Grant
Robin Fox
Striborg: Purifying the River of Tears
Buy Tickets
Check www.mofo.net.au or the MONA FOMA app for updates.
Buy Buy Tickets Tickets
10pm
Client Liaison
11pm
The Orb
12am
1am
Hobart Improv Collective
Conrad Shawcross: The ADA Project Installation
10pm
Robin Fox
Buy Buy Tickets Tickets
7pm
Conrad Shawcross: The ADA Project Performance
8pm
The ‘Family, isn’t it about time?’ Deal
l
7pm
This counts as quality time with your sproglets. Not only do under-12s get in for free, they also score you a reduced-rate parent concession. About time the little s@*&s pulled their weight. (Proof of age may be required. Applicable to Festival Ticket and online sales only.)
l
Festival Festival Ticket Ticket
MOFO Eastern Sho: ACO Quartet
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A 2% Children Childrenunder under 2 are 2 arefree freeononthethe bo Music is around us every day, everywhere, and Jan 18 & 19, 2pm-late entering the MAC Precinct with This Thisyear yearisshould isdoor doorsales salesonly only——underThis entering the MAC Precinct with put aThismicroscope. MOFO credit card surcharge applies to all counts countsasasquality qualitytime timewith withyour your knee kneeforforTheatre TheatreRoyal Royalevents. events. ass festivals that firmly position world-class festivals tha a child under 12 is eligible to butdon’t don’t worry,you’re you’re still stilltotally totally a child under 12 is eligible to want itonline Tickets available at: we TicketsNot available bookings. sproglets. sproglets. Notonly onlydoat: dounder-12s under-12s all events atbutMAC1 &worry, MAC2 whether or not. Some people succeeds because it doesn’t bear the purchase one reduced-rate parent VIP VIP to to us, us, promise. promise. 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Check www.mofo.net.au or the MONA FOMA app for updates.
Music
INTENSE! GOOGLE TELLS US THE AVERAGE LENGTH OF A MARRIAGE TODAY IS 24 YEARS. IF ACCURATE, LET’S GIVE A TOAST TO TASSIE DEATH-GRIND OUTFIT INTENSE HAMMER RAGE WHO HAVE BEEN STRUMMING IT OUT FOR CLOSE TO TWO DECADES. HAVING TIED THE KNOT IN 1994, THE FOUR-PIECE WILL RECORD THEIR FIRST ALBUM IN 13 YEARS AT MELBOURNE’S GOATSOUND STUDIO. PERHAPS YOUR MARRIAGE OR RELATIONSHIP IS ON SHAKY GROUNDS? GUITARIST/VOCALIST RICEY TELLS US HOW NEARLY TWENTY YEARS LATER, MEMBERS ARE LOOKING TO RENEW THEIR MUSICAL VOWS.
“A lot of the “core” bands are caught up in trends, whether it’s band names, musically or- I cringe to say- image” Ricey says on the varying trends of metal band names. “I think a lot of bands in all categories of metal lack imagination when it comes to band names. Just rehashed versions of previous monikers or, when it comes to death/grind metal, cheesy gore names that are easily forgotten. I think it is definitely important to have a band name that sticks out from the rest. I guess Intense Hammer Rage is quite memorable for the right...... and wrong reasons! (laughs)” Intense Hammer Rage will be touring Tasmania with some many bands in tow. Ricey talks excitedly of this upcoming gigs with mainlanders Confusing Anal Mess. “For those that haven’t heard Confusing Anal Mess, they are from Melbourne and play some seriously brutal extreme grind. Very tight and fast. We are always encouraging mainland acts to come to Tassie and when they do come over, straightaway they are keen to come back! They love the place. The Tassie metal crowds are always very responsive to mainland acts and music which makes it all worthwhile and everyone is happy. Also, this helps open doors for less established Tassie metal bands to play with bigger
name bands and hopefully kick starts them into playing further afield like the mainland. Ricey is in two minds about the technological and social advances and changes in his twenty-year run with the band. “Well, technology has really changed! I remember once upon a time you actually wrote letters on paper and go to the post office to send it off then wait a month or two for a reply! I miss that feeling of going to the mailbox after the postie has been and receiving heaps of mail from around the world, especially when you hit the jackpot and get CDs and stuff. It’s so much easier now but not as exciting as the old days.” “Also the things you can do in the studio now are amazing! I still remember recording our demo tapes using reel to reel!” “We are all great mates” Ricey says of the secrets of success in keeping a band together for so long. “We don’t ever argue or get any attitude towards each other. When we jam, it’s just mates getting together and having a few beers, catching up and having a good old laugh. It’s meant to be fun. Why go to band practice acting like egotistical rock stars? We all contribute to the band in our own ways and it’s been a working formula for nearly 20 years. It’s as simple as that really!” As mentioned, the band will be heading into the studio to record after 13 years. Hopes and expectations are high, but Ricey is just damn excited. “We are going all out for this recording! We are not going to cut costs. We will spend us much money and as much time as it takes to produce the best recording that we can. We really can’t wait, it’s been way too long! The CD will feature nine brand new tracks and a bonus track or two from an old demo” “The title will be “Slaughterhouse Songs” and will hopefully be available around the middle of 2014. Our new vocalist Martin [ex bass and vocals in Three Victims] has been with the band for over a year now and fits in really well with us. He’s also good at getting us beers when we jam!” Is it much more accessible for bands to start out these days compared to 20 years ago? “Oh, absolutely. As I mentioned earlier, technology has made it so much more easy. Newer bands have no idea what it used to be like before Facebook or Bandcamp and all that sort of shit. But at the same time, there are so many bands now due to the fact that you can do a really good recording at home on Pro Tools or whatever and slap it on the internet. All good and well but you have to do more than that to stand out from the multitudes of forgettable bands cluttering up the scene! Get your arse out there, prove yourself, put in some hard work and earn some respect!” If you thought Intense Hammer Rage would rest on their laurels after so long together, you’re wrong. “We will hopefully make it over to Europe mid-next year for a couple of weeks to play at the massive Obscene Extreme festival and to tour around doing other gigs and festivals. We have lots of merchandise available as well. So next year will be very productive for Intense Hammer Rage!” Mark Acheson
Friday January 24th - Brisbane Hotel, Hobart with Confusing Anal Mess, Gape and Hells Grace January 25th- The Pav, Launceston with Confusing Anal Mess, Atra Vetosus and Hells Grace
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warpmagazine.com.au
DRINK TILL THE COWS COME HOME THE BEST PRODUCTS IN ANY FIELD ARE CRAFTED BY PEOPLE WHO HAVE EXTENSIVE KNOWLEDGE IN WHAT THEY DO, A WEALTH OF EXPERIENCE IN THAT CHOSEN FIELD, AND STILL SOMEHOW MANAGE TO ENJOY DOING IT.
That’s what I found on a recent visit to the Moo Brew Brewery in Bridgewater, where I was lucky enough to have a beer and chat with head brewer Dave MacGill. I was initially blown away by the sheer scale of it all (it’s a long way from the typical 25/50 litre home brews I’m used to), but soon realised that Moo Brew’s 3000ish litre batch capacity is tiny, itty bitty fries in comparison to the larger breweries pushing out millions of litres every year. Founded in 2005 and originally located at the MONA site in Berriedale, Moo Brew has spent the last three years calling Bridgewater home, expanding operations to become a standalone business as opposed to another facet of the MONA experience. Despite being a relatively small operation (awesome equipment means it only takes a few people to brew a lot of beer in a relatively short amount of time), Moo Brew has the furthest mainland reach of all the Tasmanian craft breweries, and have successfully parlayed that into arrangements with some of the most exclusive bars and restaurants around the country. This has been aided in part by the classy presentation of piccolo champagne bottles, and trademark John Kelly artwork. The Moo Brew range has started to grow. They recently added the Belgo – a Belgian Pale Ale (check below for a review of the Belgo and the 2012 Barrel Aged Vintage Stout) to their core line up of Pilsner, Hefeweizen, Pale Ale and Dark Ale. They’ve been bolstering their seasonal range with the addition of a farmhouse Saison, which received rave reviews from punters in the know at the recent Tasmanian International Beerfest. All this means things are still on the up for Moo Brew. The brewers are (almost literally) up to their necks in work. 2014 will see them continue to broaden their distribution around the country, supplying the craft beer fiends of Australia with more of their fine ales, as well as slipping in a surprise or two along the way.
Moo Brew Belgo (4.5%) First up, the label is another exclusive John Kelly piece, this time titled ‘The Cowboy’. Straight up, it pours a beautiful, crystal clear amber with a soft, pillowy head. The first thing you notice is the fruity aroma with present notes of sour yeast and a touch of spice. The taste gives more of the same, with the sweet light malts combining with the fruity hops and tart yeast to give an almost apricot tang, which fades into a touch of classic hop bitterness. There’s really quite a lot going on. There’s even some good biscuit action popping up in there somewhere. It’s a rollercoaster and it all ends crazily dry, which is what you’d hope for after a rollercoaster ride, really. The sharpness is very mild compared to a Lambic or a Gueuze, but it still may not be everyone’s cup of beer. Personally, I thought it was pretty interesting, pretty good, and something I’d rock again for sure.
and subtle caramel and vanilla, which is a result of the barrel aging process (oxygen slowly seeps through the wood barrels, reactivating yeasts and further developing flavours while picking up some of that oaky goodness from the barrel itself). It’s thick and rich with a just-what-you-need-in-themiddle-of-winter warmth that lingers. It’s a great brew, and from what they tell me, it won’t be available in bottles from this point onward. The few bottles from previous vintages currently on the market won’t be on the market for much longer, so pick it up if you see it. Pro-tip: let the stout breathe and warm for a while before you dive in – it’ll bring out more of those awesomely sweet mocha caramel flavours. Moo Brew can be found on tap in a select number of Tasmanian joints with bottles available at most good bars. For the true Moo Brew experience, head out to the Wine Bar at MONA to sample the entire range. To learn about the ins and outs of the brewery, you can take part in their weekly tour. SHANE CRIXUS
Moo Brew Barrel Aged Vintage Stout 2012 (8.5%) The seasonal Moo Stout is something that beer nerds around the country wait for with (beer-smelling) baited breath. There’s good reason for that, and fortunately for me, the 2012 vintage is said to be one of the best. More super cool packaging with another John Kelly piece on Moo Brews trademark mini-champagne bottles. Woody earthiness, rich coffee, cocoa and dark roast malt are the first things you notice from a quick sniff. First sip gives you all of that with an added layer of sweet
Moo Brew tours take place at 12.30pm every Friday (except public holidays) and cost $30 per person. Bookings can be made via phone on (03) 6277 9900.
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Arts
BENT, TWISTED AND UPSET WHEN I FIRST FLICKED THROUGH THE MOFO PROGRAM, I THOUGHT THE BLACKSMITHS WERE A HEAVY METAL BAND. DON’T MAKE THE SAME MISTAKE. THEY ARE THE TASMANIAN ARTIST BLACKSMITH ASSOCIATION, LEATHER-CLAD FORGERS OF GENUINE METAL. THEIR MOFO PERFORMANCE WILL BE IN COLLABORATION WITH ANOTHER SMITH, THE APPROPRIATELY NAMED ELECTRONIC ARTIST NICK SMITHIES.
ANDREW LOVES NOVEMBER In 2013 I encountered a musical work so unique, subtle and overpowering it has caused me to question many preconceived notions about music I had, whilst managing to affirm others. November, a truly epic piano work, bought home to me the importance of character in the creation of any kind of art, be it sound or visual or any permutation thereof. November is a minimalist composition and it has a power that envelopes and seduces in a way that a lot of things do not in the contemporary world. I’ve written about this before and I suppose it’s an age thing (hey, I’m 45 and I’m a parent) but I’m getting a bit over being amazed. There’s so much art that’s BIG and AMAZING and WOW. I’ve even heard of “the wow factor” being important and yeah, it is good to have a wow, but it shouldn’t be everything. The Wow has taken over somewhat.
Originally the brainchild of MoMa (MONA Market) craft curator Natalie Holtsbaum, Bent, Twisted and Upset is now in its third iteration. Like MONA itself, the performance promises to provide a sensory collision between old and new technologies. With the tagline “we make everything but horse shoes”, the members of TABA are not your average blacksmiths. They specialise in highly detailed ornamental work: think big, burly men bashing hot metal into floral firescreens, birdbaths and sculptures. The objects produced for this show will be entomological in theme, after mosquito expert (and wife of Brian Ritchie) Dr Varuni Kulasekera suggested that the delicate metalwork reminded her of insects under a microscope.
This will be the sound artist’s second collaboration with TABA, since MONA music curator Brian Ritchie brought him on board. Using samples taken previously combined with those recorded live, Smithies will transform the metalworkers bangs and clangs into an experimental soundscape. The striking of an anvil will be stretched and deconstructed until it becomes untraceable from its acoustic origins. The artist has resolved to work exclusively with the blacksmith’s natural noise, so the challenge will be to provide continual sonic interest throughout the four-hour performance. Smithies is undoubtedly up to the task though, and will create a range of different textures and genres from the noise.
While the blacksmiths demonstrate their ancient craft, Smithies will use more recent technologies to record and remix the noise.
For those who’ve caught previous shows, version three of Bent, Twisted and Upset should provide an even more intense
auditory experience. Visually, it will be great to see these experienced artists work with their respective tools: hammer, anvil and computer. For those like me who haven’t seen the show, prepare for a crossdisciplinary experience that is innovative, exciting and exceptionally loud. BRIDGET HICKEY
See the Blacksmiths & Nick Smithies: Bent, Twisted And Upset on Saturday January 18, 6pm-10pm, at the MAC Forecourt. Entry is included in the MONA FOMA festival ticket available from www.mona.net.au.
COMEDY:
THREE MEN ONE HOUR 2013 SAW A SURGE IN THE TASMANIAN COMEDY SCENE. ROOMS CAME AND WENT, NEW PERFORMERS GOT UP AND CLUTCHED THE MIC IN TERROR FOR THE FIRST TIME, AND THERE WERE BODIES AND SMOKE EVERYWHERE. FROM THE FRAY, THREE HANDSOME YOUNG MEN CHARGED OVER THE TOP, SURVIVED THE CARNAGE AND DECIDE THAT IT WAS TIME TO GET OFF THEIR ARSES AND DO SOMETHING FOR THEMSELVES, FOR COMEDY, AND FOR THE NATION.
Cloud Comedy Presents: Three Men, One Hour on Friday January 31, upstairs Hotel Soho. Doors open 7:30pm for an 8:00pm start. Entry will be $5 on the door.
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Standout new comedians Jono Mastrippolito, Stewart Bell and Angus Reynold are presenting Three Men, One Hour which does what it says on the tin: new comedy right in your face. Check these muscular laugh machines out: Angus Angus is a well-dressed, and reluctant Maths Nerd. Discover what 2 years of Tertiary mathematics education and listening to hundreds of hours of comedy podcasts does to a man as he celebrates his 20th birthday with story telling, observation and reflection. Angus has already ripped up Cloud Comedy, The Comedy Forge and supported Mel Buttle at The Clubhouse and despite his tender years, has jokes that makes dingoes flush. Stewart A self-confessed metrosexual wanker and Michael Bolton fan, Stewart grew up in London and penned a series of novels about the adventures of a boy wizard and his struggles to overcome adolescence and the dark lord that killed his parents. Unfortunately his manuscripts mysteriously disappeared from his local coffee shop one day while he was ordering a hot chocolate. Since 2011 Stewart has caused hysteria at The Comedy Forge, The Clubhouse, Fresh Comedy, The Lowerhouse Comedy Lounge, and Corona Comedy at the Country Club
Casino. In 2012 he and David J started Uber Comedy in Launceston - a monthly comedy night for both new and established comics, held at Dicken’s Ciderhouse. A state finalist in the National RAW comedy competition he’s supported big names in Australian comedy, such as Greg Fleet and the Axis of Awesome. Stewart has the hardest working haircut in Tasmanian Comedy. Jono Arguably the most attractive stand-up comedian in the greater Hobart area, Jono has been asking audiences the hard questions since May last year. Questions like, why do we have forests everywhere but not a single LEGOLAND in Tasmania? Jono’s family had high aspirations for their second-born, hoping to see him representing the innocent in a court of law or leading the country from the political offices of Canberra, but instead they must be content with him telling jokes in seedy bars on weeknights. His meteoric rise to obscurity has been unprecedented; in fact many of his friends didn’t know he could form more than one or two acerbic sentences until he first took to the stage. Jono’s dark but frequently illuminating comedy explores being a young adult in this thing that we call the first world and modern society. ANDREW HARPER
That’s why November is important. Written by Dennis Johnson in 1959, November is a composition for piano that stretches out over 4 hours, although it may have been as long as 6 in its early stages. The work itself was lost, existing in no official form, and unplayed since its inception when Johnson first studied at UCLA with minimalist giants La Monte Young and Terry Riley. All that existed was a 100 minute cassette tape (which included barking from a nearby dog) and a score covered with crossed out notes. Reconstructed by composer Kyle Gann then played in its entirety by pianist R Andrew Lee, the work emerged in 2013 as a collaboration between labels Penultimate Press and Irritable Hedgehog. It’s a gentle work fleshed out with space that builds through repetition, taking phrases of music and slowly expanding them outwards as the work itself unfurls. Far more tidal in its pull than the epic of vista of a mountain, November is vast and gorgeous. You get lost in its length but its tiny movements are what captivates. It’s a delicate sculpture of polished fish bone, and somehow, it became the thing that most engaged me as a listener in 2013. It spoke to me in a quiet, gentle way that invited consideration, rather than drowning me in amazement. In researching this work to write about it, I discovered the composer himself, Dennis Johnson, is still alive somewhere in California. Dennis has somewhat excluded himself from the 21st Century, having no email address and rarely answering his landline. Like its composer, November is a work that almost doesn’t fit into this hectic world, and by avoiding brashness and pomposity, it makes a statement about how we live now and what might be wrong with that. It’s a hard thing to find 4 hours just to listen intently to a piece of glacial piano, but if you do, something wonderful might be revealed. ANDREW HARPER
Arts
IN THE STUDIO WITH
…
MATT WARREN DEAD LETTER OFFICE
Matt Warren is a Hobart based artist who works primarily in time-based media, Matt creates installations, single channel video, audio works, and performance. His work investigates memory, transcendence and suspension of disbelief. How would you’re describe your studio space? It’s called Dead Letter Office, named after a Post Office sign my partner found at a garage sale years ago. My studio is a bit of an escape, a place conceived entirely to be creative and think about being creative. It’s part recording studio, video studio, workshop, library, storeroom and meditation space. What is the best thing about it? It is attached to our house. That makes it very handy. It contains all the stuff I need to create. It’s fairly quiet and reasonably big. What is the worst thing about it? Nothing really bad about it. Again, it’s attached to our house, so it can be easy to take it for granted. When it’s so connected to your house it can make the life/work thing difficult to keep separate. But that’s only a minor thing and more to do with self discipline. I’m fully aware I’m in a lucky position and good studio spaces aren’t easy to come by.
Imagine your ideal working space... what does it look like?
Tell us a bit about your practice and where we can see more of your work...
The past year I’ve mainly concentrated on sound art and music a lot of which can be heard on obscure European compilations or radio broadcasts. I used the studio to mix the Machines Of Indeterminate Origin album this year too. I usually create immersive video and sound installations, electro-acoustic recordings and single What can you not work without? channel videos. Recently I curated an exhibition called ‘Ghost Hunters’ for the Inspiration, be it good or bad and sleep generally. As for making work, I can’t work Plimsoll Inquiry and for the same project without some kind of recording device, be it myself and Tricky Walsh collaborated on an FM broadcast sound installation work audio, video or paper. called ‘Radio 23.1’ which will likely reemerge is some other form in the future. What music do you listen to while you I’m beginning work on the next stage of work? the ongoing ‘Sönaris’ project which will be exhibited at some point in the future and Yesterday I listened to a guest musician looking at doing 2d work again which play guitar for an upcoming release of I haven’t really done for many years. Myself mine. As I make music and sound, I tend to prefer the studio be fairly quiet, so don’t and my partner are going on an Artist in Residency to our shared old high school listen to a lot of music in there. I find it difficult to not ‘listen’ to music for the most in Burnie in June next year…a kind of hauntological visit. part. But when doing more constructive stuff, menial or repetitive things that don’t PIP STAFFORD take much concentration I do have stuff on in the background. My desktop computer’s iTunes doesn’t have a big selection; Dälek, Coven, the much maligned 1983 Black Matt’s work can be found at: Sabbath album ‘Born Again’ and episodes of ‘Captain Kremmen’ all get regular plays. www.mattwarren.com www.vimeo.com/mattwarrenhobart www.thesmallhours.wordpress.com I’ve managed to trick out my space fairly well. I think ideally I’d like a sound proof space so I could come and do stuff at any hour of the day if inspired. So a little more ‘baffled’ and with some more controllable lights, but generally no complaints.
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Arts
FILM NEWS WITH BRIONY KIDD LOOK OUT, SOUL BROTHERS AND SISTERS – THE LEGENDARY MELBOURNE NINE-PIECE SASKWATCH ARE HEADED ACROSS THE STRAIT THIS MONTH TO CELEBRATE THE RELEASE OF THEIR NEW SINGLE, ‘HANDS’. Another month, another flurry of filmmaking activity. The Outlaw Michael Howe, written and directed by Brendan Cowell and shot largely in Tasmania, debuted on ABC1. It stars Damon Herriman, who’s impressive as the poetic anti-hero of this ‘re-imagining’ of Van Dieman’s Land history, complete with songs by the Drones and Sarah Blasko. There’s a touch of the Nick Caves about it all, if you know what I mean. Hobart actors Iain Lang and Nick Falk joined the cast, as a wily colonial and a ruthless colonial respectively. It’s great to see Tasmanians on the national screen but I can’t help but wonder whether more roles could have been locally cast. As for the end result? A Twitter acquaintance called it “a bushranger show that wishes it was Game of Thrones”, which is pretty spot on. But it’s fascinating, rich material.... and does feature Matt Day as the Reverend Robert Knopwood, so that’s worthwhile for sheer novelty factor alone.
MONAFOMA:
ROBIN FOX Robin Fox has been an irrepressible and engaging mainstay of MOFO since it’s inception, doing amazing things with sound and light. The Fox is one of the best artists in this country, known primarily for his dynamic laser and sound works, and 2014 will see him using colour in a totally new way. Robin had a few things to say about what we’re going to see and what he’s up to this time. You’re using more colour this time - are you combining lights to create images or is it the abstract patterning those who know your work are familiar with? What are we going to see? I’ve been performing the monochromatic ‘green’ laser show for about 7 years now and have wanted to expand into the realm of colour for a long time. I’m still dedicated to the idea that you are seeing and hearing the same electricity at the same time so the show is still abstract in the most part despite the fact that my new system is capable of drawing unicorns and writing text etc. I have three new lasers - 1 red 1 green and 1 blue. The idea is to create an even more immersive environment by positioning the lasers in different parts of the room and also to explore a more complex synaesthesic relationship between sound and light. In terms of what you will see... Well, I’m still making it ,so it will be brand new. At the moment some of the sections feel like indoor fireworks. 26
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Obviously a colour change is a big step (you have always been synonymous with green laser lights until the straight beam of white we saw six months ago) - was this a difficult or complex thing to achieve? It was an expensive thing to achieve! Basically I wanted colours but also more power. With more power, as we know... comes more responsibility. For safety reasons I am now using Pangolin which is the industry standard laser display software (hence the ability to make unicorns and write my name). This software can’t operate in the same way as my old real-time audio set up. This is leading to new ways of working, new paradigms for the conversion of sound to light and also from image data to sound. I’m still getting my head around it. Your work seems to move forward logically. Each iteration expands what you do ever outward. As such, something that remains vital is that you avoid having a schtick. Is this a conscious decision to keep what you do interesting? I have a really short attention span. I always want to be making new things. Often the hardest balance is making sure that I follow through with an idea before moving to the next. Some artists work on the same for their whole lives, perfecting one technique or striving for some perfect continuity. My mind works very peripatetically, never in one place for long. I like to keep myself interested and just hope that that translates into interesting work to see and hear. Do you still play live gigs and pump out those wild and weird beats or is it all installation based work now? I still play live gigs and in fact this year at MONA FOMA I will play two live sets with the new lasers. I am building the capacity
for improvisation into the system as we speak. I love the thrill of live performance and the ability to make decisions on the fly. Installation is very different, much more considered. My work is always 50% improv and 50% composition. Many of the elements are composed ahead of time but how they come together in the moment is an act of performance. How is being a semi-regular feature of MOFO going? I love it. I have been at every festival in some capacity and I’m thrilled to be back again. MONA FOMA and Dark MOFO have been great supporters of my work over the years and I’d really like to thank the curators Brian Ritchie, Leigh Carmichael and Nicole Durling for their support. Do you work project to project, or is there one underlying thread through all your work with sound and light? What’s the central concern that drives you to make this fascinating body of work? I think if there is an underlying thread to all of my projects across sound, light, installation and sculpture it’s trying to capture that moment where a stable system becomes chaotic. There is something about that liminal point that excites me. I do work project to project and each project makes different demands but I am human and have proclivities, these follow me around. ANDREW HARPER
December also saw another Tropfest come and go. No Tasmanian finalists this year and meanwhile the winning film, Bamboozled, raised hackles with a script that tempted trans and homophobic interpretation. I will admit to not having attended the Hobart Tropfest screening in Salamanca Square but I understand the technical presentation was less than ideal, which is no surprise given that the screen used is located inside the foyer of the Mercury building. I’m not a fan of the giant outdoor TV idea at the best of times. What’s wrong with actually projecting films, as is traditional? On a more positive note, it’s the festive season and there’s been plenty of shmoozing going on, from a meetand-greet with the new CEO of Screen Australia, Graeme Mason, to Screen Tas drinkies, to the freelancers Christmas party at Parliament Co-Working (featuring classic 80s movies, plenty of tasteful decorations and a lolly-filled “ATO piñata ”). Finally, a source (named Shaun Wilson) tells me the team behind the web-series Noirhouse has had a win in the funding stakes, and will be soon kicking into production on a new batch of episodes. Congratulations to all involved. It’s good to see hard work and entrepreneurial spirit paying off. Speaking of which, Emma Crethary is seeking a director for a fantastic short comedy-thriller called Happy Bloody Birthday, so get in touch with her if that sounds like you. Meanwhile, the gang from the short film Stewart sent me through a few stills from the recent shoot. Feast your eyes. BRIONY KIDD
Arts VISUAL ART:
BOOK OF THE GARDEN THE READER’S DIGEST COMPLETE BOOK OF THE GARDEN IS A UBIQUITOUS TOME, FOUND ON MANY AN OPPORTUNITY SHOP SHELF. OFFERING DREARY ADVICE ON SUCH 1960S TOPICS AS ROCKERIES, IT’S ONE TO AVOID.
The exhibition that takes its title as namesake however is an entirely different story. Curated by Elissa Ritson, Book of the Garden will feature works on paper by five emerging contemporary artists: Alexandra Palmer-Bull (NSW), Brain Foetus (TAS), Priya Vunaki-Singh (TAS), Gonzalo Ceballos (VIC) and Ritson herself (TAS). The title was chosen to reflect the artists’ shared interest in the natural world and a pseudo-scientific approach to art making. Ritson points out that processes of collecting, grafting, observing, and cataloguing apply equally to art and science. As a space in which art and science meet, the garden is an appropriate metaphor. The show will feature separate bodies of work from each artist, in addition to a collaborative collage. Although their
practices are diverse, the work will be linked by an illustrative quality and sense of implied narrative. Given this, the borrowing of a familiar book title seems even more appropriate: through imagination and artistic synthesis, these artists hope to reshape their everyday environment, rendering it strange and poetic. If you haven’t been to the Stable Gallery, it’s an intimate and surprisingly lovely space behind Cooley’s hotel, Moonah. Ritson is planning on making the most of this unexpected location by playing on the idea of a grotto. Walking into the gallery from the hotel courtyard, viewers will find themselves immersed in a sensory and unfamiliar environment. Flower garlands will hang between artworks and the collaborative collage will adorn the entrance. Although the exhibition will not be an installation, Ritson hopes that this three-dimensional approach to space will serve to emphasise the sense of ritual and mystery. This will be the first combined show by this group, many of whom have only recently begun exhibiting. To continue with the botanical theme, it promises to be a great opportunity to view work by these budding artists just as their practices begin to bloom. Watch out for future collaborations. BRIDGET HICKEY
Showing from January 8 to January 30 at the Stable Gallery, the official opening will be on Wednesday January 8 from 6pm.
Art:
CONRAD SHAWCROSS
Conrad Shawcross is a British artist who specialises in mechanical sculptures based on philosophical and scientific ideas, exploring subjects that lie on the borders of geometry and philosophy, physics and metaphysics. Attracted by failed quests for knowledge in the past, he often appropriates redundant theories and methodologies to create ambitious structural and mechanical montages, using a wide variety of materials and media, and working on an epic scale. www.victoriamiro.com/artists/_13 For MOFO 2014, The ADA Project is an industrial robot that morphs into a graceful choreographed dancing light sculpture. The work is inspired by Ada Lovelace (1815-1852), renowned mathematician and daughter of Lord Byron, who predicted computer-generated music 100 years before it eventuated. Live performance and music meet warehouse chic, as international contemporary stars perform with the robot at specified times. Performing artists include Tamara Barnett-Herrin and Mylo, Mira Calix and Teresa Duddy, Beatrice Dillon and Rupert Clervaux, Holly Herndon (virtual performance).
Performances: Thursday Jan 16, 6pm. Friday Jan 17, 6pm. Saturday Jan 18, 4pm. Sunday Jan 19, 4pm & 8pm. At MAC1, Hobart, included in Festival Ticket. Limited capacity. Installation: See calendar for opening hours, MAC1, included in Festival Ticket.
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Arts PERFORMANCE:
SLAVE PIANOS & PUNKASILA THE LEPIDOPTERS
with MICHAEL KIERAN HARVEY & RACHEL SARASWATI Two art collectives - one from Melbourne and one from Yogyakarta, Indonesia have teamed up to stage The Lepidopters. Based on a comic, it tells the story of an alien moth invasion of the Indonesian archipelago, who plan to colonise Earth through inter-species reproduction. Gamelan meets improvisation, mysticpunk and comic book projections in this weird and wacky performance. This project has been assisted by the Australian Government through the Australia Council, its art funding and advisory body. www. slavepianos.org / www.punkasila.com.
Thursday Jan 16, 7.15pm & 9.15pm, MAC2 Backspace, Hobart, included in Festival Ticket.
THEATRE ROYAL 2014 SEASON THE THEATRE ROYAL NEAR HOBART’S WATERFRONT IS A BEAUTIFUL VENUE THAT BOASTS A COLOURFUL HISTORY, WHICH INCLUDES TALES OF DRUNKEN REVELRY BENEATH THE AUDITORIUM, A DEVASTATING FIRE AND, ALLEGEDLY, A THEATRELOVING GHOST. SINCE 1834 THE THEATRE HAS BEEN ALIVE WITH PERFORMANCE, MUSIC, DANCE AND SOME MORE UNUSUAL FORMS OF ENTERTAINMENT, SUCH AS COCKFIGHTING. IN KEEPING WITH ITS WIDE-RANGING AND OFTEN RAMBUNCTIOUS HISTORY, THE 2014 SEASON FEATURES A DIVERSE PROGRAM OF HIGH-QUALITY EVENTS.
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Kicking off the season is Australian Art Orchestra with special guest Ngaiire, for MONA FOMA 2014. Known for genredefying sounds, The AAO is a leading Australian contemporary music ensemble, together with Ngaiire, they are will reimagine the music and life of jazz legend Louis Armstrong. Also in town for MONA FOMA is Mural and Kjell Bjorgeengen who performed a one-off show in the Rothko Chapel in Houston. Unfortunately there will be no Rothko in this long-form performance, but we are promised captivating video art all the way from Norway, courtesy of Kjell Bjorgeengen. What happens when MOFO finishes and the sun sets on Summer? Never fear, the excellent program continues with more than a few quality productions, including DanceAustralia’s Lake, which will literally flood the entire performance area with water in a work that reflects on the journey of a relationship, from sparkling reflections
to murky depths, intense beauty to chilling isolation. Directed by Lisa Wilson this major new Australian dance work tells a story of destruction and renewal.
coming too including the writing skills of three of Tasmania’s best playwrights in Born from Animals in the Backspace Theatre.”
In June you can see George Orwell’s 1984 adapted deftly for the stage by skate & stir theatre co. This critically acclaimed and terrifically frightening theatrical event updates George Orwell’s final novel for a modern audience. Set in Oceania, a nation perpetually at war, 1984 follows protagonist Winston Smith as he pursues a forbidden love affair with the mysterious Julia in an attempt to rebel against the oppressive, Thought Police controlled regime and regain independence in his life.
This triptych of new plays from Tasmania is produced by the Tasmanian Theatre Company and written by three exceptional writers: Tom Holloway, Finegan Kruckemeyer and Sean Munro. Born from Animals will be a memorable, thoughtprovoking night of theatre.
In the latter end of 2014 the always brilliant Bell Shakespeare, with director Damien Ryan, brings us Henry V, the story that examines political spin, patriotism, religion, class, monarchy and brotherhood. Tim Munro, Chief Executive Theatre Royal says “And there’s lots of Tasmanian talent
The end of the season will be courageously book-ended by the karaoke-driven Sing for Me! a MADE production, directed by Glen Murray. PIP STAFFORD
To see the entire 2014 Programme, make a booking or find out more about these fantastic productions head to: www.theatreroyal.com.au.
Arts
Gallery
performing arts
Guide
Guide
South 146 ARTSPACE Until Jan 30 Amber Koroluk-Stephenson + Aden Narkowicz – Forged Environments ART MOB Jan 10 -26 Tourist Tat & other problematic, tokenistic spotty meanderings BETT GALLERY Jan Imants Tillers Nicola Smith CONTEMPORARY ART TASMANIA Jan 14 – Feb 16 Melanie Herbert – It Called Out COLVILLE GALLERY Jan 10 – 29 Jerzy Michalski Jan 31 Ian Parry CONSTANCE Jan 11 PAINTFACE. Curated by Polly Dance DESPARD Until Feb 9 The Summer Show HANDMARK Jan 1 – February 12 The Summer Show PENNY CONTEMPORARY Until Jan 10 Scot Cotterell – Trademarks Jan 11 PAINTFACE. Curated by Polly Dance SALAMANCA ARTS CENTRE SIDESPACE: Jan 6 – 19 Wolfgang Glowacki – Art + Soul TOP GALLERY: Jan 10 – 30 Erin Linhart - Vanitas Vanitatum
STABLE GALLERY (MOONAH) Jan 8 – 30 Book of the Garden TMAG Until Feb 23 Acts of Exposure: Leigh Hobba, Michael Schlitz and Mark Shorter Until March 16 Drawn with Intent WELLINGTON GALLERY All summer Last Available Works of Thomas Andersen
NORTH BRAVE ART GALLERY (Longford) Until Jan 20 All I Want for Christmas DEVONPORT REGIONAL GALLERY Dec 13 – 26 Jan Coastal: Photographs from the Robinson Collection Liam James – Kids These Days BURNIE REGIONAL GALLERY Until Jan 27 David Edgar – Geo-encounters High Art Summer Show
SOUTH
NORTH
COMEDY
COMEDY
THE WARATAH Jan 16 The Clubhouse – Justin Hamilton, Kevin O’Flaherty, Tracey Cosgrove
DICKENS CIDERHOUSE Jan 15 Uber Comedy
SOHO HOTEL Jan 8 Cloud Comedy
FRESH ON CHARLES Jan 17 Fresh Comedy – Justin Hamilton, Doug, Stewart Bell For all MONA FOMA events, see the MOFO Guide!
FILM CINEMONA Starts Jan 18 Falstaff by Giuseppe Verdi (MET Opera Live in HD) STATE CINEMA Jan 19 The Punk Singer + Q&A with Kathleen Hanna THEATRE ROYAL TASMANIAN BOTANICAL GARDENS Jan 1 – 26 Robin Hood
GALLERY PEJEAN Until Jan 4 Showcase 2013 QVMAG Until Feb 16 2014 Into the Wild: Wilderness Photography in Tasmania Until May 18 2014 David Keeling - A Dreamer’s Keepsake Until 19 Jan 2014 A Passion for Nature: The art of William Charles Piguenit
WARP RECOMMENDS…
Michael Schlitz, Explorers Dream, 2006, relief woodblock print on Japanese Kozo paper.
Tasmanian Museum and Art Gallery Acts of Exposure 14 December 2013 – 23 February 2014 Argyle Galleries 2 and 3
PARANORMAL INVESTIGATION Hunt for ghosts at Port Arthur
Acts of Exposure features work by Tasmanian artists Leigh Hobba and Michael Schlitz, and NSW artist Mark Shorter, and is a joint initiative of TMAG and Contemporary Art Tasmania to promote contemporary artists.
L EARN
Acts of Exposure is a contemporary take on romanticism and the artistic tradition of the body in space. The exhibition brings together artists for whom landscape is deeply subjective and whose works are guided by an ongoing personal ‘quest’.
10 PM –2 AM
HOW TO CONDUCT PARANORMAL
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www.facebook.com/warp.mag 29
CD Reviews
Have The Bamboos gone noir with their sixth album? Not quite, but Fever In The Road is the Bamboos album that wears stockings and high heels, mixing in their most surprising influence yet: country and western music. “It’s not the mascara, it’s not the tight dress/ It’s the look in the eye that’ll scare you to death,” Jonathan Richman sings in ‘Vampire Girl’. The Bamboos are back with a vengeance, having left behind all of the guests from last year’s star-studded Medicine Man album. The spotlight is instead on The Bamboos’ veteran diva Kylie Auldist and new chanteuse Ella Thompson, and their sequins shine bright.
The Bamboos Fever in the Road
The Ocean Party Split
“When I hear good music, I feel as though something has been added to my life that wasn’t there before,” Deanna Durbin tells Gene Kelly in the 1944 noir film “Christmas Holiday”. “I’d like that. Think you can teach me?” Kelly replies. Throughout the twelve tracks on Fever In The Road, The Bamboos lay down a soulful education. The ‘oohs’ on tracks like ‘Your Lovin’ Is Easy’ and the ‘ow!’ before the third chorus in ‘Rats’ are straight out of Otis Redding’s Dictionary of Soul. However, soul music and country music have never been far apart. Dusty Springfield’s Memphis album is evidence of this. Fever In The Road is the sound of the desert, mixed with a good dose of
Dr Dog
B-Room
eyeshadow and mascara. ‘Leaving Nothing Behind’ shifts like a mirage, or the opening credits to a James Bond movie. ‘Avenger’ shakes like a rattlesnake’s tail, and ‘Harbinger’ shimmers like oil rising from a hot tar road. The Bamboos successfully re-establish their sound on Fever In The Road, with a new sheriff in town. Auldist’s tracks burn down long, western highways, speeding into the horizon. They compliment Thompson’s starry tracks like the scorching desert day does to the cool desert night. Fever In The Road is a fever worth having.
The Morning Night
Roshan Clerke
Cave
Threace
Amberola
The Ocean Party’s fifth album is the aural equivalent of wearing trackpants. Just like baggy clothes loosely hug the body in their woolly embrace, so too do the songs on Split accept and acknowledge the cynicisms and dualities of being a young person. ‘Every Decision’ criticises the idea that the band can be lumped in with the fashionable slacker attitude of other guitar-music contemporaries. ‘Water’ and ‘Chinese Takeaway’ deal with isolation and longing for a friend. The lead single and title track recalls drummer Zac Denton’s feelings of displacement, anxiety, and confused societal expectations upon moving to the busy streets of Melbourne. Split gently rolls over the listener like waves of the ocean; but it’s in the grey, shimmering waters between crests that the human soul of The Ocean Party stands out, like a bright orange buoy. Lyrics about craving end of day specials and tubs of lukewarm Chinese food on ‘Chinese Takeaway’, or regretted words said to a friend on ‘Something Stupid’, provide a lifeline of emotional connection to the band beyond that which their aesthetic can bring. Roshan Clerke
There’s something messy about Dr. Dog’s music. Their songs are like a big, black, curly-haired dog--it’s hard to tell where one part ends and another begins. Dr. Dog seem like the Coen brothers version of alternative country. Their songs are selfaware, pay recognition to genre classics, and contain plenty of confused protagonists and bedroom philosophers. At their best we get the pertinent question of everlasting love transposed over a swooning, melodic beat, such as ‘Love’. At their worst, we get another trite, flannel-wearing countryrocker, like ‘Distant Light’. The predictability of their music often determines its success. For example, singing a girl’s name over a bouncing piano, such as in ‘Nellie’, always sounds good. ‘Phenomenon’ even perfectly balances a strong structure with a wiggly fiddle and cartwheeling production, throwing in a curveball lyric in a moment of clarity; ‘You’re always leaving, but you’re never gone,’ lead vocalist Scott McMicken sings. It’s the stray moments from B-Room that falter. From the opening notes of ‘Too Weak To Ramble’, it’s obvious the song isn’t going anywhere. The falsetto is enervating, and walks in circles. In the same fashion, songs like ‘Twilight’ and ‘Cuckoo’ end up chasing their own tail. Roshan Clerke
Perth six-piece The Morning Night have returned with their sophomore album Amberola. Sticking with their familiar style, they have constructed a captivating album; however, with multiple effects and layers, it sometimes feels overdone. Guitarist of the Brian Jonestown Massacre, Ricky Maymi, has collaborated with The Morning Night again after producing their previous album Otis. His psychedelic influence is distinctly evident in their mesmerising harmonies and tone. This inclusion of 60’s hypnotic elements adds to the intricate layering of the songs, but unfortunately does not grant the album the clarity needed to emphasise dexterous melodies and lyrics. The eerie quality characterised in multiple tracks is quickly captured, yet in some instances the thick layering makes the musicality hard to pick in the accompaniment. With flange and distortion effects on the electric guitars and echo on the vocals, The Morning Night seem to be trying too hard. But on the other hand, the multiple layers flow with an unexpected ease and elegance on their track ‘Crowd Around Her.’ While not being the most immaculate album, Amberola is a strong inclusion to The Morning Night’s repertoire and transports you to your Aussie rock roots while simultaneously relating to contemporary audiences. Maddison McHugh
30
warpmagazine.com.au
Drawing inspiration from German krautrock, the ever changing troupe Cave have chosen to dampen their usually tumultuous blend of sounds heard on their previous LPs and opted for earthy grooves. With the repeated pattern of guitar riff, nonchalant percussion and savory keyboard counter melodies; every track manages to have a diverse flavour and spirit. Opening track ‘Sweaty Fingers’ commences as an effortlessly streaming funk piece; including wah-wah guitar and congas to support the solid rhythm. However, the song abruptly has a bipolar fit as heavily distorted guitar jumps in and erases every trace of the base funk. But then dissolves and returns to its original bouncy beat. This quirkiness is also heard in tracks ‘Arrows Myth’ with drastic mood changes and in ‘Shikaakwa’ due to the introduction of flowing jazz beats. ‘Slow Bern’ is the closing track to the album and finishes the collection perfectly. It is nothing like the previously heard songs and allows the listener to rest as the album fades out. In true Cave fashion, they have once again produced something unique and rather outof-this-world. Instrumental music can take a while to get used to but their application of musical techniques and catchy rhythms have allowed Threace to be an incredible listen. Maddison McHugh
CD Reviews
Oliver Tank is not yet a household name. The Sydney ambient/electronic producer flies quietly under the radar, but the influence his sound has had on the Australian music scene is undeniably pervasive. Slow Motion Music is an album directly concerned with the intangible concept of time and its effect on Tank’s life. It is filled with emotional hurt and heartbreak, and at times does make the listener feel as if everything is flowing in slow motion. The dribbling percussion combined with the chant of “I know you feel it too” on ‘Home’ sends the listener into a lucid state of emotional detachment, as does the reverberation so omnipresent on ‘Her’.
Oliver Tank Slow Motion Music
Future of the Left
How to Stop Your Brain in an Accident
“Forcing myself through a telescope lens to a sea of bad moods”, begins singer Andy Falkous in ‘The Male Gaze’. Future of the Left have always been caustic and cynical, if nothing else. Their newest release, How To Stop Your Brain in an Accident, doesn’t have as much of the snarl as something like Mclusky’s ‘Lightsabre Cocksucking Blues’, but it does feature an older, angrier Falko doing what he does best. Calling out soap operas, Kardashians, and the lack of action in “There Will Be Blood” in ‘Singing Of The Bonesaws’ with an affected “posh” accent, and the furious ‘How To Spot A Record Company’ are absolute highlights. ‘Donny Of The Decks’ is stupidly catchy, while ragging on washed up DJs now “living in your bathroom”, but ‘She Gets Passed Around At Parties’ is a much darker, bleakly funny track about teenage pregnancies and getting hit by ambulances. Towards the end, things get even more interesting, with kazoos thrown into the mix during ‘Things To Say To Friendly Policemen’- another brilliant title- and an alarming gear shift to a bluesy shuffle in the final track with a Tom Waits growl, a very uncharacteristic finish for the band.
The overall quality of Slow Motion Music is indeed somewhat depressing; in both the themes themselves and the way the themes are presented in Tank’s music. “Life in real time moves too fast for me, slow down” is the lyrical theme for the final track ‘Blessing In Disguise’, a theme that beautifully sums up the premise of Slow Motion Music. Tank presents the album as an escape from these emotional feelings; music in slow motion is used as a means to detach oneself from time, which is moving too fast for us all. ‘Different Speed’ is a collaboration between Tank and Triple J wunderkind Ta-Ku and is testament to the brilliance that is sometimes found when two wonderful
Catherine Traicos The Earth, The Sea, The Moon, The Sky
The Earth, The Sea, The Moon, The Sky is Sydney singer/songwriter Catherine Traicos’ follow-up to the much-extolled album Gloriosa with band The Starry Night. It’s fair to say it definitely exceeds expectations. Bringing her usual mix of folk-roots-blues sound and fragile lyrics, Catherine creates a silky soundscape of dreamy melodies with moments of severe punch. Her storytelling ability and lyrical structure mirror those of Jeff Buckley, however she includes the occasional quirky hook of the likes of Regina Spektor which is highlighted best on the closing track ‘A Strangers Lullaby.’ ‘One by One’ is the perfect opening to the album, setting the tone for the rest of Catherine’s compositions. Sedative electric guitar accompanies the soft vocals and forces you to get sucked into a dream-like state and will leave you slowly swaying side to side. This is contrasted by ‘Light in the Dark’ which utilised strong drum beats and tambourine to create a driving, dark piece which stands out among the rest. All-in-all, The Earth, The Sea, The Moon, The Sky is a memorable collection of smooth sounds which have been excellently composed and produced.
Alex Ford Maddison McHugh
artists create together. Elements of Tank’s spacious production and Ta-Ku’s signature beats combine to make one of the more upbeat tracks on the album. Slow Motion Music is a beautiful concept that has been masterfully achieved by Tank. Let down occasionally by clichéd lyrics but always resurrected with Tank’s unique production, the second release by Tank has the influential power to inspire and initiate a new surge of beat-making in Australia. Oliver Tank is not yet a household name, but he really should be.
Gwar
Battle Maximus
David Simmons
The Head and the Heart Let’s Be Still
After the narrated ‘Intro’, the first ten seconds of ‘Madness At The Core of Time’ is enough for you to say “yep, that’s definitely thrash”. The comedy is much darker and subtle than bands like Tenacious D and Steel Panther, but some of it’s not comedy at all. ‘Torture’ is like a Cannibal Corpse song, where the lyrics can be easily adapted into a horror movie or novel. I loved Jizmask Da Gusha’s (Brad Roberts) drumming; it’s there to impress, especially on ‘Bloodbath’, ‘I, Bonesnapper’ and ‘Nothing Left Alive’. The less thrashier moments of the album sound like Kiss, with singer Oderus Urungus (Dave Brockie) sounding like Paul Stanley on ‘Falling’. If you like instrumentals that are riff-tastic and contain plenty of shredding, look no further than the title track, but try to resist the urge to smash the nearest wall in excitement. GWAR’s Battle Maximus sounds like standard thrash metal with a weird sense of humour. Sometimes it reminds me of Kiss, but mostly it reminds me of the ‘Big 4’ (Metallica, Slayer, Megadeth and Anthrax) of thrash metal. Even though Battle Maximus doesn’t light my world on fire, there is enough variety to keep it interesting. If you like metal, open wide and say GWAR.
‘Homecoming Heroes’ opens the album strongly with playful piano parts and violin work dovetailing each other spiritedly while joint lead singers Josiah Johnson and Jonathon Russell sing triumphantly, “And I won’t stand for anything more…”. The song is so enjoyable and positive that it really instils in you a sense of optimism for how good the album will be that stays with you long after the thirteen tracks have ceased playing. ‘Another Story’ is a delightful track that again showcases how well the band take advantage of having two male singers who can sing so well together that you can’t tell it’s different people. ‘Shake’ brings the pace and full instrumentation back to the record, making for one of the more fuller-feeling songs on the disc. While yes, there are a few highlights on the album, it is extremely consistent and has quality right the way through. The Head and The Heart have improved on their debut with this second release and done their own reputation a favour. This record is lovingly crafted and full of subtle delights and harmonies. Alexander Crowden
Stefan Bradley
Unknown Mortal Orchestra Wednesday, February 5 Republic Bar Support: Venus Light Overdrive Presales: $30 plus b/f available from www.moshtix.com.au / Ruffcut & the venue. www.facebook.com/warp.mag 31
Event Guide
Hobart Date
Date
Thursday
1
2 3
Grand Poobah
Hedflux, Meat Axe, Itsu, Buckofive & Newport
Acts / Start Time
Observatory Main Room
DJ Johnny G
Birdcage Bar
Pete Thomas 8pm
Republic Bar & Café
Mrs Cash 10pm
Republic Bar & Café
Dean Stevenson 9pm
Tattersalls Hotel
Darktown Strutters
Tattersalls Hotel
Unofficial Falls Aftermatch Party! 3pm
The Homestead
Waratah Hotel
InQuizitive
Pugsley Buzzard + Matty B + Late Night DJ Max Power
Birdcage Bar
Glen Challice 9pm
The Homestead
Pugsley Buzzard
DMR Trio 9pm
The Winston
The Breed
Birdcage Bar
Glen Challice 9pm
Brisbane Hotel
Trading Places Music Festival - Clowns (Vic) + Super Best Friends (ACT) + Wolfpack (Vic) + Taberah + Captives + Sincerely, Grizzly (SA) + Inedia (Vic) + Speech Patterns + Drifter (Vic) + Skun Knees + Uncle Geezer + Verticoli + Rhino + Drayfus’ Epiphany + Adventurers
C Bar
Tony Voglino 8pm
Jazz @ MONA
Bob Malone 1pm
Observatory Main Room
DJ B-Rex
Republic Bar & Café
Sugartrain 10pm
Tattersalls Hotel
Blues Night
The Homestead
The Tongue + DJ Morgs (Thundamentals)
Republic Bar & Café Friday
Acts / Start Time Clay Soldier 8:30pm
Venue
Observatory Lounge Room DJ Jim King
JANUARY Wednesday
Venue C Bar
Birdcage Bar Grand Poobah
Jason Patmore 9pm
Saturday
11
Miss Fribys Burlesque Night with The Lawless Quartet and Surfasaurus
Observatory Lounge Room DJ Jim King
Saturday
Sunday
Monday Tuesday Wednesday
Thursday
Friday
32
4
5
6 7 8
9
10
Observatory Main Room
DJ Johnny G
Republic Bar & Café
Jed Appleton and Friends 10pm
The Homestead
Trumps + Late Night DJ Max Power
The Winston
Billy Whitton and the Hepcats
Birdcage Bar
Jason Patmore 9pm
Brisbane Hotel
Damage Nightclub - Phat Meegz + Linoleum + Nerves + Verticoli + DJ Dollar Binnie + Asha Tray + Vinyl Ritchie + Rat Shadows
C Bar
Sambo 8pm
The Winston
The Young Lions
Grand Poobah
Electronic / Techno
Waratah Hotel
Tony J King (vic) & More
Observatory Main Room
DJ B-Rex
Wunderland
Best Indies
Republic Bar & Café
House Guests From Hell + The Racoons 10pm
Birdcage Bar
Jason Patmore 8pm
The Homestead
Fractangular Presents: The Carnival - 4pm Family Show
Brisbane Hotel
Brissie Bingo w/ Ramblin’ Ryan
C Bar
Jerome Hillier 12:30pm / Manhatten 4pm
Grand Poobah
Jelly’ Tech House and Deep House
Sunday
12
The Homestead
Late Night Show feat. Vardos (vic) 9pm
The Winston
Tim and Scott
Waratah Hotel
Sounds of Silent (vic), Beloved Elk (vic)
Longley International Hotel
Bob Malone 3pm
Birdcage Bar
Jason Patmore 8pm
Republic Bar & Café
Wahbash Avenue 8:30pm
Brisbane Hotel
NowyourefuckeD + G.S.R. (Goon Soaked Rag) + Skun Knees + Uncle Geezer + Tentahorn
Tattersalls Hotel
ENDLESS SUMMER - Rooftop Cinema Series 8pm
Waratah Hotel
Tony J King (vic), Reggaeink & More
Wunderland
Sunday sess w/ Moluck Moluck (Vic), AMRDI, Tristan Widdowson, Upinarms DJ’s, King Brown, Sexy Lucy
C Bar
Billy Whitton 12:30pm / Tony Voglino 4pm
Grand Poobah
Jelly’ Tech House and Deep House Night
Republic Bar & Café
Soul Sunday Session - Special Edition 2pm
Birdcage Bar
Billy & Randal 8pm
Republic Bar & Café
Peter Hicks & The Blues Licks 9pm
Night Owl
Mediterranean Music Workshop 7pm
Tattersalls Hotel
ENDLESS SUMMER - Rooftop Cinema Series 8pm
Republic Bar & Café
G.B. Balding (Finger Pickin Blues) 8:30pm
Waratah Hotel
Sounds of Silent (vic), Beloved Elk (vic)
Birdcage Bar
Sambo 8pm
Birdcage Bar
Billy & Randal 8pm
Grand Poobah
Mal Webb & Formidable Vegetable Sound System
Republic Bar & Café
Joe Pirere 8:30pm
Republic Bar & Café
Richard Perso 8:30pm
Birdcage Bar
Sambo 8pm
Birdcage Bar
Pete Thomas 8pm
Republic Bar & Café
Baker Boys Band 8:30pm
Brisbane Hotel
Horse & Wood (Mongolia) + Devon Robson
Birdcage Bar
Pete Thomas 8pm
Grand Poobah
Babylon Howl, Drayfus Epiphany & Stone Troll
Grand Poobah
Hobart Little Band Gig
Observatory Lounge Room DJ Pravmaster Flash
Monday
Tuesday
Wednesday
13
14
15
Observatory Lounge Room DJ Dezzy
Observatory Main Room
DJ B-Rex
Observatory Main Room
DJ B-Rex
Republic Bar & Café
Dash + The Grass Line 9pm
Republic Bar & Café
Dave Wilson Band 9pm
Rosny Barn
Mzaza 7:30pm
The Homestead
Jazz Hop with Squish & Friends
Waratah Hotel
InQuizitive
Waratah Hotel
InQuizitive
Wunderland
Speakeasies, Small Black Lambs
Birdcage Bar
Glen Challice 8pm
Birdcage Bar
Glen Challice 9pm
Grand Poobah
Lime and Steel (NSW), Dead Maggies Trio, Craicpot
Brisbane Hotel
Republic Bar & Café
Bob Malone (USA) 9pm
Wehrmacht (usa) + Grave (swe) + Primate (usa) + Eternal Rest (QLD) + Mephistopheles
Tattersalls Hotel
Tattersalls Folk Club - New Year Invitational 8pm
Grand Poobah
Velvet and Valentinos Variety Night
Birdcage Bar
Jason Patmore 9pm
Republic Bar & Café
Calypso 9pm
Brisbane Hotel
RAWTHENTIC RECORDS PRESENTS - P-Link + Downpat + J-Mac & DJ Relik + 42 South + Reflekt + Stray + Statik
Tattersalls Hotel
Tattersalls Folk Club 8pm
Birdcage Bar
Pete Thomas 9pm
Brisbane Hotel
Flying Colours
warpmagazine.com.au
Thursday
Friday
16
17
Event Guide
Date
Venue
Acts / Start Time
Venue
Acts / Start Time
C Bar
Shaun & Joel 8:30pm
C Bar
Tony Voglino 8pm
Grand Poobah
Dash, Joel Imber & Mangus
Grand Poobah
Sherriff (Vic) & Friends
Grand Poobah (Kissing Room)
The Dub Lounge
Observatory Main Room
DJ B-Rex
Republic Bar & Café
The Beatiful Chains + Leo Creighton + Ali Probin 10pm
The Homestead
Kowl, Close Encounters, Maddy Jane + Late Night DJ Max Power
The Winston
Blues Express
Birdcage Bar
Jason Patmore 8pm
Brisbane Hotel
OZ DAY EXTRAVAGANZA!! First Up - The Bennies (vic) + The Smith St Band (Vic) + Apart From This (Vic) + Luca Brasi + Phat Meegz. Second Up - FRONT BAR - The Lawless Quartet & Friends + DJ Vinyl Ritchie & Friends. Wrapping it up - Blunt Instrument (QLD) + DJ Dameza + Dagwood + Secret Powers + Fatty Boomsticks
Date
Observatory Lounge Room DJ Magneetis
Saturday
Sunday
18
19
Observatory Main Room
DJ Johnny G
Republic Bar & Café
Boil Up 10pm
The Homestead
Combat Wombat + Lawless 8 piece
The Winston
The Sin and Tonics
Waratah Hotel
Sixth League (NSW) + The Truth About You + Captives 9pm
Wunderland
Cassette Tape Casual
Birdcage Bar
Jason Patmore 9pm
Brisbane Hotel
Muscle Car (Vic) + Dead River (Vic) + Riff Fist (Vic) + Roadkill + The Phosphenes
Brisbane Hotel
Front Bar - Late Night Krackieoke w/ MC Morbo
C Bar
Manhatten 8pm
Observatory Main Room
DJ B-Rex
Republic Bar & Café
Typhoon Haiyan Benefit 3pm
C Bar
Hottest 100 Hits
Tattersalls Hotel
Jazz Night
Grand Poobah
Jelly’ Tech House and Deep House Night
The Homestead
Microtech - Featuring D-Sens (France), S N M Project (Vic), Alma Danza (Vic) + Mintecelecec
Republic Bar & Café
Joe Pirere & The Blackberries 9pm
Tattersalls Hotel
ENDLESS SUMMER - Rooftop Cinema Series 8pm
Waratah Hotel
Live Music & DJ’s including Reggaeink & Parky
The Winston
Darktown Strutters
Waratah Hotel
Bob Crain & More
Birdcage Bar
Glen Challice 8pm
Brisbane Hotel
Brissie Bingo w/ Ramblin’ Ryan
C Bar
Double Down 12:30pm / Tony Voglino 4pm
Derwent Entertainment Centre
Pixar in Concert 4pm
Grand Poobah
Jelly’ Tech House and Deep House Night
Republic Bar & Café
Soul Sunday Session 2pm JaJa 8:30pm
Tattersalls Hotel
ENDLESS SUMMER - Rooftop Cinema Series 8pm
Tuesday
Wednesday
20 21
22
26
Monday
27
Birdcage Bar
Billy & Randal 8pm
Tuesday
28
Birdcage Bar
Sambo 8pm
Republic Bar & Café
Dave Johnson & Simon Marks 8:30pm
Birdcage Bar
Pete Thomas 8pm
Wednesday
29
Observatory Lounge Room DJ Pravmaster Flash Observatory Main Room
DJ B-Rex
Republic Bar & Café
Edge Radio Social Night 9pm
Waratah Hotel
InQuizitive
Wunderland
Tiger Choir, Pearly Whites, Promise
Birdcage Bar
Glen Challice 9pm
Billy & Randal 8pm
Brisbane Hotel
The Comedy Forge
Republic Bar & Café
Billy Longo 8:30pm
Republic Bar & Café
Hobart Reggae Inc 9pm
Birdcage Bar
Sambo 8pm
Tattersalls Hotel
Tattersalls Folk Club 8pm
Brisbane Hotel
Quiz-A-Saurus
Birdcage Bar
Jason Patmore 9pm
Republic Bar & Café
Billy Whitton 8:30pm
Brisbane Hotel
Birdcage Bar
Glen Challice 8pm
Be’Lakor (Vic) + Claim the Throne (WA) + Atra Vetosus + GAPE
C Bar
DJ Gezza 8:30pm
Grand Poobah
Sound Klub with Alison Blunt & Viv (UK), Hobart Improv Collective Drum & Bass
Waratah Hotel Monday
Sunday
Birdcage Bar
Bob Crain (vic), Reggaeink & More
Thursday
Friday
30
31
Observatory Lounge Room DJ Dezzy
Thursday Friday
23 24
Observatory Main Room
DJ B-Rex
Republic Bar & Café
Laurence & Clare 9pm
The Homestead
Jazz Hop with Squish & Friends
Grand Poobah (Kissing Room)
Waratah Hotel
InQuizitive
Observatory Lounge Room DJ Jim King
Wunderland
Babylon Howl, My Favourite Illusion
Observatory Main Room
DJ Johnny G
Birdcage Bar
Glen Challice 8pm
Republic Bar & Café
Van She Tech 10pm
Republic Bar & Café
The Elliots 9pm
The Homestead
Birdcage Bar
Jason Patmore 9pm
Hugo Race (The Bad Seeds) + Samuel Cole + Late Night DJ Max Power
Brisbane Hotel
Confusing Anal Mess (Vic) + Intense Hammerage + GAPE
The Winston
Truckshow + Smokestack
Waratah Hotel
Oh Pep (vic)
Wunderland
Cassette Tape Casual
Brisbane Hotel
Back Bar - Primitive Calculators (Vic) + The Native Cats --- Front Bar - The Infants + Heart Beach
C Bar
Observatory Lounge Room DJ Magneetis
FEBRUARY
Observatory Main Room
DJ Johnny G
Saturday
Republic Bar & Café
Brendan Gallagher (Karma County) 10pm
The Homestead
Lolo Lovina + Kireesh + More
Grand Poobah
Electronic / Techno
The Phosphenes + The Beautiful Chains
Observatory Main Room
DJ B-Rex
Cassette Tape Casual
Republic Bar & Café
The Embers 10pm
Birdcage Bar
Jason Patmore 9pm
The Homestead
Brisbane Hotel
Tumbleweed (NSW) + Sun God Replica (Vic) + Captives
Rebel Music, Roots, Reggae + Dub. Feat. Ham, Dom, Sista Nell + Max Power
Waratah Hotel
The New Saxons & Oh Pep
The Winston Wunderland Saturday
25
DJ Gezza 8pm 1
www.facebook.com/warp.mag 33
Event Guide
Launceston Date
Venue
Acts / Start Time
January
NORTHWEST Date
CITY
Venue
Acts / Start Time
Devonport
Molly Malones
Ringmasters 8:30pm
Devonport
Tapas Lounge Bar
Evil Cisum
Latrobe
Mackey’s Royal Hotel
Mandi’s Face Painting
Devonport
Tapas Lounge Bar
Brett & Josh
Latrobe
Mackey’s Royal Hotel
Brett & Josh 9pm
January
Wednesday
1
Royal Oak
New Years Day
Thursday
2
Royal Oak
Live Music
Watergarden Bar
The Consultants 7pm
Royal Oak
Live Music
Tonic Bar
The Usual Suspects 9pm
Watergarden Bar
Ball & Chain 7pm
Royal Oak
Live Music
Tonic Bar
Clay Soldier 9pm
Watergarden Bar
Andy & The Woodman 7pm
Devonport
Sara Jane + DJ Grinning Cat 10am
Molly Malones
Ball & Chain 9:30pm
Bay of Fires Winery
Devonport
Open Folk Session
Tapas Lounge Bar
The Ringmasters
Royal Oak
Friday
Saturday
Sunday
3
4
5
Tuesday
7
Lloyds Hotel
Classic Covers/Originals
Wednesday
8
Royal Oak
Andy Collins
Watergarden Bar
Tony Voglino 6:30pm
Fresh on Charles
Lucie Thorne live @ Fresh
Royal Oak
Live Music
Watergarden Bar
The Consultants 7pm
Thursday
Friday
Saturday
9
10
11
Royal Oak
Bob Malone 9pm
Tonic Bar
Ball & Chain 9pm
Watergarden Bar
Andy & The Woodman 7pm
Royal Oak
Live Music
Tonic Bar
Matthew Merry Garwood 9pm
Watergarden Bar
Nic & Carmel 7pm
Sunday
12
Royal Oak
Open Folk Session
Tuesday
14
Lloyds Hotel
Classic Covers/Originals
Wednesday
15
Thursday
16
Friday
17
Saturday
18
Royal Oak
Halfway to Forth
Watergarden Bar
Tony Voglino 6:30pm
Royal Oak
Richard Perso
Watergarden Bar
The Consultants 7pm
Royal Oak
The Something Different Variety Show
Tonic Bar
Clay Soldier 9pm
Watergarden Bar
Andy & The Woodman 7pm
Royal Oak
Live Music
Tonic Bar
The Usual Suspects 9pm
Watergarden Bar
Andy & The Woodman 7pm
Sunday
19
Royal Oak
Open Folk Session
Tuesday
21
Lloyds Hotel
Classic Covers/Originals
Wednesday
22
Thursday
Friday
Saturday
23
24
25
Royal Oak
Live Music
Watergarden Bar
Tony Voglino 6:30pm
Royal Oak
Live Music
Watergarden Bar
The Consultants 7pm
Royal Oak
We Are Sheriff
Tonic Bar
Ball & Chain 9pm
Watergarden Bar
Brett & Josh 7pm
Royal Oak
Motor Rode
Tonic Bar
Sambo 9pm
Watergarden Bar
Nic & Carmel 7pm
Sunday
26
Royal Oak
Open Folk Session
Tuesday
28
Lloyds Hotel
Classic Covers/Originals
Wednesday
29
Thursday
Friday
30
31
Royal Oak
Open Mic Night
Watergarden Bar
Tony Voglino 6:30pm
Royal Oak
Live Music
Watergarden Bar
The Consultants 7pm
Royal Oak
Live Music
Tonic Bar
Clay Soldier 9pm
Watergarden Bar
Andy & The Woodman 7pm
Thursday
Friday
Saturday
2
3
4
Wednesday
8
Devonport
Tapas Lounge Bar
Devonport Cup Afterparty with The Unit
Thursday
9
Devonport
Molly Malones
Proud Phoney 8:30pm
Devonport
Tapas Lounge Bar
In The Fade
Latrobe
Mackey’s Royal Hotel
Poppet the Clown
Devonport
Tapas Lounge Bar
Sheyanna Mach 4
Latrobe
Mackey’s Royal Hotel
Clay Soldier
Devonport
Molly Malones
No Soda For Yoda 9:30pm
Devonport
Tapas Lounge Bar
The Ringmasters
Friday
Saturday
10
11
Wednesday
15
Devonport
Tapas Lounge Bar
Tapas Trivia
Thursday
16
Devonport
Molly Malones
Jerome Hillier 8:30pm
Devonport
Tapas Lounge Bar
Hazy Dayz
Latrobe
Mackey’s Royal Hotel
Mandi’s Face Painting
Devonport
Tapas Lounge Bar
Evil Cisum
Latrobe
Mackey’s Royal Hotel
Unbalance 9pm
Devonport
Molly Malones
The Collection 9:30pm
Devonport
Tapas Lounge Bar
Evil Cisum
Devonport
Molly Malones
Ringmasters 8:30pm
Devonport
Tapas Lounge Bar
In The Fade
Latrobe
Mackey’s Royal Hotel
Poppet the Clown
Devonport
Tapas Lounge Bar
Motor Road
Latrobe
Mackey’s Royal Hotel
DJ Loco 9pm
Devonport
Molly Malones
Unbalance 9:30pm
Devonport
Tapas Lounge Bar
Evil Cisum
Latrobe
Mackey’s Royal Hotel
Jerome Hillier / Ball & Chain
Devonport
Tapas Lounge Bar
Aust Day Party
Devonport
Molly Malones
Proud Phoney 8:30pm
Ulverstone
Ulverstone Wharf
Panorama do Brasil 7:30pm
Friday
Saturday
Thursday
Friday
Saturday
Sunday
Wednesday
17
18
23
24
25
26
29
Thursday
30
Devonport
Tapas Lounge Bar
Mr Black and Blues
Friday
31
Wynyard
Hotel Federal
Brett & Josh 9pm
Latrobe
Mackey’s Royal Hotel
Mandi’s Face Painting
Devonport
Tapas Lounge Bar
Evil Cisum
Devonport
Tapas Lounge Bar
The Ringmasters
FEBRUARY Saturday
34
warpmagazine.com.au
1
JANUARY Saturday, 04 Jan Live Music Sunday, 05 Jan Open Folk Session Wednesday, 08 Jan Andy Colins Thursday, 09 Jan Live Music Friday, 10 Jan Bob Malone Saturday, 11 Jan Live Music Sunday, 12 Jan Open Folk Session Wednesday, 15 Jan Halfway to Forth Thursday, 16 Jan Richard Perso Friday, 17 Jan The Something Different Variety Show Saturday, 18 Jan Live Music Sunday, 19 Jan Open Folk Session Wednesday, 22 Jan Live Music Thursday, 23 Jan Live Music Friday, 24 Jan We Are Sheriff Saturday, 25 Jan Motor Rode Sunday, 26 Jan Open Folk Session Wednesday, 29 Jan Open Mic Night Thursday, 30 Jan Live Music Friday, 31 Jan Live Music
~ Live Music ~ ~ Great Food ~ ~ Open 7 Days ~ ~ Open Mic Night the Last Wednesday of the Month ~
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