MUSIC & ARTS • JULY 2016 WARPMAGAZINE.COM.AU | FACEBOOK.COM/WARP.MAG
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Formidable Vegetable Sound System Huon Valley Mid-Winter Fest Jeff Lang Josh Pyke Paige Turner Seth Sentry The Angels The Happiness Project
PORK
SLOW ROASTED COOKED OVER THE CHARCOAL SERVED IN HOT ROAST ROLLS WIT GRAVY, APPLE SAUCE AND CRACKLE
Illustration designed by Freepik
BEER GARDEN PARTY
pla y i ng L ive
Dean Stevenson
16 JULY
2.30PM SATURDAY
REPUBLIC BAR & CAFE
FREE
EVENT
299 Elizabeth Street North Hobart
Mental As Anything Friday 8 July
Nazeem Hussain Thursday 21 July
Beergarden Party Saturday 16 July
Claire Anne Taylor Friday 5 August
July 2016 Monday 4th 8.30pm Helen Crowther Tuesday 5th 8.30pm G.B. Balding (Finger Pickin' Blues) Wednesday 6th 8.30pm James Bennett Thursday 7th 8.30pm Dave Wilson Band Friday 8th 10pm Mental As Anything $28pre/$35door Saturday 9th 10pm Boil Up $5 Sunday 10th 2.30pm The Great Anticipators Sunday 10th 8.30pm Hui & The Muse Monday 11th 8.15pm Quiz Night Tuesday 12th 8.30pm Dan Vandermeer Wednesday 13th 8.30pm The Fabulous Bluecats Thursday 14th 8.30pm Tim & Scott Friday 15th 10pm Mephistopheles EP Launch + Guests $7 Saturday 16th 2.30pm Beer Garden Party - Slow Roasted Pork Cooked Over The Charcoal Served In Hot Roast Rolls With Gravy, Apple Sauce, And Crackle. Live Music By Dean Stevenson. FREE Saturday 16th 10pm Australian Made $5
Sunday 17th 3pm Kal Beergarden single release Sunday 17th 8.30pm Wahbash Avenue Monday 18th 8.30pm G.B. Balding (Finger Pickin' Blues) Tuesday 19th 8.30pm Billy Whitton Wednesday 20th 8.30pm The Bobcats Thursday 21st 8pm Comedy Clubhouse: Nazeem Hussain $20 Thursday 21st 8.30pm Catch Club Friday 22nd 10pm Sugertrain $5 Saturday 23rd 10pm Roadkill + Lady Crimson + Furphy $5 Sunday 24th 8.30pm Peter Hicks And The Blue Licks Monday 25th 8.30pm Quiz Night Tuesday 26th 8.15pm Baker Boys Wednesday 27th 8.30pm Billy Longo & The Rythm Tragics Thursday 28th 8.30pm The New Savages Friday 29th 10pm Simple Stone Saturday 30th 10pm Simon Russel & Guilty As Charged $5 Sunday 31st 8.30pm The Rays
News
News in Brief IN A VERTICOL(I) POSITION
As premiered on Triple J’s Home and Hosed, Hobart’s Verticoli have served up new single ‘Positions’, a snarling slice of alt-rock that taps into the vein of some of Australia’s most loved nineties-esque guitar driven bands. Following on from Punching Bag, last year’s full length that spawned the singles ‘Happiness’ and ‘Head Things’, Verticoli teamed up with producer Rob Long (Shihad, Magic Dirt, Violent Soho) to deliver the brooding and melodious track. After supporting the likes of DZ Deathrays, The Delta Riggs, Kingswood and more, the lads will be hitting the road with The Hunted Crows, playing the Brisbane Hotel in Hobart on Friday July 8, and The Royal Oak Hotel in Launceston on Saturday July 9 before heading over to the big island for gigs around Victoria. SURF’S UP DOWN SOUTH
that, you should go see him play in person. “Where the bloody hell am I gonna do that?” I hear you ask. Well, if you’d stop bitching for half a second, I’d tell you that you’ll have three opportunities to do it throughout July. Martin will be touring with the almighty Mental As Anything, which means he’ll be performing at The Republic Bar & Café in Hobart on Friday July 8, the following night on Saturday July 9 at Tapas Lounge Bar in Devonport, and finally on Sunday July 10 at the Longley International Hotel, down there in Longley. JAZZENPORT Devonport Jazz is back for 2016! Taking place from Thursday July 28 to Sunday July 31, there really are far too many events and artists performing for us to possibly list here. Here’s a taste: Australia’s pre-eminent be-bop band, Bopstretch (VIC) will be playing a couple of gigs, as will award winning vocalist Emma Pask (NSW). Fiona Boyes (VIC), Frances Madden (NSW), Peter Locke Trio (NSW), Sedrergreen and Allan (VIC), and The Rehab Brass Band (NSW) are just a few of the other mainlanders visiting Tasmanian shores to perform. There will be a plethora of local jazz talent on display, such as: The Boote Leggers, The Jazz Mule, Nadira and Friends, Nick Parish Trio, Matt Kirsch and Nick Haywood, Josh Dunn Trio, King Cake, James Wheller Hammond Trio, Jimmy Reece and The Crazy Mac, Harry Edwards Trio, Georgina Harvey and Da Jazz Boiz, Finn Seccombe Trio, and Emu Jelly Jazz Band. For more information on the acts, or info on venues or workshops, head along to www.devonportjazz.com.
Two musical trajectories have collided this August in the form of William Crighton and Claire Anne Taylor. Both with universally acclaimed debut albums and already a string of unforgettable concerts, they are destined to be shooting stars. The two wear their hearts firmly on their sleeve, penning pure songs that capture the human experience. They will play Republic Bar in Hobart on August 4, before heading to The Royal Oak in Launceston on August 5 and The Wharf in Wynyard on August 6.
In what is being dubbed “the greatest Aussie road trip since Priscilla set out for the red centre.”, five Aussie bands are jumping in an old bus and cruising from Hobart to Darwin, playing venues and rocking out with every local they can find. Enigmatic garage rockers ScotDrakula will join the jangly low-fi and heartfelt Scott and Charlene’s Wedding, the honest, post-punk Ali E and the mellow indie Ben Wright Smith. Also amongst the melting pot of musical talent, tour co-creator and Pretty Littles’ front man Jack Parsons will team up with Big Scary drummer Jo Syme to present Jack, Jo & friends, playing a collection of classic covers that have come to define Australian life in the big smoke and the outback. With stops in Hobart, Launceston and Burnie, you should have plenty of opportunities to catch this tour live and in the flesh. Keep an eye on the social medias for more details! CITY HYPE UP
Warp Tasmania JULY 2016
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ART LUCY HAWTHORNE hawthorne.lucy@gmail.com
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Drifting between the dreamy and the dark, Plum Green is a mischievous sweetheart story teller and holds a rare, bewitching hold over her audience. Witnessing Plum affix her audience in a web of admiration and adoration, intoxicated by her charisma and voice is a sight to behold. Following her recent Australian/NZ Summer tour with Jennifer Kingwell, which included sold out New Zealand shows, the performer and her fellow musicians are hitting the road to win over new souls whilst supporting the release of her EP Karma. Plum’s voice has its own special beguiling magic but is often compared to the likes of PJ Harvey and Beth Orton coupled with Patti Smith’s poetic legacy. Don’t miss her in action when she plays The Homestead in Hobart on Sunday September 4. It’s a free gig supported by Mayhem & Me, doors open at 7.30pm. SB’SPMJFTW!
“Melbourne four-piece City Calm Down will hit the road in September, embarking on their biggest capital city shows to date plus gigs in Hobart and Wollongong.” I quoted that whole sentence from the press release because Hobart is a capital city, but apparently they don’t know that, and I didn‘t want to cop the inevitable feedback regarding that. Anyway, their current single “Border on Control” is doing the rounds while their debut LP In A Restless
Editor Nic Orme
PLUM GREEN SWEETNESS
HIT THE ROAD, JACK.. AND SCOTT.. AND CHARLENE, ETC.
CONSTELLATIONS OF CRIGHTON AND TAYLOR
Australia’s premier surf rock guitarist, Martin Cilia has just released a new video for his tune “1961” from his album Going to Kaleponi. You should go check the video on the youtubes, and once you’ve done
House has been all over Triple J recently. So that makes them pretty cool. If you want to be as cool as City Calm Down are, you can catch them playing at the Republic Bar & Café in Hobart on Friday September 2 with special guest Ali Barter. Feel free to let them know about the Hobart/capital city thing, too.
Writers Richard Bladel Shane Crixus Lisa Dib Rachel Edwards Stephanie Eslake Lucy Hawthorne Nic Orme Cover artwork Roly Skender NEWS Submit your press releases plus publicity images through to the appropriate editor for consideration.
Created by Scott Bradlee, the rotating collective of Postmodern Jukebox has spent the past few years amassing more than 450 million YouTube views and 1.9 million subscribers, performing on “Good Morning America”, topping iTunes and Billboard charts and playing hundreds of shows to packed houses around the world. As NPR put it, they’ve done this by “taking current Top 40 hits and reimagining them as coming from older eras of popular music”. Scott Bradlee’s Postmodern Jukebox are visiting Tasmania for the very first time later this year, you can catch them playing at the Wrest Point Entertainment Centre on Thursday
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News
September 15. Tickets start at $70.15, and are available from tixtas.com.au. THE CRIB ON PLUTO
Prolific producer and performer Plutonic Lab has announced his fourth solo album (and first in 11 years), Deep Above the Noise, led by a video for the first cut “The Crib” ft. Guilty Simpson. Following the success of his critically acclaimed album Codes Over Colours (2005), the Australian Music Prize nominated and Mercury Prize winning producer would have dropped his fourth solo album by the time you are reading this, via Wax Museum Records. Plutonic Lab will be setting off on a national tour to celebrate the release of the new album, and Hobart is fortunate enough to be included on the list of spots he’ll be visiting. You’ll be able to see Plutonic Lab perform in Hobart at the Republic Bar & Café on Saturday September 24. Tickets are $15 presale, or $20 on the door. LIZ STRINGING IT OUT
Loved and adored by a legion of devoted Australian fans, The Reverend Horton Heat has blazed a scorching trail across the decades with his hard-livin’, Hillbilly anthems. In a modern world obsessed with the latest online sensation, The Reverend and his killer band are amongst the last true keepers of the old-school flame, seriously ferocious, giving no quarter on stage, as their reputation duly attests. For Australian rockers this will be a chance to drink up and celebrate once again the fact that true rock ‘n’ roll is safe in the hands of one of its finest practitioners! Playing The Republic Bar & Cafe on Thursday September 29. VERA BLUE FINGERS
Same Dream, which we’ll all get to hear soon enough. Now they’re chomping at the bit to get back on the road and play a bunch of new material as well as the old faves, well most of the old faves. The ones they still like. Not the ones they’re sick of. They’ll be playing the Uni Bar in Sandy Bay on Sunday October 8, and they’ll be joined by The Creases and Sahara Beck. Tickets available via Moshtix. NOT TAME AT ALL.
Mention Kim Wilde and people’s eyes light up. The blonde singer with the siren voice and girl-next-door appeal is one of pop music’s most dazzling stars. The French consider her the “Brigitte Bardot of Rock”; German fans still revere her as the sexiest glamour girl to come out of the 80s and in Australia she has always been very close to our hearts having charted three number one mega-hits - ‘Kids in America‘, ‘You Keep Me Hangin’ On’, and ‘If I Can’t Have You’. Howard Jones is described by AllMusic.com as “one of the defining figures of mid-’80s synth pop.” A classically trained pianist, Howard applied his classical skills to synthesizers, creating a unique sound and composing a string of chart topping hits.” Now, for one night only in Tasmania, they’re uniting to help you live out your nostalgic 80’s dreams. They’ll be performing at the Wrest Point Entertainment Centre on Thursday November 10.
Less than a day after wrapping up her sold-out ‘Fingertips Tour’ at Newtown Social Club in Sydney, Vera Blue announced she will be embarking on a new national tour which will see the rising artist perform in capital cities and regional areas beginning in late August. Vera Blue’s second headline tour will see her venturing to Tasmania for the very first time, playing two shoes. On Friday October 7 she will be performing at Club 54 in Launceston, and on Saturday October 8, she will be playing the Republic Bar & Café in Hobart. The tour announcement coincides with Vera Blue releasing the third single and title track from her debut EP Fingertips. SAPPHIRE SOUNDS
Following the far-reaching success of her independent 2012 studio release Warm In The Darkness, Liz Stringer is back with a stunning new full-length album All The Bridges, which was available from July 1. With acclaimed producer Adam Selzer (The Decemberists, Jolie Holland, Fleet Foxes, M Ward) at the helm, All The Bridges, Stringer’s 5th studio album, was recorded over 8 days in July 2015 at Selzer’s studio, Type Foundry, in Portland, Oregon, and features prominent Portland mainstays like Luke Ydstie (bass) and Ben Nugent (drums) on rhythm section duties. What does all this mean to us, in Tasmania? Probably nothing. But if for some reason, it does mean something to you, you can catch Liz Stringer playing at Red Hot Music in Devonport on Saturday September 25.
The future for Canberra's electronic-pop outfit, Safia, seems bright and shiney. Placed in Triple J's Hottest 100 for three year's running and currently sitting at over 20 million online streams, Safia are ready to release their debut album Internal this September. The guys will be bringing their live show to Hobart for an all ages show on Friday October 14 at The Odeon Theatre. Tickets available from www.ticketmaster. com.au. EVERY NIGHT THE SAME BALL PARK MUSIC
KEEPERS OF THE FLAME
Ball Park Music have done the odd big Aussie tour here and there. But it seems like a lifetime has passed since their last one. They took time off and devoted a year to writing, relaxing, touring Europe, festival spots and hitting up Austin, TX for SXSW. They then bunkered down to chip away at their new record, Every Night The www.facebook.com/warp.mag 7
Music
EAT YOUR VEGETABLES… BUT MAKE SURE YOU PLAY WITH YOUR FOOD CHARLIE MGEE, FOUNDER OF WESTERN AUSTRALIA’S FORMIDABLE VEGETABLE SOUND SYSTEM HAS A MESSAGE AND A SOMEWHAT NOVEL APPROACH FOR DELIVERING IT. POSSIBLY THE WORLDWIDE INVENTOR OF ‘ECOLOGICAL ELECTROSWING’, CHARLIE HAS SPENT THE LAST FEW YEARS EXPOUNDING THE BENEFITS OF PERMACULTURE TO A MUSICAL BACKING SELF-DESCRIBED AS ‘ENERGETIC, QUIRKY MASHUPS OF SPEAKEASY-STYLE ANTIQUE-BEATS WITH LIVE UKULELE WONK AND HYPERACTIVE HORNS’. For those that don’t know, permaculture is a system of agricultural and social design principles centered on replicating features observed in natural ecosystems. Charlie realising that music is often one of the best tools for bringing about cultural change has become an international ambassador for the permaculture movement armed with a repertoire of swinging tunes in various musical styles ranging from ‘energydescent electroswing’ and ‘climate-change dubstep’ to ‘peak-oil polka’ and ‘postapocalypso’. Charlie gave us a quick lowdown . You mix music with food ethics & sustainability, are these the right ingredients for a successful cake? I did wonder in the beginning whether it would taste horrible, but it seems to be going down nicely! Enough people seem to be eating it, so that’s a good sign! Please give us some titles of your tunes and what they represent? ‘You Are What You Eat’: A tune about dirt that was unexpectedly picked up by the UN for World Soil Day last year! ‘Sweet P’tata’: a saucy love song for the humble, highly underrated tuber... “Kimchi”: my recipe for kimchi. Are you focused on an adult audiences or have you crossed in to the world of children’s entertainment? We’ve mostly played at adult festivals (Rainbow Serpent, Glastonbury...) and the like, but there’s always a few kids having a boogie on the sidelines. I figured I must have a silly enough face that I should probably make a kids show as well... so now we do both! Do you think you’ve made the ukulele cool again? Was it ever cool? Is it a convenient instrument to travel with? Haha! I don’t think I’ve ever made anything cool in my life! I deliberately try to combine the daggiest things in order to reach new levels of uncoolness! Any coolness that may result is clearly a mistake. The ukulele was just more convenient to carry on my back than a drumkit. Where has Formidable Vegetable Sound System taken you over the world? Most countries in the alphabet! Australia, Belgium, Bulgaria, Canada, Colombia, Denmark, England, Fiji, Germany, India, Isle of Man, Ireland, New Zealand, Portugal, Scotland, Thailand, Wales, USA... and we got invited to play in the North Pole last year, but we couldn’t get there! How receptive are crowds to your message? Does it vary from place to place? It ranges from complete fanaticism to total bewilderment and head-scratching. Mostly it’s somewhere in between. Name some of your favourite performances you have done and why? We’ve had some pretty mad shows in Europe. I think the novelty of being Australian might have something to do with it, but people went absolutely nuts at Glastonbury and Weltfest in Berlin! At a festival in Belgium, we got a crowd of about 1000 people into a group hug! It was awesome! What bands have influenced you musically and because of the messages they have pushed with their music? I don’t really know any other bands that sing about gardening and fermenting cabbage, but musically I’ve been inspired a lot by the old swing tunes of Django Reinhardt, the weirdo-factor of Frank Zappa and the wobbly electro-Australian of Spoonbill (who now produces most of our beats) If you were elected as prime minster what would be the first things you would do? Abolish prime ministers and go grow a veggie garden on the lawns of parliament house. NIC ORME
Formidable Vegetable Sound System play The Homestead on Saturday July 7. Entry is $10 on the door and starts 9pm.
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Music
NO SHRINKING HEART WHEN I SPEAK TO INDIE-FOLK MAINSTAY JOSH PYKE, HE IS, OF COURSE, WORKING. THE PROLIFIC MUSICIAN NEVER SEEMS- FROM THE OUTSET- TO SLOW DOWN. EVEN SINCE THE RELATIVELY RECENT RELEASE OF HIS LAST STUDIO ALBUM BUT FOR ALL THESE SHRINKING HEARTS IN MID-2015, HE STILL MANAGED TO GET OUT A LIVE ALBUM (LIVE AT THE SYDNEY OPERA HOUSE, WITH THE SYDNEY SYMPHONY ORCHESTRA) AND TOUR PRETTY RELENTLESSLY, EVEN OUTSIDE OF ALL HIS OTHER PROFESSIONAL AND PERSONAL COMMITMENTS.
“I should have a break, but I freak out when I have a break.” Pyke explains. “I do have a balance these days, this tour is long, but leading up I’ve been at home- since January, which is a long time for me, and after this tour I’ll have another couple of months at home. We just worked really hard over the last few years to have a good balance. I know people that go away more than me. The flipside is that when I’m home I’m home, for school pickups and such. It’s not as bad as people think, touring.” As well as his work as an ambassador of the Indigenous Literacy Foundation, his various charitable and mentoring events and talks, and the Josh Pyke Partnership (in conjunction with ARIA, the partnership is a chance to mentor with seasoned musicians, grow your craft, and get a bit of funding behind you), Pyke is also on the board of the Phonographic Performance Company of Australia (PPCA), which looks out for artists’ rights and helps them strengthen their business knowledge. He explains that it’s important not to just be good at your craftwhich is, for most, the fun side of the job- but know your way around the inner workings of a complicated and ever-changing industry. “I’ve been a patron for a couple years and I’ve just joined the board which is cool, I am enjoying that. It’s a different involvement in the industry; I’m still able to be creative but now I am advocating for artists’ rights, understanding copyright law, using another part of my brain. I’ve always been interested in the other side of music, and it’s hard to find that balance. It’s good to feel engaged. It’s something I took on board in the beginning, prior to going solo; we managed ourselves in bands, and I really think the music industry is the wild west to a degree (laughs) unless you stay on top of things yourself, be the master of your own destiny. It’s good to figure out the way of the land.” “We’ve all gotta take responsibility for ourselves. The romantic notion of being creative...our industry is so small, it’s so rare in this country to just be creative and not have to worry about that other stuff, everyone has to wear other hats.” This talk of the sometime-difficult side of creative industries leads, inevitably, to that oh-so-gauche topic: money. “I’ve heard plenty of people say things like, “Do artists deserve to be paid?”. What a ridiculous argument! Does a builder deserve to be paid for building, just because he likes it? That attitude frustrates me, but I don’t know how that’s gonna change. Stuff like Spotify, which I love as a consumer, most kids now will expect that music is just there on demand. It leaves me concerned for emerging artists, I came in at the end at ‘Music Industry Version 1’, and have been a beneficiary of that. I feel concerned for how they’ll transition into a career.” On this latest tour, Pyke will be hitting up a heap of regional spots with a run of ‘intimate’ solo shows after touring over Summer with a band-intow. He maintains that getting out to as much of the country as possible is difficult, but ultimately becomes necessary. “I’ve been going to these places for ten years now, regional touring was something I did from the beginning. My manager is experienced and knows the value of it; you can play capital cities, but we have a relatively small population and we’re spread out, you’ve gotta take your stuff out to where people live. You get to see a lot of the country, it’s a beautiful thing. You meet all these people and dip in and out of these lives. It is hard; it’s expensive, so you need to be sure that you’ve built up a market over there. A lot of creative people live in regional areas, there’s fantastic artistic communities.” LISA DIB
Josh Pyke plays: Thursday July 28 at Tapas Lounge Bar, Devonport Friday July 28 at Country Club Showroom, Launceston Saturday July 30 at Waratah Hotel, Hobart
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Music
ON THE TRAIL HAVING WORKED HIS ASS FOR OVER A DECADE OR SO, OZ HIP-HOP ARTIST SETH SENTRY IS SEEING SOME MAJOR PROPS FOR HIS WORK. LAST YEAR, HE WON THE BEST URBAN ALBUM ARIA AND BEST HIP HOP RELEASE AT THE AIR AWARDS FOR STRANGE NEW PAST (ONLY HIS SECOND LP) AND HAS BEEN HITTING INTERNATIONAL STAGES TO TOP ACCLAIM. HE EVEN MADE HISTORY, AS THE FIRST AUSSIE RAPPER TO APPEAR ON A US CHAT SHOW.
“It’s been cool, last year we played our first ever London show and sold it out, it was one of the best shows on the tour. It’s been really dope, a bit of stuff in America like the Jimmy Kimmel show and South by Southwest.” Sentry says. “You just write about what you know.” he explains, on bringing “Aussie” music to internationals ears, and whether there’s a sort of cultural cringe that comes with it. “I’m not the most ‘Australian’ person in my friendship circle. I have mates that are real VBdrinking footy heads. You just gotta be yourself. My dad was born in Budapest, so, growing up, I had two different cultures. Mum was more of a hippie: she started a vegan society in Greenwich Village in New York and was an academic. It’s funny when people are like: “What is being Australian? Is it that you like footy?” The video for new single 1969 shows Sentry lampooning dog-and-pony-show politics, although he admits to not considering himself a ‘political’ artist (“Everyone is affected by politics whether they admit it or not, though I’ve never been particularly outspoken about politics…”); he does, however, get a bit of joy out of sticking the boot in somewhat on some of the less, er, serious candidates in America’s electoral race. “Someone like Trump...it makes you realise, people like
entertainment. I can understand not wanting someone that sounds like a politician. Arnold Schwarzenegger was the governor of California, anything can happen.” Sentry explains how he went with a consciously different approach for his most recent record. “On the latest album, I didn’t think too much about singles or anything. I just came in and wanted to make a dope rap album. The album before that was experimenting, trying to find a sound, poppier hooks, outside my comfort zone, so I went back into comfort zone this time and just tried to make a rap album. I just wanted to write songs that I and my friends think are dope, and I wanted a late ‘90s feel. The production, focusing on my flows, and the technical side of things. I had such a strong idea of what I wanted to do.” “I find it hard to stay focused on anything too long. That was a big thing with this album: saying things with less words. I listened to my older stuff, everything was three verses at least. And then you play it live, it’s like six minutes! I got better at rapping succinctly.” LISA DIB Seth Sentry plays Friday August 5 at Club 54 in Launceston and Saturday August 6 at Uni Bar in Hobart. Tickets and further information available from www.sethsentry.com.
MODERN LIFE THE MODERN MAORI QUARTET STARTED WHEN A GROUP OF MATES DECIDED TO COMBINE THEIR LOVE OF MUSIC AND PARTIES. ONE OF THE NEW ZEALAND BOYS – FOUNDER JAMES TITO – CHATS WITH US ABOUT MAORI MUSIC AND “THE SOUND OF LIFE ITSELF”. THE TRADITIONAL-MEETS-CABARET MUSOS WILL SING IN HOBART FOR THE FESTIVAL OF VOICES. For us in Australia: I challenge you to a brief history of Maori music in 100 words or less. Maori culture and history before the British settlers was completely oratory - that was how knowledge and our very identity was passed on from generation to generation. In the past, ‘Maori music’ was monotonic in tune and carried stories of the past called Moteatea. Today, Maori music has adapted and taken on Western style music and influences. I like to think Maori music has taken all the heartiest elements of these different genres and made the sound our own. Maori music is straight from the heart, to the heart. What defines the Maori sound? It is definitely difficult to define the Maori sound because it is a mix of so many different influences. What is unique about 10
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the Maori sound is the special blend between Western musical influences and traditional Maori songs. The Maori sound has derived or worked in tandem with the history of the language and the challenges that it has faced from almost being extinct, to then making a comeback, to then finally being normalised and slowly integrated into New Zealand society and culture. Maori [people] are survivors and fighters - you could say the Maori sound is the sound of life itself. You’ll present modern works and pop music - can we still hear aspects of the traditional cultural music in these contemporary pieces? You will hear traditional songs sung in a modern style that hark back to music of the ‘60s and ‘70s, where back in New Zealand it was the time of revitalisation for our native language Te Reo Maori.
Before then, it was banned to speak Maori at schools. So during this period, it was a renaissance of sorts where Maori showbands began to sprout and take the popular Western music of the time, and mix in Maori culture and language in order to stay relevant, and keep the language and Maori values alive and progressive.
we had all finished our studies and had been working in the industry as actors, presenters and musicians. We are all graduates of Toi Whakaari:NZ Drama School at different times.
What is the main language you sing in? What can you tell us about the language?
I was brought up in an Apostolic church where my father was the music leader and singer and mother was lead vocalist. I played the drums for the church band and dabbled on guitar. We always had the likes of Elvis, Doobie Brothers and Maori showband music playing at home. Quite an eclectic variety of music, you could say.
We predominantly sing in English for our shows with about 30 per cent Maori. But the way we are together as a band and how we treat people is 100 per cent Maori. Maori can be translated as meaning ‘natural’. I’d say we are pretty natural! How did MMQ come together? The official formation of the group didn’t happen until a few years after
What’s your personal musical background?
STEPHANIE ESLAKE See the Modern Maori Quartet perform at Voicebox, City Hall, 8.30pm July 8 and 9. More info www.festivalofvoices.com.
Music
REVERENCE FOR METAL IT’S BEEN THREE YEARS INBETWEEN RELEASES, BUT TASMANIA’S MEPHISTOPHELES HAVE A FOLLOW UP TO THEIR 2013 SOUND OF THE END. A 5 SONG EP ENTITLED IN REVERENCE OF FOREVER IS BEING RELEASED THIS MONTH VIA U.S LABEL WILLOWTIP RECORDS, WITH A LOCAL LAUNCH AT THE REPUBLIC BAR. SINGER FOR THE BLACKENED TECH/DEATH METAL FOUR-PIECE, MATTHEW “CHALKY” CHALK LET US KNOW HOW “METAL” HE REALLY WAS.
How do you explain to your grandmother what sort of music you make and your lyrical content? Well, both my grandmothers are deceased, but usually via the traditional method - a séance. They’re pretty down with my lyrics too, “some of the greatest stories ever told” is a direct quote from one of them. High praise too, because they both knew Orson Welles and Arthur C Clarke personally.
Have you ever been accused of being a Satanist? Legitimately - yes. Multiple times. Mostly by other members of my sect, but that was more of a situation of cajolement than a criticism. What does metal not mix with? Some soft cheeses, and ABBA. And I’ve heard ABBA metal covers, sure, but FUCK that.
Five quick hints to sing like a death metal vocalist? 1. Don’t. 2. Forget anything anyone has ever told you about actually singing. 3. But don’t forget to warm up. 4. Be ok at it. 5. Drinking your own urine MIGHT help, but I can’t promise it will or won’t. Just give it a crack. What have been your top three “metal” moments? 1. Realising how metal I truly am. 2. Seeing James Hetfield get a manicure. 3. Playing an ULVER song in The White House that time I did that.
What BPM can your drummer get up to? Can the rest of the band keep up? What’s BPM? Belching Pirate Melodies? He knows about 27 I think. We’re all still in single digits.
Does touring with three other large hairy men lead to some compromising and cramped scenarios? Well, there’s plenty of stink, plenty of sweat, and often a disturbing amount of talk about Sesame Street, and who’d win in a fight between Oscar and Telly. My argument is Oscar is actually a wimp that talks big, but Telly has a Jekyll and Hyde thing going on... Has Dark Mofo help to give metal a promo boost in Tasmania? I think it’s too early to be sure, but what it definitely will have done is put Tasmania on the map as a location for top-tier metal acts, and showed that we can put on one very serious metal event of world class standard. NIC ORME
Are there Intentions for touring overseas soon? We are in constant talks within the band and with overseas promoters about this, and we’re probably being a bit picky and just waiting for the right thing. Recently we’ve made some great new contacts, and I think if it’s gonna happen, it’s gonna be in the 2016/2017 window.
Mephistophles will have their EP launch at the Republic Bar on Friday July 15 alongside Pure, Diluvian and Sludko. In Reverence Of Forever is out on July 9.
SATURDAY OCTOBER 15 REPUBLIC BAR & CAFE HOBART TICKETS FROM REPUBLICBAR.COM
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Thu 29th Sept - Devonport Ent. Centre Fri 30th Sept - Country Club Launceston Sat 1st Oct - Republic Bar Hobart Sun 2nd Oct - Copping Hall *tickets from usual outlets
NEW RELEASE “FAITHFUL SATELLITE” out soon
www.theblacksorrows.com.au
facebook.com/theblacksorrows
Event Timetable DAY 1 - FRIDAY 15th July 2016
Y 1 - FRIDAY 15th July 20 TIME
Blundstone Stage
velveteen lounge
LAGOON HILL ZYDECCO (5-5:50)
JENSEN (5-5:50)
5:00 pm
6:00 PM
the Apple shed
WOLFZINGER’S CIDER ALLEY (6-7)
CRAICPOT (6-7:15)
DEAD MAGGIES (6:30-7:20)
7:00 pm
woodshed
MT BLUES (5-6)
HAIRYMAN (6-6:15)
lounge
T
cider orcHArd
cider orcHArd
WELCOME CEREMONY AND BURNING MAN (7:30-8:30pm)
8:00 PM
9:00 pm
CROOKED FIDDLE BAND (8:30-9:45)
10:00 pm
UNGUS UNGUS UNGUS (9:45-11)
STORYTELLING ‘THE GRIMM’ (8:30-9:30)
WOLFZINGER’S CIDER ALLEY (8:30-9:30)
RUEBEN REEVES (8:30-9:30) BOGOMILA (9:30-10:20)
DENNI PROCTER (9:30-10:45)
11:00 pm
festivAl close
DAY 2 - SATURDAY 16th July 2016 TIME
Blundstone Stage
velveteen lounge
12:00 pm
LE COQS INCROYABLES (12-12:50)
GEORGE BEGBIE (12-1:15)
1:00 PM
GRIM FAWKNER (1-1:50)
2.00 PM
WILLIE WAGTAILS (2-3:15)
cider orcHard
BOGOMILA (2-3)
3.00 PM
FANCY DRESS PRIZE GIVING (3:15-4)
4:00 pm
GUERILLA ZINGARI (4-4:50)
WOLF ARROW RAIN & FRIENDS (4:15)
BAD BEEF (5-5:50)
JESSE McCORMACK (5-5:45)
5.00 PM
WOLFZINGER’S CIDER ALLEY (6-7)
6:00 PM
WOLFZINGER’S CIDER ALLEY (4:30-5:30)
UKES OF HAZZARD (4:30-5:30)
OFFICIAL WASSAIL PROCESSION & CEREMONY (6-7pm)
UNGUS UNGUS UNGUS (7-8:15)
STORYTELLING SLAM (7-8:30)
CROOKED FIDDLE BAND (8:30-9:45)
THE WILLIE SMITH’S COCKTAIL SWING EXPERIENCE (8:30-10:00)
WOLFZINGER’S CIDER ALLEY (7:30-8:30)
8:00 pm 9.00 PM
the Apple shed
CHILDRENS STORYTELLING (1:30) YESTERDAY’S GENTLEMEN (2:30-4:15)
7.00 PM
woodshed
BILLY WHITTON (7:30-8:30) BOGOMILA (8:30-9:30)
10:00 pm
MOCANE (8:45-9:45)
festivAl close
DAY 3 - SUNDAY 17th July 2016 TIME
11:00 Am
12.00 PM
Blundstone Stage
velveteen lounge
GREG WELLS (11-11:45)
JAMES PARRY (11-11:45)
GRIM FAWKNER (12-12:50)
CHILDRENS STORYTELLING (12-1)
cider orcHArd
woodshed
WELCOME CEREMONY AND BURNING MAN (7:30-8:3 1:00 pm
FANCY DRESS PRIZE GIVING (1-1:45)
2:00 PM
WILLIE WAGTAILS (1:45-2:45)
3:00 pm
4:00 pm
HE GRIMM’
BAD BEEF (3-3:50)
WOLFZINGER’S CIDER ALLEY (12-2)
JENSEN (1-1:50)
CHILDRENS STORYTELLING (2-3)
BOGOMILA (2-2:50)
JED APPLETON (3-3:50)
festivAl close
WOLFZINGER’S CIDER ALLEY
Further information & tickets available at - www.huonvalleymidwinterfest.com.au
Music
A RARITY AS PROLIFIC AND DETERMINED AS YOU COULD EVER HOPE A MUSO TO BE, JEFF LANG HAS TROUBLE SLOWING DOWN, IT SEEMS. HIS MOST RECENT RELEASE, A VINYL ALBUM OF UNRELEASED AND UNHEARD MATERIAL CALLED RARITIES, COMES LESS THAN TWO YEARS AFTER HIS LATEST STUDIO RECORD, I LIVE IN MY HEAD A LOT THESE DAYS. CONSIDERING LANG’S TOURING SCHEDULE, HE MANAGES TO GET OUT SOMETHING NEW FOR THE FANS ON AN INCREDIBLY REGULAR BASIS SINCE HIS FIRST ALBUM IN 1994. LANG DISCUSSES HOW THE COLLECTION CAME TO BE AND HOW HE CHOSE WHAT WOULD BE ON IT FROM HIS LONG CAREER.
“That came about because there was a guy named Damien, a French fella, who was showing up at gigs in various countries in Europe and was a very passionate and knowledge music fan. He wanted to start out an indie label and just do vinyl releases; unreleased stuff, mix of live songs, studio outtakes.” “I think the main arguments for vinyl is: as a physical object, it’s more satisfying to hold in your hand, playing something of a large size, and the artwork is more a part of it, its physicality. Also, there’s a concentrated listening experience: you listen to one side and then you have to do something, you have to turn it over to keep listening. It doesn’t just come at you endlessly.” “There was a lot of stuff to choose from. I just looked at certain recordings: live tracks, if I remember it as being a decent gig with a decent recording- not someone with a phone in the back near the toilet- and that narrowed it down a bit. It was a bit of torture of listening to yourself at gigs. There were certain things that I had forgotten about, a lot of: “Oh, I remember that one”. It’s different to making a new record, working on new material, seeing what hangs together. A compilation record is a different thing to a bestof, even; trying to find things that might be of interest. You think: “If I was into someone, what would I like?”” At the time of the interview, it is the day before the fateful Election Day in Australia, and neither of us are terribly optimistic. “There’s a strange trend at the moment in the world. People are becoming disenfranchised from politics in general, feeling like they don’t have a say in things. It’s a shame when people are feeling so fed up, that they feel like any change is worth it, that’s a bit of a worry. Major parties don’t seem to pay that close attention to what people want. It’s an elite and they don’t listen to everyday people.” Lang talks about his writing process; if you’ve heard much of his music, you know that his lyrics, for one, often employ characters and narrative, as opposed to something more like a diary entry or protest song-style ode. “For each new record, there’s a framework, a rule of the record, something that happens that sets it in in its own kind way. I try to stay engaged in the process, you wanna have a feeling of interest, a sense of discovery. It’s good to set things up for yourselves, to try and rise to, to try and set a rule and not bend it if possible, and work within that.” “There’s not a lot that would construe autobiography, although some of it slips through.” he admits. “I’m not gonna kick a song out the set-list if it’s more personal. It’s all me, really, even if I’m writing from a character’s point of view, I’m still writing from my point of imagining. It’s all from me in some way. I’m not that keen on writing my ‘thoughts’ on a thing, I mean, I’m already thinking all the time. I’m stuck with them, I’m over them, frankly (laughs), they’re kind of boring to me.” “Sometimes I’ve felt moved by something, angry at something and written some screed in verse, and it’s more of my ‘thoughts’ on stuff, and I’m like: yawn. Usually what’s more interesting to me, is when something comes to me, I write it down, like a writing exercise, and I don’t worry what it’s about: I just write and see what’s there. If it works, refine it. You can always craft things later. It’s more interesting to have something happen and it’s bigger than I would imagine on my own, It’s all very well to make things up, to write in character, but if it doesn’t work, what have you achieved? You just gotta do it well.” LISA DIB Jeff Lang will play three shows in Tasmania next month, beginning in Launceston on Thursday August 11 at The Royal Oak, followed by Friday August 12 at The Palais Theatre in Franklin and lastly The Republic Bar on Saturday August 13. Tickets for all shows are available from www.moshtix.com.au. Rarities is out now.
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Music
MAKING FOR A HAPPY RAPPER JOBE HAZARD BOUCHER & NATHAN LUNSON AKA HEARTSPOKEN ARE TWO YOUNG RAPPERS WHO’VE BEEN MAKING HUGE STRIDES IN THEIR CREATIVE LIVES OVER RECENT MONTHS, COLLABORATING TO MAKE A SHORT FILM WITH RENOWNED TASMANIAN FILM MAKER ROGER SCHOLES AS PART OF KICKSTART ARTS - THE HAPPINESS PROJECT. THE FILM WILL SCREEN AS PART OF COUNTING UP TO HAPPINESS AT THE PEACOCK THEATRE THIS MONTH.
Like a great many other young Hip Hop artists, both have emerged from Pulse Studios recording program in Glenorchy run by music mentor Matthew Fargher. Previously Jobe, had conceived and directed the documentary First Time featuring hip hop artists from the Pulse Studios, who reveal the place that Hip Hop has in their lives as a great force for change. Heartspoken has collaborated with people like MC Sparky on tracks like the great ‘Dabbling in the Dark’, about feelings of grief over a friend caught in the grip of Ice addiction. With this latest project however the young artists are facing a real change of perspective. “Getting our heads around writing about the positive side of life was quite hard at first,” according to Hazard Boucher, “we were used to writing about the hard stuff that’s going on in our lives, but I guess the reason a lot of Hip Hop is kind of a protest culture, is because in the end, we all want respect, we all want to be treated properly, we want a better world in general.” The film, entitled Working it Out, is part music video featuring a collaboration with Surreal Estate Agents singer songwriter Zac Henderson, part documentation of deeply personal perspectives of what it takes to make the best of things. Shot over the last nine months in and around Glenorchy and Hobart, the film is part of a suite of four new films produced during 2016. This latest chapter of The Happiness Project also features Sisters of Shred, about the beginnings of Australia’s biggest and most awesome female skateboarding group made by Richard Bladel; the poetic and beautiful Chemical Ocean, made by young Aboriginal man
Jordy Gregg with film maker David Pyefinch about the place of nature amidst a hectic urban frenzy, and film maker Troy Melville’s Taxi Music, a film being made with Afshin, a passionate young musician from Afghanistan who supplements his musical life by driving a taxi. Up to 2015, The Happiness Project has involved 1572 Tasmanian participants of all ages from eight Tasmanian communities who have made 63 short films about the true nature of happiness over the last six years. These films have been screened to audiences of over 5000 people so far. The Happiness Project was created in response to the fact that so many young people are looking to the future with a sense of pessimism. For those interested in finding out more about the causes and conditions of happiness and bringing about positive social change, Kickstart are producing a public forum that brings together speakers from the education, political, public policy, psychology, philosophy, arts and community development sectors to investigate what could lead to positive change. A total of 20 short films will be shown at Counting up to Happiness screenings this month. RICHARD BLADEL
Counting Up To Happiness Screenings run from Thursday July 21 to Sunday July 24 at The Peacock Theatre in Hobart. A Public Forum at the venue, Is Happiness a matter of survival? will be hosted on Sunday July 24 from 2pm to 4pm.
JUST SING! IT’S NO EXAGGERATION TO TELL YOU RICHARD GILL, AO IS THE MOST FAMOUS MUSIC EDUCATOR IN THE COUNTRY. THIS MONTH HE UNITES HUNDREDS OF YOUNG TASMANIANS IN SONG, CULMINATING IN AN EVENT WITH THE TSO CHORUS AND FESTIVAL OF VOICES CHORUS ON JULY 9.
Through the Tasmania Sings program at the end of June, Gill conducted 450 performers through works by Australian composers Paul Jarman, Harley Mead, and Stephen Leek. Singers from 11 schools across the state took part, along with the Tasmanian Youth Orchestra String Ensemble. As part of the festival, Gill will present Bach’s St Matthew Passion with the TSO Chorus and the Festival of Voices Chorus at the Federation Concert Hall. You’re conducting a range of talent at this year’s Festival of Voices – how do you go about teaching those to sing who may be approaching music from scratch? Start with a song and just let people have the time to listen and to sing. The sound is irrelevant. It is the attempt which counts. From the attempt comes some success and nothing succeeds like success.
Why is St Matthew Passion a work that fits well for this project?
Love the music. Enjoy the singing and have a great time with like-minded people.
Because of the chorales which are interspersed throughout the work. The chorales in the St Matthew Passion are the music of the people. The music of the people is not unlike the way in which the poet Wordsworth described nature and a parallel with music when he wrote:
How can large-scale group singing serve the community?
For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. – William Wordsworth, Tintern Abbey What do you want new singers to take away from the experience of working with you?
Singing as a community unites the community. We sing together to be together. Children for example, who might have differences in a school playground, will be united in singing. Singing provides a sense of well-being, a feeling of inclusion and that as a singer in a community, one has made a contribution. As an educator for life, what is it that you find fulfilling as you unlock musical knowledge and experience in others? The incredible joy that comes from music. Here is a list of answers given to me by a Grade 6 class in Perth last week:
We do this (singing) because it’s fun; we learn about music; we learn to dance and sing at the same time; we like it a lot; it’s a thrill; it makes me happy. How do you feel young musicians who don’t major in voice could benefit from joining a choir? Join a choir and know that your contribution is valued and appreciated. Parting words? Just sing. STEPHANIE ESLAKE
See Richard Gill in action at the Federation Concert Hall, 7pm July 9 as part of the Festival of Voices. More information can be found from the TSO website - www.tso.com.au.
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Music
BACK TO LIFE NINETIES WOLLONGONG FOLK/POP FAVES THE MERRY WIDOWS ARE RETURNING - AFTER 21 YEARS - FOR FOUR SHOWS NATIONALLY AND WITH A NEW EP.
Staples of the Sydney scene after finishing national runners-up in Triple J’s Campus Band Competition in 1992. The Merry Widdows were a favourite opener for the likes of Bob Geldof, Died Pretty, Weddings Parties Anything, Richard Clapton and Hunters and Collectors. Politically conscious in their heyday, the band have kept up the fight with a new single, Password. The new track is a love song from the metadata-gathering state. The Widows include member David Beniuk, who has resided in Hobart for four years and is a journalist at The Mercury. With an extensive solo career David has performed at the Woodford, Port Fairy and National Folk Festivals. His latest album, The New Normal, was ABC Tasmania’s album of the week in March 2015. I spoke to David ahead of the reformation tour. You yourself have been clearly active post the Merry Widows. This has been as a solo artist predominately? Yeah, I’ve mostly been active in the folk scene. I made five solo albums and played both solo and with various backing bands, including my two brothers from the Widows. It’s been mostly solo gigs in recent years so it’s nice to play in a band again. With the Merry Widows has it been just a case of getting back on where you got off? Yes and no. The old songs have come back quite easily but we’ve also made a point of writing and recording some new ones, which has probably been the most enjoyable part. We also have a new rhythm section because one original member is unavailable.
You current single updates your social conscious for the current generation? I hope so, cyber intrusion is an issue for everyone right now. Hopefully it gives us some sort of relevance. Being a journalist and musician, is music more about the message than light hearted entertainment? The words have always been really important to me, maybe that’s the folk influence too. That’s true whether it’s a song about a social issue or a love song. Honesty’s the most important lyrical consideration. But being a journo also means you can’t be party political, you need to be seen to be objective. Being involved with Triple J’s campus comp back in 1992, have you grown up with the station? How do you feel the station has evolved in that time? I guess I grew up with the Js in the 80s and 90s, the station was huge at the time and a big influence. Bands like the Falling Joys and Clouds were being played when we were around. The band comp was a big deal and one of the prizes was to be recorded in house by Triple J and have your song on rotation. Paul McKercher, who recorded us, went on to be one of Australia’s biggest producers. Since that period I guess I’ve grown up with some of the Triple J presenters who moved onto other stations like Radio National, people like Angela Catterns and Robbie Buck. NIC ORME The Merry Widows will perform at The Homestead on July 23 with special guests Dominic Francis Grief Ensemble and Theresa Young. The new single ‘Pasword’ can be viewed on Youtube.
LE ANGELS ONE OF AUSTRALIA’S MOST ICONIC HARD ROCK BANDS, THE ANGELS, ARE EMBARKING ON A NATIONAL TOUR THIS MONTH WITH SPECIAL GUESTS NEW ZEALAND’S MI-SEX. FOUNDING MEMBER RICK BREWSTER RECOUNTED THE LAST 12 MONTHS.
The Angels have spread their wings again in the past few years, with a new frontman in the form of Screaming Jets singer Dave Gleeson, a succession of new material beginning in 2011 with the release of the EP, Waiting for the Sun, followed by two studio albums Take it to the Streets (2012) and Talk the Talk (2014). Chuck in a live album, Live At QPAC, constant national touring and last year, their first tour of Europe in 35 years.
old songs and even the guitar solos. Never happened to us before. We are keen to get back!
So you toured Europe in 2014 (first time in 35 years). How did this come about?
The rain almost held out when we were playing. From the stage you could see a sea of multi coloured ponchos and people covered with mud. Tasmanians are prepared to stick it out.
We were invited over to perform at the Sweden Rock Festival, a rock-metal festival that runs annually over four days and has been going since 1982. We were on a bill that included Motely Crue, Def Leppard, The Darkness, Judas Priest to name a few. The connection came through Jon English who was also performing. He was friends with one of the promoters and had played some of our songs to him and that’s how we were booked. Off the back of the festival, we also toured London and Paris. London was mostly attended by English but we had a few Aussie expats. Paris was an unreal experience. We played to a sold out crowd at a venue called Le Forum, where the crowd sang all the lyrics of both our new and 16
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You played earlier this year the Red Hot Summer festival shows (including a cold wet Hobart show) in January along some other iconic Australian bands. Do these sort of shows give you a time warp feel of being back in your 20s again?
It felt very current. Every band on the bill kicked ass. For the first show of the tour we got there early to watch all the bands, as I had never actually seen The Badloves or Mark Seymour perform solo. In the old days we never really got to meet anybody. Back when we were coming up, we were all focussed on our ambitions and had no time for socialising with other bands. At Red Hot Summer there was a real sense of comradery among all the musicians on the bill. Is your audience changing or just growing older with you?
It’s a good mix of generations. Kids that have been to family bbq’s and had our music drummed into them! Are you happy where the band is at present? How many years do you feel you still have in you? We’re aren’t ready to put a date on it. The lifeblood of the band is new material… it’s all about creativity… when we feel we have material ready we go into the studio. In the next generation of Australian hard rock bands, who do you rate? Tracer, from Adelaide. They have supported us a number of times. What would you pass down as knowledge to aspiring bands? Get in front of a live audience as often as you can to hone your craft… get that instant feedback NIC ORME
The Angels will perform in Hobart at Wrest Point on Saturday July 9. Tickets available from www.tixtas.com.au.
Music CLASSICAL
LARS VOGT THIS MONTH, LARS VOGT WILL PERFORM WITH THE TASMANIAN SYMPHONY ORCHESTRA FOR THE FIRST TIME. THE MUSICIAN TRAVELS FROM GERMANY TO BRING US WORKS BY BEETHOVEN, MOZART AND RAVEL. DID WE MENTION HE’LL CONDUCT AND PLAY PIANO? SEE IT FOR YOURSELF IN HOBART AND LAUNCESTON.
So you headlined the First Night of the Proms last year. That’s a pretty big deal. How was the experience? It was an amazing experience. It’s a wonderful thing in any case to play at the Proms, but to be part of such a special occasion and feel all the buzz and excitement about this incredibly special summer festival starting was really a privilege. What does it mean for you as a performer to play in front of such a substantial audience? It feels particularly festive. But I always play at my very best and demand the utmost of myself artistically, no matter where and in front of how many people I perform. You’ve branched into conducting as well as playing piano - why is it important for you to extend your relationship with the music into this realm as well? There’s always been a fascination for me about it since I first worked with some really amazing conductors and could see what could be done if a group gets really inspired by someone who is able to send out a special spark in rehearsal and performance. Doing a lot of chamber music in my life, it just seemed like a natural next step of exploring music together with others. Tell us a bit about the works you’ll be performing with the TSO. The Mozart K271 concerto was the first concerto I ever played with a professional orchestra when I was 14. I have a long relationship with this masterpiece, and my love for it has only grown even further over the years. All the other pieces I’ve also loved for a long time, but I’m doing them for the first time, so I’m very curious to discover them ‘under my hands’ together with the TSO.
AT THE END OF THE WORLD SYDNEY BASED MUSICIAN, DANIELLE DECKARD IS OUT ON A NATIONAL TOUR, STRANGELY TO CELEBRATE THE ONE YEAR ANNIVERSARY OF HER END OF THE WORLD EP RELEASE. ONE YEAR ON THOUGH, THE EP IS BEING RE-RELEASED AS A DELUXE VERSION FEATURING FIVE NEW ACOUSTIC TRACKS (OUT ON ITUNES FRIDAY JULY 8). TIMED WITH THIS IS THE RELEASE OF A MUSIC VIDEO FOR THE TITLE TRACK, ‘END OF THE WORLD’ , WHICH ACCORDING TO DANIELLE IS A SONG ABOUT LIVING LIFE TO THE FULLEST AND LETTING GO OF ANXIETY.
Growing up and schooling in the USA, what made you decide to base yourself in Sydney? Love and an impulsive decision. My partner is originally from Adelaide and we met studying in Boston. I moved here right after college, which was perfect because it was already going to be a transitioning time in my life. Now nearly five years later, I’m still here! As a multi-instrumentalist, are all your recordings 100% you? Or you have other musicians lend a hand? It’s very collaborative. I play piano, guitar, and ukulele when I play live and when I write. However, I always want to do what’s best for the recording, which means generally I’ll only do the vocals and piano bits. Andrew Synowiec, an LA-based session guitar player, is on most of my recordings and he’s incredible. Then there’s bass, drums and percussion, real strings, horns, organ, all sorts of different instruments and people playing them. I surround myself with excellent players who will bring their own creativity into the mix.
Along with performing, you’ve done a lot behind the scenes for music education. Why did you found Rhapsody in School and what’s your mission for it? We want to tell kids about our love for music, our passion, why we make this our lives. Make them curious about what might be there to discover all mostly on an emotional basis, not primarily analytical. We felt that children in Germany often don’t get a realistic and enticing chance to ‘fall in love’ with music. So we hope that us going into schools and playing for them and being as emotional and passionate about music might make them aware of the immense artistic energies they might find in themselves. What advice do you have for emerging pianists? And do you feel it’s necessary to take on different roles in a musical career rather than focusing on performance of the instrument? Love for music and never-ending struggle and joy are key to this profession. These days, we can’t isolate ourselves in our practice room only, but we have to reach out into society in every way in our common fight to keep arts altogether alive; the values that are not just purely economic that seem to run our world these days. Wanting to be a good influence for music and for people in the world should be a key motivation. STEPHANIE ESLAKE
Lars Vogt will conduct and play piano with the Tasmanian Symphony Orchestra at the Federation Concert Hall, 2.30pm July 29, and Albert Hall, 7.30pm July 30. More info and tickets from www.tso.com.au
show. When bands try to replicate what they do on recording it completely ruins the experience for me. A replication will never sound as good. That’s not what live music should be about. If people want to hear the record, they can stay home and hear it! In Hobart you’ve picked ecoHaven as a venue for your show. Why a retail shop over an established venue? I’ve never played in Hobart before and it can be difficult finding the right venue the first time you go to a place. I love playing in places that aren’t traditionally venues, and I find that I have some of my best shows in those places. It gives us the ability to create something really unique for the audience. Teaming up with ecoHaven means it’s a truly collaborative event. It’s a free show, and they’ll be getting some local drink sponsors. It’s going to be awesome! What can people expect from your live show? I’ll be playing as a duo along with Paul Dougherty. We’ve been making music together for 6 years now and he produced the EP with me, so he really gets what my music is all about. We both switch between different instruments throughout the set - me on guitar, ukulele, and keyboard, and Paul on bass, ukulele, keyboards and foot percussion. Since it’s just the 2 of us, we try to keep it as dynamic and interesting as possible. NIC ORME
Do you miss the fact of not being able to create the complexities of multi-instrumentation in a live show versus on the recordings? Not so much. While a bigger band is always awesome to work with for all of the textures and colours available, I like the challenge of creating a completely different experience for the live
Danielle Deckard will play two free all-ages show in Hobart this month. The first will be at ecoHaven on Sunday July 17 at 3pm, with a show in the MONA Void space on the following Saturday July 23. Further information can be found at www.danielledeckard.com.
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Arts VISUAL ARTS
ROLY SKENDER Tell me about your work for the festival, Building Voices. We’ve taken about 20 singers from the festival community. Some of them are professional singers, some are theatre people, some are not singers at all. I sat them in front of a black screen, and asked them to record single notes from their lowest note to their highest note, as well as an improvisational section. I then edited these heads into projections for the side of the Silo building in Salamanca place, and created a musical piece from the varying different notes. I basically created a sampler. It’s like a big musical instrument in a way. Once it’s in the system, it’s like having a little choir. And everything you hear, you’re also seeing. As someone with a visual arts background, I’m looking forward to visual art in the festival. Tell me about the relationship between the visual and audio in your work. Pulling all these different faces together… when you’re putting separate moments of time alongside each other, unexpected things can happen - both visually and with the sound. There’s definitely a sense of theatre to it as well with people’s different facial expressions. I’ve been getting into the intensity of some of the segments, but there’s also humour. It’s really just a journey into the idea of the voice. With technology being so prevalent - with projection and computers and everything - it’s nice to have something that’s the furthest away from technology as possible. Just a human voice singing is pretty close. There’s a real analogue feel to all the digital stuff going on. So were you approached by the festival as an artist? [Festival director] Tony Bonney asked me if I could do some projection work - some building mapping work. The brief was to make the city sing. And we thought we could literally do that. And we turned it into a musical project as well so it’s not just a disconnected piece of projection art in what’s essentially a music festival. Is the artwork going to evolve over the festival? Yeah, when I’m there I’m going to try and shoot some more singers and keep adding to it. That’s the basic premise of the whole thing. It starts with silence and there’s an evolution of singing. When people started to sing [in prehistoric times] there was just one person singing, and the next thing was to have two people but they were just singing the same thing. And then gradually, across centuries, people started to sing in harmony and then it became four part, multi part harmonies and I’d like to increase that complexity from the beginning to the end of the piece. Voice is an elemental thing, is that what you’re saying?
Roly Skender, Building Voices, 2016. For the Festival of Voices, Hobart. Photo credit: Roly Skender
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Yes, that idea gets hold of you, and leads you down a certain path. I also play in a band in Perth and we play country music(ish), and a bit of electronic, but lately we’ve been doing more a cappella stuff. We’ve put down the instruments and just been singing four piece harmonies. None of us are great singers mind you, but the energy people get… well, people appreciate the rawness. It can be quite confronting, singing with nothing - when you strip it all back and it’s just voices. There’s a fair bit of insecurity that creeps in when people aren’t professional singers, but it’s nice to see people get beyond that and do their thing. It makes for some nice moments.
Arts
THIS YEAR, TASMANIA’S ANNUAL FESTIVAL OF VOICES IS INTRODUCING VISUAL ART TO ITS PROGRAM. WARP SPOKE TO THE TWO ARTISTS WHO ARE BRINGING VISUALS TO VOICE, ROLY SKENDER (WA) AND PATRICK HALL (TAS).
PATRICK HALL Tell me about your work for the festival.
younger where it looked as if vinyl wasn’t going to survive. Of course, now there’s been a massive resurgence. But the 78 hasn’t really fared so well. You can still find them, but new turntables can’t even play them anymore. So all those voices are almost lost to the world. They’re still there trapped in this piece of shellac, but it’s almost like we don’t care about them anymore.
It’s a bit like my drawers at Mona [readers might have seen Hall’s When My Heart Stops Beating in the corridor outside the Velvet Gallery, 20112013], in that it uses records. It’s working on that resonance of the record - the trapped voice in the record. [The sculptures are] very flower-like. They look like those Edison horns, but they’re made of vinyl records, chopped up and melted it into a flower shape. The records are like petals.
A lot of my work is about that sense of redundancy and what’s left behind. The beautiful thing about the human voice is that it is this kind of ephemeral, leaving something behind. It’s one of the few things - I suppose apart from bodily waste - that the body sends into the world that’s independent of the body itself.
There are 2 or three clusters. Within the clusters, some are speakers and some are microphones. Someone can talk into a cluster over here, and someone can hear your voice over there. What I’m hoping is that groups of people will get around, and you’ll have this kind of odd communication - it’s purely voice rather than facial recognition. It’s the idea of the trapped voice being released from the LP.
The artwork is really about that idea of the projected voice beyond the confines of the body. I do like the connection to the bouquet of flowers though. I see Dame Edna with the bunch of gladdies. LUCY HAWTHORNE
I wanted it to be like a bouquet of flowers. You know when the performer gets a cluster of flowers at the end so this is almost like a big stand of flowers… well, black vinyl flowers. A lot of your works seems to use records. Yeah, I love the idea of a Voice being stuck in a groove. How does it get on there and how does it get out? I’ve done a lot of work with 78 records. I love those because there was a stage when I was
Patrick Hall, Speaker [with son Austin] FOV 2016 Photo credit: Diane Allison
Festival of Voices runs this month till July 17 around the state. For further information head to www. festivalofvoices.com.
KICKSTART ARTS PRESENTS
COUNTING UP TO HAPPINESS SCREENING AND PUBLIC FORUM Warm up your winter. 20 Reasons to be Cheerful. 20 short films from all over the Island.
SCREENINGS
Thursday 21: 7.30PM Friday 22: 1PM, 3PM, 8PM Saturday 23: 2PM, 6PM, 8PM Sunday 24: 4.30PM
LOCATION
Peacock Theatre Friday 1PM & Saturday 2PM all tix $10.00.
PUBLIC FORUM - IS HAPPINESS A MATTER OF SURVIAL?
6 Speakers hosted by Dave Noonan (Heart FM) Sunday 24: 2 - 4 PM Bookings: http://events.ticketbooth.com.au/events/22026 Door sales also available.
"Kickstart Arts gratefully acknowledges the support of The Australian Government through The Australia Council, its arts funding & advisory body and The Tasmanian Community Fund. We thank our sponsors, The Federal Group, Nekon and Madfinch for their generosity."
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Arts REVIEW
BRAINSTORM, PLIMSOLL GALLERY ON OPENING NIGHT, BRAINSTORM HAS A CARNIVAL FEEL TO IT. VISITORS THREAD THROUGH THE EXHIBITION ON THE WAY TO DARK PARK IN THE ADJACENT FORMER SHIPPING YARDS. THE PLIMSOLL GALLERY EXHIBITION, CURATED BY JOHN VELLA, IS PART OF THE OFFICIAL DARK MOFO PROGRAM, AND MANAGES TO BOTH MIMIC THE AESTHETICS AND THEMES OF THE WINTER FESTIVAL, BUT HOLD ITS OWN AS A SEPARATE EXHIBITION. IT’S DARK, NOVEL, AND ENTERTAINING.
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From the art school’s tunnel entrance, I follow a deep growling sound coming from the wood yard. I’ve always thought it bizarre that the gallery’s adjacent courtyard garden and other surrounding areas are never used, particularly considering the current popularity of site-responsive art, which is why Brainstorm appeals to me almost immediately. The exhibition spills into the adjacent wood yard, the art school’s delivery bay, and gallery storeroom. The wood yard, with its high brick fence and metal bars, forms a cage around Andrew Harper’s breathing, growling, anthropomorphic Fort Evil. It’s a raw collage of materials, mostly a mishmash of roughly nailed wood and corrugated iron, with sharp wooden ‘teeth’ from which a small doll hangs. The artist later tells me that for OH&S reasons, visitors can’t enter the yard, but the distance and walls between the work and viewer only increases the mystique. I’m also told that the doll, toilet bowl, corrugated iron and many of the other materials were found in the yard and automatically incorporated into the structure. I can’t help but think that it’s a list of materials that should probably be found in a tip, rather than a university workspace. For the exhibition, the Plimsoll’s floor to ceiling windows have been levered open so that the garden becomes a seamless extension of the usual gallery space. Onto the pond, Scot Cotterell has projected text, which breaks into nonsensical syllables on the uneven leaf-covered surface. The group of visitors surrounding the small pond call out words as they pick them: “climate!”, “fires!”, “scientists!”, “meaningful!” Distracted, I worry about the resident fish. At this point I start to get a little irritated at the lack of artwork information. I can pick Harper’s installation, and Amanda Davies’ self-portraits are easily identified, but the ‘guess the artist’ game I play with my companion quickly tires. There’s a growing aversion to didactic texts in contemporary art spaces, partly because of the difficulties in label placement when it comes to darkened spaces or installations, but it’s also an ideological move. Later, someone told me there are artist flyers underneath Cotterell’s 20
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stack of ‘mindfulness colouring books’. The blind experience is evidently intentional, but I do wonder if the lack of, or limited attribution, is fair to artists. One of Cotterell’s other works received a great deal of attention when it was controversially removed from its original location - the top windows of the art school – and partially installed in the Plimsoll Gallery. The artist stated it was “removed with urgency due to student and bureaucratic request,” primarily “due to student wellbeing and institutional public safety concerns around decency and offence.” The subsequent (and surely inevitable) media attention was therefore a bit of an own goal for the university, plus the drama made an interesting work even more so. I’m wary of wading into the cesspit of rumours that currently surrounds the incident, but apparently a small number of painting and/or printmaking students took offense at the corflute boards in their studio windows, which scream in fluoro ink: ‘your work is shit’. Interestingly, the boards did not face the students, but instead faced outwards towards the half-constructed Federal hotel, the disused shipping yards, and Dark Mofo’s Dark Park. The aesthetic is akin to the hate signs of the Westboro Baptist Church, but while the message, repeated over and over, can be seen as derogatory, it can equally be interpreted as a form of self-talk. I don’t know a single artist who isn’t plagued by self-doubt. On my desk at home, there’s a drawing by David Shrigley’s that reads in bold: “your work is terrible and you are an imbecile”. It’s followed by “they said” in tiny writing. It’s a good reminder that everyone has an opinion. I’m entranced by Pat Brassington’s enigmatic Chambre Vide. The raised curtain of slightly translucent red plastic is deliciously shiny. A selfordering line of viewers walk slowly and quietly around the work in a clockwise direction, each person stopping at the end, hesitating, trying to decide whether they want to break the spell and look under the curtain. So many of the works are defined by barriers, fences and walls – frames of a sort. In addition to Harper’s fort, we view Michael Schlitz’s
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prints through Entrepot bookshop’s storefront, Jacob Leary’s blacklit installation through Entrepot Gallery’s gridded windows,and Matt Warren’s sound and video works from behind the loading bay barriers. Darren Cook’s multimedia installation is also viewed behind the gallery’s storeroom fence, with the plinths, screens, and other paraphernalia, acting as a canvas for his projected videos. In this darkened space, Warren and Cook’s soundtracks bleed into each other, a haunting mixture of thunder, static, and flattoned speech. The use of these spaces are one of the exhibition’s key strengths, but at the same time, the gallery’s location within the university and associated bureaucracy has evidently limited the exhibition’s full potential. Let’s hope fear doesn’t muzzle future Plimsoll Gallery programming. LUCY HAWTHORNE
Brainstorm, 10 June – 19 June 2016. Plimsoll Gallery, Tasmanian College of the Arts. Curator: John Vella. Artists: Michael Schlitz, Pat Brassington, Matt Warren, Andrew Harper, Scot Cotterell, Amanda Davies, Darren Cook, Grace Herbert, Jacob Leary. Disclosure note: The author is employed by Mona, but has no direct involvement in this year’s Dark Mofo or the Plimsoll Gallery. Images: 1. Pat Brassington, Chambre Vide, 2016. Image credit: Pat Brassington 2. Andrew Harper, Fort Evil, 2016. Image credit: Gerrard Dixon 3. David Shrigley, Your Artwork is Terrible and You are an Imbecile, 2013. Copyright: David Shrigley (it can be used under copyright law’s critical review exemption) 4. Scot Cotterell, Shitstorm (Compromised Version), 2016. Installed on the building facade top level from 0200hr 08.06.16 until 0700hr 10.06.16. Image credit: Scot Cotterell. 5. Installation shot of the gallery storeroom showing part of Darren Cook’s Take it Outside. Image credit: Gerrard Dixon
PAIGE TURNER ONE HUNDRED YEARS OF SOLITUDE BY GABRIEL GARCIA MARQUEZ IS SET IN A TINY TOWN IN COLOMBIA AND TELLS THE STORY OF ONE FAMILY YET CONTAINED WITHIN IS THE ENTIRE HISTORY OF LATIN AMERICA. DEATH OF A RIVER GUIDE BY RICHARD FLANAGAN TELLS THE STORY OF ALJAZ COSINI AND HIS FAMILY AS HE DROWNS UNDER THE FRANKLIN RIVER, TRAPPED AND PINNED YET EXULTANT IN HIS VISIONS AND IT IS TELLS A PROFOUND HISTORY OF TASMANIA.
Death of a River Guide most likely would not have been published if the proposed changes to remove parallel importation restrictions on books go through. Cheap books is a tawdry price to pay for lesser stories, lesser communities, lesser sense of self and place and life. A book is worth way more than its mere pecuniary value, it is worth story, identity, transformation, challenge, delight and entertainment. To read generates much more than a lubricious return on investment. Bear witness and speak up. Humans need story. The darker it gets the more that is happening around story in Tasmania. And so it is that the Story Island Project is again teaming up with Festival of Voices to present Lost Voices of Old Hobart Town: Of Sea and Storm, a oneday writing workshop for young people. Exploring our maritime history of shipwrecks, spectres and sailors, and using resources from TMAG’s Tempest exhibition, this workshop will inspire young writers to give voice to stories long submerged. An amazing, and in demand opportunity for young people in Tasmania. More information can be found at www. storyislandproject.org/festival-of-voices-2016. The Tasmanian Society of Editors continues to host a series of engaging events. The next is on July 13 at Rosny LINC, 7pm. ‘Looking forward - Looking back’ will offer editor’s tales of how the industry has changed and thoughts about the society’s future direction. It is an opportunity to share anecdotes, reminiscences and ideas for the future. The Tasmanian Writers’ Centre’s young writers’ program, Twitch is hosting Joshua Santospirito, comic maker, publisher at San Kessto and organiser of Her Maj on 19 July. His first graphic novel, The Long Weekend in Alice Springs was awarded the Chief Minister’s Northern Territory Non Fiction Book Award, the ComicOz Award for 2013 and was shortlisted at the 2014 Ledger Awards. Swallows Part One, a new offering from Santospirito is pictured here.
If you have any news about books and writing in Tasmania – racheledwards488@gmail.com.
The Young Writers in the City another fab offering from Twitch hits Launceston later this year. There are five spots available for this great residency opportunity. Writers will spend two to three hours for at least eight days in their chosen venue for this period, and produce a 1500-2500 experimental essay inspired by their experience. The residencies will include payment of $300 per writer, as well as the opportunity for writers to present at the Junction Arts Festival. The Writers Centre has recently appointed Ruth Dawkins in the role of Community Engagement. She will
be working specifically to support the work of published writers in Tasmania by promoting their book launches through social media, featuring them on the TWC website and showcasing their work at events. For more information check out www.taswriters.org. Emily Bullock, who has recently curated the dark and lovely exhibition Unhoused at the Allport Museum in Hobart, has been working with Caroline Cochrane, to write a book about Caroline’s life and her involvement with the Choir of High Hopes. The book, A Changed and Uplifted Life, is being launched as part of the Festival of Voices on July 6. The Choir will be performing at 5pm at the Peacock Theatre. More information is available at www.festivalofvoices.com/events/ choir-high-hopes-experience. One of Australia’s most important poetry prizes, the Gwen Harwood is back for its twenty somethingth incarnation. Entries close on 2 September and the winner is awarded $2000 and the poem published in Island. This year the judges are Sarah Holland-Batt, Kent MacCarter and Michael Farrell. More details here at www. islandmag.com/collections/ghpp. Fullers has a packed month of events including the launch of the new Pufferfish novel. These books, many of them elusively out of print are ripper TasNoir and on July 21, 13 Point Plan for a Perfect Murder is being launched. This has been published by Fullers, another example of their erudite support for Tasmanian history and letters. On July 14, 5.30 at Fullers, Rosalind Cardinal’s new book The Resilient Employee, The essential guide to coping with change and thriving in today’s workplace is being launched, also at Fullers. Cardinal has trained hundreds of people in change and has turned her popular course material into a book. Please rsvp@ fullersbookshop.com.au. Up North in Launceston, I can hear some of the best spoken word poets doing their scales in the lead up to the Tasmanian heat of the national slam comp – this, alongside Storyteller (aka Bert) Spink’s new performative storytelling event, Map and Fold. Spinks is hosting this with Isla Ka, and it’s a storytelling show about people who live in places with lines running through them. Worth checking out - Stompin Studio, Launceston, July 5, 7pm, Limited tickets $10. The Hobart Bookshop is hosting the launch for Saxby Pridmore’s collection of poetry, White-Out on July 21, 5:30pm. RACHEL EDWARDS
OPINION
HCC’S ‘TREE’
IN WHAT I CAN ONLY ASSUME IS A FURTHER ATTEMPT TO CONVINCE THE PUBLIC THAT IT IS A PUBLIC ‘ARTWORK’, HOBART CITY COUNCIL DUSTED OFF THEIR DISASTROUS ATTEMPT AT A CHRISTMAS TREE LAST MONTH, REINSTALLING IT IN SALAMANCA PLACE FOR DARK MOFO.
In case you missed it, last Christmas the council unveiled their new ‘contemporary’ tree: a bundle of upright metal poles with fairy lights. The poles lean in at the top, but not in a pleasing way. In fact, it looks kind of drunk, which could be considered rather fitting in the context of Christmas. The response was a mixture of derision and outrage, particularly when it was revealed that it cost $35,000 to produce. Rather than accept the criticism, some members of the council, such as our Lord Mayor, decided to label it ‘public art’, suggesting that all us ‘non-believers’ are just retrograde philistines. Price tag aside, the thing that continues to rile me is the fact that this retrospective ‘art’ label denigrates not just artists and audience, but also
the council’s own public art scheme. It assumes that bad design can be excused by labelling it art, and that the public are too stupid enough to critically assess design structures such as the council’s tree. It also threatens to poison the community’s attitude towards public art. The council has history of commissioning some great public artworks, so why tarnish that reputation by placing a mediocre structure that is clearly unpopular with the public in the same category as artworks officially commissioned under the city’s public art scheme? The council’s public art policy clearly states the various commissioning processes, so if the tree really is a work of public art, as certain councillors have claimed, surely the council’s own guidelines should have been followed.
We are fortunate in this state to have the Tasmanian Government Art Site Scheme, which sets aside 2% of all government capital works projects for public art. However, we rely on positive community attitudes towards public art for this scheme to continue. Granted, not all commissioned art is well loved, and not everyone will love every work, but we cannot risk turning attitudes against public art by using the label thoughtlessly. LUCY HAWTHORNE
Image: That tree. Photo credit: Steven Trotter, 2015.
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Arts BOOK REVIEW
WOOD GREEN WOOD GREEN IS A NOVEL WITH A MAGNIFICENT TWIST, A RIPPER STORY AND SOME VERY FAMILIAR SCENERY.
Michael arrives in Hobart to take up a job with an aging, irascible writer, Lucian Clarke who lives up Mt Wellington in the hamlet of Wood Green. Michael has a PhD into the work of this writer, who has lived up the mountain for longer than he can remember, returning home after interludes of dancing the light fantastic of an international literary lifestyle. He has employed Michael to help him remember his affairs, to order his books and life, and assist with the completion of his latest novel. Michael is a writer himself, and he pursues the writing of his novel, as he is pursued by the girlfriend he abruptly left in Sydney. Rachel tracks him down in Hobart and comes to visit. She is one of the many smaller but still exquisitely drawn characters who plump out this narrative and her sharp Sydney ways draw Michael’s deepening into the experience of living up the mountain, into sharper relief. There is also Andrew, the proprietor of the quaint and coddled b and b in Battery Point. He is both highly strung and sinister as he bumbles his way around his visitors. We get insight into his thoughts and an eerie analysis of his guests through his neurotic mind. Carl the South African is fleeing an unmentioned white collar crime and his crimes are not known in Wood Green, where he buys the shop, after Maureen and Tim, whose marriage is decaying, finally close the sale. All these are characters who help build this novel to its curious crescendo. The book has many pathways through the woods, all of them coming back to the same, unexplored path of the lives of Lucian and Michael. It is a book compelling both by the staggered introduction of clues to the story itself, as well as by the rich pickings that Rabin has delivered in terms of a cast of well-drawn, unique and believable secondary characters. Let go of your expectations for a single narrative, this book is woven of many human lives and has the most exquisite sound track too. Eclectic, diverse albums are introduced throughout the pages, and it is worth seeking the sounds out as you read. It becomes a sensory experience, it deepens the reading experience, which is already rich from characters, as well as from descriptions of place. This is also a book that provides a commentary to what it means to be a reader and what it means to be a writer. It talks about the desire on the part of the author for immutability, and more pertinently for the reader familiar with the setting, it talks about the “thick syrup of familiarity” when it comes to ‘the real’. It successfully interrogates the beast that is the novel, that is fiction and it also plays most marvelously with the notion of what it means to be a writer. Wood Green is a successful first novel and it tells a ripper yarn. Readers who know Hobart, who know Kunanyi/Mt Wellington are also in for a treat; to read known places in a work of literature always deepens a sense of place. RACHEL EDWARDS
EVENT
OPPORTUNITY
THE MOST WUTHERING HEIGHTS DAY EVER
TIDAL ART PRIZE
IN 2013, A THEATRE GROUP CALLED SHAMBUSH GATHERED 300 KATE BUSH ENTHUSIASTS IN A FIELD TO DANCE HER ICONIC 1970S GOTHIC POP HIT, WUTHERING HEIGHTS. IT’S TURNED INTO A BEAST OF ITS OWN, WITH THIS YEAR’S THE MOST WUTHERING HEIGHTS DAY EVER OCCURRING SIMULTANEOUSLY IN CITIES AROUND THE WORLD, INCLUDING MELBOURNE, OSLO, COPENHAGEN, MONTREAL, LISBON, TEL AVIV, UPPSALA AND BERLIN. ALMOST FIVE HUNDRED HOBARTIANS HAVE CLICKED ATTENDING ON THE EVENT’S FACEBOOK PAGE. Keen participants can just turn up on the day. You just have to wear a red dress, red stockings, and black belt. A wig, flower, and wicked green eye shadow are optional extras. Dance experience is not necessary but if you want to practice some of those wild leg kicks, the Hobart event page has links to a mirrored version of the music video for easy rehearsal. The instructional video created by the original Kate Bush Dance Off, where they identified moves such as “zombie walk”, “greedy face” and “serve the plates”, can be found at www.youtube. com/watch?v=kNa1QBNkpxs.
The gathering will occur at 2.30pm on Saturday, 16 July 2016 at the Hobart Regatta Grounds. Further information is available from the event’s Facebook page, www.facebook.com/events/480703488782706.
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ENTRIES FOR THE CITY OF DEVONPORT’S BIENNIAL ART AWARD, TIDAL, CLOSE ON AUGUST 1. THE ACQUISITIVE AWARD AIMS TO ENCOURAGE INNOVATIVE WAYS OF REPRESENTING THE SEA AND COAST, WHETHER IT BE ‘NATURAL, CULTURAL, PERSONAL OR POLITICAL CONCERNS.’ Entries are limited to two-dimensional artworks, but have no other restrictions on media (a relief from the increasingly large number of Tasmanian painting prizes!). This year’s judges are Jane Devery, Curator of Contemporary Art at the National Gallery of Victoria, and Jane Stewart, Principle Curator of Art at the Tasmanian Museum and Art Gallery, and past director at Devonport Regional Gallery. The previous $15,000 major award was won by Hobart-based artist, Joel Crosswell, with his series of drawings called Galaxias. His drawings were inspired by the rare Tasmanian fish spotted by the artist on a four-day artist residency at Skullbone Plains in 2013.
Entries close August 1 with the exhibition running from November 25 – January 29. Visit www.devonportgallery.com for more information.
Arts
Gallery
performing arts
Guide
Guide
South
NORTH
146 Artspace June 10 - July 21 Full House: 5 years @ Sawtooth ARI July 28 - September 1 Re-Collection with works by Sue Henderson, Penny Mason, Anne Morrison and Susan Pickering.
QVMAG Until July 31 Community Collectors: Mark Davis and Simon Wood Thunderbirds Fever!
Bett Gallery July 1 - July 18 John Kelly (UK) Prints July 22 - August 8 Pat Brassington (Photo Media) Colville Gallery July 1 Kate Piekutowski July 22 Jane Giblin Handmark Gallery June 17 - July 11 Ella Noonan & Emily Snadden - New Drawings and Jewellery July 15 - August 8 Jock Young - New Paintings and Works on Paper MONA Until August 29 Cameron Robbins - Field Lines Rosny Barn Schoolhouse Gallery June 18 - July 10 Animal Madness July 23 - August 21 City of Clarence Open Art Exhibition
Handmark Evandale July 3 - August 3 Mandy Renard - New Works on Paper Burnie Regional Gallery July 2 - August 21 ArtRage 2015 Collection July 2 - August 21 Bea Maddock & Friends Devonport Regional Gallery Until July 2 Con Rhee: The Wilderness Pill July 3 - August 7 Cheryl Rose Until August 7 The Lyons Share: Photographs of the Lyons Family from the Robinson Collection Until August 7 Press: Selected Prints from the DCC Permanent Collection Gallery Pejean Until July 9 Between Worlds - Elizabeth Russell-Arnot July 13 - August 6 Connected - Michael Weitnauer
Despard Gallery June 8 - July 3 The Museum of Doubt July 6 - July 31 Endangered - Rodney Pople Salamanca Arts Centre Kelly’s Garden Until July 31 For Every Mile I Have Ever Flown… Sidespace Gallery July 1 - July 31 Studio Stories Lightbox July 1 - July 31 Fixing Shadows Long Gallery July 23 - August 28 New Alchemists Top Gallery July 1 - July 31 Inner Landscapes
SOUTH
NORTH
COMEDY
COMEDY
The Polish Corner July 6 Jokers Comedy Club - Ben Darsow July 13 Jokers Comedy Club - Heath Franklin’s Chopper July 20 Jokers Comedy Club - Claire Hooper July 27 Jokers Comedy Club - Damian Callinan
Earl Arts Centre July 13 - 16 Legends of Revue
THEATRE
Theatre Royal July 6 Tripod 101 Hits July 21 - 23 C’est La Vie
Princess Theatre July 13 Conversations with Friends - Guest Speaker Vicki Madden
Republic Bar July 21 The Clubhouse with Nazeem Hussain
Devonport Entertainment & Convention Centre July 26 Egg
The Royal Oak July 22 Fresh Comedy with Nazeem Hussain
THEATRE Peacock Theatre July 5 - 6 A Children’s Opera Double Bill: Festival of Voices July 6 Café of the Gate of Salvation: Festival of Voices July 6 The Choir of High Hopes Experience: Festival of Voices July 8 The Spooky Men’s Chorale: Festival of Voices July 9 Co-Cheol: Festival of Voices Theatre Royal July 7 Playback Theatre with Nourish Choir July 8 - 9 Meow Royale July 9 George Begbie July 29 - 30 Egg Moonah Arts Centre July 28 - 30 Simon’s Final Sound FILM Peacock Theatre July 21 - 24 Counting Up To Happiness
Moonah Arts Centre June 17 - July 2 Nuance July 8 - July 30 Kollo and Tilyard TMAG June 10 - November 20 Tempest
WARP RECOMMENDS
@SAWTOOTHERS LAUNCESTON ARTIST RUN INITIATIVE, SAWTOOTH, HAS ESTABLISHED AN ONGOING ART EXHIBITION WITHIN INSTAGRAM. UNDER THE USER HANDLE @SAWTOOTHERS, GUEST ARTISTS AND CURATORS ARE INVITED TO POST ABOUT THEIR ART PRACTICE.
The project aims to ‘create a conversation about how exhibitions can be engaged with, or presented through new media and technology’, and while that might sound a little dry, the Instagram feed is terrific. It’s a mixture of art, museums, text, pop culture, and observations on often-overlooked objects or behaviours. Sawtoother’s current artist is Fraser Stanley, an artist and editor of the online photography journal, The Meander. At the time of writing, Stanley’s posts have largely focussed on suburban Australian architecture, but the subjects posted by previous participants widely vary, from documenting their own art making processes, to experimenting with Instagram as an art space in itself.
See more from the artist at www.themeanderjournal.com. Image: The Sawtoothers profile on Instagram.
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Event Guide
Hobart Date
Venue
Acts / Start Time
Birdcage Bar
Dean Stevenson sings Elvis Costello 5:30pm
Birdcage Bar
Fiona Whitla 8:30pm
Brisbane Hotel
Bingo w/ The Ramblin Blooper Reel
Channel Heritage Centre
Hot String Band, Fiona Hutchison 10am
Customs House
Date
Venue
Acts / Start Time
Wrest Point Showroom
The Angels - with special guests Mi-Sex 8pm
Birdcage Bar
Glen Challice 8:30pm
Brisbane Hotel
Bingo w/ The Ramblin Woolloomooloo Vigilante
Customs House
Ashlee Prewer, Lasca, Xena 2:30pm
Harrison Manton, Tony Brennan, Tom Booth 2:30pm
Longley International Hotel
Martin Cilia, Mental as Anything
Republic Bar & Café
The Darlings 8:30pm
Republic Bar & Café
The Great Anticipators 2:30pm
The Apple Shed
Lagoon Hill Zydeco 1pm
Republic Bar & Café
Hui & The Muse 8:30pm
The Homestead
Zach Spinks
The Homestead
Black Cat Jazz Trio 7pm
Wrest Point Showroom
Tina C - Herstory 7:30pm
The Waratah Hotel
Sunday Sessions at the Tah with Junior Brando + DJ Mad 3pm
Birdcage Bar
Billy & Randall 8:30pm
Birdcage Bar
Billy & Jamie 8:30pm
Republic Bar & Café
Quiz Night 8:15pm
Birdcage Bar
Tony Voglino 8:30pm
Republic Bar & Café
Dan Vandermeer 8:30pm
The Homestead
Funky Bunch Trivia 7pm
Birdcage Bar
Sabine Bester 8:30pm
Republic Bar & Café
The Fabulous Bluecats 8:30pm
The Homestead
Sea Shanti’s with Dave Elliston 8:30pm
The Waratah Hotel
Quiz Night 7pm
Birdcage Bar
Les Coqs 9pm
Grand Poobah
Karaoke with DJ Soft Cat & Hoop Dreams 8pm
Republic Bar & Café
Tim & Scott 8:30pm
The Homestead
Aus. Songwriters Assoc. WAX Lyrical 6:30pm
The Waratah Hotel
Unlocked 7pm
Birdcage Bar
Glen Challice 9pm
Brisbane Hotel
From Oslo (Vic) + The Saxons + The Sleepyheads + Cape Grim
Grand Poobah
The Coven
Onyx
Ebeneza Good 10pm
Republic Bar & Café
Mephistopheles EP Launch + Guests 10pm
The Apple Shed
Mid-Winter Fest 10am - 11pm
The Homestead
TRUTH (NZ) + Piglet + Milquebarth + Beat The Horn 9:30pm
JULY Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
24
3
4
5
6
7
8
9
Republic Bar & Café
Helen Crowther 8:30pm
Wrest Point Showroom
Lady Liberty - Amelia Ryan 7:30pm
Birdcage Bar
Brett Budgeon sings Little River Band 5:30pm
Sunday
Monday Tuesday
Wednesday
10
11 12
13
Birdcage Bar
Glen Challice 8:30pm
Republic Bar & Café
G.B. Balding (Finger Pickin’ Blues) 8:30pm
Wrest Point Showroom
Sweet Dreams - Michael Griffiths 7:30pm
Birdcage Bar
Andrew Short sings Vic Damone 5:30pm
Birdcage Bar
Billy & Aaron 8:30pm
Grand Poobah
Soul Truck
Republic Bar & Café
James Bennett 8:30pm
The Homestead
Vinyl Club 8:30pm
The Waratah Hotel
Quiz Night 7pm
Birdcage Bar
Carole Williams sings Ann Wilson 5:30pm
Birdcage Bar
Jerome Hillier 9pm
Grand Poobah
Karaoke with DJ Soft Cat & Hoop Dreams 8pm
Republic Bar & Café
Dave Wilson Band 8:30pm
The Homestead
Mamba 7:30pm
The Waratah Hotel
Unlocked 7pm
Wrest Point Showroom
MICapella/Suade 7:30pm
Birdcage Bar
Katy Pakinga sings The Carpenters 5:30pm
The Westend Pumphouse
Maddy Jane 8:30pm
Birdcage Bar
Glen Challice 9pm
The Whaler
Doyle & Gravy 6:30pm Dylan Eynon 8:30pm
Brisbane Hotel
(Back) Hunted Crows (Vic) + Verticoli + Dog Dreams
Birdcage Bar
Dan Vandermeer 9pm
Brisbane Hotel
(Back) Uncle Geezer + Drain Life (Vic) + Dead Root (Vic) + Lager Than Life + BREAK THROUGH
Grand Poobah
Leah Flanagan
Onyx
Billy & Jamie 10pm
Republic Bar & Café
Beer Garden Party - Live Music By Dean Stevenson 2:30pm
Thursday
Friday
Saturday
14
15
16
Brisbane Hotel
(Front) Create The Crayon + Sanctify The Serpent + Scoparia + Infernal Outcry
Grand Poobah
Treehouse, Motte (NZ), Resilient Gums, Bird Canyon, Drunk Elx & Catsuit
Onyx
Jerome Hillier 10pm
Republic Bar & Café
Martin Cilia, Mental as Anything 10pm
The Apple Shed
Jed Appleton 6pm
Republic Bar & Café
Australian Made 10pm
The Homestead
The Sketches 9pm
The Apple Shed
Mid-Winter Fest 10am - 11pm
The Westend Pumphouse
Jensen 8:30pm
The Homestead
Sensient (Zenon Records) + Loagsta + Ahavamour 9:30pm
The Whaler
Finn Seccombe 6:30pm Dylan Eynon 8:30pm
The Whaler
Michael Priest 8pm
Wrest Point Showroom
Carlotta - Queen of the Cross 8pm
Wrest Point Showroom
Karise Eden and Dean Ray - Rebellion Tour 8pm
Birdcage Bar
Kristian Byrne sings Stevie Wonder 5:30pm
Birdcage Bar
Fiona Whitla 8:30pm
Birdcage Bar
Tony Voglino 9pm
Brisbane Hotel
Bingo w/ The Ramblin Dullahan
Brisbane Hotel
ALL AGES - Weeper + Within These Walls + Dawn of Your Discontent + BREAK THROUGH + Pop Noi’Sop
Customs House
David McEldowney, Matt Dean, Backstick Agenda 2:30pm
Grand Poobah
A1 Club Gaming Night in the Kissing Room
Republic Bar & Café
KOWL Beergarden single release 3pm
Onyx
Matt Edmunds 10pm
Republic Bar & Café
Wahbash Avenue 8:30pm
Republic Bar & Café
Boil Up 10pm
The Apple Shed
Mid-Winter Fest 10am-6pm
The Homestead
Formidable Vegetable Sound System 9pm
The Homestead
Elly Robertson 7pm
The Whaler
Ruben Reeves 8pm
The Waratah Hotel
Sunday Sessions at the Tah with Junior Brando + DJ Mad 3pm
warpmagazine.com.au
Sunday
17
Event Guide
Date
Monday Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
18 19
20
21
22
23
24
Venue
Acts / Start Time
Wrest Point Ent. Centre
Date
Venue
Acts / Start Time
The Simon and Garfunkel Story 7pm
Customs House
Duxie Franklin, Debra Manskey, Finn Seccombe 2:30pm
Birdcage Bar
Billy & Randall 8:30pm
Republic Bar & Café
Peter Hicks and the Blue Licks 8:30pm
Republic Bar & Café
G.B. Balding (Finger Pickin’ Blues) 8:30pm
The Waratah Hotel
Birdcage Bar
Sambo 8:30pm
Sunday Sessions at the Tah with Junior Brando + DJ Mad 3pm
Republic Bar & Café
Billy Whitton 8:30pm
Birdcage Bar
Billy & Randall 8:30pm
The Homestead
Funky Bunch Trivia 7pm
Republic Bar & Café
Quiz Night 8:15pm
Birdcage Bar
Black Coffee 8:30pm
Birdcage Bar
Sambo 8:30pm
Republic Bar & Café
The Bobcats 8:30pm
Republic Bar & Café
Baker Boys 8:15pm
The Homestead
Vibrant Matters Social Club 8:30pm
The Homestead
Funky Bunch Trivia 7pm
The Waratah Hotel
Quiz Night 7pm
Birdcage Bar
Dave Sikk 4tet 8:30pm
Wrest Point Showroom
Matthew Ives & His Big Band 8pm
Republic Bar & Café
Billy Longo & The Rhythm Tragics 8:30pm
The Homestead
Mangus Duo 8:30pm
Birdcage Bar
Dance in a Shoebox 9pm
The Waratah Hotel
Quiz Night 7pm
Grand Poobah
Karaoke with DJ Soft Cat & Hoop Dreams 8pm
Birdcage Bar
Tim & Scott 9pm
Grand Poobah
Karaoke with DJ Soft Cat & Hoop Dreams 8pm
Monday Tuesday
Wednesday
Thursday
25 26
27
28
Republic Bar & Café
Catch Club 8:30pm
The Homestead
Billy Whitton & Emily Wolfe 7:30pm
Republic Bar & Café
The New Savages 8:30pm
The Waratah Hotel
Unlocked 7pm
The Homestead
The Mount Wellington Porch Pickers 7:30pm
Birdcage Bar
Glen Challice 9pm
The Waratah Hotel
Unlocked 7pm
Brisbane Hotel
UP THE GUT w/ SkotDrakula (Vic) + Scott and Charlene’s Wedding (Vic) + Ali E (Vic) + Ben Wright Smith (Vic) + Jack and Jo’s Juke Box Explosion (Vic)
Birdcage Bar
Glen Challice 9pm
Brisbane Hotel
Tas Muso’s & Venues Supporting Flood Victims w/ Church Mouse + ZoeZac + More TBA
Friday
29
Grand Poobah
Tomas Fords Crap Rave Party
Onyx
Catch Club 10pm
Federation Concert Hall
Lars Vogt’s Mozart Masterpiece 2:30pm
Republic Bar & Café
Everburn 10pm
Onyx
Dan Vandermeer 10pm
The Apple Shed
The Darlings 6pm
Republic Bar & Café
Simple Stone 10pm
The Homestead
The Ivory Elephant 9pm
The Apple Shed
Kat Edwards 6pm
The Westend Pumphouse
Nick Machin 8:30pm
The Homestead
Tassie Flood Fundraiser with Do Little, Dom, Psywise + more 9:30pm
The Whaler
Finn Seccombe 6:30pm Ruben Reeves 8:30pm
The Westend Pumphouse
Nick Machin 8:30pm
Wrest Point Ent. Centre
Totally 80s 8:30pm
The Whaler
Billy Whitton 6:30pm Doyle & Gravy 8:30pm
Birdcage Bar
Glen Challice 9pm
Birdcage Bar
Jerome Hillier 9pm
Brisbane Hotel
AXE GIANT + True Defective (Vic) + Starmaker
Brisbane Hotel
Bingo w/ The Ramblin Rube
Brisbane Hotel
Teagle The Beagle and The Fairy Blossom Night Parade
Onyx
The Sign 10pm
Republic Bar & Café
Simon Russel Guilty As Charged 10pm
Onyx
Gypsy Rose 10pm
The Waratah Hotel
Josh Pyke
Republic Bar & Café
Roadkill + Lady Crimson + Furphy 10pm
The Whaler
Ruben Reeves 8pm
The Homestead
Merry Widows + Dominic Francis Grief Ensemble + Theresa Young 9pm
Birdcage Bar
Tim Hibberd 8:30pm
Customs House
The Whaler
Doyle & Gravy 8pm
Cassie O’Keefe, Doyle & Gravy, Ruben Reeves 2:30pm
Birdcage Bar
Tim Hibberd 8:30pm
Republic Bar & Café
The Rays 8:30pm
Brisbane Hotel
Bingo w/ The Ramblin Los Vingos
The Waratah Hotel
Sunday Sessions at the Tah with Junior Brando + DJ Mad 3pm
Saturday
Sunday
30
31
Ruffcut Records
222 ARGYLE ST HOBART Hiring: Band Backline, DJ gear, Projectors, PA gear, Party & Event Lighting. Phone: (03) 6234 8600
Email: shop@ruffcut-records.com
www.facebook.com/warp.mag 25
Event Guide
Launceston / NORTH WEST Date
TOWN
Venue
Acts / Start Time
Launceston
Royal Oak
Public Bar - Open Folk Seisiun 5pm
Launceston
St Ailbes Hall
Miz Ima Starr
Launceston
Club 54
Sorority Wednesdays
Launceston
Country Club Showroom
Carlotta - Queen of the Cross 7:30pm
Launceston
Royal Oak
Public Bar - Isla Ka 9pm
Launceston
Bakers Lane
The Brew: Angus Austin, Denni Sulzberger, Trent Buchanan
Launceston
Royal Oak
Public Bar - Andy Collins 9pm
Launceston
Watergarden
Café Noir 6:30pm
Devonport
Tapas Lounge Bar
Martin Cilia, Mental as Anything
Launceston
Club 54
Actuality, Shark Puncher, Mountains of Madness
Launceston
Country Club Showroom
Tripod - 101 Hits 7:30pm
Launceston
Royal Oak
Public Bar - Tim Gambles with Friends 9pm
Launceston
Watergarden
Bradley Von Rock 7pm
Launceston
Club 54
Lip Sync Battle #7
Launceston
Royal Oak
Boat Shed - VERTICOLI, Hunted Crows + Guests 9pm
Launceston
Tonic
Dollop 8pm
Launceston
Watergarden
Tassie Tenor 7pm
JUly Sunday Wednesday
Thursday
Friday
Saturday
3 6
7
8
9
Sunday
10
Launceston
Royal Oak
Public Bar - Open Folk Seisiun 5pm
Wednesday
13
Launceston
Club 54
The Dis-O Party: Warning! The Songs of Greenday
Launceston
Royal Oak
Public Bar - Deanna De Santi 9pm
Launceston
Watergarden
Jerome Hillier 6:30pm
Launceston
Bakers Lane
The Brew: Pat Broxton, Chris Jackson, Eve Gowen
Launceston
Royal Oak
Public Bar - SKYSCRAPER STAN with Oskar Herbig 9pm
Devonport
Tapas Lounge Bar
Skyscraper Stan
Launceston
Club 54
George Begbie, Bullet House, Angus Austin
Launceston
Royal Oak
Public Bar - Brad Gillies with Denni Sulzberger 9pm
Launceston
Watergarden
Rino Morea 7pm
Launceston
Club 54
Save the Clock Tower, Third Degree, Slow Descent
Launceston
Country Club Showroom
Karise Eden and Dean Ray - Rebellion Tour 7pm
Launceston
Royal Oak
Public Bar - The Audrey’s Taasha Coates 9pm
Launceston
Tonic
Leigh Ratcliffe 8pm
Launceston
Watergarden
Proud Phoneys 7pm
Launceston
Royal Oak
Boat Shed - Open Jazz Jam 1pm
Launceston
Royal Oak
Public Bar - Open Folk Seisiun 5pm
Launceston
Club 54
Sorority Wednesdays
Launceston
Royal Oak
Public Bar - Isla Ka 9pm
Launceston
Watergarden
Tassie Tenor 6:30pm
Launceston
Bakers Lane
The Brew: Third Degree (Acoustic), Tim Gambles, Sara Wright
Launceston
Royal Oak
Public Bar - Mick Attard 9pm
Launceston
Club 54
Pop Noi’Sop, The Midways, Chris Jackson
Launceston
Country Club Showroom
Celtic Force 2pm & 7:30pm
Launceston
Watergarden
Clinton Hutton 7pm
Launceston
Club 54
Cardinels, Youth Faction, Eve Gowen
Launceston
Country Club Showroom
Celtic Force 2pm
Launceston
Royal Oak
Boat Shed - UP THE GUTS Tour - 4 Great Acts 9pm
Launceston
Tonic
Matt Edmunds 8pm
Launceston
Watergarden
Trevor Weaver 7pm
Launceston
Royal Oak
Public Bar - Open Folk Seisiun 5pm
Burnie
The Butter Factory
UP THE GUTS Tour - 4 Great Acts 9pm
Launceston
Club 54
Sorority Wednesdays
Launceston
Royal Oak
Public Bar - Open Mic Night 9pm
Launceston
Watergarden
Tony Voglino 6:30pm
Devonport
Tapas Lounge Bar
Josh Pyke
Launceston
Bakers Lane
The Brew: Cardinels (Acoustic), Dani Quilliam, Jacob Hull
Launceston
Royal Oak
Public Bar - The Slag Queens 9pm
Launceston
Albert Hall
Lars Vogt’s Mozart Masterpiece 7:30pm
Launceston
Club 54
Bullet House, Jax, Denni Sulzberger
Launceston
Country Club Showroom
Josh Pyke with special guest Jack Carty 8:30pm
Launceston
Royal Oak
Public Bar - Steph, Mally and Heidi - S+M+M 9pm
Launceston
Tonic
Jerome Hillier 8pm
Launceston
Watergarden
Adam Page 7pm
Launceston
Club 54
The Embers, Turbulence, Thomas Fowkes
Launceston
Royal Oak
Public Bar - GUTHRIE 9pm
Launceston
Tonic
Trevor Weaver 8pm
Launceston
Watergarden
Rino Morea 7pm
Launceston
Royal Oak
Boat Shed - Open Blues Jam 1pm
Launceston
Royal Oak
Public Bar - Open Folk Seisiun 5pm
Thursday
14
Friday
15
Saturday
Sunday Wednesday
Thursday Friday
Saturday
16
17 20
21 22
23
Sunday
24
Wednesday
27
Thursday
Friday
Saturday
Sunday
26
28
29
30
31
warpmagazine.com.au
JULY Wed 6th Isla Ka ~ Public Bar 9pm Thu 7th Andy Collins ~ Public Bar 9pm Fri 8th Tim Gambles with Friends ~ Public Bar 9pm Sat 9th VERTICOLI, Hunted Crows + Guests ~ Boat Shed 9pm Sun 10th Open Folk Seisiún ~ Public Bar 5pm Wed 13th Deanna De Santi ~ Public Bar 9pm Thu 14th SKYSCRAPER STAN with Oskar Herbig ~ Public Bar 9pm Fri 15th Brad Gillies with Denni Sulzberger ~ Public Bar 9pm Sat 16th The Audrey’s Taasha Coates ~ Public Bar 9pm Sun 17th Open Jazz Jam / Open Folk Seisiún ~ Boat Shed 1pm / ~ Public Bar 5pm Wed 20th Isla Ka ~ Public Bar 9pm Thu 21st Mick Attard ~ Public Bar 9pm Fri 22nd FRESH COMEDY - Nazeem Hussain ~ Boat Shed 8pm Sat 23rd UP THE GUTS’ Tour - 4 great acts ~ Boat Shed 9pm Sun 24th Open Folk Seisiún ~ Public Bar 5pm Wed 27th Open Mic Night ~ Public Bar 9pm Thu 28th The Slag Queens ~ Public Bar 9pm Fri 29th Steph, Mally and Heidi - S+M+M ~ Public Bar 9pm Sat 30th GUTHRIE ~ Public Bar 9pm Sun 31st Open Blues Jam / Open Folk Seisiún ~ Boat Shed 1pm / ~ Public Bar 5pm
~ Live Music ~ ~ Great Food ~ ~ Open 7 Days ~ ~ Open Mic Night the Last Wednesday of the Month ~
14 Brisbane St Launceston 7250 (03) 6331 5346
RAINFORESTS RED DIRT rOCK’N’ROLL TOUR TASSIE DATES HOBART @ THE BRISBANE - FIRDAY 22 JULY LAUNCESTON @ ROYAL OAK - SATURDAY 23 JULY BURNIE @ THE BUTTER FACTORY - SUNDAY 24 JULY
ScotDrakula, scott and Charlene's Wedding, Ali e, Ben Wright Smith, PRE-SALES Jack, Jo and Friends (the pretty littles + big scary)
Mato
n
gUts dj’s
$12