Warp Magazine February 2011

W arp Warp ISSUE 1 FEBRUARY 2011

Gareth Liddiard

A not-so strange Tourist

Cut Copy

There’s No Place Like Home

Enola Fall Mona Foma wrap UP

Perth,

Adelaide,

Hobart, Melbourne, Sydney, Newcastle, Brisbane, Sunshine Coast, Darwin, Auckland.

!!! OPPORTUNITY !!!

Bands/Acts Local & Touring to play @ SCoRCHeR Apply online www.scorcherfest.com.au 

PUT THIS in Ya Diary! 15 Bands, 2 Stages PLUS screening of “The SCoRCHeR FeST Story”1 MaSSiVe PaRTY 

Fri 1st APRIL Brisbane Hotel

LIVE MUSIC 7 days a week

Josh Durno + Joel Stiddard Tue, February 15 Chocolate Bedrock Wed, February 16 Dean Stevenson Thu, February 17 Australian Made Fri, February 18 Pink Day Out Sat, February 19 Cake Walking Babies Sun, February 20 G B Balding Mon, February 21 LaVista Showcase Tue, February 22 Loren Wed, February 23 Old Man River & Passenger Thu, February 24 Sugartrain Fri, February 25 Melbourne Rock Showcase Sat, February 26 Gipsy.cz (Gypsy Hip Hop, Czech Republic) Sun, February 27 Quiz Night Mon, February 28 Peter Hicks & The Blues Licks Tue, March 1 Dunn D Fri, March 4 Donavon Frankenreiter (USA) Sat, March 5 Bo Jenkins Sun, March 6 Ozi Batla Fri, March 11 Holly Throsby Fri, March 18 The Holidays Fri, April 8

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CONTACT US NOW ed@warpmagazine.com.au ainsley@warpmagazine.com.au / club alison@warpmagazine.com.au / art stuart@warpmagazine.com.au / music ads@warpmagazine.com.au / advertising gigs@warpmagazine.com.au / gig guide news@warpmagazine.com.au / news www.warpmagazine.com.au

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W arp Warp

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NEWS

WARP Magazine launches this February

Architecture in Helsinki sign with Modular

Launching in February 2011, Warp Magazine will feature the best music, arts, club and youth culture that the state has on offer. Whether it be local, national or international features.

Pop mavericks Architecture In Helsinki have returned with Moment Bends.

With regular columnists and a host of editors and writers on hand, Warp will endeavour to cover what we find interesting.

Recorded over 2 years the band’s studio space, songwriter Cameron Bird says “Moment Bends was all about being at one with our ideas, obsessed with popular music and falling in love with our hometown. We wanted to build a record to get lost in.‚Äù

All our contacts can be viewed to your left, so few free to make contact and pass on your opinions and ideas.

Moment Bends marks the first Architecture In Helsinki release on Modular Recordings.

Amplified showcasing grant program now open.

Amplified is an annual State Government initiative to promote Tasmanian contemporary music, delivered by Arts Tasmania’s industry development arm, arts@ work.

Warp magazine -----------------------------------------------------------EDITOR ed@warpmagazine.com.au -----------------------------------------------------------LOCAL MUSIC Stuart Warren stuart@warpmagazine.com.au -----------------------------------------------------------CLUB / ELECTRONIC Ainsley White ainsley@warpmagazine.com.au -----------------------------------------------------------ART Alison McCrindle alison@warpmagazine.com.au -----------------------------------------------------------DESIGN Miu Heath catspop@gmail.com -----------------------------------------------------------ADVERTISING ads@warpmagazine.com.au -----------------------------------------------------------GIG GUIDE Submit your events to gigs@warpmagazine.com.au -----------------------------------------------------------NEWS Submit your press releases plus publicity images through to the appropriate editor for consideration.

-----------------------------------------------------------www.warpmagazine.com.au ------------------------------------------------------------

ALL SUBMISSIONS REMAIN THE PROPERTY OF WARP MAGAZINE. ALL CONTENT IS COPYRIGHT TO WARP MAGAZINE AND CANNOT BE REPRODUCED IN WHOLE OR PART WITHOUT WRITTEN AUTHORISATION OF THE PUBLISHERS. WARP MAGAZINE makes no guarantees, warranties or representations of any kind, whether express or implied, as to the accuracy, reliability, or completeness of the information provided.

WARP MAGAZINE will not be liable for incorrect use of the information and will assume no responsibility for consequences that may result from the use of the information. WARP MAGAZINE is not responsible of any kind arising out of use, reference to, or reliance on such information.

Contents

Showcasing grants are available for activities and events that best promote and showcase the work of Tasmanian musicians during the week of Amplified, which will be held from 15-21 August 2011.

Grants of up to $3 000 are available with applications closing on 18 February 2011. Application tool kits are available from www.arts.tas.gov.au/amplified.

Dinosaur Jr’s J Mascis to release solo album this March The creator of some of this era‚Äôs signature songs, frontman Dinosaur Jr, J Mascis, will release his latest solo studio record this March. ‚ÄúSeveral Shades of Why‚Äù, an album of incredible beauty, will be released on Seattle label Subpop, through Inertia. ‚ÄúSeveral Shades Of Why‚Äù is nearly all acoustic and was created with the help of Kurt Vile, Sophie Trudeau, Kurt Fedora, Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Paulo Zappoli (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees).

J Mascis’ “Several Shades Of Why” is out Friday, 4 March through Inertia.

Ozi Batla heads to Tas this March Elefant Trak’s stalwart and prolific recording artist Ozi Batla had a massive 2010, with the release of his Wild Colonial LP landing nominations for AIR and SMAC (FBi Radio) Awards, and the Sydney Morning Herald listing him in their Best Hip Hop of 2010. The year 2011 will see Ozi get a little more intimate with audiences as he embarks on the “An Evening with Ozi Batla” tour. On Friday, March 11th at The Republic Bar, Hobart will have its only chance to get up close and personal with a solo Ozi Batla in 2011 as he farewells his latest project.

Modular will release Moment Bends on April 8 for Australia.

New club Plan B to open this month Located above Syrup Nightclub, PLAN B is completely removed from the regular Syrup nightclub. This new club night on the Salamanca strip is a no compromise affair for serious underground dance music enthusiasts.

With the 10,000 watt soundsystem pumping only the crispest underground sounds, and our intelligent lighting system, PLAN B will give your Aural and Visual senses the highest of highs.

Resident DJs Adam Turner, Billy Green, Corney, Gillie, Grant Peters, Kir and Lids create music from dirty Electro to brutal Dubstep, upfront House and the slammin’est Drum n Bass. Plan B will provide your weekly dose of illicit sounds.

Gareth Liddiard solo show in Hobart this March Gareth Liddiard will be on tour nationally through March and April 2011 taking his solo show to Hobart and Canberra for the first time, and revisiting the cities he played on his last tour. Guest support Dan Kelly will perform from ‘Dan Kelly’s Dream’.

Perth party punks Break Even are performing two shows in Hobart this March. Since releasing their breakthrough debut album in mid 2009, Break Even have catapulted into the forefront of the Australian heavy music community with their melodic brand of punk/hardcore.

This is the first time the band has been to Tasmania since the album’s release, so these are two shows not to be missed. Catch Break Even at Brisbane Hotel on Friday the 11th of March (18+) and an All ages show at the same venue the next day, Saturday the 12th.

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Issue 1

10 Gareth Liddiard

08

Cut Copy

10

My Black Son

11

Enola Fall

12

Loren

13

Ozi Batla

14

Old Man River v Passenger

15

Lior

16

Illy

18

The Gibson Les Paul Story

19

The Waifs

20

Plutonic Lab

21

Daniel Lee Kendall

22

Art vs Science

23

You’re an Arsehole

24

Club / Electronic

25

Arts

29

Andrew on Art

30

Donavon Frankenreiter announces Hobart show

Album Reviews

31

Live Reviews

35

The mustafa wearing troubadour heads back to the Republic Bar on Sat, March 5. Donavon returns in support of his fourth full length release ‘Glow’.

Mona Foma Wrap Up

36

Gig Guide

38

Matt Sonic and the High Times return to Launceston.

Matt sonic and the hightimes are returning to Launceston for one Tassie only show for the release of their new single “Break Free your mind”. They will be playing at the Royal Oak Hotel on the 25th of Febuary with rockin local supports Guthrie and The Little Cubas.

Matt Sonic and the Hightimes are fresh from their apperance at the Big Day Out just to name one of many recent festival apperances.

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Tamar Valley Beer Fest Organised alongside the oldest running Australian brewery, J Boag and Son, it includes local, national and international Beer and Cider Tastings and sales.

Friday, 25 March - Williams Street near Boags.

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These two singer-songwriters, raw and stripped back, will perform for one night in your town/ city (two if you live in Melbourne).

The Grates lose drummer, announce album details The Grates have been based in Brooklyn for the last yearwriting and recording their forthcoming album.

With drummer Alana Skyring pursuing culinary arts, The Grates have become a two-piece band, recruiting talented renegades along the way for recording and live performances.

Patience and John Patterson spent some time experimenting with new sounds and lyrical depths but there were gaps in drums and bass.

The Grates then recruited Brooklyn drummer Ben Marshall. They hit upon the right mix with bassist and producer Gus van Go, also bringing in Werner F to help with production duties.

The Grates’s new album is due out in June 2011

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Break Even head to Hobart for 2 shows this March

Saturday the 12th of February ’The Bro-lesque Cabaret’ A night of cabaret, drag and comedy from the ’fellas’ (but don’t look too closely).

8pm / $8 Sunday the 13th of February ’Freshly Breaked Beats Fiesta’ Saturday the 5th of March Monthly ’Future Shorts screenings http://www.futureshorts.com 8pm / $5

142 Liverpool St, Hobart thegrandpoobahbar@gmail.com 03 6231 3363 www.facebook.com/thegrandpoobahbar

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Gareth Liddiard - A not-so strange Tourist Loani Arman chats with Gareth Liddiard about his solo album Strange Tourist, his upcoming tour and low standards in rock ‘n’ roll, all the while attempting to reverse some of the smoke that’s been blown up the talented musician’s arse.

Pacing, with phone in hand, it’s a nervous wait for Gareth Liddiard to call in for our interview. After a decade as front man for Australian rockers The Drones, and with a critically acclaimed solo album Strange Tourist now under his belt, Liddiard’s career is both impressive and deservedly long-standing. By comparison, the training wheels are still on in my career as a music journalist.

Muttering the mantra – “Gareth Liddiard is just a person”- the phone rings. I consider not answering.

Liddiard has done countless interviews. Surely he could interview himself, via a message left on my voicemail?

“Hello Gareth. Hi, Gareth. How would you describe your music, Gareth? It’s amazing,” and so forth, until his interview ends with a ‘beeeeeeep’.

Reality checks in. I have to answer the call. The voice that greets me is calm and friendly. It’s also the trademark ocker drawl that can be found sliding and slurring across the tracks on his album. “Gareth here. How are you?”

I ramble at him that I’ve got, on my pin-board at work, something he was once quoted as saying: “Words are like a spare dick at an orgy if they’re shit. Why have them if they’re shit?”

Liddiard laughs, though I’m concerned he now thinks I’m capable of an orgy. Not of the sexual kind (get your mind out of the gutter, people), but a ‘word orgy’ - an interview ripe with witty repartee and lightening-speed banter.

Liddiard, I’m sure, can deliver that. Fearing that I can’t and facing what could be my career’s death, I see a light - Liddiard’s music bio flashes before my eyes.

Alongside visions of his dark haunting gaze, the biomind-flash went like this: Gareth Liddiard is the driving creative force behind The Drones, and has penned a long string of rock classics including ‘I Don’t Ever Want To Change’ and ‘Shark-Fin Blues’, which was voted the greatest Australian song in a poll undertaken by songwriters organised by Triple J. His well-documented interests in history, folklore and politics have stayed with him during his detour from front man to solo artist. His compelling debut album Strange Tourist was recorded in a mansion near Yass, with Burke Reid (The Drones’ Havilah) producing. The result is 64 minutes of Liddiard’s brand of folk-rock storytelling. After a sold-out tour in 2010, Liddiard is preparing to give the album a second outing, touring nationally, supported by long time cohort Dan Kelly.

Mind-flash over, I make note of some of the press that I’ve been reading about his solo album - that it’s somehow indicative that Liddiard has matured as a musician.

I crudely suggest that it “sounds kind of bullshit” in that it diminishes what he’s done, or could still do with The Drones.

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“I just do it because I haven’t done it” he says. Blunt, succinct, and without dressing; I’m soon to discover that’s precisely his charm. “They’ve got low standards in rock ’n’ roll, so if you can actually sit down by yourself and generate more, it amazes them. If you sit in Spain, in a flamenco bar, and a guy sat down with a guitar and just played the most amazing shit, no one would bat an eyelid, you know, because that’s what you’re meant to do.”

Considering the positive reviews he’s received for Strange Tourist, I ask him if that’s just smoke being blown up his arse by critics (with their low-standards, and all)?

“They’re writing rock ‘n’ roll reviews. They’re not critics.

If I was a painter, I’d have more critics than reviews,” he says, before insisting he does get bad press. “My dad gets what I do, but I don’t think he likes it. He gets it and he’s happy I do it. The rest of the world wouldn’t like what I do. If someone does slag it, it’s not that bad if they’re critical in an intelligent way. There are huge faults in the things that I do. I make huge mistakes.”

often the one chord structure), without any instinct for storytelling.

On his upcoming tour, Liddiard harps back to his time playing with Dan Kelly and the Alpha males, good humouredly insisting that he has always been the alpha male to Dan Kelly, and will continue to be that during the tour. On a more serious note, he says, “After the record has been released, we do ok, but it’s not like we’re front page news. Things happen small for us, so we tend to get more people to come to second round. If we didn’t do that, we’d miss half our audience.”

The other half of the “we” he refers to is The Drones band mate and girlfriend Fiona Kitschin, who manages Liddiard’s solo career.

At my suggestion that the use of ‘we’ goes against the ‘me, me, me’ attitude I’d expect of someone with so much smoke up their arse, Liddiard laughs, confessing that’s why he says it.

Of those ‘huge mistakes’ on Strange Tourist, he admits there were “heaps” and that “sometimes, you know, the structure’s a bit vague – the story structure. If you can learn one thing, it’s how to be objective about it all. Pull your head out of your arse. You kind of got to pretend someone else wrote it, and treat it like that. Then you’ll start seeing the weak spots - the teenage poetry bullshit - then you get rid of that.”

When I offer to further reverse the offending smoke by getting him to dish some dirt, Liddiard’s dry and laconic humour has him oblige and, after an admission that Guns n Roses and the Eurythmics would’ve been on his mix tape at the age of 13, we find ourselves as close to a ‘word orgy’ as we’re ever going to get.

From the controversial 16 minute epic The Radicalisation Of D (inspired by the incarceration of David Hicks in Guantanamo Bay) to Blondin Makes an Omelette (which references a French tightrope walker who crossed Niagara Falls and sat down half-way to cook and eat an omelette), Strange Tourist is a collection of obscure tales; each far from being ‘teenage poetry’. Liddiard knows how to tell a damn good story.

“A bunch of times- drunk and disorderly... umm... and for lighting a fire” he says. “I was about 12.”

“Writing gets you in the door and once you’re there, you have to tell interesting stories. Just because you talk, doesn’t mean you’ve got to say something.

I always like shit that’s weird, or action packed. Stories where someone gets shot or something weird happens.

You wouldn’t sit down to a fucking movie about everyone being happy and that’s just it. That’s just boring. You want someone to get killed.”

“Have you ever been arrested?” I ask.

“Just burning down the school, then?” I laugh.

“No, it... it got out of hand,” he laughs.

“That’s what all pyromaniacs say. That’s their defence!”

“That was my excuse.”

I then ask if he’s “ever been a Strange Tourist” and “done anything strange overseas.”

“Stealing letter boxes in central Sweden one night. One of those things you do when you’re bored.”

“So, you’re a letter-box stealing pyromaniac?”

“Yeah,” he admits.

The dirt now in print, let’s consider some of that smoke to be reversed.

Loani Arman

It’s an interesting point, considering the current fascination with singer-songwriters to spend entire albums pondering the one theme or one emotion (and

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MY BLACK SON

H Cut Copy: There’s No Place Like Home

Their new record is a big leap forward from their last release. Nick Mason finds out what Cut Copy did different and what fans are up for in the new release and tour.

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ith a brand new record under their belts and ready for release early next month, the New Year looms to reinstate Cut Copy as local music royalty, the band ready to ignite again as Melbourne’s finest exponents of synth-pop. So far, it’s all-systems-go according to drummer Mitchell Scott. “It’s kind of been pretty great. We had an awesome start to the New Year. We played a New Year’s show in Chile, so it was a pretty special way to begin,” he recalls. “It was a little bit weird, we wanted to have a couple of days’ holiday there but instead we came home to start rehearsing for our live shows at Laneway. We made the tough call to kick the holiday to come home.”

sounding... we just kept that pace going and made that place where we recorded the record as well.”

A warm reception surely beckons, however, their hotly-anticipated album Zonoscope drawing ever closer to its timely release. Zonoscope came to fruition from a desire to simply follow up their beloved sophomore effort, In Ghost Colours. “We were really happy to be able to get back to writing new music,” Mitchell explains. “It’s always a bit of a balance I think. When you’re on the road touring, it’s a really immediate experience.

Playing in front of people is an immediate way to experience people’s reactions to music. But at the same time we love the idea of bands like The Beatles, who would make a record a year. We love the idea of being prolific as well, but we kind of find it hard to manage that ourselves with the large amount of touring that we end up doing.

So we were really quite happy to get back and make a record. This one came out quicker than the second one, so that was something that we were happy about.”

Following an intense tour and promotional trail of In Ghost Colours spanning roughly two years, the time to embark upon a new project had come. The initial seeds of the band’s third studio album, Zonoscope, would be sewn in their hometown of Melbourne, the decision to return to a familiar setting proving a natural development. “It was exactly what we wanted. With In Ghost Colours, we recorded and mixed that record overseas. We recorded most of it in New York. That was amazing. We had an incredible experience over there and we also had Tim Goldsworthy co-produce that record. But with this record we just felt like we’d be comfortable doing it and trying to mix it at home, recording it at home and self-producing,” Scott dissects.

To the delight of fans, a visual record of the band’s activities across the sessions has been made available online. “We were really happy that at some point in that process the Krozm guys were able to come in and make that documentary. There’s a lot of stuff on there that you’d never remember, but having that documentary to look back on helps us reflect upon it! We thought it was a really positive experience and really enjoyed the time we had making the record.”

“So that’s what we did. We were able to find this massive warehouse... at the very end; things just came together for us. We were able to find an incredible spot to do it and as we started getting into it, initially, our thoughts were that we were just going to make our demos there and see what happened. We were just really happy with how it was all

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This momentum propelled Cut Copy through to the completion of Zonoscope, the D.I.Y sessions fruitful and now remembered fondly by the drummer and fellow band mates.

“Every time we think back to it, we’re really pleased with how it went. It was interesting doing everything ourselves. I guess there was a little more pressure on us to get things right ourselves rather than do our part and have producers and technicians worry about how it would come out sounding. We had a fantastic time there.”

From their endeavours came Zonoscope, the record bearing definitive signs of an evolution within Cut Copy, their hazy, hypnotic grooves and free-flowing rhythms at the forefront. “There’s definitely a bit of an idea of a departure from what we’ve done before,” Scott comments about their latest songs. “We didn’t really have any interest in making the same record again... we wanted to be trying something different and the different things for us were more use of percussion and rhythm to make something a little bit more hypnotic. It would have been maybe a little easier to remake the same record or even just to use songs that were just lying around from the last recording sessions and use that for the basis of the record. But we just wanted things to come out differently, so that’s how we approached it.”

Little could be as different as the record’s fifteen-minute outro, an epic titled Sun God an impressively epic jettison into brand new territory. “That was a weird one,” Scott admits.”That was a track that was done in a few parts. I remember we were working on how that was recorded, working on bits and pieces of it. I remember Dan saying that he had an idea for an extended outro and lot of that he put together himself . Then he came back into the studio and showed us what he was thinking of. It just seems to never end, but we were loving it and it was really quite different. It was a bit of a change from the beginning of the song to the end. A lot of that was of his making.”

“Playing in front of people is an immediate way to experience people’s reactions to music. But at the same time we love the idea of bands like The Beatles, who would make a record a year.”

Zonoscope, on many fronts then, seems to profess a strong sense of departure. Even the title itself provides a unique dimension to the new record. “We were wanting the title to be a bit different as well. Whereas the other titles have been quite long and wordy, we wanted something that was a bit succinct,” Scott reveals. “I know Dan ended up thinking it up. It’s basically a made-up word. The idea was that with the record and the ideas behind it, it was something other-worldly and its music belonged to another place with a juxtaposition of a natural and synthetic world. So there was something about that that we wanted the album title to represent.”

With Zonoscope yielding an impressive amount of hype since the sensational singles Take Me Over and Where I’m Going, some audiences have been granted an exclusive taste of things to come by way of the band’s live shows. Scott declares the steady introduction of their new material a success. “So far it’s been great. On our last round of touring we started adding a few songs. On our last run we did a bunch of shows overseas including Lollapalooza and we found that the songs are going over really well.

But we’ve got a bunch more to add when we start Laneway. It’s been really promising so far.”

Equally as promising must surely be the band’s impending return to Coachella Festival, the event boasting an awe-inspiring line-up enough to make any music enthusiast salivate. “It’ll be amazing. We had an awesome show there last time. Because it was our first time over there, our day was just driving around on little golf carts to all the different things, having interviews all day long. We didn’t get a chance to check out any of the bands,” admits Scott. “We’re just excited to be playing there ourselves anyway, it’s amazing. It’s this weird oasis in the middle of the desert. It’s a polo ground, so it’s got this huge, lush, green grass but all you can see around it are these big deserts and mountains and stuff - it’s insane!”

But fear not, Cut Copy faithful: following Coachella, the band will be back in Australia sometime for their biggest and best tour yet. “We’re hoping shortly after that we can come back and do a big tour around Australia and get in front of as many people as we can. It’s been quite a while. It’s on our agenda!”

Nick Mason

obart three-piece My Black Son look set to start 2011 in the best possible way with the release of their debut LP, This Is Going To Be A Disaster. No chance of a self-fulfilling prophecy here, though, as the boys are set to launch with a brace of February gigs at The Brisbane.

Having peddled their wares in venues around the state and on a string of live recordings since forming in 2008, My Black Son stepped into the studio during the back end of 2010 and recorded the 11-track album under the watchful eye of James Tulczyn.

Guitarist, Robert Fisher said My Black Son had always been reluctant to be labelled as ‘just a punk band’, but cited 1980s hardcore as an overarching influence, nodding in particular to Fugazi and Minutemen.

“We were a bit hesitant to label ourselves as a ‘punk band’ which was kind of stupid ‘cos that’s what we are,” he said. “To say you’re just a punk band these days has connotations.”

Since forming in 2008, Fisher and band mates John Parrott and Sam Harrison have gigged at The Brisbane and Alley Cat in Hobart and have trekked north to Launceston. They’ve released an EP, single and live album during the last 18 months, This Is Going To Be A Disaster adding considerable weight to the quickly growing list.

“We’ve sold a few copies and are happy as to how they’ve been received,” he said.

“There were a few scathing reviews, but I guess they were kind of humorous in their way.”

And while the knockers are welcome to their opinion, the fact My Black Son’s sound doesn’t necessarily appeal to everyone isn’t going to see them step away from the kind of music they know and love making.

“We’re not into adjusting our sound or approach to suit other people,” Fisher said.

With writing duties shared by the trio, there’s every chance the releases will continue to flow thick and fast for My Black Son. They’re likely to stick to their indie roots, too, enjoying the amount of control afforded a band in charge of both pursestrings and production.

This Is Going To Be A Disaster will be launched at The Brisbane with an all ages gig on 2 February, the lads featuring alongside Tiger Choir, Bears, Mess O’ Reds and Tree in a big line-up of local talent.

They’re following that with a Saturday night support slot for The Nation Blue at the same venue on 12 February (18+).

Get along for your chance to see My Black Son belt through tracks from the debut LP or pick up your copy at Tommy Gun Records.

Stu Warren

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Loren: Man Vs Nature

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Enola Fall

Following their set at the recent MONA opening, Hobart four-piece Enola Fall are set to take their show on the road with a string of dates up and down the East Coast through to the end of February.

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ith new material from forthcoming EP ‘I Am An Aerial’ to air out and a burgeoning reputation to build on, Enola Fall are set for a string of 18 shows in NSW, Queensland and Victoria before returning to Tasmania for their EP launch in March.

releasing albums.

According to Joe Nuttall, singer, guitarist and all-round nice-guy, it’s the biggest road trip of the band’s career – and it should also be the best.

Enola Fall’s current focus is definitely on breaking further ground on the domestic scene, especially given the tough nature of previous efforts in the northern hemisphere.

And as ambassadors for the island state, Nuttall believes there’s an immediate leg-up in doing so.

“We’ve done a two-week tour that was totally selforganised, but this one has the possibility to be even more impressive,” he said.

Having shared concert bills with an impressive range of Australian and international acts (incl. Turin Brakes, Amanda Palmer, Something for Kate, Eskimo Joe and Cloud Control), the current tour will see Enola Fall support the likes of Kisschasy at the Roundhouse in Sydney as well as sharing bills with other up-andcomers and headlining their own shows from Brisbane to Melbourne and plenty of places in between.

The importance of this breakout tour is definitely not lost on Nuttall who considers the opportunity to play to new audiences as just as important as signing deals and

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“All the business stuff is kind of cool, but is worth precisely f*ck all unless you can get out and play,” he quipped.

“Europe and especially the UK is such a tough market,” he said. “The Australian market is maybe more open and easier to break... People are immediately interested in a Tassie band, it’s that immediate hook. Tassie’s time is coming.”

Citing the growing profile of festival events like The Falls and MONA FOMA taking place each year in Tasmania, Nuttall says there’s a growing awareness of the quality local acts plying their trade.

The chance to play to a wider audience, particularly at the likes of MONA FOMA, is an opportunity too good to refuse. It might mean sharing the spotlight with bands

of completely different styles, but it invariably ensures showcasing wares to folks other than the regular pub dwellers out there.

“The MOFO stuff is really eclectic,” Nuttall said. “We ended up playing after an all-girls barbershop quartet.”

Although there’s no firm date for the I Am An Aerial release, Nuttall confirmed it will be some time midMarch. And given the number of live dates they’re set to play between now and then, the launch show promises to be polished to perfection, featuring plenty of new material and a divergence in sound from previous releases.

“The EP will have a mid-March release,” he said.

“There’s no date yet but it will be right around the middle of March.

“It (the EP) is all done and finished. It’s really more intense and noisy... we had been doing that cabaret-style sound but this is more influenced by (bands like) God Speed You Black Emperor and that type of sound.”

Stu Warren

f there was ever a moment where nature tried to intervene in musical creativity, then Loren felt the full brunt of that very situation. In a true test of creative spirit, the recording process of Loren’s next studio album, set for release mid 2011 was halted by the devastating Queensland floods.

“It was pretty interesting. We had been planning this recording process for a long time... it was at least a year in the making. We got into a studio (in Brisbane) we were really happy with and we got two days... it was going really beautifully. Then the floods came and we didn’t even realise (that) it (the Studio) was in an area that could potentially flood. Then the guy that ran the studio got the call... So we stopped recording and pulled everything out of the studio. The equipment is worth a whole lot... the mixing desk is only one of its kind in Australia. There are only 7 built in the whole world... it’s irreplaceable stuff really. Now they are putting it back together this week and yeah we will just jump back into it next week and make up for a bit of lost time.”

The softly spoken Loren, self described as a ‘folky singer songwriter’ is set to hit our most Southernmost State in February this year, beginning a tour with shows at The Republic in Hobart, Brookfield Vineyard Margate, Irish Murphy’s Launceston and the Dunnally Waterfront Cafe.

“I have had lots of good gigs at the Republic. Played at Brookfield a few times and that is a really beautiful little space. It’s nice to go down to Tasmania and actually play some new venues (Dunalley Waterfront Cafe) and get a bit more of a broader perspective. It is the first time I am doing my own show in Launceston at Irish Murphy’s, I’ve been there once before, I supported Carus (Thompson, of Carus and the True Believers),” he says.

“We (Carus and I) used to play in a band together 15 years ago in Fremantle. I’ve toured with him more times than I could ever remember really. It was a funk band called ‘Motherfunk’ - we were young and we thought it sounded clever. I am more embarrassed about the name.

The actual band was great, we had a lot of fun but the name was atrocious - that was the time of Rage Against the Machine and Chilli Peppers and stuff - we felt like we needed to make some kind of a point.”

Post Motherfunk, Loren played a number of shows with Carus in Melbourne and Adelaide in late 2010.

“Yeah we play together heaps. I guess we have got such a history together and he really showed me the ropes of how to get out of Brisbane and do it (play music) around the country. He has been doing that ever since - helping me along - he is always a few steps in front of me. We love just hanging out together and playing songs together.

Last year we nearly recorded a CD together... I think it will happen one day but at the moment everyone is still pretty busy focused on their own things,” Loren says.

So will Carus have time to fit some holidays in whilst visiting the Apple Isle?

“I’m not into pushing anything really. It’s so stressful when you are trying to push a boat along, you may as well put it out in the water and see which direction it floats...”

“I am really still busy with this recording so I can’t really take any time off, but we’ll be doing the drive up to Launceston and back and I always try to do a bit of sightseeing in the days, try and check out places, it’s an amazing spot.”

For a moment Loren and I talk of the possibility of further touring and releases overseas, and whether it is a priority to break into international markets.

“I’ve got to think it would be great to take things to a new level here in Australia and if that happens then I think the doors will open automatically to some extent with it

overseas. Yeah, I’m not into pushing anything really. It’s so stressful when you are trying to push a boat along you may as well put it out in the water and see which direction ...” he says.

“I’m not really doing much overseas... About a year ago I did a tour of Canada and then a couple of gigs in the US as well - in California. Yeah Canada is a stunningly beautiful country - I was surprised that the music scene wasn’t as developed as I thought it would be. I actually think here is a lot better - better venues... There weren’t many venues that I came across really that were proper music venues.

It was a great experience but I sometimes think that they are focused on festivals as the main thing,” he says.

Loren’s music receives much praise from his contemporaries and peers - with positive quotes from the likes of John Butler, Ash Grunwald and Whitely.

“I know all those guys pretty well because it is a pretty small scene really. It is nice especially for somebody like John Butler. It’s quite an effort - it’s one thing for him to say ‘yeah I’d love to write something down’ but it has to go through 20 different people before it actually gets to us. It’s nice that he made that effort because he is pretty busy. He has been really supportive in lots of ways, really helpful. He used to come to Motherfunk gigs when he was just the local in Fremantle and he had no money and he didn’t sing at all he just played his guitar and he came along to our gigs... really supportive. Any independent muso really - willing to help them out. There is a little bit of history there as well.”

Belle Tope

WHEN & WHERE:

Wednesday February 23 - The Republic Thursday February 24 - Irish Murphy’s Launceston Friday February 25 - Brookfield

Warp

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WHO: Ozi Batla WHAT: An Evening with Ozi Batla WHERE & WHEN:

Fri 11 Mar - Republic Bar, Hobart TAS

This is how we do it: Ozi Batla and Aussie hip-hop He doesn’t sing about bitches and hoes, but it’s still hip-hop, it’s Aussie hip-hop. Warp had a chat with Ozi Batla about his current projects with the Herd, his inspiring work in remote Australian communities and upcoming solo shows on the east coast in March.

Are you recording with the Herd at the moment?

Yeah, just writing at the moment, and yeah, looking to have something out with the Herd this year.

Are you still going to do the solo thing?

Yeah, I have got a few shows coming up in March, doing a few East Coast shows. I have done a couple of supports lately, like Public Enemy, which has been good. I don’t think we will be touring with the Herd for three or four months yet, so yeah, definitely still doing the solo shows.

How was it playing support for Public Enemy’s recent Sydney and Melbourne shows?

It was awesome! They were performing probably my favourite album of theirs, which I know back to front. It was bit of a thrill to see them play, I have seen them a couple of times, but obviously there are tracks off that album they don’t always play. It was pretty amazing, for some pretty old folks of hip-hop to put on a two and a half hour show, it was phenomenal.

Are they ‘loose’ guys?

Yeah, you know they run a pretty tight ship. Had a chat to Chuck D, he seemed like a pretty down to earth guy, he was pretty interested in what was happening in the local (hip-hop) scene. It’s nice when you meet people who you have idolised for so long and they turn out to be pretty decent people.

Was there a bit of controversy around your album title name Wild Colonial?

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I suppose the way I explained it, people didn’t quite understand what I was trying to say, but also I think that some people just got annoyed, because they don’t want to admit that about Australia. I ‘spose I was putting something out there that I knew was going to annoy some people.

rhythms and ways of approaching melody and stuff. It is a very beautiful and cool place that part of the world (the mighty Pilbara), I think it is a good way to engage young Indigenous people.

What’s the Aussie hip-hop scene like? It seems like everyone sort of gets involved in everyone else’s work.

What is the Wild Colonial title about?

It’s about trying to come to terms with our place as Non-Indigenous Australians in this country. So I was just talking about history and respect and acknowledging things that have happened in the past and where things come from.

It’s really supportive; I think that the fact that people don’t sort of crave beef is a sign that it is pretty healthy and friendly. It’s a much bigger scene now, but there are a lot of core people who have been around for a long time, and you cross paths at festivals and shows and what not, yeah it’s very healthy!

Tell me about the hip-hop workshops you run in remote communities…

The Aussie hip-hop scene is totally different to the American scene, why do you think that is?

I love it, whenever I get the chance to do it… you know because it’s usually a week or two weeks. I love doing it, out in the desert. I was just up in the Pilbara for a few of weeks; it’s a great country, and amazing people. I feel so privileged to have the opportunity to be there.

In a triple J interview, you were talking about doing the hip-hop workshops and you said that you recorded some tracks with the Indigenous folk during your time in the Pilbara and that you recorded the track in their native language…

We did a couple of tracks in English, but the main ones we did were in their language, which was awesome, we also did some workshops in Indonesia, It’s really challenging and cool trying to work with people in another language. There are just lots of different

I guess it’s about what you can relate to, and it’s why every country in the world, probably every city in the world has its own unique hip-hop scene. It has to be stuff that is relevant to you and that is real. I don’t think there is the avenue for the commercial side of it in Australia either. All the people that are successful (in Australia) are still on independent labels. I think that makes a big difference,

You don’t have that crass commercial side of hip-hop coming out of Australia.

Merran Reed

One for the Road with Old Man River and Passenger

Loani Arman chats with Old Man River and Passenger about their upcoming tour, and learns some important lessons along the way - how to conduct an interview with an imaginary ball, what striptouring is, and why these two troubadours may well be the most likeable lads in music.

I

t’s a sleepy Monday morning when I’m patched into a conference call with Ohad Rein and Mike Rosenberg, aka Old Man River and Passenger, to chat about their upcoming tour, One for the Road. The singer-songwriters are packing their guitars for solo sets across the nation, throwing in free street gigs along the way.

ignited something in me that was dormant for a while because that’s how I started out. Busking.”

Mike snatches the ball, seemingly enthused. “With a paid gig, people have come in and have physically paid to see you. Busking, generally, they’re there for a sandwich, or going to the bank.”

Ohad Rein is set to perform tracks from both his albums.

His debut, Good Morning, lapped up here and abroad, saw the single Sunshine win the APRA Blues & Roots Work of the Year Award in 2009. His follow-up, the recently released Trust, is a musically textured outing, recorded with musicians from India, the Middle East and Australia.

“It’s the difference between a casual relationship and a marriage, isn’t it?” Ohad says with a smile in his voice that sparks a collective laugh.

Mike Rosenberg returns to the road off the back of a sold-out Australian tour, and the release of his critically acclaimed album Flight of the Crow, featuring collaborations with Josh Pyke, Lior and others.

As the interview takes flight, we tiredly fumble for some semblance of conference call etiquette. Mike’s solution?

Treat it “like a counselling session. Someone’s holding the ball, and allowed to talk.”

The game kicks off, with Mike catching the ‘ball’ and, in a clipped accent that reflects his UK roots, says of the touring partnership that “musically, it’s kind of a perfect match.”

“Ball,” Ohad announces, before taking his turn. “I’ve never seen Mike play before, live, but I’m already pretty inspired by his ‘being’. We share a lot of hobbies.”

“Long walks on the beach,” Mike quips, ball in hand and tongue firmly in cheek. It’s the kind of humour that resonates through his music.

What they also share is a love of busking, which will see them doing free street gigs during the tour. Impressively, Flight of the Crow was self-funded by Mike’s busking efforts across Australia – of which Ohad says “really

Then, the unthinkable happens. We lose the ball. Ohad denies having it. Mike, too, denies possession. I fear I’ve lost the ball, and the interview with it, until Mike makes a discovery.

“I didn’t see the ball, but it came just now. Yes, I’ve got the ball.”

The game’s back on, and Mike takes the lead. “Going out and playing your music to people who like it is just a wonderful thing to be able to do and I think the moment you forget that, or get complacent, is when you have trouble motivating yourself.”

Sharing the sentiment, Ohad adds that “it doesn’t matter if you’ve played concerts that have had 20,000 people at them, or all the terrible concerts you’ve played before.

It’s always the first time you’re playing to those people, in that moment, in that place. It’s the best feeling.”

ball in hand, revealing my naked dive into the mud bath at ‘said’ festival this year.

“When I’ve gotten naked, people have left,” jokes Mike, catapulting us all into a ‘so-hard-it-hurts’ kind of laugh.

There’ll be no stripping off, like a rock god, during the tour then? “The more clothes I have, the better for everyone else,” he determines.

Without missing a beat, Ohad catches the ball. “It would be interesting to get to the point [on tour] where Mike had lost all his clothing. Like strip poker.”

“At each gig, I take off another item of clothing? Strip touring!” With a new phrase coined, Mike turns to more sincere ambitions for the tour: “Share my music with people who like it, and connect with it. Write some songs together. Go wherever it takes us.”

In his gentle manner, Ohad agrees with an assured “well put”.

And, with that, these two friends- like-minded troubadours, charming in their humble, hardworking and infectiously upbeat approach to music and performance, bid me farewell.

The interview over and the ball back in my hands, it soon becomes apparent that playing catch is no fun without them.

Of the upcoming tour, there are hopes that go beyond ego; rare for musicians of this calibre.

“We’ll try and get everyone there - and this is going to sound a bit hippy-ish - to go on a journey, and make everyone feel welcome and involved. That’s what live music is all about,” Mike says. His comment spurs mention of ‘Confest’– an Australian festival that seems to attract ‘hippy-ish’ thoughts, and the very same festival where, 6 years ago, Ohad wrote Sunshine. With the interview now ebbing and flowing, I find myself with the

Loani Arman

WHO: Old Man River and Passenger WHAT: National tour One for the Road with special guest Daniel Lee Kendall from February 9th.

WHERE & WHEN: Republic Bar, Hobart, on 24th

February.

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brookfield

MARGATE

Lior

With special “only request” shows lined up, Lior is excited, nervous and trying his best to give his love back to his audience. He tells Caity Rode how important “independence” is for him, creatively and an Alice Cooper request he has received for his shows.

UPCOMING EVENTS

REGULAR EVENTS

The Sign Sat Feb 12 | 7:30pm The Little Stevies Sun Feb 13| 4:30pm Colin Dean Sat Feb 19 | 9:30pm Loren Fri Feb 25 | 8:00pm Anne Vriend Sat March 5 | 7:30pm Peter Denahy Sun March 6 | 5:00pm Andy Sugarcane Collins Fri March 11 | 7:30pm Jan Preston w/ Michael Maass Sun Mar 13 Phil Edgeley & Daniel Champagne Wed Apr 6 Keith Donnelly & Flossie Malavialle Fri Apr 8

Open Mic Night 1st Friday of the month Folk Night 3rd Friday of the month we have a guest artist each month plus it’s free entry Local Market Every Wednesday (11am - 5pm) Delicious Homestyle Meals Open 7 Days including Fri and Satu nights

1640 Channel Highway Margate Tasmania Ph: (03) 6267 2880

“My brain doesn’t really switch over to song writing mode till about two days in, so I can’t really do it in bits and pieces. I have to immerse myself in it and that’s when the good stuff starts flowing.”

Lyrically, the album takes more of an observant point of view, with the first two albums similar to personal diary entries; tumbling into the dawn sees Lior as more of a story teller. “This album is a combination of the most eclectic pieces of song writing that I’ve done and I really wanted to work with the band again and just have a really dynamic album, it’s probably some of the best songs I’ve written.” Emphatically he tells me that there is no doubt that one of the main reasons he has chosen to stay an independently released artist is the freedom of creativity and expression that he yearns for and has displayed through his song writing and style of music.

One of the singer’s most renowned tracks (and my personal heart aching favourite), ‘This Old Love’ has managed to etch itself in love song history, being played at weddings, couples making it ‘their’ song. I asked him whether he was feeling the pressure to create another classic love song. “I think every song writer feels pressure to create classic songs but I think as soon as you do that’s pretty much the sure sign that you won’t.

Songs become classics because they start from a genuine and honest idea, so there are constant challenges to kind of keep it real,” he expresses.

And in that mindset to keep it real, the upcoming tour for the new album is by

request only, offering audiences the chance to pick and choose the set lists at the live shows. An entertaining and perhaps a challenging feat for the singer/song writer to have an entire show as requests, to give something back to his fans that have been there from the beginning. “Over the past six years and two albums I’ve recognised that there are a lot of fans that have been really supportive and I figured that would be a good way of doing some shows really for them and letting them kind of guide what I play.”

Another fascinating ingredient that has been added to his upcoming gigs is the prospect of doing covers of any song, any song at all, as long as it is requested. I certainly asked him with tongue firmly in cheek whether he was a bit nervous offering that up to fans, you never know, what if someone asks for a Backstreet Boys cover? After a hard chuckle he tells me, “yeah you know I have gotten some like that!

Well not backstreet boys yet but Alice Cooper was one.” Will he oblige? Let’s hope so because that interpretation would be something to see!

I managed to get my own cover request in; UB40’s ‘Red Red Wine’, a bohemian acoustic interpretation of that classic is what I am waiting for, and hopefully I’ll catch it at one of his live shoes in Melbourne this March.

Caity Rode

WHo: Lior WHaT: “Lior by Request” Tour WHere & WHen: Country Club, Launceston on Friday March 18 and Wrest Point, Hobart on Saturday March 19

Wed 23 Feb

9pm

The Republic

Thurs 24 Feb

9pm

Wed 23 Feb Fri 25 Feb

Irish Murphy’s Launceston

The Republic 8pm 9pm Brookfield Vineyard

Thurs 24 Feb

9pm Irish Murphy’s facebook: lorenmusic

Fri 25 Feb

8pm

loren.com.au

loren.com.au Warp

Launceston

Brookfield Vineyard facebook: lorenmusic Warp

image: bushturkey studio

Throughout the interview I can hear his children playing and laughing in the background, perhaps a reminder that he has matured in these past several years and this is being reflected in his music.

“The last album was acoustic meets orchestra, where as with this one I wanted to take it more towards a traditional band... it’s still got the gentle acoustic stuff but then it’s also got that part of it that is more dynamic and a bit rocky,” he describes.

Locking himself away in a room was the songwriters trick for wringing out the lyrics for the album, with previous song writing efforts likened to raw emotion weaved throughout songs like stitching on a tapestry, one understands his need for solidarity.

image: bushturkey studio

H

ow do you describe an indescribable voice, emotive compositions and lyrical perfectionism on paper? It is often through comparison that we understand new musical artists; ‘he sings like so and so’ or ‘his melodies are similar to that band’. However I would argue that there is, in fact, no use in comparing the incomparable; in this case I refer to singer, songwriter and composer Lior.

Extremely well known within live music circles, this Israeli born Australian has established a reputation as a talented musician and lyrical romanticist. For fans, some of his most resonating lyrics undoubtedly stem from ‘This Old Love’, ‘Gypsy Girl’ and ‘I’ll forget you’; these songs from Lior’s initial release ‘Autumn Flow’ and his sophomore effort ‘Corner of an Endless Road’.

His latest release ‘Tumbling into the Dawn’ serves up a different sound, offering more diversity and musical elements. It certainly moves away from the more acoustic style that we have come to recognise as Lior. Listening to his previous works, you may be forgiven for imagining ambient scenes where clouds of smoke and incense carry songs of Hebrew like prayers and falsetto through the air, this latest album places more focus on the band’s sounds rather than the artist’s vocal styling.

The new album really showcases Lior’s development and change as an artist.

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ILLY

M

elbourne emcee Illy has catapulted into the Aussie hip-hop scene—his second album The Chase receiving plenty of love from major radio stations Nova and Triple J who coined it the ‘album of the week’ in September 2010. Since its release, Illy has backed up the album’s overwhelming media hype with a series of sold out shows and performances at festivals including Groovin The Moo and the eminent Pyramid Rock Festival. The Dwarf had the opportunity to chat with the man himself about gigs, passion pop and everything music.

The Aussie hip-hop scene has grown massively in the past few years, what are your thoughts on its future and the upcoming talent arising? I reckon the next couple of years are going to be an exciting time for the whole scene and I’m grateful to be a part of it. There’re a lot of dudes that I came up with who are really starting to make a name for themselves. As far as youngsters coming up there are the boys Mase and Matticc from Adelaide. I’ve done a few tours with them. They’re someone to look out for. Same with Vegas Aces from Brisbane who are some super cool dudes as well. Aussie hip-hop is just growing and so are the amounts of crews putting out good music.

It’s hard to keep up really.

The Gibson Les Paul Story different forms, which means artists are able to get out there more. There are so many people around wanting to be involved in the industry and getting really good at what they do; it just has a sick vibe I guess.

What do you think has influenced The Chase as a whole and the individual tracks on the album? Basically it was written in the time between finishing the last album, finishing uni and doing a lot of touring so the whole idea of the album is that it was all sort of putting in towards a bigger picture. I didn’t really have time to pause and reflect on it at all. In terms of the songs themselves there is a fair bit of stuff from my childhood and just really—my perspective on things. I think that had a big thing to do with a majority of the tracks.

The Chase has received masses of positive reviews and excitement! Did you expect the record to be surrounded by this amount of hype? No, well I thought that it was a really solid album but it’s always nice to be able to be blown away by the response, which is exactly how it went for me. So no I didn’t expect the response it got but I’m very happy with it.

Speaking of awesome artists, you’ve shared your stage with your fair share. Are there any you haven’t yet worked with but would like to? Working with Bliss n Esso again would be great and I’d also love to collaborate with Draft. As far as hip-hop goes those two are the ones I want to work more closely with. The lead singer from The Jezabells, Hayley has an awesome voice and writes good songs so working with her on something would be cool too.

I love On The Bus (Track 4) from The Chase. It’s a song with the most relatable lyrics. Is that what you try to do with your music, relate to your listeners? Yeah I definitely don’t try and alienate. That one in particular involves a lot of stuff that kids in Australia (and adults) have experienced. I don’t think that I went out there to make a track that was relatable. I just think that a lot of stuff in the song happened to be stuff other people have been through the same as me, so that’s cool.

Before getting into hip-hop did you experiment with any other genres when you initially became interested in music or was hip-hop where it started? That was where it started for sure, I’m open to a lot of genres of music and I don’t just listen to hip-hop but it’s definitely what I’ve been brought up in.

It is funny- the few lines about passion pop got the crowd going crazy when I played the song even before most people had heard it. Without fail, at any gig when passion pop was mentioned everyone was just like ‘chyeah’! It was a huge trip.

Melbourne seems to be a city where a lot of hiphop artists come from, what do you think it is about the place that nurtures urban culture? I think it’s just generally music culture. There’s a lot going on whether it’s to do with hip-hop, indie or any genre really.

Melbourne’s just an awesome place where there are a lot of outlets for people to express themselves through in all

So I guess everyone can relate to the lyrics using their own experience. Yeah totally it’s like a rite of passage.

I saw you perform at Pyramids. The vibe was awesome during your set. How would you describe your experience at the festival? Mind blowing! That was probably a top 2 show, if not of the past 2 years but my whole career, and a really great way to say goodbye to

the year. I’d been to Pyramids a few times as a punter so to be able to play out there was something I’ve always wanted to do. The crowds were huge and the level of energy mind-blowing- couldn’t have really asked for more.

Do you have any stories or funny moments to share from Pyramids? I’ve got a few stories to tell but I probably shouldn’t really go into them, don’t want to get myself into trouble. But needless to say, Pyramids was a lot of fun.

So would you say that you would prefer performing to a larger group of people at, let’s say, a festival to a more intimate, smaller gig? Not necessarily. It depends really.

If I had exactly the same level of love from the crowd I’d prefer a big show every time. You can play to a couple of hundred people or less and the energy will just be out of this world. Then you can play to a bigger crowd at a festival were the people may not be that interested in you, but just passing time between other acts, so the vibe’s not as good. It’s really a balance that varies from show to show. To be honest, as long as I feel that the energy is there I could play to ten people the same as I could to 10,000.

You have a tour coming up this year around the country with M-Phazes; how did you guys come to decide on touring together? Well M-Phazes is a sick DJ and we’ve been working together for the last couple of years so it just seemed right. He was actually going to be moving to the States, but delayed it till the end of the year so it’s like our last chance to tour together. I’m really stoked he’s a part of it ‘cause the tour’s going to be huge—all the better to have him on board.

The Gibson Les Paul is a solid body electric guitar originally developed in the early 1950s. The Les Paul was designed by Ted McCarty in collaboration with popular guitarist Les Paul, whom Gibson enlisted to endorse the new model. It is one of the most well-known electric guitar types in the world, along with the Fender Stratocaster and Telecaster.

One of the most recognised and respected Les Paul players of the last 20 years is Saul Hudson, better known by his stage name Slash, a British-American musician.

He is the former lead guitarist of the American hard rock band Guns N’ Roses, with whom he performed and recorded between 1985 and 1996. He later formed Slash’s Snakepit and co-founded Velvet Revolver with his former band mates Duff McKagan and Matt Sorum, and his debut solo album, Slash, was released in April 2010.

Slash has received critical recognition as a guitarist. In August 2009, Time Magazine ranked him #2 on its list of the “10 Best Electric Guitar Players of All-Time”. He was also ranked #21 on Gigwise’s list of the “50 Greatest Guitarists Ever”.

The Les Paul guitar line was originally conceived to include two models: the regular model (nicknamed the Goldtop), and the Custom model, which offered upgraded hardware and a more formal black finish. However, advancements in pickup, body, and hardware designs allowed the Les Paul to become a long-term series of electric solid-body guitars that targeted every pricepoint and market level except for the complete novice

guitarist. This beginner guitar market was filled by the Melody Maker model, and although the inexpensive Melody Maker did not bear the Les Paul name, its body consistently followed the design of true Les Paul’s throughout each era.

Beyond shaping and body design, there are a number of characteristics that distinguish the Gibson Les Paul line from other electric guitars. For example, in a fashion similar to Gibson’s hollow-body instruments, the strings of Les Paul guitars are always mounted on the top of the guitar body, rather than through the guitar body, as seen in competitor Fender’s designs. The Gibson also features a variety of colours, such as Wine Red, Ebony, Classic White, Fire Burst, and Alpine White. In addition, the Les Paul models offered a variety of finishes and decorative levels, a diversity of hardware options, and an innovative array of electric pick-up options, some of which significantly impacted the sound of electric music.

For instance, in 1957, Gibson introduced the humbucker which revolutionised the sound of the electric guitar, and eliminated the 60-cycle noise which had previously plagued guitars with single coil magnetic pickups.

In 2010 Gibson/Epiphone with Slash released the Appetite For Destruction Les Paul, a copy of the guitar he received before recording the classic Appetite For Destruction album. It features his signature Seymour Duncan Alnico 2 Pro zebra style humbuckers, maple top and mahogany back, and a Slash signature graphic on the headstock.

Epiphone Slash model pictured Red Hot Music (03) 64242286 info@redhotmusic.com. auwww.redhotmusic.com.au for more details Julian Palmer

Do you have any advice for any young aspiring emcee’s out there? Just put yourself out there. Don’t worry about networking on Facebook. The most important thing is to get out there and do as many shows as you can, meet people face to face in real life and make networks in real life. Stage time is invaluable, so any show whether it’s just an open mike or whatever—just get out there and do it.

Some great advice there, so what can we expect from Illy in 2011? Hopefully more music… after I get this tour out of the way, I’d love to start writing the next album. I don’t actually know though… haven’t really thought about it yet. Hopefully something cool.

Illy’s The Chase tour will be rocking the country in 2011 throughout late February to April. Joining the tour is the country’s foremost hip-hop producer M-Phazes. His debut album Good Gracious saw him receive an ARIA Award for Best Urban Album. This is a show not to be missed so grab a ticket for a show near you.

Tickets on sale Monday January 31.

Ruby Holmes

WHO: Illy WHAT: The Chase tour will be rocking the country in 2011 throughout late February to April.

WHERE & WHEN :

381 Elizabeth Street North Hobart 03 6231 2299

Friday 25th February - University of Tasmania, Hobart (18+)

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THE WAIFS: Into Temptation Ahead of the release of their sixth studio album and another exciting tour, The Waifs’ Vikki Thorn chats with Nick Mason amidst a brand new era for the trio.

In recent years, beloved folk-rock trio The Waifs have flown under the radar. The members having relocated to the States for their respective families, it’s only now that the band have decided to embrace the familiar sights and sounds of their Australian homeland. “I’m spending a lot of time at the beach,” reveals Vikki Thorn. “I pretty much haven’t left the shore since I got here. When I come back here I make the most of it. The smell gets me, actuallythe smell of the ocean.”

Thorn - these days a wife, mother and musician explains that her husband’s aspirations influenced the seachange. “I’d never ever considered living in America,” she candidly admits. “After touring there pretty heavily for five or six years, I decided that it would be the last place on earth I would want to live. But (her husband) showed me this particular corner of Utah and it resonated with me because it looked a bit like the Kimberley and had that desert feel. So I gave it a shot and I love it, actually.”

Their latest album, Temptation, was recorded in ten days in a Minneapolis basement; significant personal developments colouring much of the material on the record. Thorn provides much insight into the record’s title. “It’s the name of a song that Josh has written. Josh has undergone a religious conversion in the last few years. But really, the decision behind calling it that is that I think we live in a society and a time where we’re forced to make a lot of decisions,” she explains of the surrounding culture. ”There’s a lot of lines blurred and gray areas in what would be considered a right decision or a wrong decision.

As people living in this time, I think we’re subject to a lot of temptations that may or may not lead us to be

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happier or live fuller lives. A lot of these things we don’t have control over. I’m talking about the whole digital age - whether it be shopping, or pornography... well, it’s all pornography really!”

Temptation proved an impromptu project for the band.

“We didn’t think we’d make another album,” she says.

“It was a very last minute decision. It was decided ten days before that, ‘Okay, we have a new set of songs - we like the songs - let’s just go in and see what they sound like!’ In that process, we released the album because we thought it sounded good and it was really enjoyable, the fact that the five of us got back together and we hadn’t seen each other for a long time.”

Despite distance felt between members, their creative chemistry remains as strong as ever, the core trio having collaborated for almost twenty years. “It’s like U2 or the Rolling Stones!” Thorn laughs, her best English accent in play. “We’re still getting on really well. The most challenging thing for the band now is the sort of songs we’re writing. It’s harder to find stuff that we’re all enjoying... that’s the biggest challenge, aside from our family commitments, obviously.”

It’s these commitments among others that feed the present stop-start, sporadic nature of The Waifs. Thorn however remains at ease with their scenario. “I think it’s an ideal situation for where we’re at personally in our lives and where music fits in within our lives. We still love it, we still love playing it and writing it but we can’t commit to it to a business or a career level. We’re not interested in that either. We had our time and we did that six or seven years ago. Now we’re in retirement, I suppose,” she concludes, with a laugh. “Semiretirement!”

Thorn is keen to quell suggestions that The Waifs are about to part ways, however. “I just always like to make people think that. That’s what Donna and Josh say, that I’m always talking about the end!” she muses, hesitating before reigniting with playful exasperation.

“I don’t know! We do it just because we like to do it.

If it becomes too difficult, if our kids start school and we can’t tour anymore... there’re circumstances outside of even what we want that will dictate the outcome of the band. I’m totally happy just appearing every now and again and if people still want to listen to this music and want to come, then great - I’d love to be able to tour it.

But it’s not all my decision anymore. So we’ve all had to let go of any idea of a big career or anything that we had -...shit, we have had a big career! Twenty years.”

“Every year now we debate, ‘Is this our last year? Is this our last tour? Should we call this Australian tour our last?’ We debated that. Josh’s point was that we may not do it again, but we may. So let’s not make a decision either way, let’s leave it open.”

Nick Mason

Plutonic Lab

Melbourne based Hip-hop producer Plutonic Lab & Philadelphia based Blues singer G-Love are Moonshine Lemonade. Shane Crixus talks to Plutonic Lab about the rigours of recording an album with someone on the other side of the planet.

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he two met in the schmooziest of circumstances, Plutonic Labs manager had been doing some work for G-Loves management while G-Love & the Special Sauce were touring Australia in 2009. In the midst of the tour, Pluto found himself invited to a G-Love dinner. In the midst of dinner the two found themselves talking about the possibility of making an album. In the midst of two conflicting schedules & polar opposite locations, they somehow found the time & energy to make Moonshine Lemonade.

Over the six long months it took to record the album, there was a hefty amount of communication. The two were never able to set foot in the same room at the same time, G-Love was always busy touring & Plutonic Lab had been kept busy working on a plethora of albums for Australian artists, but despite circumstance the two pieced together a hip-hop/blues/roots/funk triumph.

Pluto kicked off the process by sending G-Love the basics of the beat, being careful not to send anything that already sounded too finished, “I always wanted him to play guitar & harmonica on the album”.

“G would book studio time wherever he was, or he’d just sit in a hotel room, have a few quiet drinks after a gig, loop the beat & play on a small recording rig”.

Despite attempts to replay & rerecord some of those original riffs in more professional surrounds, that

original vibe was sometimes lost; this means some of the final takes used on the album were originals recorded directly into G-Loves Macbook microphone.

As Plutonic Lab says, “Leave the record crackle in, welcome the grit, distortion and leave other imperfect nuances, in doing so it became the perfect album for us, in short, to welcome the funk, into the recording process.”

The vibe has proven to be an important factor in the making of this album, that’s something that must have been difficult to maintain when the artists involved were separated by so much distance. Pluto was wary of not flooding the beats with layering & samples & destroying the funk the two had created, “simple songs are sometimes better”. The result is a rare combination of blues & beats that hasn’t been heard since G-Loves earlier albums.

The first Moonshine Lemonade single, “F*#k It” was an online hit. The viral promotion of the single lead to over 20,000 downloads in less than a week of its release (the traffic crashed a server in days), this in turn, lead to radio pick up of the track. “I tried to make a clean edit of the song, but it just didn’t work,” says Pluto. The second single, to be released closer to the albums due date; will have much more traditional promotion, radio, video clips & the like. “Of the three albums I worked on last year, only one of them had any kind of budget. I always try to keep the recording of an album in house, so we can spend more on actually getting it out there”.

But working in this method wasn’t without its pitfalls.

“This is probably the longest I’ve ever sat on an album,” says Pluto, despite releasing independently & avoiding the strict deadline-to-meet-release-window schedule

that labels often inflict, the pair had to wait for the right moment to come along. A moment came when G-Love could find time in his busy lifestyle to visit Australia & help with the promotion. This occurred recently when the two embarked on a small east coast tour comprising of Melbourne, Sydney & Newcastle. All three shows sold out almost instantaneously & received rave reviews by all in attendance. The related, yet differing, crowds the two acts attract in their separate endeavours were given a chance to experience each other’s music, & by all accounts, all came together beautifully. “By the last gig (Newcastle) the band was sounding really tight, I had a little 3-piece, & G-love was doing his thing,” says Pluto.

“I hadn’t played that venue before but it ended up being the best gig”.

Having recently finished the mini-tour, and before Moonshine Lemonade has even been released to the public, the duo are already proving there really is no rest for the wicked. Despite Plutonic Lab currently touring with Koolism as part of the Good Vibrations tour, and G-Love already being back in the USA working on new projects, the two are “already thinking about starting another album”. Recreating much of the same process utilised on the first album, with the added benefit of G-Love possibly returning to Australia later in the year, it looks like Moonshine Lemonade could be the start of another Plutonic Lab collaborative empire.

Shane Crixus

WHO: Plutonic Lab & G Love WHAT: ”Moonshine Lemonade” will be in stores from February 11th.

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The Experiment with Art vs Science

Art vs Science are just over a month away from releasing their debut album. Sose Fuamoli caught up with Dan Mac to chat about the release of The Experiment and why making a record is like painting the Sydney Harbour Bridge.

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Lost in the Moment with Daniel Lee Kendall

On the eve of his upcoming tour One for the Road, supporting Old Man River and Passenger, Daniel Lee Kendall talks to Loani Arman about his big break in music, the art of the whistling, and Britney Spears.

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hen Daniel Lee Kendall calls in for his interview, he shares his disappointment that, on the NSW central coast where he resides, the skies are overcast. “Pretty bleak,” he says. “It’s been a really dodgy summer.” Dodgy weather, perhaps, but not so dodgy is what the past few months have brought to this talented young singer-songwriter’s career. With the title track from his debut EP, Lost in the Moment, tantalising Triple J listeners’ ears and melting hearts along the way, Kendall is set to end the summer with his first national tour, One for the Road, supporting Old Man River and Passenger.

Much has been written about Lost in the Moment’s sweet and stirring sound. Much has also been written about the song’s gently romantic lyrics, delivered effortlessly by Kendall’s soft and floating voice. Nothing, however, has been penned about his impressive whistling skills, which are featured on the track. To this interviewer, who can’t whistle a single note, it’s something worth mentioning.

“I’ve never thought of myself as a ‘whistler’!” Kendall laughs. “It’s a good trick to have.”

There’s an engaging demeanour about Kendall that resonates through his music. He’s welcoming and honest. Describing his work, he says it’s “just like a musical diary, I guess. My journal in musical form.”

Talent aside for a moment, Kendall’s personal charm is accompanied by the blessings of some good-looking genes, and it’s easy to imagine that, through the course of the tour, Kendall will collect his fair share of obsessive female fans. He insists that it hasn’t happened yet,

WHO: Daniel Lee Kendall WHAT: One for the Road with Old Man River and Passenger from February 9th, 2011.

WHERE & WHEN: Republic bar, Hobart, on 24th February.

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though reveals that “there seems to be a few messages on Facebook. A few potential stalkers there, I’m sure.”

Kendall will have to get used to that kind of attention, if his career serves up the longevity or success it promises.

Success, though, doesn’t seem to be his driving force.

“I didn’t consciously go out to write music and become a successful musician. It more started coming my way. The only logical next step was to get out there. Any chance to share it to a wider audience… I’m looking forward to it.”

Writing music is a private affair for Kendall, who tucks himself away in his bedroom studio, alone with as much time and space as he needs to create freely. He’s also aware of the “the downside of doing stuff yourself is the isolation factor. You could get stuck inside your own world. If I was to stay in my bedroom and it stopped at me just playing songs, it would be downhill trail.”

At the hands of this playful interviewer, a suggestion is made that Kendall considers a career as a ‘YouTube’ sensation, playing songs to a hidden camera in his room.

His privacy maintained, and an occasional upload taking care of necessary public exposure.

“Yeah, my sad life!” Kendall says, not elaborating on what that means until he’s asked how his talent unleashed itself from the private enclaves of his bedroom. “By sending a YouTube link, funnily enough,” he laughs. “I took a day off TAFE one day, and made a

little film clip from my bedroom and sent that as a basis to emails to music people, and kept it pretty simple, just a few sentences about who I am and if you’re interested, and that’s where a lot of stuff has come from.”

Opening for seasoned performers like OMR and Passenger could be a source of nerves for a young musician but not so for Kendall, as he proved when the trio came together to record the tour’s promo video – a parody on the Tiny Dancer scene from the film, Almost Famous. “They were both just really welcoming and totally embraced what I’m doing, so I feel totally at ease.

They give encouraging vibes, and it has made me really look forward to it.”

Asked what songs Kendall will be adding to the tour van’s playlist, he offers some influential choices. “Bob Dylan, some old Doors stuff.”

Surely, though, good road trip music includes songs we all ‘love to hate’? “I’m not a big hater, generally, and often I turn my hate into laughter because it’s easier to do,” he says, before admitting that he would “like some Britney Spears here and there.”

The dirt now dished, Kendall is informed that his Britney Spears admission may influence the headline of this article, to which he laughs, taking the threat in his goodhumoured stride, before adding “My sisters would be stoked. That would be their dream headline.”

In the name of preserving readership, a tamer headline was eventually chosen however, there’s nothing to stop me from ending the piece with a little Britney, right?

Sisters of Daniel Lee Kendall, this one’s for you.

Daniel Lee Kendall Hearts Britney Spears 4 EVA. Loani Arman

ydney’s Art vs. Science have had a good run recently. Having gone from Triple J Unearthed winners in 2008, to becoming one of Australia’s leading live acts and clocking in at #2 on Triple J’s Hottest 100 list for 2009, you’d think that there’d be inflated egos roaming around clad in skinny jeans, right?

Wrong. When I finally get through to Dan Mac’s phone, he’s just finished moving his car and is quite chilled out as I begin to ask him about the highly anticipated release of The Experiment.

We’ve already been given a taste of what’s to come on the album, with the release of Magic Fountain and most recently, Finally See Our Way, can fans expect any surprises or twists on the record? “Yeah, I think so. I mean most of the songs we’ve released as singles have been…bangers I suppose.” Dan comments. “Parlez-Vous Francais? and Magic Fountain were hard-hitting. But all the tracks on the album are danceable.” Without giving too much away, he gives me a brief overview of what to expect on The Experiment: “It’s got the hard-hitting dance tracks and things like that but there’s also some quirky moments and a couple of other weird ones as well.”

Speaking of quirky, Art vs. Science are known as much for their inventive film clips as well as their music – where do the ideas for mime-Westerns and fountain of youth-raves come from? “The guy who directed them (Alex Roberts) generally comes up with the initial concepts but I take a pretty strong interest,” Dan remarks before adding,

AvS. According to Dan, the band will most likely resume writing new songs and recording. “It takes so long, you think it’s only going to be a few months and then you’re finished recording, but it’s pretty much been just on a year since the first things were recorded. That’s in between different sessions – I mean we’ve done two or three major blocks of a few weeks each but still, the process takes a while.”

As I reach the end of the interview, Dan offers another way of looking at the production process. “It’s like painting the Harbour Bridge,” he muses. “Once you finish one side of it, you have to start painting the other side.”

During the course of our chat, I got the impression that once The Experiment finds its way into the eardrums of AvS fans next month, things are going to get hectic for the band. But Dan Mac seems unaffected by the anticipation and pressure building around it. “We just try to keep on doing what we’ve always done, keep writing new songs and trying to play them well live.”

The fans play a major part too. “We wouldn’t be able to

tour for so long and put that amount of energy into shows if the crowd weren’t as hyped up. You really feed off that and it makes you want to perform really well.”

Sounds like a winning formula in motion already.

Sose Fuamoli

WHO: Art vs. Science

WHAT: The Experiment will be released on 25 February through MGM

WHERE & WHEN: Art vs. science are performing at MSFEST on Sat Feb 26 in Launceston, touring with the Chemical Brothers, and performing at the Future Music Festival.

“We could do the traditional band clips where we’re playing and stuff, but people can see us live.”

He makes a good point because an Art vs. Science gig in itself is an experience of its own.

After an almost completely sold out national tour last year, as well as a successful festival run, Dan Mac and his band mates, drummer Dan Williams and fellow keysman Jim Finn have found themselves on this year’s Future Music Festival line-up, as well as the MSFest in Tasmania, later in February.

Dan admits that there are a few acts he’s looking forward to catching on the Future run. “The Chemical Brothers mainly, because obviously, we’re supporting them on their sideshows and they’re an awesome group. I’ve been a massive fan of theirs since I was about 12 so it’s going to be really cool to meet the guys and play some shows with them.” As for the local artists on the bill, it’s “The Presets. They and the Midnight Juggernauts pretty much gave us the inspiration to start Art vs. Science so it’ll be cool seeing them again.”

No Ke$ha, then? “We’ll be interested to see what she’s like,” Dan laughs. “But she’ll probably be surrounded by a ring of ten massive bodyguards.”

On MSFest, an annual date which not only hosts some pretty major acts but also raises awareness and funds for sufferers of Multiple Sclerosis, Dan explains that it didn’t take much for the band to become involved – having made contacts with the organisers previously, it was just a matter of them being asked and Art vs. Science being “more than happy to help out a good cause”.

So, with February shaping up to be quite a busy month for Art vs. Science: a quick jaunt over to the UK and Japan for a club tour, then back home for The Experiment, due for release on the 25th, and of course, MSFest; what does 2011 hold for the boys?

Only just a run of Australian festival dates in March before heading to the U.S to charm the Americans at SXSW. No biggie. “Hopefully it can maybe lead to a deal in the U.S or something and we can release there. It’s a pretty big market,” Dan Mac comments.

But 2011’s not just about touring and massive shows for

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Electronic | 25

Club and Electronic News

You’re An Arsehole Little Australia

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ou’re an arsehole because you hate bogans.

You’ve decided that you hate a large percentage of the Tasmanian population based on their socioeconomic status and/or the suburb they live in. You hate these people who you’ve never met. You want them out of your mall, out of your clubs, off your streets, and waaaaay out of both mind and sight. Bogans don’t belong to any particular race, hardly even a culture, far from a religion, and can in no way be categorised sexually.

There is no bogan committee, no bogan support group, no peak-body representing bogan affairs. Now that is fair game, right? Fortunately for you, you arsehole, yes.

What you wouldn’t dare do and say in public to all the other “others”, you’ll proudly do and say in public about bogans. You’ll curse the bogan for drowning-out your John Butler party with Creedence’s greatest hits; and while you’re listening to AC/DC’s ‘It’s A Long Way To The Top’ from that compilation album that accompanied the TV series (which sits on your bookshelf between the Best of RAGE compilation, and the Summer Heights High DVD you got for Christmas) and amusingly changing the lyrics

to “shop” and “root a moll”, you despair at the sounds of ‘Whole Lotta Rosie’ coasting over the fence….grrr, sexist…

You don’t fool me - you’re an arsehole. An arsehole that needs something to kick, something to lay over a puddle, something to point at and say, “that’s not me, and that makes me feel a lot better”. You need to make a bogan feel bad in order to make yourself feel good – that’s what arseholes do, and they do it because deep down they know they need to, their own force of goodwill is not enough…

e l o h e Ars n A e You’r lia a r t s Au e l t t i -L

> The Chemical Brothers

> DJ Metrik heads to Hobart this March

Chemical Brothers are set to grace the Australian Shores this March. They’ll be bringing all their new tracks along with your old favourites and delivering them straight to your face, loud. Touring with the Future Music Festival, they also have a few side shows happening with tickets still available for the side shows, why not jump on a plane and catch them live.

Friday March 4th will see “The Departure EP” Tour hit Halo nightclub, presented by Viper Recordings and Broken Panda. UK’s DJ Metrik has taken the DnB world by storm since being signed to Viper Recordings in 2008 with hits like “Technicolour”, “Zero Gravity”, “Forward Approach” and “Sunset”, he is finally hitting Hobart for one night only.

For more information check out their website www.thechemicalbrothers.com

Supported by club kings and regular Hobart visitors DJ SpinFX, and MC Wasp (Mel) and locals Mylestone, Adam Turner, Sami + Lue.

> Maitreya Festival Maitreya Festival is a music, arts and camping festival held annually over four days in rural Victoria. This is the perfect festival to attend, with an international electronic music line up, a dedicated local live music stage, and a mind, body and spirit village featuring designs and installations especially made for the event. With acts like Antix, Flowjob and S.U.N Project just to name a few, this is one festival you’ll have to experience to see what all the fuss is about.

because they’re arseholes. So next time you forget to check exactly how old that pretty young hooker was, murder your husband for being boring, piss on a police station, demand residents of foreign countries speak the same language as you, or pray for rain to prevent Australia losing a cricket match, just remember – you may not be a bogan, but you’re still an arsehole.

March 11th to 14th for more info check out the website www.maitreyafestival.com

> Armin Van Burren Prince Dirt

A State of Trance Armin Van Buurens worldwide radio show is celebrating its 500th show and he is doing it in style with Sydney being one of the lucky 5.

Armin is set to take over the Acer arena to put on a dance event of epic proportions, broadcasting via video and radio LIVE. Supports include Tydi, Alex M.O.R.P.H, Menno De Jong, Aly & Fila and shogun, all suggested by fans via the ASOT website.

So pop on your trancing and dancing shoes, grab a ticket and head over to the so called party of the decade. A State of Trance, 16th April, Acer arena, Sydney.

For more info go to www.ticketek.com.au

Tickets are $10 Presale, $15 on the door and are available from Ruffcut Records and www.moshtix.com.au

> Plan B opens it’s doors Hobart’s newest nightclub Plan.B opens its doors on Saturday February 12th with the insanely popular DCUP (Sweat It Out). Plan.B promises to be Hobart’s new home of underground dance music, with local, national and international guest DJs joining Hobart veterans behind a separate alleyway entrance and super-strict Entry Policy guaranteed to separate the aficionados from the bogans.

Nu-Rave, Electro, DnB, House and dubstep on a 10,000 watt sound system with an intelligent lighting system, means Plan.B will give your aural and visual senses the highest of highs.

Tickets for DCUP are $20 + bf and are available from www. greentix.com.au.

> The Shureshock Project, Part 2 at Plan B Dubrave and Broken Panda present “The Shureshock Project, Part 2” at Salamanca’s newest underground music club, Plan.B! Featuring Greg Packer (Per) and MC Shureshock (Syd) along with local support by Mylestone, Dale Baldwin and Adam Turner. Packer is one of the worlds original Junglist DJs. With a history of rocking clubs around the globe, Shureshock has long been one of Australia’s premiere and most loved club MCs, and the two have come together almost a decade after their last official collaboration to create the highly anticipated “The Shureshock Project, Part 2”.

Tickets are $10 Presale, $15 on the door and are available from Ruffcut Records and www.moshtix.com.au

Guineafowl - Set to SMAC you in the face

“We are a year old now and throughout last year we played about 59 shows in bars in Sydney and Melbourne... I played solo looping stuff in people’s backyards... and one kitchen... some friends who knew some of my songs asked me to play in their kitchen. It was a very interesting venue.”

Hailing from the beautiful beaches of Sydney, Guineafowl manage to “balance deep earthy harmonies with soft, electronic bubbles that are seemingly weightless” really using that description alone their music sounds divine without a single aural moment. The band, just a little over one year old, already has an impressive list of gigs behind them and in December last year, supported Sydney band Belles Will Ring on their Australian Tour.

“The Belles tour was really good... a real experience for us. Driving around, piling into a van at the end of a show and driving back to Sydney and then leaving early the next day to go to the next show - it was a real experience and we really enjoyed doing it - we worked out that we really loved being in the van together” he says.

“Throughout last year we played about 59 shows in bars in Sydney and Melbourne but that (Belles Will Ring) was our first tour. I played solo looping stuff in people’s backyards... and one kitchen... some friends who knew some of my songs asked me to play in their kitchen. It was a very interesting venue.”

Originally a solo artist, before the current lineup of a six

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piece, Guineafowl spends a moment talking about this transition process.

“It was a very organic necessary change, I couldn’t play all the parts that I had written myself they didn’t sound very good and getting other people to play them just gave them so much more life than if i tried to play them myself... I started writing solo because my band broke up and i had a band mentality in my head and I was writing parts for people that didn’t exist yet, who weren’t around me, but I wanted a band, but I just wasn’t ready to commit to other people,” he says.

Energy FM is Australia’s dance music radio network broadcasting 24 hours a day on 87.8 FM in Hobart, Tasmania.

Find us in iTunes, Apple TV and a full range of mobile apps.

how he is walking the streets of Bronte, fresh off a win the night before - post SMAC (Sydney Art Music and Culture) Awards... with the band picking up Best Song for ‘In Our Circles’. “... It is a really big honour. Yeah it is the best song of 2010 in Sydney. We partied on last night and we were pretty happy with it. It was a huge honour and the other songs in the category were incredibly good songs - Ozi Batla, Sparkadia, that crazy song... all really, pretty established artists that have been around for a while who have been making great music - it was pretty intense.”

“It was a very easy process... we all really enjoy each others company - the harder elements of being a young up and coming band is a lot easier, to do the tough things with people you really like travelling 14 hours... yeah, and even though I am a songwriter and those guys - its all my direction, their influence and our commendatory goes a long way in performing what we do live.”

So are there plans for a wider Australian tour after the EP launch?

The conversation is interrupted briefly by an ambulance, momentarily halting proceedings. Guineafowl mentions

Guineafowl’s ‘In Our Circles’ EP is out soon.

“I think we have to gauge the response - but if the response is what we are looking for we will keep pushing it... we just want to tour, we just want to play tours... we are a dedicated live band.”

Suite 203, 86 Murray Street Hobart TAS 7000

03 6224 9622

www.energyfm.com.au

This Month On Pulse Radio

An introduction to the world of Pulse Radio, an online radio station providing a variety of mixtapes from artists around the globe. It also specialises in music news, interviews and reviews.

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elcome to the first edition of Pulse Radio in Warp Street Press!

In the coming months I will be bringing you a healthy dose of what’s new in our world, but to kick things off, I’d like to introduce you to Pulse Radio. We are an online radio station featuring on demand music from a variety of artists around the globe. From techno to hip hop and disco to drum n bass, to house, soul and funk; we’ve got you covered.

In addition to providing on demand radio, we also specialise in music news, reviews, interviews and features. We have offices in Sydney and Berlin, with a team of dedicated music lovers who work around the clock to bring you interesting, informative and quality content that’s relevant to a global audience.

Every 2 weeks we release a new Pulse Radio podcast, with past guest mixers including Andrew Weatherall, Kasper Bjorke, DJ Sneak Timo Maas and The Revenge.

Oh yeah, we also throw a damn good party! Our infamous AGWA Yacht Club’s are a staple for all serious dance floor players in Sydney and a highlight on the summer calendar every year.

Head to our website and check out some of our latest goodies.

We have exclusive mixes from Slow Hands, Session Victim and Joachim Spieth, alongside interviews with Los Updates (who’s also done our latest podcast), Guy Gerber and Baths.

So there you have it, parties, music, interviews, news, reviews and more music. Welcome to our world.

Casey van Reyk

Belle Tope

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Electronic | 27

Genre

Dubstep

Anyone who has taken an interest in electronic music over the past few years will have noticed the invasion of the “dubstep”.

The sound of dubstep is by no means for the faint hearted, with brutal percussion and savage bass-lines, a normal occurrence. It wouldn’t be out of line to label it the product of a moody fusion between drum and bass and electro.

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he artists pioneering the exponential surge in dubstep are producers like Nero, Benga and Rusko.

These artists are based in the United Kingdom (or South East London to be more precise), the geographical birthplace of dubstep. But what about the musical beginnings of dubstep?

Dubstep’s origins lie in experimental garage, drum and bass, reggae and Jamaican dub music. All of these genres feature prominent bass-lines and are often designed to be played on sound systems that support lower sound frequencies or sub bass. Dubstep’s tempo is typically propelled by a syncopated bass rhythm which is accompanied by a relatively sparse drum pattern. These apparent conflicts in tempos create a tension which has proven to be popular on dance globally.

Question time with DJ Lids Carl Cox: Vive la DJ lids is the latest DJ sensation from Hobart with on stage antics and a signature dance move Revolution Continues! called the “The pogo”, I took 5 minutes to have a

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ids first got inspired to get involved with electronic music when a friend from work took him to see the Plump DJs. “When I saw Plump DJs play for the first time, that’s when it all started for me.” Shortly after he purchased his first track “get the fuck up” by Bass Kleph and from that moment there was no looking back.

This led to him holding residencies at some of Hobart’s best clubs, so I asked him what keeps him going. “People’s reactions to music, there’s no better feeling than being able to steer a crowd of people down a certain path, to build them up and then let them loose.”

Influenced by Krafty Kuts, Elite Force and Plump DJs, he also gains inspiration from local DJs and fellow clubbers.

So what can we expect from Lids in the future? “I’m really starting to get into drum and bass lately and will hopefully start incorporating more of it into my sets.”

Ainsley White

Lids top 5 tracks1. Freefire – Dataloss (Darth & Vader Remix) – Plasmapool Records The only way to describe this tune is HUGE! 2.Nero – Me & You (Dirtyphonics Remix) – MTA Records.

A fun take on this dubstep.

3. Tensnake – Coma Cat (Mark Knight’s Korma Cat Remix) – Defected Records.

This is a really sweet House tune 4 .Quadrat Beat – Dancefloor Pressure (Bubu (BREAKS) Remix) – Raveart Records One of the most solid breaks tunes that I have at the moment.

5. Danny Byrd – Ill Behaviour (Original Mix) – Hospital Records If you haven’t heard this track fix this, immediately.

Check him outhttp://www.soundcloud.com/rizzle

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Love it or hate it, dubstep is going to wobble its way into more clubs and more mainstream success over the next few years. If you would like to get a first hand dressing down in dubstep then get along and check out local DJs like Grotesque, Acumen and Billy Green.

“dub step producer rusko recently caused quite a stir collaborating with pop princess brittney spears”

Thomas Williams

Label Profile

Techno godfather and stalwart Carl Cox is set to release his yet-untitled album this year and even though he’s not giving much away, it sounds good and (thankfully) is due very soon.

quick chat with him.-

Recently, with the rise in popularity of dubstep, it has attracted both positive and negative attention. Facebook features a group titled, “dubstep is not a genre, it’s just 200 mixes of the same song”, and dance forums all over the net are divided on its merits. On the flipside, Deadmau5, Britney Spears and Snoop Dogg are among the more mainstream artists enthusiastically riding the dubstep wagon.

Neon Records

Late in 2008, Neon Records burst onto the domestic music scene in a big way. Creating a new local home for commercial house, techno, progressive, electro and dubstep.

I

t’s been a long six years for the fans, anxiously questioning whether or not the maestro de maelstrom would ever put the seal on a brand new basket of originals.

Anxiety has gradually turned into anticipation and anticipation into some fidgeting and habitual eyeing of the calendar nervously awaiting a date we aren’t even certain of.

I can tell you though it’s happening, and soon – but exactly when remains a mystery.

Born in Barbados in ’62 before moving to Manchester, he took to the decks at age 15 playing hip hop, electro and rare groove before discovering acid house and techno and then quickly becoming a driving force in the field. Since then he has risen to fame much to the pleasure of fans worldwide releasing over thirty mix CDs, about as many remixes, and three (soon to be four) albums. Among playing at some of the world’s biggest clubs and festivals, has also had a marathon residency at Space Ibiza and recently played their NYD party in Sydney. It is no wonder Mixmag readers voted him the best DJ for the past 25 years.

So what do we have to look forward to in this mystery album soon to be released on his own Intec label? Coxy has reliably noted this will be his “... most forward thinking album yet” and assures us that this one is aimed directly at the dance floor. He says,

“Every track should be a winner. I’ve road-tested and remixed them all to make sure they really do fit with what’s going down on the dance floor right now.”

It’s a certifiable claim that this one is going to be worth the wait. According to the man himself, it will be an eclectic mix of tech, house, drum and bass, breaks, dubstep and Latin flavours.

In the meantime be sure to see his new show ‘The Revolution Continues’ at Melbourne’s Billboard nightclub 18th of March. He’ll be joined by some of Australia’s finest musicians and vocalists, and supported by DJs Eric Powell 1928 and Heath Renata. Early bird tickets are $35 available through Ticketek or Moshtix.

B

of quality dance releases.

acked by the Monster resources of Warner Music and headed up by Ivan Gough, Grant Smillie and Pete Sofo of TV Rock and 360 Agency respectively, Neon was destined to become one of Australia’s most prestigious imprints. Their very first track ‘Finally’ by Denzal Park rocketed to the top of the Beatport charts and incited a wave

Since then, Neon has had over 60 releases, held the number 1 spot on the Aria Club Chart for a total of 54 weeks, and scored 5 top 30 spots on the Aria Singles Chart; three of which have reached platinum sales status. “Most successful yet is their recent release of ‘Dirty Talk’ by Wynter Gordon, which hit the number one spot on the Aria Singles Chart.

Neon’s current catalog includes music by Zoe Badwi, TV Rock, Denzal Park, Sidney Samson, Wynter Gordon and Adrian Lux and some of the biggest names in dance music have crafted remixes for the label. Tiesto, Axwell, David Guetta, Dirty South, Afrojack and Laidback Luke have all worked with Neon during its relatively short lifespan.

A quick chat with Label Manager Carl West reveals that the future is looking just as bright for Neon, with upcoming tracks from Pendulum, TV Rock, Hook N Sling, Fedde Le Grand and Dave Spoon. In addition, Neon will also be Australia’s musical home for Skrillex. “We are very excited about unleashing Skrillex on Australian audiences. His genre-defying sound is going to blow people away. He is, without doubt, one of the year’s most exciting names in electronic music,” they say.

For further information on music or tours, hit up the Neon Records Website: http://www.neonrecords.com.au

Sam Gregory

soundcloud.com is one of the coolest music sites around ... Period!

SoundCloud is an audio platform that enables anyone to upload, record, promote and share their originally-created sounds across the internet, in a simple, accessible and feature-rich way.

S

oundCloud was born in 2007 out of the frustrations that founders Alexander Ljung and Eric Wahlforss felt when they couldn’t easily send and receive large music files over the web. They decided to build a platform that would not only solve this problem, but that would enable any audio creators to collaborate on projects, receive feedback on their work and ultimately share their creations with anyone, anywhere.

SoundCloud makes it simple to move large files over the web without having to resort to FTP, bitTorrent, or other complicated services. Thanks to SoundCloud you don’t have to worry about filling everyone’s mailboxes up with your MP3’s. To send a music file requires a considerable amount of bandwidth and also takes some time, which is why SoundCloud is becoming so popular.

You can share your creations publicly or privately; embed sound across websites, social networks and blogs and receive feedback from the SoundCloud community.

Unlike the majority of other music sharing applications this one is perfectly legal to use. It is probably the only music sharing application that’s actually designed to help the music industry rather than damage it.

The application is free to use for most people, although there are also professional accounts with advanced features like statistics, controlled distribution and custom branding that cost money.

SoundCloud at its core is a great tool for artists to reach out to record labels and fans a like, but is also a great site for music lovers to discover fresh new artists who regularly put up free downloads of tracks and dj mixes and because of this SoundCloud has become one of the hottest places to find unsigned artists on the net.

Thomas Williams Scruffy Goat

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Electronic | 28

art | 29

I Do The Night

Australia’s Sidwho? drops a mellow disco burner for Future Classic while Germany’s Session Victim step up on the B-side with a more dancefloorfriendly deep house remix.

If disco died in the late 70s, then it has risen from the dead enough times that we should be concerned about a zombie disco uprising. The genre that caused a baseball stadium full of people to burn its records and start a riot never really went away, and Australia’s Sidwho? is quite aware of this. With only a handful of releases, his 2009 psychedelic disco jam Vote Bowie for President caught a number of ears. As well as splitting time with disco outfit The Swiss and electro-pop-rockers Empire of the Sun, the man is quickly growing a name for himself in the land down under.

Sidwho?’s latest release for Future Classic, I Do the Night, is much more mellow disco than that of Bowie. The synth lines evoke the sounds of Lindstrøm and slink along in a Balearic fashion. While the production is quality and seems to capture the sound, Sidwho? is looking for, the track lacks the dynamic to sustain interest through its eight minute duration.

Germany’s Session Victim took the track for a spin on the B-side, upping the BPM and floating it into deep house territory. The track feels a bit fuller here, as the duo added a bit more structure. The swirling synths add more space than the short stabs in the original, and the drive from the percussion turns the track into something that will put people on the dance floor.

While Sidwho? provides a pleasant, relaxed production here, it lacks the energy to really propel it all the way through. The Session Victim version is the highlight here, a driving number hinged on the original percussion. The original may prove an apt speed for zombie dancing, but Session Victim are quite tuned in to what is going to get the living moving and shaking.

ANDREW

ON ART

I

’m sure we are all well aware that a private collection of interesting contemporary works recently opened in Berridale, and that over the last while there has been rather a lot of art based amusement and bemusement to be had in Hobart, and other places about the state as well.

I’ve been on a contemporary art project myself, which travels to the further reaches of Tasmania and there are galleries and shows all over the state.

Take Ol’ Jack’s Café in Rosebery; it’s a nice airy place with good light and a high ceiling. There’s quite a lot of art on display, some of which I thought was hilariously bad, and some of which was impressive. There are a couple of great paintings in that Rosebery café, and the food isn’t bad either.

There are pub shows, swish private spaces with incredible contemporary stuff, stickers on every second traffic light control box, huge one-off events, more than a few galleries, art prizes, underground shows and people showing stuff in their garages – cripes, some Friday nights you can’t move for openings with free booze.

It’s pretty exciting if you dig art, but is it all any good?

Justin Peczkowski

© Antony Markovich

Of course, some of it is.

Mona Foma presents DJKENTARO 20 Jan 2011 10:00 pm Princess Wharf 1, Salamanca Place, Hobart

DJKENTARO is an acclaimed turntablists. His name is capitalised and spaceless on purpose.

Many years ago, when I was DJing at a bar in North Hobart, a regular patron, who was from Japan handed me a burnt CD with DJKENTARO written on it. Several years later I am standing dead centre in the PW1 waiting in anticipation of seeing one of the greatest turntablists perform and finally seeing the man behind the mysterious live mix CD that had mesmerised me years ago.

DJKENTARO rocked the drum beat back and forth before dropping the first sample of the night and instantly I knew that I was about to witness a display of pure next level turntablism from one of the world’s best. He delivered. It was a jaw dropping mixture of cutting, scratching and juggling at lightning speed that left the crowd staring in awe. He then transcended to a busy set full of turntable trickery moving from electro house to dubstep and a drum and bass rinse out that sent the up for it members of the crowd into a frenzy. The music was lifted to another level by the extraordinary visuals of the VJ, done justice by the massive LED screen that illuminated the whole shed.

His final show piece was a rendition of the traditional Japanese Cherry Blossom song ‘Sakura’ that was created through frantic manipulation of the pitch controls. After the final melodic masterpiece, DJKENTARO plugged his headphones back into the mixer using them as a mic and with a slight squeal of feedback humbly thanked Tasmania. The crowd responded with an approving roar……

There’s also a fair bit that isn’t, and what do you do about that?

You could just do nothing and see what floats, but I worry that the hot work is going to get lost in the flotsam of mediocrity. Someone has to buy work as well, and let me tell you, that given the amount of work that kicks around and all the places to see it, that the place I see it the least is in people’s homes.

We all dig going to the groovy opening, or going to the pub and bagging out the pretentious turds at the groovy opening, and lots of people make stuff, but is anyone investing?

And, conversely, why should they?

One might wonder if it was because the scene was more important than the work, or if the work just wasn’t good enough, and this where the thing I hear so many mention, almost in hushed tones, comes in: what is needed is a bit of criticism. Well, maybe it’s time to get the conversation out in the open because I know damn well everyone bitches and moans anyway. You don’t like MONA. You think street art is totally played. You think that guy is a self-promoting twat. You think theory is for art school wankers.

You do. I’ve heard you say it. You’ve heard me too.

So here’s the deal: I want to talk about local art. I want you to as well. I would like the whole conversation to be more open, inclusive, less bitchy and more about straight talking, because I have some idea that it could make things better.

I know things aren’t bad, but engaging and enriching is what ensures longevity, and longevity is something I think everyone wants.

Art For all you art living and loving punters out there, Warp is stoked to bring you a read of what is happening across Tasmania over the coming months. We aiming to help you find yourself at an inspiring exhibition or opening, discovering artists and their bizarre minds of creation or destruction, whatever their niche may be, and gather insight through reading Warp reviews. Enjoy these first snippets of what is to come.

> Tom O’Hern

Though his preferred media is a heap of salt on a pub table, Tom O’Hern has chosen to work in enamel on board for his next show Even monsters are God’s children, a deviation from the Indian Ink he used for Dog Boy in 2009.

When questioned about the change in medium, Tom explains that he’s used enamel this time because of it’s ‘ugliness’ and ‘unpredictability,’ and because mistakes can’t be hidden, it can decide the composition.

Even monsters are God’s children, explores the irony of the average Tasmanian suburban existence on historically significant land. Tom’s medieval demons are self-confessed thinly veiled self-portraits, or, in other words, little boys up to no good.

The narrative of the show examines bush myths, which although seemingly irrelevant to our present suburban utopia, continue to define us as Tasmanians.

> Rob O’Connor

From a high security studio in a famed Hobart dwelling, in the space between waking and sleeping, Rob O’Connor has put together a series of paintings for his next exhibition, Core.

The show is the product of a three month residency in Paris, where Rob hung out - percolating the Parisian arts and culture - producing a body of work with a mash of references from classicism to modernism.

When asked how the experience has changed his work, Rob explained that there are fewer contemporary references, that Paris refined his diet to that of the French Classics, and consequently, his latest work is drenched in references from Byzantine to modernism.

Working from studies and speed drawings in Paris, Rob has returned to paint the entire show in studio. When asked about the significance of study work, Rob describes them as ‘juicy… a mess from which some form appears to make sense.’ A finished painting may have had many incarnations. Core is an exploration of the role of creative authorship in historical context.

Tom and Rob are both graduates of Fine Arts at the University of Tasmania, they have worked together creatively on various projects ever since.

Even monsters are God’s children and Core open at Bett Gallery 9/3/2011 and runs until 5/4/2011 For more information, email the gallery on emma@bettgallery.com.au

Follow Andrew_w_harper on Twitter for heaps of guff about art, food, booze horror novels and anything else, Andrew Harper

Tristan Widdowson

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REVIEWS | 31

Album Reviews

Cut Copy

Iron and Wine

Zonoscope

Kiss Each Other Clean

Iron and Wine is all about high quality musicianship.

Iron and Wine, aka Sam Beam, has released 3 studio albums, 1 live, 1 compilation of rarities, several EPs, and a few digital download singles. 2011 sees Beam release his fourth LP, Kiss Each Other Clean.

Kiss Each Other Clean is a contradictory record, as it feels intimate and distant at the same time. It’s hard not to enjoy Kiss Each Other Clean, the playful nature of Rabbit Will Run Glad Man Singing and Monkey’s Uptown perfectly showcase the influence of the African & Caribbean elements. To Beam’s credit, he manages to interweave them seamlessly into the Americana sound base in his music. Half Moon, Tree By The River and Me & Lazarus give Beam a chance to channel his take on more traditional 60’s & 70’s pop stylings, all of which flow smoothly from one to the other.

Album closer Your Fake Name Looks Good Enough For Me is a sprawling 7-minute odyssey that perfectly summarises the album’s well charted musical voyage. It’s hard to single out a standalone track on Kiss Each Other Clean. Beam has created a musical landscape that is more about the journey than the destination. Solid stuff.

Michael Clohesy

VJ SLOTH briefly explained to me roughly how his visuals were done, which is good because from my standpoint behind him while taking pictures he could have been doing anything from designing Starcraft 3 all on his lonesome to operating the STUXNET infected nuclear power plants in Iran. He was in fact controlling a large selection of layers, masks and animations he put together for this event. The animations were either graphically lifted from HD videos found on the depths of the Interweb, created from scratch in a 3D modelling program like Maya or put together using frames drawn

by TOPSK or himself. He used masks cleverly to keep the sky component ‘behind’ the rocks that the painters

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painted – and cued lines over the top for the artists to follow. Meanwhile to his right DAMEZA was working the audio – which was apparently mostly written and composed in the months before the show alongside observing the project take shape – but during the show he scratches and mixes in new beats to work with what’s happening on stage. It’s quite amazing to sit behind these guys and watch them work their magic, in real time, as I breathe. And I thought tweeting in real time was hard – I can’t imagine juggling all those sounds and effects plus working in on the fly original content. It was spectacular.

As ACUMEN laid down tunes and graphics, the crew of artists came through. Firstly with spray paint ‘cutting’ out rocks and shaping waves as VJ SLOTH gave them visual cues like orbs moving across the wall or the rocks spiralling out of the sea – it was really effective. The first night’s painting was of four rocks sticking out of the sea [see above], the second night however was a little more exciting. The first night was fantastic and the end result was beautiful - but the second night was 10 steps ahead of what I had expected. They were all a lot more confident and really made a performance out of the idea. Aedan ran around chasing VJ SLOTH’s cursor, Stu and ODS got into a spray paint fight and TOPSK got rolled by Aedan.

The crowd loved these moments – and the crew could tell. As the scene ACUMEN were creating with sound and projection got more and more hectic, the painters picked up pace. More and more paint flew in the air and their once pristine black uniforms became en-webbed in globs and strands of paint. After finishing their mural, which was made up on the fly consisting of anything they

Zonoscope begins modestly, with Need You Now bearing admirable restraint. With a strict devotion to a monotone bass line, Cut Copy builds from the ground up with impressive subtlety. Beyond its introduction, Zonoscope sure packs a punch: a righthook in the slick jungle-rhythmic anthem in Take Me Over followed by a solid left in the head-bobbing super-charged rocker Where I’m Going. Both possess unmistakable pop brilliance, seemingly destined for a frenzied festival reception- each efficient and terrific in their own right.

The rest of the record only surpasses expectations. Pharaohs And Pyramids boasts a pulsating, melancholic plea in a chorus too good to ignore. Meanwhile, Alisa, an auto-piloted interstellar trip is superb fun. The controlled funk of Hanging Onto Every Heartbeat similarly proves another simple yet charming slice of pop greatness.

Awaiting the listener is also a show stopping finale in Sun God. It’s in a fresh, revitalised repertoire that the record succeeds, the band’s willingness for a departure shining through quite literally. Zonoscope presents a slick disconnection, its own fantastic world with its hypnotic rhythms and glistening electronic intricacies ensuring an enchanting experience.

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

‘Sea Spray Ft. ACUMEN, Aedan, TOPSK, Stu and ODS’ Over the weekend, I was privileged enough to see two performances of epic proportions that blew all my sense out of the water. Audio-visual extravagance ACUMEN joined forces with some of Tassie’s most renowned street artists and graffiti writers Aedan Howlett, TOPSK, Stu Dobell and ODS. Together they put together the idea of bringing a 3rd element into the world wide club craze that is visual and audio DJ-ing side by side. The idea is to spray paint onto/into the work being done at the computer end as its being created. The whole routine is semi-choreographed with half of it happening on the spot. Over the course of many months, the group put together a routine – which from what I saw was no mean feat. ACUMEN – which comprises DJ DAMEZA and VJ SLOTH – spent countless laborious hours putting together a sound / visual scene that was at the right pace for the artists to work with and displayed the right imagery at the right times for it to come together.

First tied up with touring commitments off the back of In Ghost Colours, then bunkered down with studio time, it’s been a while since we’ve heard from Cut Copy.

Now, however, the Melbourne lads appear poised to ignite synth-pop with new, explosive life, simultaneously underscoring just how much we’ve all missed them.

Nick Mason

could think of from fish with paddle-pops in their gills to complex letter constructs - all layered over the top of each other in an array of bright colours.

After lapping up the reactions to what had been painted on the wall for a few short moments, they ran around cheering and rousing support of the crowd. Out of nowhere, DAMEZA and SLOTH leapt from their perch in the darkness and bombarded the wall with paint bombs. This was met with roars of laughter and shock from the crowd as the rest of the crew got stuck into making sure none of us – including them – would ever see exactly what got put on that wall. They ran with rollers at the wall, they emptied tin after tin of white, they threw buckets of paint at the wall – and then before writing their final messages, took to the walls with flame throwers made from spray cans and fat caps. Lighting up one final message before they were finished, they wrote “Thank You”.

SLOTH then added a few highlights [like the MONA logo] – DAMEZA lowered the music and the crowd went nuts for them as they rejoiced at its success. From where I was standing it was a spectacular sight – the crowd literally stomping and yelling, the crew up against the wall wiping paint on each other as they grinned and the mountain behind lit up like a Christmas tree. I’ve never seen anything like it – and nor had the crowd. I can’t wait to see what they come up with next.

Jonny Scholes

Autumn Defense, The

Aquabats!

Bonniwells, The

Once Around

High Five Soup!

Unprofitable Servant

Four albums in, The Autumn Defense is a band that is still largely considered a side project. ‘Once Around’ is hard to classify, though it’s not genre bending or unique.

This album is rather beautiful and has some good melodies worth mentioning. The extensive use of back-up vocals works to great effect. The album is experimental- a successful attempt and effort to make poetic music.

The Aquabats! and their superhero alter-egos are on a mission to save the world from evil through their infectious pop-punk tunes. If you’re not familiar with the Californian outfit, they’ve been around for over 16 years and Hi-Five Soup! is their fifth studio album. They wear superhero costumes at all gigs and even have scripted battles with nemeses onstage.

‘Back of My Mind’ starts quickly with singing from the start. It is an extremely solid opening track paving the part for the rest of the record. There are country bits on this track with the guitar riffs laden throughout the song. ‘Tell Me What You Want’ is an album highlight, with the chorus being the most “sing-along-able” moment on the album.

‘Huntington Fair’ is contrastingly slow and reminded me of Simon & Garfunkel’s ‘Scarborough Fair’.

If you’re sick of music being too emotional or all about love, you’ll find Hi-Five Soup! a welcome departure from those themes. This album talks about the simple joys in life. For example there is an entire song about ‘Poppin’ a Wheelie’, BFFs, Pink Pants and having a food fight on the moon.

‘Swallows of London Town’ is the other track to check out if you only had time to get a few tracks off this album.

It’s particularly upbeat and a welcome change of pace.

‘Once Around’ is a tremendous effort, and once again showcases how ‘side-projects’ can often produce music that is as good if not better than the bigger bands their members hail from.

The pop-punksters start off strongly with ‘The Shark Fighter’ which is the catchiest tune on the disc. It starts off with lyrical genius in the form of; ‘I’m a shark fighter, I fight sharks, I fight them in the water because that’s where they are’. Other highlights include the stupid ‘All My Money!’, ‘Food Fight on the Moon!’, ‘Hey Homies!’, and the brilliantly immature ‘B.F.F!’

Alexander Crowden

If you don’t like immature music, then you’ll absolutely hate this. If you embrace it then this is unabashed fun that you really should check out.

The Bonniwells’ debut album Unprofitable Servant, is loud and angry, and makes all efforts to convey that anger while throwing together large references to each of their very prominent garage style influences.

First up is a fairly close version of Teenage Fanclub’s Bad Seeds with the added value of The Bonniwells’ patented howls. One of the last covers is The Cannibals’ We’re Pretty Sick. There isn’t anything amazing about this track but they do manage to stick to the original in every way possible. Last and the best of the three covers is their take on The Kingsmen’s Louie Louie.

Onto the originals in Unprofitable Servant and it seems clear a jilted lover is responsible for the brash lyrics throughout the album, especially in the first track I Don’t Need You Know More, which sets the violent scene for the rest of the album. Pursuing some grungy 60’s beats within tracks like Soda Pressing, the psychedelic sound is echoed in the gorgeous mess of guitars from Cracked Hand. But it is the last track Predictable Piece of Shit and its self deprecating lyrics that proves that the band are talented musicians attempting at bringing about a grunge/ psychedelic rock revival in Australian music.

Jacquie Harris

Alexander Crowden

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REVIEWS | 32

REVIEWS | 33

Purple Sneakers DJs

Straight Arrows, The

We Mix, You Dance Vol 2

Deadly Boyz

Gang of Four

Jason Collett

Rise

Content

Rat A Tat Tat

It’s Happening

The Purple Sneakers DJs’ We Mix, You Dance Vol.2 is a compilation of the hottest indie tunes from the last half of 2010. Split into two discs- Can Dance and Can’t Dance, it is candy for the ears.

The Straight Arrows are a band who have seen their warehouse party-come-gigs shut down by cops more than once. The band have graduated from 7-inch vinyl singles to drop the debut record, “It’s Happening”.

While Can Dance includes tracks by Washington, Flight Facilities, The Chemical Brothers, Mike Snow, The Holidays, Two Door Cinema Club and The Drums, Can’t Dance showcases Sleigh Bells, Warpaint, Hungry Kids of Hungary, The National and Apache Beat.

The songs on the album are catchy in their disorganised cacophony and are all within the three minute mark ensuring that the 11 songs add up to less than 25 minutes.

Can Dance, mixed by Benlucid and M.I.T achieves an amazing feat by mixing different genres without any audible stops. The three obvious standouts on the disc are Magic Fountain, Dark Crystal and the mix between Billie Holiday and Up In The Clouds.

Whilst the tempo of these songs are quite different, the mix between the two tracks is effortless.

The album’s striking element is the lo-fi recording technique. Penglis’ vocals are buried low in the mix and give the impression that it was recorded rather cheaply.

“Bad Temper” combines surf guitars with a catchy Buzzcocks-style hook and “It Begins” borrows some blues guitar riffs from the Rolling Stones. Pirate English radio stations like Radio Caroline spring to mind during “Magic Sceptre”.

The second disc in this mammoth compilation, Can’t Dance, mixed by PhDJ is filled with the songs you would hear in a lounge style mix. It is completely seamless till the end. The mixes of Wristwatch and Answer To Yourself stand out.

“Mind Control” combines the power of the Buzzcocks with the guitar finery by Pete Townshend of The Who. “Haunted Out” borrows some of Joy Division’s broody atmospherics and “It Happens Again” is reminiscent of the fuzzy guitar antics that were the foundation of the early Kinks’ hits.

The tracks on We Mix, You Dance Vol.2 are perfect for a summer party atmosphere, and will easily last through to the next season of listening.

“It’s Happening” is one great love-hate fest propelled by disordered garage punk with a 60s peppermint twist, a shoestring budget and a huge fireball of energy.

Jacquie Harris

Natalie Salvo

Without even having seen the Photoshop cover- could’ve even been MS Paint- I was not looking forward to this.

Even in my expansive taste, I could never allow this get past my brain gates in pleasantry.

On Lock displays some well-heeled AutoTune action as the generic crunk pumps out like bills from Lil’ Jon’s ATM. This whole album makes me think of a lyric from Dan Le Sac vs. Scroobius Pip’s Thou Shalt Always Kill: “Thou shalt remember that guns, bitches and bling were never part of the four elements and never will be”. Oddly enough, the line after that is “Thou shalt not make repetitive, generic music” which is also relevant at this juncture.

Wow. Hot Sex is the album’s apex of cliché and shamelessness that details the members’ lurid sexual encounters. “She want that hot sex/ We gon’ give her that hot sex” is the facepalm-inducing chorus line, but is followed by some just staggering lyrical gems, like: “Red light special for my sexy little beauty queen”, “She rubbin’ on my balls/ Blow up that pussy, ho” and the charming “Jumpin’ on my dick and sliding down the pole”.

Postulating notions of machismo amidst grammatically fractured and hideously generic music.

Lisa Dib

Gang of Four have been making music together longer than I’ve been alive and as Content is my first experience with them.

I spend half my waking life on social networking sites.

Who are we now that we live out our wildest dreams in a virtual reality? Are we playing right into the capitalist ideals of segregation and class establishments? It’s these ideas that Gang of Four passionately croon about on the aptly titled Content.

The message stands out loud and clear in one of the more funked out moments on Who Am I?, with Jon King proclaiming to the world “you can‘t steal when everything is free, who am I when everything is me?”. Another gem is You’ll Never Pay For The Farm, a track to lose yourself in with the ferocious bass and grinding industrial noise that makes me wish I’d paid attention to Gang of Four earlier.

These were the standout moments on Content.

Gang of Four are able to prove they are still on par with their contemporaries with a solid release. My one complaint is that Gang of Four are subtle and understated with their delivery and don’t seem to push the boundaries of their attack.

Jason Collett’s sixth solo recording Rat A Tat Tat marks his slight change of direction towards the soft, mellow side of 60s rock, which matches his husky yet smooth vocal capability.

Collett employs elements of folk, rock and blues genres within virtually every track on Rat A Tat Tat, creating a hybrid sound that embeds his own personal flavour into the style he has chosen.

Rave on Sad Songs opens the album with a soft explosion of mellow acoustic guitars and pianos played to a slow, three-four timed beat, accompanied by Collett’s gently twanged vocals.

A track that see’s Collett at his best, comes in the form of the ska/Latin styled ballad Love Is A Dirty Word, a song that is uplifting and invigorating to say the very least.

Collett sounds like he is enjoying himself, making a really enjoyable tune to listen to.

Rat A Tat Tat is filled with acoustic-pop ballads and soft country tracks that were very well received in his own local music industry, with this album being shortlisted for the Canadian interpretation of the Mercury Prize or AMP Award.

Collett’s efforts in Rat A Tat Tat are highly impressive.

Kathryn Mahina

Chinook

Cold war Kids

Dan Mangan

Jeff the brotherhood

We Could be Friends for a While

Mine is Yours

Nice, Nice, Very Nice

Heavy Days

Melbourne indie-folk-rockers Chinook’s second EP, We Could Be Friends For A While is a seven-track release hard to pin down.

Little pearls of wisdom popped into my head when examining the Cold War Kid’s third offering, ‘Mine is Yours’.

Opener Black & White, with tight instrumentation and clever harmonies sets the vocal tone for the EP. Next track Yellow Belly, at 2:09, is a straight-up, no-nonsense John Butler Trio inspired track. Carry On is a happy little Aussie-flavoured folk-rock ditty which features nicely layered vocals and harmonies.

The phenomenal first track ‘Louder than ever’ has is already a firm favourite ahead of its physical release. The album marks a change from the two previous releases with a cleaner, more positive sound.

With all four members acting as vocalists, they sound versatile, at the expense of a distinctive sound. Keys player Moira Reed does a great job as the lead vocals on GoodWeird Joker.

Heart Inside my Hand, forms a slower, easy-listening core.

Evil Weasel, however, turns down the folk and the pop and turns up the rock. Personally, I don’t think it suits them.

It also displays the lacklustre lyricism that unfortunately pervades most of the work (‘I’m in distress / I need some rest / Get me out of this great big mess’). The closing track, Child Of The Water sounds good with dynamic verses, crisp acoustic guitar and experimentation with slide guitar.

At just over 20 minutes, We Could Be Friends For A While is a brand new taste of original music from Melbourne.

Ben Vialle

The beautiful track ‘Finally Begin’ sees Nathan Willett lament about going out with a girl... finally. The joy of finally beginning; it’s a gentle desperation shown through song, ‘I’ll be looking so far past the flashing lights’... he croons …’to finally begin’.

‘Skip the Charades’ is yet again another amazing song.

It’s a lovely ode to someone special. How we pretend and sugar coat things - ‘Just be plain... and skip the charades’ he pleads.

‘Broken Open’ - lots of ‘oh wohoo eh ooo’s’ punctuate the background of the track. ‘Flow over me.. flow over, overflow’ he repeats. The stunning repetition rising and falling signals a stunning well crafted piece of music.

The entire 14 track album is brilliant - showcasing the bands development as artists. I knew that after watching their Fall’s set, which was one of my festival highlights - a little peak in advance!

Belle Tope

Warp

Dan Mangan’s second full studio LP Nice, Nice, Very Nice is an indie, acoustic, folk music fan’s dream of a release, filled with subtle stories of love, loss, hope and growing old.

Within Nice, Nice, Very Nice there are three tracks which were on his Roboteering EP. Robots happens to be one of those tracks, and it would have to be one of the great highlights of the entire recording. Mangan’s vocals contain the folk spirit and twang of Marcus Mumford and the banjo accompaniment to suit. But it is the combination of the brass section and choirs of multiple vocalists that make this track a true gem of the album.

Baskets focuses on the tales of growing old. The track is introduced with simple acoustic guitar and vocal melodies that progressively increase in volume, which are later joined by soft, sweet string sections adding depth and atmosphere towards the end of the track. It is a heartfelt, sorrowful track that accentuates Mangan’s talent as a songwriter and performer who can provoke emotion.

Straight out of Nashville, Jeff The Brotherhood are a punk rock two piece consisting of brothers Jake and Jamin Orrall, and ‘Heavy Days’ is their debut offering. This record replicates the garage style punk scene in which vocals are rarely used. The album opens with its strongest most in your face tracks with psychedelic overtones that are a trip within themselves. The most accessible song on the album is The Tropics, where melodies are used and the chorus is a sing-a-long that gets stuck in your head.

Vocals are a mere mumble for the rest of the album with the guitars and drums taking the forefront.

Another standout is Heavy Krishna, a grunge fuelled instrumental that proves the band would be fine without vocals. There are slight post-rock influences in U Got The Look which suggests they are leaving their options open.

The album ends with Pleasure Centre, the most mature of all the song structures, a well written track that exhibits the duo’s talents.

Dan Mangan is probably one of Canada’s most talented and accomplished indie musicians of this time. Nice, Nice, Very Nice is precisely as the title suggests and more.

Interestingly enough, the brothers’ Nashville background doesn’t shine through in the music at all, which sound like they are from the Seattle grunge scene. This album is still something worth checking out for those who love off-kilter punk rock.

Josh Clements

Luke Carlino

Josh Clements

Little Dragon

Matthew Barber

Machine Dreams

True Believer

Little Dragon are a band from Sweden and ‘Machine Dreams’ is their second release.

‘A New’ is the opening the track with layers upon layers of airy synths that slowly swell as the track picks up movement and welcomes the charming voice of Yukimi Nagano. ‘A New’ continues on in the same way providing the perfect canvas for the rest of the album.

‘Looking Glass’ is full of 80s quirk and dare I say at times, cheese. There is something about Nagano’s emotion conveyed in both her lyrics and her voice that keeps these songs grounded and fresh.

‘Feather’ showcases Nagano’s lower vocal range which proves haunting. This leads into the down tempo and minimal ‘Thunder Love’.

‘Never Never’ brings the pace back up as if it is preparing for the upbeat ‘Run About’. This song begins with a slow vocoder intro that kicks into a dance inducing beat alongside an addictive synth line.

Machine Dreams is a swirl of ambient pop. Nagano affirms her lyrical prowess in the final track ‘Fortune’.

Little Dragon have delivered an album full of lyrical depth and honesty with clever and quirky pop production. They definitely deserve every part of the hype that surrounds them.

Edward Gray

Matthew Barber produces versatile sounds in his latest album True Believer, appealing to a broader type of audience that would include people who enjoy country, folk, indie or even traditional pop music.

Opening track I Think You’re Gonna Feel My Love starts the audience off in a warm and calm state of mind to experience the remainder of the album. Barber’s soft and sweet male vocals are on show whilst his acoustic guitar and smooth electric guitar riffs accompany and compliment his voice remarkably.

Comeback Baby underlines Barber’s skills within the blues and country genres, with him opting for hand clicks and a banjo to provide the rhythm. Barber’s vocals are seamlessly smooth and blend comfortably into his genre changes almost effortlessly. This track is definitely a personal favourite.

However, the true standout track is the piano ballad Revolution of the Sun. Apart from its music, it impresses with the way Barber has written the lyrics. Revolution of the Sun contains virtually every poetic technique known to man and somehow Barber manages not to overdo it.

This album is a perfect way to start off the New Year for Barber. True Believer is a well-crafted, warm sounding and overall enjoyable album.

Josh Clements

Warp

REVIEWS | 34

REVIEWS | 35

Holes in the Sky

Listening to Perth band Minky G and the Effect’s debut album Holes In The Sky for the first time, one can’t help but notice the multitude of influences spanning both eras and genres. Everything from reggae and funk to 50s Jazz this band seem to be experimenting with many types of music. Opening with a vocal exhibition (da, da, da...) and closing with a track that leaves the listener wondering at the confidence the band has in their lyric writing skills, the tracks in between were fortunately much better than the others.

The first tracks of the album have ambiguous lyrics. “I Got You” is the point in the album where the band introduced more instruments and some wicked trumpet solos. ‘50s inspired “You Make Me” and “Leo’s Book”, are some of the stronger tracks that are worth a listen.

Profanities through the album sound out of place and manage to break the flow of the tracks.

“Soul Ninja’s” closes the record with ‘We don’t care for lyrics so we just say: hey, hey, hey!” Minky G and the Effects should know that most listeners are attracted to music that offer catchy and relatable lyrics.

My Chemical Romance

Nathaniel Rateliff

Danger Days: The True Live of the Fabulous Killjoys

In Memory of Loss

My Chemical Romance, are back with their fourth studio record, another concept album, titled ‘Danger Days: The True Lives of the Fabulous Killjoys’.

The mixed bag that makes up this album is about as far removed from the band’s humble beginnings, 2002’s ‘I Brought You My Bullets, You Brought Me Your Love’. At the root of all of the colourful mayhem that makes up ‘Danger Days’ though, there is a steady stream of classic punk rock. The first single Na Na Na (Na Na Na Na Na Na Na Na Na) features bright melodies amongst fast paced beat and buzz saw guitars. Second single Sing, is a perfectly crafted radio rock ballad that is catchy and inspirational, some may say safe. But the band pushes the limits with Planetary (GO!), a straight up club style dance track.

My Chemical Romance have made an attempt at the mainstream but have managed not to sacrifice themselves in the process. ‘Danger Days’, which though doesn’t meet up to ‘The Black Parade’, is still an action packed thrill ride with no dull moments. The record is bright and up tempo, the polar opposite to its predecessor, which is the perfect way to follow it up.

Luke Carlino

Stacey Farley

Nathaniel Rateliff is an unfamiliar name, but his debut album will change that soon. The Denver-based folkster has set the bar high. In Memory of Loss is impressive, provocative and enjoyable.

Rateliff has been compared to Johnny Cash and Bon Iver; but he reminds of Mumford & Sons and Iron & Wine as well. Though comparable, his sound is unique, characterised by the use of various instruments though the real kicker is his voice- strong but gentle, confident but wounded- making Rateliff’s music distinct. His lyrics are poignant, poetic and sometimes odd.

Once in a Great While is the first track, with sparse instrumentation and bold harmonies that set the tone for the whole album. Oil & Lavender the softest number in which Rateliff’s poetry shines the most. Shroud is a punchy and dynamic song which showcases Rateliff’s general artistry and lyrical tendency toward selfabasement. The piano-driven closing track, Happy Just to Be, is an interesting contrast of contentment and hope.

Other notables include Longing and Losing and Lamb on a Stone, which provoke the Johnny Cash comparison.

W

e get spoiled in Tasmania at this time of year. Sunny summer afternoons, world famous wilderness practically on our doorstep, food and drink to die for and a glut of quality live music events – one of the most impressive of which had to be Grinderman’s headline performance at the third annual MONA FOMA.

Rateliff’s debut offering gets juicier with every listen. Fans of folk especially ought to give him a try.

Ben Vialle

Stick in a Pot

Tumbleweed

Zeus

A Number More Than Nothing at All

The Waterfront Years 1991-1993

Say Us

Stick In A Pot is one talented band no one is making noise about. They deserve promoters, pages set up on half a dozen social networking sites and crazy fans raving about them.

Long before Tame Impala, there was Tumbleweed and this neat little two-disc package chronicles that whirlwind first three years of studio releases and captures the band at their most creative, credible and unique.

Debut album A Number More Than Nothing At All released is a ten-track album that is an emotional journey pulling listeners into another life and loneliness.

Both discs are strictly chronological, the first being a complete scoop up and remastered lay down of their rarefied earliest singles and four EPs and disc two is their 1992 album followed by another EP. Earmarking their classic three-year itch on the Waterfront label, it’s an extremely well presented and inclusive compilation. The complete lack of editing does replace some quality with quantity.

“Early Morning” makes the listener aware of the protagonist’s depression and actively feel it. With this playing in the background, the feeling of darkness falls.

Many musicians underestimate the power of music but this band expertly projects their emotions onto the listener.

On a whole, the tracks are easy to listen to, sound smooth and well polished, although lyrics are not always audible.

Even so, I could see this band being very popular on the festival circuit with many of their songs begging the listener to sing along to their folky, guitar driven music.

The last track has the appropriate title of “Tired”, after listening to what was no doubt an emotionally intense album to write let alone all of the work that goes into polishing music and marketing an album feeling tired is totally justified.

Stacey Farley

The inclusion of the entire self-titled debut Tumbleweed album is a grand gesture. In the year prior to its release, there’d been huge progression from their debut 7-inch single Captain’s Log b/w Space Friends. Tracks like Carousel and Shakedown’s twirling guitars, fantasy lyrics and extended outro runaways were the keys to alt-Nirvana for Aussie’s flannel-clad slackers. Despite its added muscle, the band launched a more concise melody-driven album.

Today it (still) sounds great, especially the riffs on Sundial, Atomic, Acid Rain, plus the Daddy Long Legs EP. The once plentiful merchandise has all but faded away but fortunately Tumbleweed say the fun continues, long hair intact.

Ostensibly, Nick Cave and The Bad Seeds in disguise, Grinderman’s pulling power was obvious as Hobart’s music-loving masses descended on the shiny and new PW1 for a 90-minute blast of rockin’ mastery and undeniably awesome musicianship.

Within moments of the band stepping on stage, a thick veil of noise had enveloped the crowd, drawing all and sundry as close to the front as possible to marvel at Cave’s magnetic stage presence and Warren Ellis’s wonderfully distorted and frenetic riffs.

P

eering into the darkness along the long expanse of Hobart’s PW1, I could make out the shape of a three-piece band on an elevated stage. Blasting back at me was a racket so loud and chest-thumping that I knew I was in the right place for a show full of hard-hitting, big and downright dirty rockin’ blues.

‘Say Us’ is the debut LP from Zeus, who sound a lot like The Beatles circa White Album with a bit of Johnny Cash and Roy Orbison thrown in for good measure.

‘Say Us’ begins with the bouncing piano and chorus harmonies of ‘How Does It Feel?’ which leads in to ‘Fever of the Time’, a song of love and heartbreak accompanied with a lonely sounding country and western guitar line.

‘Kindergarten’ is about the confusion in Neil Quin’s life between what he wants and what he has. The upbeat pop instruments overshadow the dark lyrical frustration within the song.

‘The River By the Garden’ begins with a ‘boom chicka boom’ guitar style, but comes into its own in the chorus “My heart keeps breaking every morning and my eyes are sick of crying”.

‘At the Risk of Repeating’, the final track is laden with sweet harmonies that sit perfectly with the organ, piano and duelling slide guitars.

‘Say Us’ is an enjoyably easy listen. It is an album of 12 well constructed and solid pop songs. These songs may not be ones that will change the world, but I for one cannot fault an album that brightened mine.

Edward Grey

Matt James

Jon Spencer Blues Explosion (JSBX) were on stage, doing their thing in practically incomparable style. In true MONA FOMA fashion, the New York three-piece were offering up something just that little bit different to the healthy crowd who’d wandered along the Hobart waterfront for another taste of the mighty fine free stuff on offer.

Whether everyone who’d come along for a look knew exactly what they were letting themselves in for is debatable. There sure seemed to be a few confused faces and long queues at the bar as the band ripped and rollicked their way through tunes from their 20 year career.

I was stoked to hear the band live. It had been a long wait since discovering them through mid-90’s albums Orange and Now I Got Worry.

But as they belted into Wail early in the set, the wait was worthwhile. Spencer’s patented scream ‘WAIL’ was as visceral live as I could have hoped. He and Judah Bauer traded licks on guitar and Russel Simins kept it all racing along with fast hands and heavy feet.

Anyone finding JSBX hard to access probably only found it more difficult as Spencer turned up the static and fuzz, launching waves of scything noise to all corners of the venue.

Mid-way through the set I scurried back to freshen up my drink- bad timing. No sooner did I leave the crowded front section than the trio launched into Chicken Dog, arguably one of their more ‘traditional’ blues numbers played on the night – and my favourite.

The sonic blast summoned up by the trio blew the froth straight off the top of my freshly poured Moo Brew – I was all of 60m from the stage.

Not considering what people were expecting, JSBX delivered exactly what it says on the tin: an explosion of noise-laden blues and rock, the likes of which we don’t often see in Hobart. And whether they loved it or loathed it, there’s probably plenty of people still talking about it now.

Stu Warren

Warp

© Antony Markovich

Minky G and the Effects

Grinderman 19 Jan 2011 mona foma

© Antony Markovich

Jon Spencer Blues explosion 16 Jan 2011 mona foma

Opening with high-energy thumper Mickey Mouse and the Goodbye Man, the chemistry shared by this remarkable four-piece was evident from the outset. Cave and Ellis took no time at all backing into each other in tried and true rock ‘n’ roll style, the first glimpse at the horseplay and theatrics to follow.

Worm Tamer, another cut from the group’s second album, continued in the same vein, Cave strutting, Ellis ducking and diving and the rhythm section of Martyn Casey and Jim Sclavunos thumping along in perfectly understated unison.

With the audience thrilled by his every move, Cave ventured closer and closer to the front of stage and each flick of his head was met by a raft of raised hands all eager to reach out and touch their hero.

With little fanfare between songs, any preaching from Grinderman was courtesy of the frenzied front-man and his inimitable lyricism. At times he seemed to be challenging members of the audience to a verbal stoush – spewing out his signature blend of angst, lust and rage – and with the microphone safely in his hands, there would only ever be one winner.

Cave did save some vitriol for his sound guy during an epic six-song encore, especially after Ellis’s guitar cut in and out during the smooth groove of Palaces of Montezuma, but his frustration was not mirrored by the crowd who drank in every note and applauded in unison after every tune.

When Cave launched into the tale of temptation and frustration in No Pussy Blues, he was met with a throaty roar from the crowd. Casey’s chugging bass line incited involuntary foot stomping and Cave’s tongue-in-cheek lyrics were soon being returned in a harmony almost as twisted as Ellis’s screaming guitar.

Leaping around to Cave’s left, Ellis’s wild kicks, and even wilder beard, threatened to steal the show at some points. With his bow stuffed down the back of his shirt and his violin held aloft at the end of his extended left arm during standout tune Heathen Child, Ellis looked like some kind of rockin’ hybrid of Robin Hood and Rasputin.

At precisely 11:02pm, the encore ceased and the lights came up, revealing nothing but an empty stage and a blazing red projection of the band’s name, as if a solitary memento of what we’d all witnessed. It was Grinderman and they rocked.

Stu Warren

Warp

© Antony Markovich

REVIEWS | 36

REVIEWS | 37

MONA FOMA

MONA FOMA’s growing reputation and top-notch line-up of artists and musicians from all corners of the globe are conspiring to help mark Tasmania’s place on the wider cultural landscape. This year was the third edition of the festival and served as the curtain-raiser for the opening of Hobart’s Museum of Old and New Art. Warp was there to take a look...

B

rian Ritchie looked like a man in his element, which kind of made sense when his dual role at MONA FOMA was taken into account.

Playing alongside fellow members of surf-rock revival outfit The Break, Midnight Oil mainstays Rob Hirst, Jim Moginie and Martin Rotsey, Ritchie seemed to be enjoying his time on stage almost as much as the audience was enjoying the chilled-out instrumental tunes rolling like a Southern Ocean swell through PW1.

Long hair flowing and elevated above the crowd as if in the pulpit, Ritchie looked every bit the ‘original surfing priest’ he had described during a round of band introductions and mutual back-slapping late in the set.

Everyone was clearly having fun performing on the main stage of Tasmania’s annual Festival of Music and Art, you might have heard referred to as MOFO.

But to save any confusion, this MOFO is nothing to swear about. It’s a burgeoning cultural event on the local calendar and given the response to its 2011 iteration is only going to continue to grow in terms of profile and popularity.

And as curator of the event, Brian Ritchie (ex-Violent Femmes) has one hell of a lot to do with this growth and success. A staggering line-up of ‘headliners’ across a range of musical genres was on offer this year. New and spectacular venues, something to satisfy all the senses.

But above all, perhaps, there’s that ‘relax and enjoy’ vibe that makes you feel very lucky as you settle back in a beanbag, refreshment of choice in hand and a sense of excitement spreading in anticipation of a cheap, or morethan-likely free (and doubtless brilliant), musical thrill.

As well as bringing out the local contingent from all corners of the state, our cultural ‘Mecca’ tempted the likes of Amanda Palmer, Grinderman and Philip Glass to Tasmania this year.

Haven’t heard of any/all of these names? Well, that’s the beauty of MONA FOMA for you. Guaranteed to open new doors and invite you in for a listen, the only expectation is you come along and give it a go.

Warp was there, and here’s what we saw.

The Scientists of Modern Music – Who could resist dancing to this awesome Tasmanian duo? The crowd was a collective sea of moving bodies. Cal, TSOMM member, on several occasions had to nicely ask the masses to be a little gentler, to stop pushing and take a step back - one of those jobs a frontman must hate doing.

Warp

Amanda Palmer – As well as her Saturday slot on the big stage at PW1, Amanda managed to grace the little stage at The Brisbane Hotel the night before. From grooving at the Renegades of Dub night to being suddenly surrounded by a mass of people eagerly anticipating the arrival of one Amanda Palmer – what a night! And, as you’d expect from a big international act, she did not disappoint with a sweat-inducing and brilliant highenergy performance.

“...to save any confusion, this MOFO is nothing to swear about.”

Lincoln le Fevre – Linc is a tried and tested Hobart favourite. His mid-afternoon Sunday set, complemented by a lovely glass of Moorilla wine and a sun-kissed crowd, really hit the spot.

Fourplay – While straight-up classical isn’t every young person’s idea of a jaw dropper, add an electronic twist and it’s a different story. Modern interpretations of some pretty cool tracks left listeners hooked on this eclectic and electric performance.

Interactive Ball Project – Massive inflatable ball and dozens of punters for it to bounce off... all accompanied by a range of perfectly timed sounds delivered by Jon Rose and his synth/sample set-up. Arresting and fun – MONA FOMA in a nutshell.

Jon Spencer Blues Explosion – Not quite your BB King kind of blues, which seemed to leave some a bit confused/disappointed. But for folks in the know, this was one you didn’t want to miss. Raucous, raw and rad.

JSBX definitely put up their hands for ‘loudest band on the bill’.

The Break – Festival curator Brian Ritchie and three former ‘Oils’ doing their surf rock thing. Instrumental, vibey stuff and perfect as the sun dropped out of sight behind Hobart. Good clean fun for the masses – and the men on stage.

Grinderman – Nick Cave… Warren Ellis. How did PW1 contain such brilliance without imploding? Ear plugs were ‘in’ as the decibels cranked skyward and sweat flew as the night ramped up. The crowd was mostly kind, though. A spectacular performance and great value for the $50 ticket (one of the few events with a ‘cover’ on the door).

The Native Cats – Another Tassie two-piece – selfconfessed pub rock. Folks picnicked beforehand on the lovely artificial green in front of the Plaza Stage. Locals generally like them lots and have probably had the pleasure of seeing them before. A bit of dancing, a lot of fun.

Apologies to the many and varied other performers who haven’t received a mention here. To get to every gig on the MONA FOMA line-up would mean the Warp crew stepping away from their ‘normal’ lives for a week or so – total emersion. Not such a bad idea when you think about it!

Who knows what will be offered up in 2012?? Perhaps Brian Ritchie has some inkling already... rest assured, though, if it’s as varied and as brilliant as the 2011 lineup, us Tasmanians are in for another brilliant week of live music, art and culture next January.

Belle Tope & Stu Warren

The Little Cubas – A two-piece from the northern reaches of our State (Launceston), the Little Cubas weren’t completely new to the audience given their recent Falls Festival outing. Kids loved ‘em, some folks were reminded of the White Stripes – perhaps not as much in sound as in make-up. Rockin’ and rootsy, nonetheless.

Sophia Brous – Wow, wow, wow. Could also say amazing, amazing, amazing.... but perhaps even this doesn’t do Sophia justice. Her stage presence was attentiongrabbing and the use of multiple microphones a clever way to deliver her intriguing and evocative pop.

Bae Il Dong Workshop – Who knew what to expect?

Safe to say it was breathtaking – Bae Il Dong perfected Pansori by singing beside a waterfall for 18 hours, every day, for seven years – but did those countless hours pass as quickly as the hour-long workshop? It would have been too easy to sit watching the lovely Bae Il Dong all afternoon.

Warp

GIg guide | 39

GIg guide | 38

/ Launceston

GIG GUIDE / Hobart

Date

Events / Venue

Saturday February 12th The Nation Blue + myblackson + Luca Brasi + Face the

Fiasco – The Brisbane Hotel

Late Night Krackieoke – The Brisbane Hotel

DJ Brendan + Guests – The Observatory (Main Room)

Garrod Matcham + The Smashers – The Telegraph Hotel

DJ Grotesque – Cargo Bar

DJ Danny Paradise + DJ Brent + Dj Grotesque

– Ivory Lounge Bar

Don McLean with special guest Cody Grant

– Wrest Point Hotel Casino

One Fine Day Fest – The Republic Bar

The Lady Bugs – The Alley Cat Bar

Brolesque – The Grand Poobah ----------------------------------------------------------------------------------------Sunday February 13th Directions in Dub – The Brisbane Hotel

Michael Clennett + Dj Grotesque + Dj Dameza – Cargo Bar

Open Mic with John & Nick – Hotel SOHO

Calypso + Asta Binnie – Irish Murphy’s

Adam Cousens Band + Linc Le Fevre + Seth Henderson

– The Republic Bar -----------------------------------------------------------------------------------------Monday February 14th Wolfe Brothers – Hotel SOHO

Tim Woods + Joel Stibbard + Kate Walker – Irish Murphy’s

Calypso – The Republic Bar ----------------------------------------------------------------------------------------Tuesday February 15th TPSN – Irish Murphy’s

Josh Durno + Joel Stiddard – The Republic Bar

Joe Cocker + George Thorogood

– Derwent Entertainment Centre ----------------------------------------------------------------------------------------Wednesday February 16th Essence Of The Cool – The Brisbane Hotel

DJ Brendan + Guests – The Observatory (Main Room)

Chocolate Bedrock – The Republic Bar

DJ Dameza – The Observatory (Lounge Room)

Joel Everade – Hotel SOHO

DJ Adam Turner - Barcelona ----------------------------------------------------------------------------------------Thursday February 17th The Dirty Love + Sunset Riot (NSW) – The Brisbane Hotel

Michael Clennett + Guests – Cargo Bar

Dean Stevenson & The Rock Drop + Al. Future

– The Republic Bar ----------------------------------------------------------------------------------------Friday February 18th DJ Johnny G + Guests – The Observatory (Main Room)

DJ Millhouse – The Observatory (Lounge Room)

Michael Clennett + The Big Swifty – The Telegraph Hotel

DJ Grotesque – Cargo Bar

Alex Felix + guests – Ivory Lounge Bar

DJ Adam Turner - Barcelona

Australian Made – The Republic Bar

Guthrie + Truckshow – The Alley Cat Bar ----------------------------------------------------------------------------------------Saturday February 19th Captain Ahab (usa) + Toecutter (nsw) + Bankai + thatbobguy

+ AManCalledCraig + more tba! – The Brisbane Hotel

DJ Brendan – The Observatory (Main Room)

Michael Clennett + Dr. Fink – The Telegraph Hotel

DJ Rabb – Cargo Bar

DJ Danny Paradi$e, DJ Mez + DJ Grotesque

– Ivory Lounge Bar

Open Mic with John & Nick – Hotel SOHO

DJ Adam Turner – Barcelona

Pink Day Out: Rock for Tits – The Republic Bar

The Steadfast Shepherd + Billy Whims – The Alley Cat Bar

Altyian Childs – Derwent Entertainment Centre -----------------------------------------------------------------------------------------

Warp

Date

Events / Venue

Sunday February 20th Fee Whitla + DJ Grotesque + DJ Dameza – Cargo Bar

Cake Walking Babies – The Republic Bar

Ivories at Irish – Irish Murphy’s ----------------------------------------------------------------------------------------Monday February 21st The Smashers – Hotel SOHO

G.B. Balding (Finger Pickin’ Blues) – The Republic Bar

Folktronica + Alex Martin – Irish Murphy’s

Billy Connolly – Derwent Entertainment Centre ----------------------------------------------------------------------------------------Tuesday February 22nd Dan Hennessy + Nick Foster + Barry Jones – Irish Murphy’s

Lisa Williams – Wrest Point Hotel Casino

La Vista Showcase Gig – The Republic Bar ----------------------------------------------------------------------------------------Wednesday February 23rd DJ Brendan + Guests – The Observatory (Main Room)

DJ Grotesque – The Observatory (Lounge Room)

The Wolfe Brothers – Hotel SOHO

DJ Adam Turner - Barcelona

Loren – The Republic Bar ----------------------------------------------------------------------------------------Thursday February 24th Alps + Bear Grillz + Tree + Oceans – The Brisbane Hotel

Michael Clennett + Guests – Cargo Bar

Old Man River + Passenger + Daniel Lee Kendall

– The Republic Bar ----------------------------------------------------------------------------------------Friday February 25th DJ Johnny G – The Observatory (Main Room)

DJ Millhouse – The Observatory (Lounge Room)

Michael Clennett + Dr. Fink – The Telegraph Hotel

DJ Dave Webber – Cargo Bar

DJ Alex Felix + Guests – Ivory Lounge Bar

DJ Adam Turner – Barcelona

Sugartrain – The Republic Bar

Crixus + Dameza + Akouo + Paddles + More

– The Alley Cat Bar ----------------------------------------------------------------------------------------Saturday February 26th Farebi Jalebi + That Bob Guy + Leafy + Kireesh

– The Brisbane Hotel

DJ Brendan + Guests – The Observatory (Main Room)

Garrod Matcham + The Smashers – The Telegraph Hotel

DJ Grotesque – Cargo Bar

DJ Danny Paradise, DJ Mez + DJ Dameza

– Ivory Lounge Bar

DJ Adam Turner – Barcelona

Melbourne Rock Showcase: July Days + The White Good +

Swing Set Green – The Republic Bar ----------------------------------------------------------------------------------------Sunday February 27th Wolfe Brothers + DJ Grotesque + DJ Dameza – Cargo Bar

Open Mic with John & Nick – Hotel SOHO

Gypsy.Cz (Czech Gypsy Hip Hop) – The Republic Bar

James Dilger (Sole Stickers) + Linc LeFevre (Fell to Erin)

– Irish Murphy’s -----------------------------------------------------------------------------------------Monday February 28th Joel & Jake – Hotel SOHO

Dave McEldowney + Fritz – Irish Murphy’s ----------------------------------------------------------------------------------------Tuesday March 1st Art @ The Brisbane – The Brisbane Hotel

Peter Hicks & The Blues Licks – The Republic Bar ----------------------------------------------------------------------------------------Wednesday March 2nd DJ Brendan + Guests – The Observatory (Main Room)

DJ Dameza – The Observatory (Lounge Room)

Wolfe Brothers – Hotel SOHO

DJ Adam Turner - Barcelona ----------------------------------------------------------------------------------------Thursday March 3rd Cabaret w Circus Horrificus – The Brisbane Hotel

Michael Clennett + Guests – Cargo Bar -----------------------------------------------------------------------------------------

Date

Events / Venue

Friday March 4th DJ Johnny G – The Observatory (Main Room)

DJ Millhouse – The Observatory (Lounge Room)

DJ Grotesque – Cargo Bar

DJ Alex Felix + Guests – Ivory Lounge Bar

DJ Adam Turner - Barcelona

The Hoodangers – The Alley Cat Bar ----------------------------------------------------------------------------------------Saturday March 5th Merkaba + Shammie + Logsta + Ainsley – The Brisbane Hotel

DJ Brendan + Guests – The Observatory (Main Room)

DJ Adam Turner – Barcelona

Danny Bhoy – Wrest Point Hotel Casino

Quiz Night – The Republic Bar

Angel Eyes + Drunk Elk – The Alley Cat Bar ----------------------------------------------------------------------------------------Sunday March 6th Sambo, DJ Grotesque + DJ Dameza – Cargo Bar

Open Mic with John & Nick – Hotel SOHO

Bo Jenkins – The Republic Bar ----------------------------------------------------------------------------------------Monday March 7th Joel & Jake – Hotel SOHO ----------------------------------------------------------------------------------------Wednesday March 9th Jeremy Matcham – Hotel SOHO

DJ Adam Turner - Barcelona ----------------------------------------------------------------------------------------Friday March 11th Break Even (18+) + Resilient + Luca Brasi + Wolf Pack

– The Brisbane Hotel

DJ Adam Turner – Barcelona

Glenn Robbins, Jeff Stilson & Mick Molloy

– Wrest Point Hotel Casino

Ozi Batla – The Republic Bar ----------------------------------------------------------------------------------------Saturday March 12th All Ages – Break Even + Resilient + Luca Brasi + Wolf Pack

– The Brisbane Hotel

DJ Adam Turner - Barcelona ----------------------------------------------------------------------------------------Sunday March 13th 18+ - Jason Webley (USA) + Ben Lawless Project

– The Brisbane Hotel

Late Night Krackieoke – The Brisbane Hotel (Front Bar) -----------------------------------------------------------------------------------------

Date

Events / Venue

Saturday February 12th Mace + Rodger Charles + PD + Joycie - Hotel New York

Boaz + Mace + EMC – Hotel New York (Front Bar)

PD + Basssup – Manhattan

Live bands – The Hub

Darlington in the bar @9 – The Royal Oak ----------------------------------------------------------------------------------------Sunday February 13th Open Folk Session @5 – The Royal Oak ----------------------------------------------------------------------------------------Wednesday February 16th Mick attard in the bar @9 – The Royal Oak ----------------------------------------------------------------------------------------Thursday February 17th Lonnie Tunes in the bar @9 – The Royal Oak ----------------------------------------------------------------------------------------Friday February 18th Hopper + EMC + Boaz + PD – Hotel New York

Roger Charles – Hotel New York (Front Bar)

Basssup + PD - Manhattan

Live bands – The Hub

The Little Cubas in the bar @ 9 – The Royal Oak ----------------------------------------------------------------------------------------Saturday February 19th Mace + PD + Basssup + Joycie – Hotel New York

Boaz + Mace + EMC – Hotel New York (Front Bar)

PD + Basssup - Manhattan

Live bands – The Hub

C.T and The Nighthawks in the boatshed @9 – The Royal Oak ----------------------------------------------------------------------------------------Sunday February 20th Open Folk Session in the bar @5 – The Royal Oak ----------------------------------------------------------------------------------------Wednesday February 23th Open Mic Night in the bar @9 – The Royal Oak ----------------------------------------------------------------------------------------Thursday February 24th Samuel Bester in the bar @9 – The Royal Oak ----------------------------------------------------------------------------------------Friday February 25th Hopper + Roger Charles + PD – Hotel New York

Mace – Hotel New York (Front Bar)

PD - Manhattan

Live bands – The Hub

Matt Sonic and the Hightimes w/ Guthrie and The Little

Cubas in the Boatshed @9 – The Royal Oak ----------------------------------------------------------------------------------------Saturday February 26th Rodger Charles + MS Fest Guest DJ’s TBC – Hotel New York

Mace + Roger Charles + EMC – Hotel New York (Front Bar)

Live bands – The Hub

Live Music – The Royal Oak ----------------------------------------------------------------------------------------Wednesday March 2nd Mick Attard in the bar @9 – The Royal Oak ----------------------------------------------------------------------------------------Thursday March 3rd Future Recollection in the bar @9 – The Royal Oak ----------------------------------------------------------------------------------------Friday March 4th Live bands – The Hub

L’Ton Blues Club presents Bo Jenkins in the boatshed @9

– The Royal Oak ----------------------------------------------------------------------------------------Saturday March 5th Live bands – The Hub

Shaun Kirk in the bar @9 – The Royal Oak -----------------------------------------------------------------------------------------

Warp

Restaurant Cafe Bar Showcasing Hobart’s Open 7 Days till late.

Weekend Breakfast from 8am.

Metz on Sundays forget about Monday

217 Sandy Bay Road 6224 4444 www.themetz.com.au

Wednesday night Uni Specials from 6pm.