Warp Magazine April 2011

W arp Warp

Hungry Kids of Hungary

ISSUE 2 march 2011 WARP ISSUE 3 | APRIL 2011

Yellow Fever

Mike Noga

Dave Graney

Sampology

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Adalita (Magic Dirt) Carus Thompson Sun April 24 Thur April 21

Sampology Fri April 29

The Little Stevies Sat April 30

The Holidays Fri, April 8 The Funk Band Featuring Tim Partridge Sat, April 9 Dont Lose The One Sun, April 10 Double Down Tue, April 12 Girl Friday Wed, April 13 Pugsley Buzzard Thu, April 14 Ben Wells & The Middle Names Fri, April 15 Sugartrain Sat, April 16 Rosie Burgess Trio Sun, April 17 Patrick Berechree Mon, April 18 Soul Fish Tue, April 19 Brian Fraser Wed, April 20 Adalita (Magic Dirt) Thu, April 21 Mic Dons (Dunn D, Mdusu & Greeley) + Kerser + Bladel + Rowdy Fri, April 22 Japan Relief: Ride The Tiger Sat, April 23 Carus Thompson & Band Sun, April 24 G B Balding Tue, April 26 Fritz Wed, April 27 Trumps Thu, April 28 Sampology's Super Visual Monster Mash Fri, April 29 The Little Stevies Sat, April 30 Hungry Kids of Hungary Thu, May 12 Dave Graney Sat, May 14 Pegz Sat, May 21 Lowrider Fri, June 17 Jebediah Fri, July 22

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6 News

NEWS Pegz to release new solo album and to tour

Jebediah adds Hobart to it’s national tour

Warp magazine

Obese records CEO Pegz is set to release his first solo album in 3 years, coinciding with the release of the new CD, Pegz will also be embarking on his first national tour in 3 years.

The 16 date journey will see Pegz joined on stage by Melbourne MC Eloquor on hype duties, with DJ 2Buck on the decks. The album ‘Drama’ will be available in April, and the tour will hit Hobart on May 21st at The Republic Bar, supported by Dialectrix.

Adelaide artist Simplex recently dropped his highly anticipated debut solo release. The Terra Firma MC’s (who has made vocal, beatbox & production appearances on countless other Australian releases) ‘Audiobiography’ has been a long time coming for those who have been lucky enough to pick up on Simmo’s work over the past 10 years. The entirely self-produced album boasts a something-for-everyone appeal, with guest appearances from the likes of Candice Monique, Motion, Delta & Ranto Bokgo, & is available through Obese Records.

Perth’s purveyors of rock Jebediah have SOLD OUT their Melbourne show at The Corner Hotel on Friday 6th May and have promptly added a second show to The Corner’s calendar on Thursday 5th May. With tickets selling fast elsewhere in the country the band have further expanded The Kosciuszko Album Tour, adding a new show for their southern fans in Hobart at the Republic Bar on Friday 22nd July. Tickets are on sale now for usual outlets.

Issue 3 April 2011 -----------------------------------------EDITOR Nick Mason nick@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 -----------------------------------------Writers Merran Reed, Sose Fuamoli, Sarah Leary, Eva Lubulwa, Josh Clements, Lyn Geisel, Daniel Townsend, Jervis Dean, Jarred Keane, Lucas Thomas, Caity Rode, Lisa Dib, Brett Neuling, Jade Bonus, Sybelle Foxcroft -----------------------------------------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.

Simplex releases debut

Audrey Auld ‘Come Find Me’ Australian Tour Audrey Auld’s bringing a brand new album ‘Come Find Me’ home to Tasmania for her dad’s 80th birthday party. With five weeks of planned to tour across Australia, Audrey has found time for 2 shows: Saturday April 23 at the Oz Rock Inn, Ulverstone and Saturday April 30 at the Moonah Arts Centre. ‘Come Find Me’ is out now.

The Herd release new ‘pay-what-you-like’ single Elefant Traks’ The Herd recently released a new song available for download online for the princely sum of whatever-you-think-its-worth.

‘The Sum of it All’, which premiered on Triple J, is a smooth & melancholic melody based track with bouncing drums & piano. It is also the first taste of the fifth Herd album which will be available later in the year. The Herd will also be touring nationally later in the year. To download the track, hit up www.elefanttraks.com

Joelistics joins the Elefant Traks herd The worst kept secret on the internet was confirmed recently with Elefant Traks announcing the signing of TZU frontman, Joelistics. Set to release his debut solo album ‘Voyager’ on May 6, the album was written during his recent worldly travels, riding the Trans-Mongolian railway, transiting through airports; and a winter in a one bedroom flat in the Montmartre district of Paris. With a reputation as one of the most enigmatic artists in Australian hiphop, the entirely self-produced ‘Voyager’ is already widely anticipated.

Warp launch this Friday!

Don’t forget that the official launch of EVERYONE’S favourite street mag is on this Friday at plan B featuring none other than the Purple Sneakers DJ’s.

Purple Sneakers has enjoyed a five-year run (and counting) as Sydney’s hottest weekly indie gathering. The Purple Sneakers brand of party has now become an indie institution, with weekly nights in Sydney and Melbourne and monthly nights in Canberra, PSDJs have completed extensive national and international touring alongside international favourites La Roux, Bloc Party, Grizzly Bear, Ratatat, The Presets and The Rapture and at key festivals including Big Day Out, Splendour In The Grass, Field Day, Parklife, Good Vibrations and Falls Festival.

Tickets are $10 on the door. Don’t miss it.

Tony Joe White returns to Hobart this May

Mind over Matter release sophomore album Blue King Brown return to Hobart this May With Blue King Brown finishing up performance spots at SxSW [USA], CMW[Canada] and Babel Med [France] in March, the band have announced their first national Australian ‘headline’ tour in eighteen [18] months to officially launch their new album WORLDWIZE PART 1 North & South.

Blue King Brown appear at the University of Tas on the 26th of May and will be joined by special guest, Melbourne based African hip hop artists Diafrix.

Young Sydney duo Mind Over Matter recently released their sophomore album ‘Just Like Fireworks’. Leading up to the release date, Mind over Matter made a series of 5 promotional videos discussing the process behind 5 of the songs on the album, check out www. mindovermattertv.com to see the vids. To coincide with the release they are embarking on a national tour, hitting up 12 locations around the country, to find out when they are hitting Hobart, check out www.mindovermattercrew. com (date not announced at time of print)

The original swamp rocker, Tony Joe White has been cutting it up for almost 50 years now and he shows no signs of slowing down any time soon. Tony Joe loves travelling to Australia and has done so consistently for the last 15 years, treating old and new fans alike with his rocking tales of old times, good times, spooky times, sexy times and party times. With his trusty Fender Stratocaster, his Boomerang swamp box and a trusty old Fender amp, Tony Joe delivers every time.

So with an Australian tour on the go, Tony has included Hobart on the 14th of May at Wrest Point. Get your tickets from Wrest Point now.

Contents 7

CONTENTS

Yellow Fever include Hobart in national tour Yellowfever, the captivating minimalist art-pop duo are preparing for their inaugural visit to Australia throughout April and May, following on from a string of US dates.

Hailing from Austin Texas, the band has released a string of EPs and singles, which in 2009 were compiled onto their self-titled album. Their first official album is in the works and will be on a record store shelf near you later in 2011.

Think Stereolab covering early Go-Betweens, or Young Marble Giants, if they had existed in Dunedin in the early eighties.

Catch Yellowfever at The Brisbane Hotel on the 4th of May and Grand Poohbah on 5th of May.

Trial Kennedy to release ‘Living Undesigned’ and announce Tas shows

John Williamson accompanied by the TSO this August Australian icon, singer and songwriter John Williamson will perform a very special concert accompanied by the Tasmanian Symphony Orchestra at Wrest Point on August 5.

Having just released his latest live CD and DVD offering ‘John Williamson: In Symphony’ which was recorded in late 2010 before a capacity audience at the Sydney Opera House, the multi-award winning artist is looking forward to returning to sharing the stage with one of the country’s most celebrated orchestra’s.

Trial Kennedy return with their all-important second album. Songs written, honed and arranged, they hired out Sing Sing and tracked ten songs in nine days for what would become the new album which will be released independently.

To celebrate, Trial Kennedy will be touring the country and have announced 2 dates for Tasmania: Friday, 17th June at the Granada Tavern, Hobart and Saturday, 18th June at Hotel New York, Launceston. Tickets on sale from the usual venues and online through oztix.com

In Malice’s Wake are set to release ‘The Thrashening’ April 21 and have booked a show at The Brisbane hotel that night to launch it in a whirlwind of thrash metal mayhem.

This show is part of a larger run of shows throughout Australia, New Zealand and Indonesia. One to take your parents along to.

Bliss n Eso shows selling fast

09

Mike Noga

10

Yellowfever

11 Marianne Dissard

13

Pugsley Buzzard

14

Ill Starred Captain

16

Little Bear

17

Over-Reactor

18

Dave Graney

19

Lyke Giants

19

You’re an Arsehole

21

Deadmau5

22

Stanton Warriors

23

DJ Mez

23

Sampology

24

1928

26-30 Arts 29 Andrew on Art

Bliss N Eso’s winning streak continues, with tickets to their highly anticipated Running on Air tour being snapped up quickly across the country. Shows at Melbourne’s Festival Hall and the Sunshine Coast Sold Out within days.

Hobart is now on it’s final ticket release with the Under 18’s section sold out. The Devonport show is strong also and is expected to be sold out soon. Don’t delay.

31-33 Performing Arts 34-37 Album Reviews 38-39 Live Reviews 40-42 Gig Guide

Lost & Lonesome and EgadAmia present

YellowFever

Austin TX

Wed 4th May The Brisbane Hotel with special guests

Love Connection

Thurs 5th May The Grand Poobah tix through moshtix

The Little Stevies

15 Hungry Kids of Hungary

In Malice’s Wake head to Hobart as part of national tour

Frenzal Rhomb’s over 18 show at The Brisbane Hotel on the 24th April and Propagandhi on the 20th May are close to selling out. Get your tix now if your up for it. Tickets for all shows including the Frenzal under age show on the 24th can be bought from The Brisbane, Ruffcut Records, Red Hot CDs and Mojo Music.

08

12 Mick Harvey

Williamson will perform his biggest hits capturing our country, characters and spirit with new sounds and stories portrayed through the inclusion of orchestra. Ticket holders will also be treated to some of Williamson’s latest, yet to be recorded material which will also be interpreted into orchestral scores.

Frenzal Rhomb and Propagandhi shows selling fast

Issue 3 APRIL 2011

8 Music

The Little Stevies

we hadn’t been playing the set at all before we went to record.”

If Hobart was the live music equivalent of Mecca and regular trips to the Island State were a sure sign of pop superstardom, The Little Stevies could feel positively chuffed about their progress in 2011.

Taking 25 demoed tracks into the studio and working with LA-based producer Ethan Allan (Tim Finn, Kristin Hersh, Luscious Jackson), the album was eventually whittled down to 11 tracks that best showcase The Little Stevies’ undeniably honest and emotive songwriting, combined with catchy pop melodies and perfectly-honed vocal harmonies.

But instead of using their two trips to Tassie this year as any kind of measuring stick, the Melbournians are letting their second album Attention Shoppers - and the buzz it’s creating - do most of the talking.

Furthermore, given the overwhelmingly positive response to their new collection of slick and harmonious pop songs, still with the subtle folk edge that was the signature of debut album Love Your Band, it’s hard to argue with their logic.

“We have got so much coming up,” said Bethany Stephen, who, alongside sister Sybilla, long-time friend Robin Geradts-Gill and Joshua Barber, makes up the fourpiece. “The next couple of months is going to be so full-on and it basically started at Port Fairy Folk Festival which was the weekend gone by,” “It was huge and such a good reception for the new album which has just come out.”

So good has been the feedback for Attention Shoppers and so pleased are the band with the album, Bethany even admitted being an unashamed fan herself – and that alone is a nice position to be in.

“We’re so stoked and there’s been so much anticipation for the second one to come out,” she said. “We all love it. It’s good when you get that feeling where you want to go put it

on to listen to it and you’re not embarrassed to listen to it. I think that’s a good sign with any album,”

“It still feels like fingernails across a chalk board if someone else puts it on in front of you, but we really love it and it’s a change of direction musically which is really exciting.”

The change of direction in sound was always on the cards with the creative process considerably different from first album to the next.

“The recording process was kind of different to the way we did the first album,” Bethany said. “For that (first album) we recorded a whole bunch of songs we’d been playing for ages so we were really rehearsed and, you know, really scrubbed up on everything,” “For this second album we wrote until we left to go to America to record the album so

“In shows since we got back (from America) in October we’ve played a couple of songs here and there to practice them live,” Bethany said, promising “a whole new set” for fans to embrace.

As well as the Australian album tour, The Little Stevies are also preparing for another taste of touring and performing in the U.S. later this year.

Having created a stir at a Memphis showcase in February 2010 and returning to record the album in Los Angeles later in 2010, they’ve enlisted a booking agent and are set for festival dates as well as their own shows and a likely US album release.

As well as creating excitement for the band and in the industry, the return trip to America is arguably a more likely indicator of The Little Stevies rising stardom than, say, regular flights to Hobart.

But there are still nerves associated with performing live, specifically in terms of playing well and, believe it or not, wardrobe choices.

“Clothing issues...,” Bethany joked. “What are you going to wear? How do you look? All those ridiculous things!”

“Actually, on that note, we did recently get a sponsorship where my sister and I are being dressed by a clothing label in Melbourne called Queen Clothing and that has been amazing,”

“We’ve had less issues over clothing of late, which is great, but the paranoia still comes out.”

Dressed for success, but no delusions of grandeur here. Bethany remains aware of the many and varied pitfalls that have been known to beset recording artists who surf to the top on the crest of a wave.

“I hope we don’t get to the top too quickly ‘cos there’s only one way you can go from there which is coming down,” she said.

“There are certain things we’re getting more and more comfortable with and there are certain levels you reach and then you keep on going and keep climbing.”

So, for now, it’s time to keep preparing for the impending national tour and plugging the album, a task made so much easier given Bethany’s obvious pride in Attention Shoppers.

“It’s basically a really great pop album,” she said. “It’s got catchy tunes, you know, and a great album that has catchy riffs that stay in your head and words that stay in your head in a genuine level,” “It’s really fun and I love listening to it.”

Stu Warren

The Little Stevies play The Royal Oak in

Launceston on April 28 and The Republic Bar in Hobart on April 30.

Music 9

Mike Noga: In for the Kill With guitar slung across his back in earnest, his senses primed and with bullshit-piercing ammunition at the ready, Mike Noga declares hunting season open.

There is a certain amount of kicking against the pricks in the ethos of any great artistic endeavour. Springsteen, Dylan, Young, Hicks... they all had it...the inimitable desire to graciously raise one’s middle finger and extol a simple, yet effective, ‘Fuck you!’ to the status quo, the banal and the vapid to get and give something more authentic and, ultimately, timeless. To this most noble of ends Mike Noga is spending his 2011 hunting balladeers.

“You need to take some fucking venom out with you when you go on the road hunting balladeers,” spits Noga. “Yes, I am a white guy with an acoustic guitar and a harmonica but, no, I don’t sing about surfing; I am rallying against that. My songs sound more angry that anything else...I don’t know if you picked up on that,” a laugh slices through Noga’s speech mid-manifesto before continuing full-steamed wrath ahead albeit with a wryly cocked brow and hint of a grin, “...and I’ve been watching the Deer Hunter a lot lately too, now that’s an angry gentleman’s film.” Noga reconsiders for a moment, “I’m not really that angry, I’m quite a nice person...

I am a nice person, but I hate human beings,” Noga pauses again before adding the cherry on top,”...but I like you.”

Such is the modus operandi behind Noga’s sophomore tome, The Balladeer Hunter. Nine tracks of blood and sweat, the album comes nearly six years after his debut solo effort, Folk Songs. Malicious intent to insipid singer/song writing aside, The Balladeer Hunter represents the ultimate subversion circa 2011, an album designed to be listened to start to finish - no posturing self-referential zeitgeist required.

Noga explains: “The whole approach from the get go has been to make a record that was ageless and to do it the old fashioned way by putting a bunch of songs together that flowed nicely. To record it simply, keep it raw and put a bit of heart back into it.”

No mere spur of the moment folly, The Balladeer Hunter, is a project steeped in almost militaristic planning aided and abetted by some fortuitous timing. “I’ve had the majority of the songs for at least a year or two and I’ve had the idea for a long time,” says Noga. “It was all mapped out in my head; how I wanted it to sound, what tracks would be on it...even down to the track listing, the name and the artwork.

It hasn’t been until now that I have seen a decent slab of time where I can actually give it the attention that it deserves. My last record came out right when I joined The Drones so I literally put it out and went away for six months and I didn’t really get a chance to play it live, I didn’t want to make that same mistake again.

So when Gaz (Liddiard) from The Drones told me he was going to do a solo record and we would have a bit of time off I went, ‘Well, I’m gonna do mine as well. So there.’”

Unlike Kiss, circa 1978, the release of solo albums from two members of one the country’s most revered bands is not a popularity contest (Noga laughingly selfdeprecates at the suggestion, “If it were that...I’d lose.”) nor does it auger badly for The Drones’ future, in fact, as Noga reveals quite the opposite is true.

“To be honest there have been times over the last couple of years that I have thought, ‘Fuck, I’ve had enough, I’m not going to do music anymore.’ I don’t know if people think that because The Drones are successful that we are rich – because we are the opposite. I’m not whinging...we are really lucky...we are the

minority in this country that can actually make a living from playing...it’s a very bare bones living and I have been worn down in the past by that constant struggle to stay afloat. But after doing this, and I know it sounds weird, I feel like a little kid again, I am really proud of this record and nervous about it and excited and refreshed.”

Debuting the new tracks throughout his support slot on Band Of Horses’ recent European tour further cemented Noga’s inkling that The Balladeer Hunter was a winner.

“Our first gig was in an old seated theatre to about 2,000 Portuguese teenagers all staring up at us. It was a real baptism of fire but we got a standing ovation at the end. Playing in front of 2,000 people is a good way to get your shit together,” he laughs.

Shit together and ready for the hunt, Mike Noga will be taking The Balladeer Hunter on the road this May - patchouli soaked songsmiths consider yourself warned.

Jade Bonus

Mika Noga will be playing at The Republic Bar, Hobart Friday May 13th The Balladeer Hunter is out April 1 on Other Tongues.

10 Music

yellow fever TEXAN indie darlings YellowFever are about to hit our shores as part of their first Australian tour.

SARAH LEARY managed to tear half of the quirky duo away from the Austin sun to chat about hurky jurky songs, hot springs and the feeling of being invaded.

very busy. I wanted to go for a swim because I feel like I’ve been shaken round a bit, you know?”

Despite the opportunity South By SouthWest presents for up-and-coming acts, More said the annual music trade festival can get a bit much sometimes.

“It’s pretty magical in the sense you can see these amazing shows, but I don’t know, sometimes I feel like all these bands are invading my town and won’t leave.

Sometimes I just feel like hibernating away from it all.”

The tour might be a timely way to escape all this trade show hoo-hah then?

IT’S the last day of Austin’s South By Southwest (think AGfest but music) and YellowFever’s Jenna Moore is off for a dip – not exactly your typical post festival wind-down.

build. It’s minimal but confusing at the same time. Adam plays the drums and synthesiser and I play the organ and guitar. A good way to describe the sound is hurky-jurky.”

“We’re at these springs that stay pretty warm near my house. I have to make myself get in soon because it’s 5pm and still sunny out - also because I rode my bike to get here,” Moore laughed.

Finishing in Brooklyn last week, Moore said YellowFever’s recent tour had been their best yet.

It’s soon clear that nothing is typical when it comes to the Texan art-pop duo, which of course makes our chat all the more delightful.

The band has just wrapped up a three week tour of the US East Coast with indie supergroup Wild Flag and is preparing to head to Australia for its first international tour in May. To unfamiliar ears, Moore describes the YellowFever live show as a `hurky-jurky’ experience of weird and wonderful pop songs, some about animals (such as Horses, Cats and Rats), and some not (Culver City, Homebody).

“I guess the goal is enjoyable pop music. It’s catchy but done in a weird way. I try to pick melodies with big internal jumps that build and

“Yeah, we’re so excited; we don’t know what the place looks like, we’ve only ever been to Mexico and Canada so maybe it’ll be a mix of those (laughs). I keep wondering if all the people in Australia are really tall, all surf and have nice tans.”

I don’t have the heart to tell her she might be disappointed.

“It was amazing. We did a lot of college shows and people were really receptive even though they weren’t very familiar with our music. Everyone was really enthusiastic; we sold a lot of records, didn’t fight and played with people we really admire.”

“The only people we’ve met from Australia is this band from Melbourne called the Witch Hats who came to the US and played with us for a few weeks. They all had really bad curly hair like me, so now Adam says I have an Australian haircut.”

More and Jones toured the coast in classic rock-star style – in a ratty old van they call the `hippie wagon.’ It went okay for the most part, but More says she doesn’t want to jinx it by talking about too much.

More said the band had just finished its debut album and is looking for labels to release it in the states. For previous their releases, Bermuda Triangle and Cats and Rats, YellowFever worked with indie label Wild World to release them, to the wild world. Over the next couple of months they will also be releasing a single called Horse, which I’m told we should look out for.

“We’re very superstitious. It has toured the country seven times, so yes, we’re really thankful and can only say nice things about it,” she laughed.

“The first day we get back, South By Southwest is on in our hometown so it’s been

The duo has been making music together for five years after meeting through a mutual friend, also a muso.

“I was playing in a dying little band before we met, where everyone was really grouchy.

I just knew him (Adam) as an acquaintance.

He came to one of our shows and offered to play drums and we ended up having a lot in common. We are best mates now, it’s amazing. I can’t think of another situation that could have allowed that to happen.”

Moore explains that YellowFever like to write about all sorts of phenomena, including, but not limited to: animals, friends and living in the middle of nowhere.

“I guess the crowd favourite at the moment is Cats and Rats. Homebody is a bit more dramatic, there’s a lot of drift parts and slide guitar in the middle that’s a bit of a novelty.

We look like monkeys too when we play it so it’s kinda like going to the circus. Maybe you could tell people our show is like going to the circus?”

Sounds perfect.

Sarah Leary Yellow Fever Australian Tour: Wednesday 4 May - Brisbane Hotel, Hobart

Music 11

Marianne Dissard – Téméraire L’Abandon Between Lisa Dib’s swoons at Marianne Dissard’s gorgeous accent, she managed to chat to the French singer from her base in Tucson, Arizona.

How does a charming French lass from the Pyrénées end up in hot desert Tucson? To quote the Mad Hatter, “I shall elucidate…”

How did your new album, L’Abandon, come to be?

“Two years ago, I met this Italian composer [Christian Ravaglioli] and he wrote a song for me as soon as we met; he called it Marianne.

I thought, this is fantastic, this guy can write brilliant songs. He’s a bit more avant garde, classical music, not the usual rock and roll type I am used to. But the songs are brilliant and I kept working with him until we had lots of songs to choose from. When I met him, he didn’t speak a word of English and I didn’t speak Italian- we had to find a way to work but it’s tricky to get to know someone with the language barrier. But we had music in common. Not knowing each other well and working immediately together like that helped in merging the music and the lyrics in an intimate way. That’s the key to making music.”

You’re a French-born artist based in the south-west United States. Are you finding it challenging to find a niche?

“People hear the accordion on the first album and think “oh, this is so French”. But now I’ve been in America so I’m a sort of hybrid.

The album has been extremely well-received in countries like Canada, which is not quite French and not quite American. In France, they don’t quite know what to do with me; I’m not quite French, the band is from Denmark, Canada, we have an Italian composer…it’s exciting to be defying conventions. That’s artistic freedom; I’m not gonna be bound by territories or what I should sound like. Every step I take and every song I try to work on or every medium…it’s very freeing, I just go for what’s interesting.”

Arizona is not one of the more well-known American states, like your Californias or New Yorks. Tell us about the scene in Tucson.

“The thing about Tucson [is] there’s no music industry here. You do the music you wanna do, everybody does that. [In LA] they’re always worried about how they present themselves

Image: Scott Christensen

and the competition, but the town I live in… there’s a music scene but no big business. So you just have tons of music and musicians, but the whole town is underrated. We have tons of amazing stuff but nobody thinks about us” “We have an amazing desert; very striking and beautiful. It’s supposed to be a lot like Adelaide.

The Mexican border is an hour away, so we have a lot of influence of Mexican culture. We have a lot of mariachi-type music, instruments and patterns from the German immigrants, plus the native American music which is called chickenscratch. Mariachi is taught in the schools. I don’t think there’s a Tucson sound, there’s an energy and a fervor about it.”

What are your plans for the future?

“I have a plan this summer. I wanna take the Trans-Siberian express. It’s the one that goes from China to Moscow; it goes the entire length of Russia, it’s seven or eight days if you don’t stop. On a train, from what I understand, you get to meet all these people; there’s a restaurant, drinking parties, you can read or think or watch the countryside go by. I don’t really take vacations; when you do what you want to in life, the concept of vacation doesn’t need to happen.”

“If I take a trip like that, I am nobody; I want to be a blank slate and write from that perspective - being a sponge, looking out the window, listening to languages. I wanna erase everything and write from that perspective.

I used to do that when I was directing documentaries, because it was always different subject matter…every time you have to erase and start again.”

L’Abandon is out now on MGM. Lisa Dib

Marianne Dissard plays the Grand Poobah in

Hobart on May 6.

12 Music

Mick Harvey Mick Harvey is part of that mid 70’s – 80’s music explosion of punk rock and new wave.

Harvey’s musical career began around 1975, a time where the iconic Australian bands such as The Saints, Radio Birdman ruled. His first band The Boys Next Door gigged regularly around the pub scene circa 1977 - 1980 before morphing into The Birthday Party where his solid guitar playing stamped his signature style.

As a composer he is impressive having penned numerous innovative songs for the band. A versatile multi talented musician, Harvey turned his hand to drumming in after moving to West Berlin in the 80’s. Then came a turning point and pivitol meeting with Nick Cave and the subsequent forming of Nick Cave and the Bad Seeds. This collaboration lasted an amazing 36 years until Harvey left the band citing not only creative differences but a strained relationship with Cave. A growing desire to spend more time with his family would also influence Harvey’s decision.

Harvey has always thought of himself primarily as a collaborator. Outside the Bad Seeds, and his solo work, he works on projects both low and high profile. Producing albums by new bands such as The Nearly Brothers, doing shows and recording with Rowland S. Howard, his old bandmate from The Birthday Party and writing film soundtracks.

Not too much has changed from Harvey’s heydays. He remains as prolific a figure in the industry as ever, citing a big collaboration amongst his most recent endeavours. “I had been working with Polly (PJ) Harvey on some music and came back to Australia. I had a bit of time and focused on completing the Sketches’ songs and here we are.”

Harvey is of course referring to his latest studio album. It was in 2007 that Harvey began jotting down ideas for the project that would later become Sketches from the Book of the Dead – a record that would slowly and meticulously evolve, a pattern indicative of Harvey’s creative process. “I write a bit differently, I’m not a classic songwriter who completes a full song,” he muses.

“I came up with bits and pieces (for Sketches) and it grew.”

As one might imagine, then, Sketches really is a sum of its parts, specific themes coursing throughout the record and colouring its reception. “(The record) is not so much about the grief and loss that is experienced when losing someone close to us, but about the memory, the lessons learnt, the inspiration and what is left behind, or simply the story or sketch of particular situations in a persons life,” Harvey reveals.

Fortunately, fans won’t be kept waiting too long for a live reprise of his latest work, with plans for a few shows in the works. “Yes we’ll definitely be playing some gigs,” Harvey confirms. “The dates arent confirmed yet but will be playing in Sydney and Melbourne, they should be announced pretty soon though.”

Sybelle Foxcroft

Sketches from the Book of the Dead is out April 29 on Mute

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Music 13

PUGSLEY BUZZARD Pugsley Buzzard tours Tasmania, and gives Eva Lubulwa a peak into his wonderland that is his musical world, of how his affair with music began and what inspires his music.

I have Pugsley Buzzard in my ear, a musician with the power to transport you down a rabbit-hole and into a world that though confusing, is filled with the sound of potent piano and his sand paper voice that fires with such a force that shakes your soul. Buzzard lives in a musical world of his own creation, serenading his audience with notes that make you skip a heartbeat, lyrics that make you wince with empathy and the a melody that drags you into the narrative without a chance for argument. Often described as dark, his lyrics weave a web of broken hearts, lover’s deceit and the strains of heartache.

Buzzard has been playing in the Australia music scene for over eight years and is what you could call Australia’s answer to the boogie and stride. However, Buzzard was introduced to music through the fear of the school bully called Tank, who he describes as “built like a brick bathroom and twice a nasty”, and a regrettable incident with a cream pie. Buzzard took asylum in the music room where he bumped into a love of instruments and music. He grew an insatiable appetite for music drawing inspiration from such acts as Screaming Jay Hawkins and Charles Mingus. This love of music has taken him on a wild ride, with Buzzard dipping his toes into the many musical genres including punk rock, avantgarde, classical and jazz. Though he has experimented with various genres, Buzzard claims, “I have been playing boogie

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MARGATE

UPCOMING EVENTS

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Dark Horses (UK) Fri Apr 8 | 7:30pm The Chordwainers Sat Apr 9 | 7:30pm The Timbers Sun Apr 10 | 5:00pm Brookfield Comedy Club Wed Apr 13 | 5:30pm Piano Marathon Fri Apr 15 - Sun Apr 17 Pugsley Buzzard Sun Apr 17 | 3:00pm Rosie Burgess Thur Apr 21 | 8:00pm Manjia luo Sat May 7 | 7:00pm Susan Gai Dowling (Mothers Day) Mon May 9 Hobart Song Company Sun May 15

Open Mic Night 1st Friday of the month Folk Night 3rd Friday of the month both have a guest artist each month and are free Local Market Every Wednesday (10am - 3pm) Delicious Homestyle Meals Open 7 days 9am till 6pm Friday and Saturday nights and all events

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

and stride piano since I was about 12.

I was always playing that even when I had a Mohawk.”

Buzzard is an eccentric character, living outside the box labelled normal/ everyday.

He describes life and his music through the glasses that he views the world- a world that seems to be the remake of a cartoon series or choose your own adventure book.

Buzzard describes his sound as a “grizzly bear rummaging through a piano in a wind tunnel”.

When asked what would be his greatest musical triumph he stated “to have one of those WWF wrestler use one of my songs as his theme song. I think he would need an entourage of chimps to really do it justice…”

Buzzard seems to get caught up with the boy like joy of having his music tied to the back of a cape and followed by a procession of monkey.

Pugsley Buzzard is worth checking out. He’s touring Tasmania in April 2011. In the words of Mr Buzzard himself, he has “a voice that makes women sigh and grown men cry.”

Eva Lubulwa

Pugsley Buzzard tours Tasmania: Thurs April 14 - The Republic Bar and Cafe Fri April 15 - Fresh On Charles, Launceston Sat April 16 - Southport Hotel Sun April 17 - Brookfield Vineyard, Margate

14 Music

Aboard Ship with Ill-Starred Captain Perth via South Australian indie roots duo Ill-Starred Captain are a band who have toured extensively and achieved success through the UK and Australia, yet they’ve done it their own way by taking the roads less travelled by - the regional areas. Sose Fuamoli caught up with one half of the band, Justin Francis, to chat about life on the road and the importance of community and local radio.

There’s a good chance you may not have heard of Ill-Starred Captain. Brief research unearths reports that their live shows both here in Australia and in Ireland - their alternate HQ for parts of the year - are “legendary”, while reviews of their three records are filled with nothing but praise.

Justin Francis, the band’s drummer, provides an insight into how hard-working both he and bandmate Scott Bassham are in terms of getting the Ill-Starred Captain name out and into the wider Australian scene.

He also reveals how such experiences influenced their latest album Black Swan Eye. “When it came to Black Swan Eye, we kind of wanted to take our time and really produce an album that will be around in 30 years time. But also, I think we had to live various stories within the context of the album. You had to actually live it and feel it emotionally and then put it down on record so it has that substance going on.”

So if Australians and the Irish love them, why haven’t these troubadours struck commercial gold? It all comes down to promotion and the way you go about it. In the case of Ill-Starred Captain, going via Sydney or Melbourne with their music wasn’t the right direction.

“When it comes to the city, there are a whole lot of gatekeepers. You have to knock on someone’s door, and if they like your stuff they’ll invite you in but if they don’t then you’re kind of stuck out on your own,” Justin admits. “So having been in bands in the city, we just chose to totally walk away from it and go and create our own thing.”

Providing these regional towns with their fair share of live music is something for which Justin campaigns strongly.

“We played Leigh Creek last night which is a mining town, in ten years there’s been nothing that’s come through. The bands are coming through again and the people are slowly getting their heads around that fact. Regional areas deserve live music coming through their towns just as much as anyone else.”

By taking copies of their album to the community radio stations in each stop on their tour around the country, this grassroots approach had the potential to get IllStarred Captain more airplay and more fans.

A lot of work, but, according to Justin, that’s the life of a musician.

“If you play in a band that’s the work you do: you tour and record, go meet people, do your media, do your press - and then sometime, try and find a part of the life for yourself in it.”

Sose Fuamoli

Ill-Starred Captain GIGS Friday 13th May - Royal Oak, Launceston Saturday 14th May - Bridport Hotel Sunday 15th May - Republic Bar, Hobart Sunday 22nd May - Irish Murphys, Hobart

With Ill-Starred Captain’s third record Black Swan Eye released last year, the band are currently on a tour around Australia, paying as much attention to getting their music out to the regional areas as anywhere else.

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Music 15

Little Bear Little Bear are nothing if not unique. With a mixture of influences and instrumentation that can’t help but turn heads, there’s also the small matter of a debut EP set for release later this month.

The five-strong Hobart ensemble incorporates guitar, bass and drum kit with the likes of piano accordion, electric cello and a looping station, capping everything off with the definitive voice of singer/songwriter Urshula Leung.

“(There was) a strong emphasis on electronic production as well as the acoustic stuff,” she said. “I had an idea of what he would do because of his electro background… it’s come across the way I thought it would.”

“Little Bear started when I was back (in Tasmania) for six months a couple of years ago,” Urshula said. “I started with a piano accordion player and went from there.”

With other influences ranging from “Nick Cave, Eastern European heroines to early jazz and blues legends” and a sound that is perhaps best described as a fusion of jazz, folk-rock, blues and ambient sounds, Little Bear is not the kind of band to be easily pigeon-holed.

The seven song self-titled EP was tracked during a stay on Bruny Island where Little Bear established a comfortable and creative space for the band to best express itself.

“I tried to do it in a really short space of time,” she said. “I’ve tried to push it through in three months.

“I decided to do it that way (on Bruny) so I could create an environment that feels comfy and at home.”

Little Bear recently played Sydney’s Bohemian Grove as a three-piece, but will be playing the EP launch in all their five-piece glory at The Brisbane Hotel on April 30.

They’ll be ably supported on the night by Cherry Slug (aka Nicholas Mercer) who will play an ambient set on electric cello and looping station before jumping into his ‘other’ role as bassist/cellist for Little Bear.

The night will be rounded out to the electro sounds of another Little Bear collaborator in Unsoundbwoy (aka the EP’s producer, Garth Sheridan).

Sheridan’s influence on the Little Bear EP was exactly what Urshula had hoped it would be.

“It is hard because three members are very folk-rocky and I come from more hip-hop sort of jazz background,” Urshula said. “It’s my lyrics and melody and I go to them and it emerges from that.”

Once the EP is launched and the performance aspect is further polished on the local scene, the plan is to take the Little Bear sound to the mainland to give folks in the big smoke a taste of the inimitable Little Bear sound.

Stu Warren

16 Music

Hungry Kids of Hungary – Feeding Time Brisbane’s own indie-pop band Hungry Kids of Hungary are making good across the seas; first stop, South by Southwest, then the world! Lisa Dib gets the plan from front-man Dean McGrath. songs, hot springs and the feeling of being invaded.

Alongside with the likes of Art vs Science, Kids of 88, Miami Horror, The Jezabels and many more, Hungry Kids of Hungary are representing Oz at the illustrious South by Southwest Festival (SXSW) in Austin, Texas.

Dean McGrath, Hungry Kids’ member and SXSW correspondent fills us in on the juicy details as his band of merry musos take the US by the horns.

“We did Canadian Music Week in Toronto, stopped off in New York for a couple of shows, doing South by Southwest, then off to San Fran, Houston…” McGrath rattles off a laundry list of American tour dates the band is currently making their way through.

Although they return to Australia in April, the ‘Kids are hungry for US success.

“It’s a bit like starting over again” McGrath laughs, citing their shows before US crowds.

“Nobody knows you; you’re playing small rooms to smaller crowds. You expect that… but the response has been good!”

Despite the band’s youth (beginning in 2007), the four-piece have made a considerable dent in the oft-fickle Australian public heart. They’ve played the hell out of the nation’s festival circuit - with appearances at Big Day Out, Sounds of Spring, Woodford, Southbound, and Falls Festival - and have supported the likes of Washington, Kate Miller-Heidke, Bertie Blackman, Philly Jays and Little Birdy. Not only that, they have wowed that major domo of local fame, Richard Kingsmill. Their 2009 single Scattered Diamonds was, as you may remember, a huge “TV song” that even graced the usually morose wards of Grey’s Anatomy.

McGrath admits that, despite the band’s hectic schedule, they still have itchy feet: “You never feel like the job is finished; you just keep making music and tour and play, it doesn’t really extend far beyond that.

We really want to get working on the next album, that’s the funnest part. We’ve already

started writing and we’re really keen to start recording again. We keep fairly busy but we wouldn’t have it any other way,” “The material we are writing at the moment, it’s a little bit different than the first record [Escapades, 2010]; we’re not interested in making the same record twice” McGrath explains of the new sound the band are carving. “We have ADD, musically; we get bored easily. We’re pushing the sound of the band into a different area, which is exciting for us. We’re not gonna drop an electronic album or anything, though!”

“We’ve always just done what we want,” he continues, explaining the band ethos.

“Australia’s been great, especially things like Triple J, and the level we’ve gotten to at home is great. We’re extremely lucky.

We’ve always just made the music we want to; we don’t wanna cater to any specific sound.

The last album is a mash-mash of songs anyway, I don’t think it’s gonna be too much of a stretch for people to appreciate what we’re gonna do next. We’re not gonna freak out and be completely unrecognizable… we’re gonna try not to sound crap!”

Though the band is led by McGrath and his golden combination of vox and guitar, he relies on his band mates to make HKOH what they are: Ben Dalton on bass, Ryan Strathie on drums and, as he explains further, his song-writing partner - perhaps the Lennon to his McCartney - Kane Mazlin on vocals and keys.

“Kane and I write independently; we write demo songs, send them to the guys, workshop them. The basic bones of the song are me and Kane. Kane and I both go through

really productive periods where we’re writing lots then it might dry up for a while. When Kane’s feeling a bit productive and writing songs, it kicks me into gear to write more.

If Kane writes something that’s awesome that I love, it inspires me to write great.”

“There’s such a sense of camaraderie amongst Aussie bands,” McGrath notes on the bond between Oz bands touring OS. “There are certain bands in Australia that hang together a lot, a lot of that depends on where you live. We’re good friends with a lot of bands from Brisbane like Boy and Bear, so we’ve been chatting here at South

by Southwest. Everyone’s just nice! It sounds like a cop out, brown-nosing, but in our experience in general, most of the people that we encounter are really easy to get along with,” Though, despite McGrath’s sunny demeanor and optimistic view on the life of a travelling musician, there is but one bug he does bear…

“The sleeping arrangements area is a bit difficult on the road. I’m on a blow-up mattress on the floor here in Austin. We’ve got six guys in one small hotel room…when the snoring starts up, it gets a bit hard to bear…”

Lisa Dib

Hungry Kids of Hungary play the Republic Bar in Hobart on May 12 and Hotel New York in Launceston on May 13.

Music 17

Over-Reactor A self manager with his heart in the right place, Cory Blight is one of the few musicians who can successfully mix his business needs and the passion for music. Speaking to Merran Reed, Cory Blight explains how youth are more interested in music, his recent tour and how being a self manager helps him creatively.

A band should have the ultimate say when it comes to the direction of their music right?

Well, when signed to massive record label, a lot of that control is in ‘The Man’s’ hand. This was one of the key issues that inspired Cory Blight, previously of Melbourne band Dukes of Windsor to self-manage and create a DIY ethos to his band Over-Reactor.

He talks of his band like a business, he proudly states that the “only thing that has to be outsourced are bookings”. He runs the band like a business; there are two singer/ songwriters, Ezekiel Oz and him, a publicity lady, and a graphic designer, who created their recent video clip. Along with self-managing Over-Reactor, he also does all the accounts, which as he says is a total burden, but also “very satisfying to be able to do on your own, I am also very lucky that I am not too bad at doing the accounts”.

If you thought that all of that sounds like a handful, well Cory also teaches drums in his spare time (Respect). He says that making music is his passion, and that playing in a band is a full-time gig. Although he says that in comparison to Dukes of Windsor the making music part flows a lot easier, as there are is only one other mind to run ideas against, as opposed to the numerous army of brains that would have to be on board with a musical idea in the Dukes.

Cory tells Warp that Over-Reactor is him getting back to the roots of his musical affair.

“I am really getting back into the music that I listened to when I was younger, like Slayer…

that heavy metal sound.” Over-Reactor does have a heavy sound to it, and has coined the newly created genre of Death-Hop, a term a fan of Over-Reactor bestowed upon them.

The band will begin their East Coast Lose Your Delusion (named after their latest album) tour on Thursday, 31 March in Geelong, finishing up on Friday, 27 May in Brisbane. Throughout the tour they will be putting on a few underage and all age’s gigs, which Cory says was inspired after seeing an US post-punk band, playing in Tasmania. Cory reckons that the youth are a lot more enthusiastic about music, “having not been spoiled be an array of live music, as many people are once they get are in their 20s and 30s”.

He asserts that a lot of bands that are signed to major labels sometimes have to push their release dates back, even having to hold off on releasing their album for up to 12 months at the request of the label, what a load of BS! However Over-Reactor doesn’t, so why not get your Death-Hop on at one of their upcoming Lose Your Delusion gigs?

Merran Reed

Lose Your Delusion gigs Thurs April 14 - Don College, Devonport (U18 show) Fri April 15 - Hotel New York, Launceston Sat April 16 - Brisbane Hotel, Hobart

18 Music

Dave Graney: Still concealed within his rock n’ roll Australian music legend Dave Graney has a chat about recording his latest release, touring the country and expressing his unusual love for American Hip-hop stars Lil’ Wayne and Nas. South Australian music legend Dave Graney is without doubt one of the most eccentric, influential and authentic musicians to ever call Australia home and after 20 studio albums with his ever-changing line-up of bands, Graney is releasing Rock N’ Roll Is Where I Hide, an anthology of previously written tracks brought forward with a brand new perspective from his current band The Lurid Yellow Mist.

“The new record is a bunch of songs that I recorded in the 90s, but have all really stuck with me in different ways, and I thought it is something that would be a really interesting thing to do. A lot of people believe that once you play the same songs for too long that you can start to get bored with them and I guess that is just what we were trying to emulate with this record, the songs that have really stuck with us, deserve a fresh start to our audiences, and to us. We feel as if it is producing a debut album all over again. A lot of artists I admire like Willy Nelson and Muddy Waters have made records like this, and it only makes sense for me to follow in that direction.”

Traditionally, Graney has been an independently released artist who produced and distributed his work without the help of the major record labels. But with his latest album, the decision was made to get some extra assistance in dealing with the production process. Rock N’ Roll Is Where I Hide is the first recording by Graney to be released on a mass producing record label, choosing to sign on with Liberation Music, who he believes were definitely the right choice for him at the time.

“We had always been used to producing and recording our music on one of our own labels or some form of independent distribution, but working with Liberation has certainly been beneficial for us at this time. They work with some pretty incredible musicians and producers and have had a pretty substantial contribution with this release. ” Undoubtedly, as the times have changed, the bluesy pub rock genre of music that Graney plays, appeals to a far smaller audience than the prime of post-punk music within the 80s and 90s and despite the fact that he may be losing audiences to the likes of dance and hip-hop music, he embraces them as fellow musicians and admits that rap music especially appeals to him, and in some cases, even more than his own specialized genre.

“In my opinion, rap music is the best genre around at the moment; it’s all about the lyrics.

In fact,

I much prefer the modern rap artists more than some of the ‘rock’ bands performing these days.

I’m really into the work of Lil’ Wayne, especially within his album Tha Carter III and I’m also really digging Nas as well at the moment. In terms of rock music however, Queens of the

Stone Age are just simply amazing. Their live shows in particular are just really invigorating and they are a real talent to behold.”

Over the past year, Graney has been incredibly busy, with a hectic touring schedule, recording his latest album and he has somehow managed to find the time to publish a book which will be released circa the time of his new album next month. 1001 Australian Nights is a memoir styled autobiography of which Graney expresses his experiences as a musician through his eyes and not through a third party, which is a very strong aspect of this book to him.

“I personally love reading books written by musicians as it tells the real side of the music and I don’t really care for record sales or the public’s approval, the real reason for being a musician is just for the pure love of the music.”

Although his new record has been released solely under the name Dave Graney, his upcoming national tour will see his band The Lurid Yellow Mist accompanying him through every show and he wouldn’t have it any other way.

“I love my band, we’ve always really toured together and I specifically choose not to do many solo or acoustic gigs, mainly because it just doesn’t sound right without them. Clare [Moore] and I have been playing since the start of our career and Stuart Perera has been with us for 13 years now, right since he finished school and then also Stu Thomas as well.

We’re kind of a family now.”

Although Dave Graney is reaching the humble age of his early 50s, his ever-adored swagger still remains and he is showing absolutely no signs of slowing down or stopping doing what he loves, writing, recording and playing music.

Josh Clements

Dave Graney & The Lurid Yellow Mist

will be playing at The Republic Bar, Elizabeth St, North Hobart, on Saturday 14th May Rock N’ Roll Is Where I Hide is released 15th April 1001 Australian nights is released during April

Music 19

Lyke Giants Gigging every week, recording continuously and on the eve of launching their third music video, these Giants certainly aren’t sleeping.

Releasing their self titled EP late last year, Devonport trio Lyke Giants are quickly establishing a strong foothold in both domestic and international indie markets.

Born from a strict routine of rehearsing, writing, recording and gigging, it’s no surprise the EP is going down a treat across the nation.

“We try to gig as much as possible. Since releasing the EP I don’t think there’s been one week where we haven’t played somewhere,” said singer/guitarist James Brewer. “If we’re not working on our live set we’re writing, and if we’re not writing we’re recording.”

This hard working attitude, coupled with great product, is also what’s turning the heads of industry professionals in Melbourne and Sydney. Recorded by five-time Aria winning producer Paul McKercher (Sarah Blasko, Eskimo Jo, Pete Murray)

there’s no denying the EP’s quality, which has attracted the attention of none other than Triple J Music Director Richard Kingsmill.

Although yet to debut on the Js, online the band has enjoyed several months near the top of the overall Triple J Unearthed charts.

Occasionally reaching number one in the indie section, Lyke Giants has gained a plethora of new Aussie fans.

“So far we’ve had airtime on stations in Asia, America, Spain, and Mexico. We’ve also been heard in over 30 countries through lastfm.com alone,” said James. “It’s pretty funny actually.

One Malaysian station that was playing us regularly had this announcer that kept calling Callaghn (Lyke Giant’s Bass Player), Call-a-han, he also had this great accent that sounded like a Kim Jong Il/Al Gore Hybrid.

With no immediate plans to tour the South Pacific, when Lyke Giants aren’t playing, writing or recording their music, they’re making videos for it.

Accompanied by local photographer turned producer, Jesse Turale, the band set up, direct, and edit their own music videos. So far the team has released two clips, both on par artistically and technically, with the works of a professional production company.

The first video, “Turn This Fight”, has been airing for consecutive weeks on Rage, while their latest work, “The World Shakes” is drumming up a healthy following on the net.

“It’s great to see the songs come to life through a different medium,” said James.

“And maintaining collective control allows us to become a part of that journey. I think that’s what makes directing them so rewarding.”

With their third video, Breaking The Night, set for release in mid-April, it’s hard to know if this band will ever stop.

“We’re thinking of doing at least four clips for the EP, but we’ll see what happens.”

Cabe Mackenzie

It is perhaps overseas, however, that the band is really causing fuss.

You’re An Arsehole - Episode THREE

Sport

You’re e l o h e s An Ar

You’re an arsehole because you hate sport.

You groan during footy finals time, and you grizzle when you miss My Name is Earl because the tennis is on. You long for escape from the hooligans and watermelon hats, to New York, London, Paris, Munich - where arts and culture reign and there isn’t a passionate yob in sight; they don’t chant “aussie aussie etc.”, it’s meaningless to them. And don’t try and trick you by suggesting chess or poker are sports, you know they’re intellectual pursuits and nothing less.

Equality for arseholes like you is ensuring that everyone is equally amediocre; no-one should strive to be faster, stronger, higher, or longer, than any other. “Don’t compete, don’t compete!” you scream in your sonof-an-arsehole’s face – “it doesn’t matter if you have to eat the spaffy biscuit, you’ll make a movie about it one day, and if you’re lucky it will have Josh Brolin in it.”. You won’t let your daughter play netball in case she stunts her “development” and then never wins Idol because her boobs are now athletic and no longer commercially viable.

You’re not a soccer mum, you’re a ballet mum, you’re a violin mum, you’re a calculus and linear algebra mum and you’re an arsehole. You curse your kid’s time spent at school in PE, or at the cricket camp, or the school trip to the pool. You just know

all that stuff they’ll learn about teamwork, goal-setting, fairness, confidence and selfworth will just be used one day to have a wank on camera, smash a TV screen, sell cocaine to mates, shoot their wife, have a gang-rape, or of course, piss on a police station. You – being an arsehole – see your child as pursuing more hifalutin vices, ones that both feed and arise from creativity and exceptionality and yet require little physical prowess, like drugging and raping young girls, delivering anti-Semitic tirades, persecuting mice, downloading child pornography, punching Chonga at the Republic Bar, owning a monkey, and shooting their wife.

Oh, here we go, some rude lobster just bought a new race track, meanwhile struggling artists can’t even get the third draft of their screenplay funded – you think to your arsehole self. Brighter lights for Bellerive Oval? How about brighter lights for the spotlight on how society is getting stupider, more violent, less loving, and far less interested in what you have to say?

Nah, bad luck arsehole, you lost and came last. You’re an arsehole.

Prince Dirt

20 Club / Electronic

Club and Electronic News Qbik & MC Seeka presented by Broken Panda

DJ Offa (QLD) launches World Record attempt

Ministry Of Sound Electro Sessions featuring Rob Pix

Drum’n’Bass DJ and producer Qbik will be dropping in to Hobart late April.

The New Zealand expat Qbik has made his mark in Australia, gaining support for recent productions from the likes of Pete Tong, Annie Mac and Nerm. His first release My House featured on Drum and Bass Arena’s Summer Selection Compilation. Catch him at PlanB on Thursday April 21, kicking off at 10:30pm.

Entry is $10 on the door.

World Record for Kids is a Brisbane event with a goal to break the world record for the longest continuous set by a DJ, as well as raising money for the Kids With Cancer Foundation.

DJ Offa aims to spin for 121 hours or more in order to break the current world champion Cedric Barras (Switzerland), at the Neverland Bar in Brisbane on May 15 - 21, presale tickets available through Oztix for $30 +BF.

MOS rising star Rob Pix flies into Hobart in May with original and remix productions from big names like Laidback Luke and Tom Findlay from Groove Armada. With multiple residencies and demand on the Aussie dance music festival circuit, you’ll be lucky to catch him supported by Corney, DJ Squish and Gillie at PlanB on May 7 from 10.30pm. Tickets are $15 from Ruffcut Records and www.greentix. com.au

Stickybuds presented by Areacode Events and Ivory Bar Forward thinking charmer Stickybuds hits Hobart in April with his unique style of funk, hip hop, reggae, breaks and big bass lines.

As producer and a DJ, his eight releases have received global play from Featurecast, A. Skillz and Fort Knox Five. Get down to see him do what he does best, supported by Dameza and Mez at Ivory Bar on Saturday April 9 from 10pm.

Robert Babicz tours Australia On a mission with sound and emotions, Robert Babicz’s music career spans two decades and continues to prove him one of Europe’s best Techno producers, heading his own dance imprint, Babiczstyle. Babicz swoops into Australia in April with just a handful of shows in Brisbane, Melbourne, Sydney and Perth, plus a secret show yet to be announced. For more info: www.facebook.com/robertbabicz

Magic City: It’s Showtime Sydney cranks the party big time in May with 18 DJs from around the world and some of the biggest names in Trance of the last two decades, featuring Kai Tracid, Kutski, JDX and Wildstylez along with aussies Toneshifterz and Bioweapon, at Hordern Pavilion in Sydney on Saturday 21 May. Tickets available from www.ticketek.com.au.

More info: www.magiccity.net.au

Ajax at PlanB

Sunday Skool at Baraki Bar Sunday sessions are back with Baraki Bar announcing a new fortnightly event, Sunday Skool. One Nite Only will be providing corralling local DJs to spin electro, funk , trance and tech house from afternoon into evening. Wind down from the week and wind up for the week ahead at Baraki Bar on Sunday April 10 and 24, from 3pm till 9pm.

Known for his cut-n-paste Electro mashups, three-time 3D World DJ of the year Ajax messes with Hobart this month with the magic recipe that has placed him in the top 10 of the In The Mix Top 50 for the last five years. After launching his own label, Sweat It Out, in 2008, he’s signed artists like Act Yo Age and Redial.

With Hobart supports Kir, Lids and Adam Turner, catch him at PlanB on April 16 from 10.30pm. Tickets are $15 from Ruffcut Records and www.greentix.com

The Only plays Hotel New York Bursting onto the Australian dance scene with their ARIA charting debut single ‘The Only F*cking Rave Party’. Sydney siders, The Only have established themselves as not only DJ’s and Producers but must also see performers.

Supported by Mace, PD and Basssup.

Hotel New York, Launceston.

30th April. $10 entry before midnight.

aria charts Chart key

<G> Gold 35000 units tw this week <p> Platinum 70000 units ti times in

hp high position * Bullet pErformer

Aria Top 10 Club Chart 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.

Suite 203, 86 Murray Street Hobart TAS 7000

03 6224 9622

www.energyfm.com.au

TW LW TI HP Title Artist 1 1 9 1 WHINE YA WAISTLINE (Bass Kleph / Dem Slackers / Mankinde / Two Fresh / Edu K mix) Danny T Feat. Oh Snap!!

Hard Rock Sofa & 2 3 5 2 BLOW UP (Hook n Sling & Goodwill / Thomas Gold & Axwell mix) St Brothers Tommy Trash & 3 2 13 1 ALL MY FRIENDS (Feat. Mr Wilson) (Vocal / Piper & Trash / Oliver Twizt / MyBack mix) Tom Piper 4 8 2 4 WE RUN THE NITE Tonite Only Milk & Sugar 5 4 10 3 HEY (NAH NEH NAH) (Alex Kenji / Wa Wa / Bombs Away / Lake & Lys / The Noise mix) vs. Vaya Con Dios 6 5 9 4 STREET DANCER (Tristan Garner / Sneaker Fox / Two Fresh / Midnite Sleaze mix) Avicii 7 6 7 4 START AGAIN (Feat. Lovers Electric) (Club / Hook N Sling / Dem Slackers mix) The Aston Shuffle 8 7 5 7 ACCIDENTS HAPPEN (Fabian Gray & Emanuele / I Am Sam / Walden / Liam Keegan mix) Zoe Badwi 9 27 2 9 SEASONS (Syke n Sugarstarr / Ben Morris & Venuto / Original mix) Feenixpawl fRew & Chris Arnott 10 10 8 7 THIS NEW STYLE (Tommy Trash / Prok & Fitch Vocal / Dave Winnel mix) Feat. Rosie

Company ONE/SME NEON/WAR HUS/UMA DWN/UMA CSR/UMA VIC/UMA DWN/UMA NEON/WAR ONE/SME ONE/SME

Aria Top 10 Dance Chart TW 1 2 3 4 5 6 7 8 9 10

LW 1 2 14 3 4 6 7 5 9

TI 5 7 2 16 18 NEW 5 20 17 23

HP 1 2 3 1 3 6 6 3 1 1

Title BORN THIS WAY JUST CAN’T GET ENOUGH SWEAT (DAVID GUETTA REMIX) DIRTY TALK HELLO TILL THE WORLD ENDS LAST NIGHT TAKE OVER CONTROL WHO’S THAT CHICK LIKE A G6

Artist Lady Gaga The Black Eyed Peas Snoop Dogg Wynter Gordon Martin Solveig Feat. Dragonette Britney Spears Ian Carey Feat. Snoop Dogg & Bobby Anthony Afrojack Feat. Eva Simons David Guetta Feat. Rihanna Far East Movement Feat. Cataracs & Dev

Accred.* <P> <P> <P>3 <P>

<P> <P>2 <P>3

Company INR/UMA INR/UMA CAP/EMI NEON/WAR HUS/UMA JIVE/SME VIC/UMA MOS/UMA VIR/EMI INR/UMA

Club / Electronic 21

Deadmau5 is alive and kicking One half technological genius, one half showman; all Mau5.

Deadmau5 is the stage name of Canadian producer Joel Zimmerman, who under various monikers has been producing electronic music professionally since 2006. Since then the Deadmau5 brand has grown exponentially in success, to the point where he is touring almost full-time.

Already an accomplished producer and technical wizard before he took on music seriously, Deadmau5 is now considered to be at the forefront of electronic music production, programming and performing. He has become a favourite with fans and fellow producers for both his music and his showmanship.

Deadmau5’s live show features a signature “Mau5head” that is clad with an LED screen allowing visual technicians to animate the face of the head. Made up of 946 LEDs distributed over 32 rows, cooled by eight mini fans and complete with internal video glasses to allow Zimmerman to control his set.

He performs from the peak of a giant space aged lectern that resembles a cross between a pyramid and a stealth bomber.

This extravagant booth (Deadmau5 resents being referred to as a DJ) is also covered entirely in LED screens that display an array of images and animations that complement the music.

On top of this Zimmerman has recently incorporated a Holodesk mixer into his shows, which is essentially a giant, transparent touchscreen, allowing his audience to watch him control, mix, perform and improvise live.

Deadmau5 is renowned for employing professional photographer Rukes to accompany him on tours, resulting in excellent press shots like the one featured.

This may not mean much to your average punter who is only there to dance to the music, but to the tech-savvy and performers amongst fans, this expands on the new trend of live, immersive, electronic music shows.

As for material, Deadmau5 is currently touring in the wake of his latest offering, 4x4=12.

The album was produced from his in-home studio and on long-haul flights. Album tracks range from his signature tidy electro sound through to melodic progressive house and even dubstep - sometimes all within the same track.

On top of his official album release, Deadmau5 also regularly releases stand-alone tracks. An active user of social networks, in mid March he promoted a sample of a new track he was due to release and promoted it to his online fan-base.

The resulting deluge of traffic to the Soundcloud site hosting the track caused their normally robust servers to crash. A look at the track 24 hours later showed a waveform almost indistinguishable through the web of comments pasted all over it.

For those who have planned wisely, you will have already bought your tickets for the upcoming Creamfields tour, which Deadmau5 is headlining. This will be the first time he has brought his full live show Downunder and remaining tickets are expected to sell fast.

Hoping to scoop up a last minute ticket?

Thomas Williams

Creamfields • Friday April 22: Planet Cream (Adelaide) - Adelaide Ent Centre (Indoor Stadium Show) • Saturday April 23: Creamfields (Perth) - Claremont Showgrounds • Monday April 25: Creamfields (Melbourne) - Melbourne Showgrounds • Saturday April 30: Creamfields (Sydney) - Showring & Hordern Pavilion • Sunday May 1: Creamfields (Brisbane) - RNA Showgrounds Tickets available from Moshtix and Ruffcut Records

22 Club / Electronic

Who are The Warriors?

Debut albums are usually the domain of starryeyed young acts, but not for break-beat veterans like the Stanton Warriors.

Once upon a time, the international dance music scene was an exclusive and underground culture, shunned by the masses and confined to small, dark rooms, large warehouses, and wasted youth walkmans.

With the advent of technology and the natural progression of musical and cultural tastes, the dance music scene became increasingly popular and gained momentum. It brings us to the current explosion in cross-over dance-pop tunes and big name DJs regularly featuring at the top of festival bills playing slots once reserved for rock royalty.

he said of creating the album, which was written on the road.

“We just tour fucking heavily all the time for some reason. Being able make tunes on the road and test it out that night is the best test of how good the track is, and by the same token playing an inspirational gig will make you want to write tunes the next day.

“All of [the tracks] were tested on the dancefloor. We made a lot more tunes - around 20 - and we literally whipped it down due to the reactions of people.

Stanton Warriors is one such DJ production duo has ridden the wave from those formative years right through to today. They demonstrate that it’s never too late to release a show-stopper, with their first album in well over a decade.

Cutting their teeth in the London break beat scene, Stanton Warriors’ Mark Yardley and Dominic Butler have been near the earbleeding edge of the international breaks scene since 2001.

“The main inspiration was really my mum, asking when I was going to release a proper album! She doesn’t understand about releasing tracks and DJ mix albums.”

With several domestic and international releases on labels such as Tayo’s Mob Records and the hugely popular mix CD series The Stanton Sessions, the duo quickly and firmly imprinted its mark on the world dance and club scene.

The Warriors is an almost perfect sampler for the current international dance music scene. Fusing house, dubstep bass-driven beats and featuring guest vocalists Ruby Goe, Hollywood Holt and Eboi lending their dulcet tones, the whole album is geared up for some crazy parties.

This year the Stanton Warriors took their musical legacy to the next level with the release of their debut artist album The Warriors on March 18.

“We are little bit excited, it’s almost like when you finish an album you don’t want to hear it again,” Stanton Warriors’ Dom B told Warp.

“You kind of want to forget about it, you are in quite a weird mindset you know? But it’s quite flattering to have the accolades mentioned it, so far so good!”

With laptops and some tech-savvy, you don’t need to be in a big studio to get the ideas down,

Mum would be proud. The album is one of the most anticipated dance music debut albums of the last decade, with tracks like Precinct being released almost two years before the album dropped.

And the Warriors have seen their share, Dom confides.

“Around 1999 I was playing at a Bristol Caribbean festival when a crazy cracked-up Rasta pulled out a gun, fired it in the air and yelled out ‘JA MAN, REWIND DJ, REWIND!” “Which I promptly did.”

The Stanton Warriors’ debut album The Warriors available now on Beatport and iTunes.

Billy Green

Genre

Indie dance Generations of kids have invested hard-earned money and time in festivals, clubs, concerts, records, cassettes, CDs and downloads - all in the name of indie dance. So what precisely defines the genre?

Born out of the computer revolution, indie dance found its popularity in Britain during the 1980s, when synthesizers and drum machines became affordable.

As technology improved, digital became the new norm for audio creation and production and the temptation for bands and producers to include electronic elements to their songs became even more irresistible.

Bands found that they could write songs with a traditional format, on conventional instruments and then tailor these songs to take on extra meaning through digital production techniques.

An indie dance track will typically include sequenced drums and percussion, digital effects, synthesizers or soft synths, coupled with more traditional recorded instruments such as guitars, bass and vocals.

New Order became one of the most critically acclaimed and highly influential bands of the 1980s.

Due to its ability to adapt to current technological and social trends, it is not uncommon for a band to be touring their material, whilst at the same time DJs are spinning remixes of it in the clubs and radio stations are including it in their playlists.

This phenomenon has no doubt contributed to the success of many bands, which without this widespread distribution may not have been quite as influential. Bands such as Joy Division, New Order, Eurhythmics, The Chemical Brothers and The Prodigy have all adopted the indie dance format for success.

On the Australian scene, we have a proud tradition of strong indie dance bands, especially over the past decade. Bands like The Presets, Grafton Primary, Miami Horror and Pnau have all tasted success both in Australia and internationally.

No matter where you go you are bound to hear the sound which incorporates Indie Dance, it’s everywhere and is sure here to stay.

Thomas Williams

Club / Electronic 23

Interview with DJ Mez

Sampology Monster Smash

DJ MEZ SPINS STYLES RANGING FROM HIP HOP, FUNK, BREAKS, DNB AND HOUSE, BUT IT ALL COMES DOWN TO THE FEEL OF THE VENUE AND WHERE THE CROWD’S AT.

There’s no coming down from a Big Day Out high for Sampology, taking his audio-visual Super Visual Monster Mash on the road this month.

What’s your genre?

I play a lot of styles, but what I play really depends on a few factors; the time I’m playing, the venue, the feel – chilled or pumping – and of course, the crowd. I won’t ever just walk into a club and play the new songs that I’ve just got and that I like. I get paid to play what the crowd wants.

What do you enjoy about DJing?

I love when you hear the yelp of someone in the back of the club hearing ‘that hook’ they love, then at the drop, seeing them realize it’s a big dirty remix of it.

I love being able to play to different crowds and in different spaces. I also love being able to take a crowd through the ages and styles, playing everything from old school classics to new music - whether it’s remix or original.

How did you get into playing tunes?

I played guitar and sang vocals in bands through primary school, high school and college. I started collecting records around ’99 - 2000 and played at mates’ places for practice until I got myself some decks.

Then I first got slots @ Syrup’s ‘MESH’ nights, and then went on to start Wham! Bam! Pow! I just feel that it was a fairly natural progression from playing instruments.

What inspired you and Parky to start the Wham! Bam! Pow! nights?

We saw an opening in Hobart at the time for a Thursday night thing, and as a couple of young DJs looking for gigs, we felt the best way to get them would be to organize them ourselves!

So we and some other friends who used to play occasionally started it up, and we eventually stopped it a year later, when we moved out of the area, and it started to slow a bit. Then we put on some wed night gigs at Mobius.

What’s the biggest thing you have learnt from putting on parties?

I certainly don’t do much of it these days, as I have my residencies at a number of bars and clubs and work 4-5 days a week at my day job. But the main thing is really organizing equipment plus the DJs - not always much fun!

How many nights a week do you play and where do you hold residencies?

Three nights usually, although it varies I play every Wednesday and Friday nights at Barcelona Lounge Bar, I’m a resident at Mobius Lounge Bar, and play generally the later-slots on Friday and Saturday nights. And I’m also a resident at Ivory playing earlier on

Saturday nights. With all this, I can play three nights a week, and up to six slots over these three nights.

You’re one of Hobart’s busiest DJs. How do you stay enthusiastic?

The fact there is always new music coming out is enough. When ‘that’ track comes along, there’s nothing I want to do more than get up on the decks, and bang it out to a big crowd!

And once you get that feeling, you’ll want to come back and do it every weekend.

Are you doing any production?

I’m starting to play with production stuff nowadays, as I want to be making my own quality edits and remixes sooner rather than later. Then I’ll eventually start producing my own music from scratch.

What do you plan for the future?

Seeing the change in DJing since Final Scratch initially, then eventually Serato and Traktor.

[DJing was] something that only the lucky few that can afford to do - a new 12” was $25 for 1-3 tracks, or it took going digging for records each weekend at record shops picture me in the depths of Aeroplane Records back in the day.

Now you can download thousands of MP3s in minutes from the iTunes or the net. These are exciting times for DJs and producers alike.

Ainsley White

MEZ’S TOP 5 TRACKS 1) DREAMER - FEATURECAST (Label: Ghetto Funk): An old favorite, remixed like I never thought it could be, and by my favorite producer, no less.

2) SNIPER - FEATURECAST (Label: Ghetto Funk): As above, a killer EP. One of the classics I remember from my dance floor stomping days, remixed! Check out Ghetto Funk.

3) WANNA DO – SONNY FODERA (Label: Guesthouse): Great fresh track from an up and coming Australian producer from Adelaide. Got skills!

4) GOOD ENOUGH – SERIAL KILLAZ (Label: Serial Killaz): Some of the old drum’n’bass vibes I love. Respect!

5) SATURDAY KNIGHTS – CORDUROY MAVERICKS (Label: Chronic Beats): Such nice vibes, and well-known samples make this a fave with a more lounge feel.

Following the success of Sampology’s Super Visual Monster Mash last year across Australia, New Zealand, UK and Germany, the Brisbane AVDJ, turntablist and producer continues to press buttons for dancefloors nationwide.

Drawing inspiration from horror themes, with zombies, ghouls, monsters and creatures from black lagoons, he makes a mad mashup of excerpts from films, TV, filmclips, YouTube and vintage footage.

It’s all mixed live from Sampology’s turntables, magic Super Visual vinyl, mixer and drum machine, and projected onto a big-ass widescreen.

“I have 2 turntables and a mixer controlling a bunch of footage on a screen in sync with the audio and I give my all to deliver something unique that people will want to watch but definitely get rowdy on the dance floor to as well,” he told Warp.

“Although it’s a show where I’m using newer technology to deliver something, I think people will definitely come away from the night really enjoying it and getting something they haven’t seen before.”

Audio-visual DJs are a growing breed, but it’s still a relatively new way to create a fresh experience for an audience easily jaded.

“What I love about it is there are no rules so I try and do my own thing with it,” he said.

“I’ve found people respond really well when I take something they know, let’s say for this show Eastbound and Down, Charlie Sheen, Little Shop of Horrors” - check the YouTube preview - I flip it and remix it in front of them live.”

The Super Visual Monster Mash tour in Hobart features beatboxer Tom Thum, who

has hit New York, Germany, Scotland and the UK with Sampology supporting DJ Shadow and Cut Chemist on the Hard Sell tour.

Sampology is fresh from a US tour playing AV showcases and taking audiences to stranger places, and said that South By South West was one of the most crazy festivals he’s been to.

“The whole city [Austin, Texas] closes down for a five-day music festival. I didn’t even come close to seeing how far out all the venues spread, there’s so much to check out from fresh and unknown artists to major recording artists as well.”

Sampology is a remix and mashup star of the moment, but he finds producing a different challenge offering a different satisfaction.

“I find I enjoy producing my own tracks slightly more, but it takes longer because I always want to make something unique and develop my own ‘sound’. Remixing is more fun while I’m in the process of doing it, though.”

Jason Hogget & Rebecca Fitzgibbon

Sampology with Tom Thum When: Friday April 29 Where: Republic Bar Hobart Tickets: Republic Bar, Moshtix and Ruffcut Records

24 Club / Electronic

1928 plays Ivory Bar When: April 30 from 10pm Supported: by Danny Paradi$e and DJ Mez from 10pm.

Tickets: on the door.

Numbering off with 1928 Renowned Melbourne DJ, producer and promoter 1928 - pronounced “one nine two eight” - aka Adam Burnell brings his club night to Ivory Bar. Adam Burnell started DJing over a decade ago, when rave was all the rave. He started stockpiling records of all the biggest names around including Carl Cox, Jeff Mills and Luke Slater.

Now 1928 is playing annually at some of the country’s biggest dance music festivals, Summadayze, Stereosonic, Future Music Festival, Creamfields and Winter Sound System. He has supported Tiga, Fake Blood, Feadz, Boy 8-Bit, Proxy, Sinden, LA Riots, Yuksek, Fred Falke, Breakbot, The Kills, Metric and Krafty Kuts.

From his humble beginnings techno was his music of choice but over time he has been taken in by house music and the sound it encompasses.

“Times change,” Burnell told Warp. “I love a lot of forms of dance music and I also like to keep current, to play what the majority of people in a club want to hear.

What’s popular on dancefloors at the moment is very different to what I set out playing.

“House is all about the party vibe, which is something I love when playing. Although it’s house, a lot of the music I make under 1928 has unintentional techno elements - seems I’ve still got it in my bones.”

Recently 1928 has begun producing, receiving massive support from around the globe for his first release, a remix of College’s Can You Kiss Me First. He set to remixing tracks for artists such as Dance Area, Damn Arms, BMX and Rihanna and recently getting a lot of air play on Triple J through his remix of, Bag Raiders’ Way Back Home.

1928 was signed to his dream label Bush Records late last year, releasing a selftitled EP which featured the original tracks Tokyo and Make Some Noise and includes a remix of Tokyo by Miami Husslers.

“I’ve been playing records on Bush for a while now so the fact that they wanted to put it out got me really excited,” Burnell told Warp.

“It was an easy decision to go with them. I’m looking to release a second EP also with them in the coming months.”

You’ve probably heard the tracks on Triple J, but 1928 hasn’t.

“To this day I still haven’t heard any of them be played with my own ears. I don’t listen to much radio. A heap of friends have let me know that they’ve heard them. It will be epic when I finally do!”

Burnell is also known for his top-shelf dance nights Strobe, Love Story and Saturday nights at Eurotrash which have all become a clubbing institution in Melbourne.

“Put your hands up Hobart! House, techhouse, bangers and techno - I’ll definitely be playing a few of my unreleased tracks and remixes. I’m also working on a new hip hop side project at the moment, so I’ll no doubt play some club rap here and there!”

Ainsley White

Label

Bush Records Bush Records, purveyors of fine beats since 1993 with everything from house to techno on a truly global label.

Co-founder Eric Powell decided to pull stumps and relocate to Melbourne in 2000, an ominous move which paid off for the label and resulted in a more global catalogue.

Founded in Manchester by DJs Eric Powell and Eric Gooden with the goal to test the traditional boundaries of electronic genres, Bush Records is one of the industry’s most prevailing labels.

With an initial focus on releasing tracks on vinyl, the label has had to tow the line with the rest of the dance music industry and adapt to new distribution and DJ technologies.

Regardless of this logistical shift in the scene, fans of techno have proven to be as loyal as they are discerning and Bush Records and their artists continue to grow in popularity.

Powell was impressed by the local talent and many Australian producers have been afforded international exposure through the opportunities that have come from having a Bush Records representative here. Producers Jason Digby, Steve Ward, Midnite Sleaze and Miami Husslers have all had tracks featured on the label alongside international superstars like Carl Cox, Egbert and Jon Rundell.

More recently Carl Cox and Melbourne producer Julika caught up in the studio over summer to remix the Bush Records track Cutting Edge

by Dome Patrol.

“They have come up with a stormer,” Powell declared, while Carl featured the track in his

set for Ultra Music Festival in Miami, gathering strong support overseas.

Bush Records is committed to continuing its tradition of redefining and challenging the sounds and structure of electronic music and to signing the most innovative and skilled artists. Their current stable includes producers Joey Beltram, Heath Renata, 1928, Onionz, Jake Childs, Roel Salemink, Joe Brunning and Devilfish who are all actively pushing the creative limits of both their own sounds and the sound of Bush Records.

If you would like to listen to some ultra-sophisticated, innovative, club defining tracks, then Bush Records have scheduled label parties for both Melbourne and Sydney for the upcoming summer. Alternatively keep an eye out for the Bush Records logo, or check out their website: www.bushrecords.com Thomas Williams

Club / Electronic 25

Dj Kuya

DJ Spin Easy (USA)

Ivory Lounge Bar Saturday March 19 Dameza, Jack Viney, Alex Felix

Tattersalls Hotel, Curly’s Bar Saturday March 12

A veteran of Australian Club scene, Kuya has collected 3 DMC state championships 19982000 and an Australian ITF DJ title in 1999 in a career spanning over 20 years. A regular on the Australian festival circuit, Kuya’s trademark is genre skipping mash of old and new in the musical world.

First and foremost a party DJ, Spin Easy was light on the DJ tricks and heavy on the crowd participation at his recent Hobart gig.

Alex Felix kicked off the night spinning up his smooth styled jazz house and beats. Looking right at home in the ivory booth he blended tracks nicely to build some energy for Kuya who was now scoping out the equipment.

three decades of music. Scratching through hip hop, RnB and breaks, Kuya eventually settled into drum n bass for the remainder of the set. The set ended on a downbeat note with a jazz house remix of sexual healing.

Kuya has a bunch of experience and skill and I was really hoping to see him lay down a set using midi pads, korg equipment and samples, that I saw him use in videos of his practice sessions. Unfortunately he left them at home, so here’s hoping he’ll pack them next time.

Sam Stirling

Kuya took the decks just after 1pm mixing some crowd favourites. Missy Elliott, Beastie Boys, Rage Against The Machine and James Brown all appeared in a set that covered over

Reactable technology There aren’t many musical instruments out there that are stranger than the Reactable table instrument, a remarkable piece of engineering that may have you believing you’ve been transported 10 years into the future.

One of the big names on United States decks, Spin Easy is often found warming up crowds for Snoop Doog, Ice Cube and T Pain.

As well as being all about the music, he’s all about the entertainment factor too.

Getting on the mic several times per track and in between, he effortlessly hyped the crowd up.

He asked anyone with a birthday or a request to let him know, and regularly asked for dance floor participation with hands in the air, creating a dialogue with the crowd from early on in his set.

Starting his three hour set with a selection of some of the biggest hip hop and R’n’B tracks of the last few years, he kept up the energy by mixing things up with a solid hour of commercial dance, then switched to some classic West Coast hip hop.

Spin Easy’s love of this genre was evident and his enthusiasm on the mic was well received, inspiring a late burst of energy from the dance floor.

This wasn’t Spin Easy’s first visit to Tattersalls Hotel and it’s unlikely to be his last; his unique style of hyping up the crowd, combined with a track selection that is familiar enough to a Curly’s dance floor, is a winning combination.

Calvin Edgeworth

Reactable Systems was created with the vision to redefine the way we interact with computers, developing intuitive products focused on the promotion of creativity and the mediation of culture.

The latest technologies in human computer interaction, music technology, graphics and computer vision led to the creation of their first product Reactable; a novel musical instrument that has received several worldwide awards.

The Reactable was conceived and developed since 2003 by a research team at the Pompeu Fabra University in Barcelona including Sergi Jordà, Martin Kaltenbrunner, Günter Geiger and Marcos Alonso.

It has quickly become one of the most popular and worldwide acclaimed new musical instruments of the early 21st century and declared Hot Instrument of the Year by the Rolling Stone magazine (2007).

Björk, who after seeing the demonstration videos, successfully incorporated Reactable played by Damian Taylor on her last 18-month world tour Volta.

How does it work?

The Reactable is a round, translucent table that, in the dark, emanates this creepy blue glow.

What happens is that the table itself provides the platform for the user to make sounds with the provided “tangibles.” The tangibles are little blocks, all with different symbols, that all do different things.

Some tangibles are oscilators, some are voltage filters, and once the blocks are placed on the Reactable, the table itself displays animated symbols that let you modify what kind of sound that gets produced.

Reactable tables as yet are very limited in number. I highly recommend checking out the videos on their site, www.reactable.com to get a better understanding of what the future of music making could bring.

The Reactable are only sold in small batches and cost a mere $13,000.

Scruffy Goat

26 Arts

Image: Nic Goodwolf

From the Editor April according to urbandictionary.com is a left-leaning, cultured, intelligent, down-to-earth chick that has tons of friends throughout the world.

She’s a lover of cinema and ethnic cuisines, has a witty sense of humour and is a great person to get advice from she’s the friend that is always there if you need her. She’s also fantastic in the sack.

Urban dictionary is one of those places I visit when I get stuck on a word and want a more contemporary meaning over the classic English definition.

Not that this has anything really to do with Warp Arts but why not throw something completely irrelevant into the picture just to off centre things, I mean art can be quite an off-centre or sometimes a totally centring experience.

Each to their own.

A Pedalling Art

It’s free, it’s healthy for you and the environment, and now Artbikes are an efficient way to access Hobart’s dispersed art precincts and galleries.

people, created by Tasmanian architect and urban designer Ken Betlehem and commissioned through Hobart City Council’s Public Art Program.

Time to feel the wind in your hair with Hobart’s new Artbikes incentive.

With 15 bikes available to borrow from two locations in Hobart, you are provided with a helmet (a must), a lock, a specially-designed touring map and if you find yourself in a spot of bother with bike mechanics you can call on RACT for roadside assistance. My bike is cool, but not that cool!

These not only serve as a practical use but add to Hobart’s growing gallery of public art.

With five Artbikes parked at The Tasmanian Museum and Art Gallery (40 Macquarie Street), and the other ten at Arts Tasmania (146 Elizabeth Street), they can be borrowed for up to 7 hours at a time between 9.30am and 4.30pm, seven days a week.

There are several locations on the Artbikes tour map where you will find unique bike racks, called Bike Hubs, in the form of silhouette

Arts @ Work in partnership with the Hobart City Council, and with the assistance of The Tasmanian Museum and Art Gallery and RACT have brought to Hobart an impressive new art adventure for us all to take part in. Cheers to that and time to get your ride on, folks.

For more information on ARTBIKES visit www.artbikes.com.au Have you already had an ARTBIKE experience?

Warp wants to hear all about it.

Email alison@warpmagazine.com.au Alison McCrindle

Now to centre things into perspective with this month I have included some new sections of interest to arty farty types with our usual Gallery Guide - ever growing because I keep discovering. Also an Arts Opportunities section - covering things all Tasmanian, and there’s a list of websites to visit, as well as info on the Art Forum at the UTAS School of Art. All this plus our feature articles of art ventures Tasmania-wide. Spoilt! * If you think you’re up to scratch with writing about and for art or just have a burning desire to say something shoot an email (accompanied by a piece of your writing) to: alison@warpmagazine.com.au Image: Nic Goodwolf

Arts 27

Image: Jesse Hunniford

Sawtooth ARI launches in Launceston Sawtooth ARI officially opened its doors on March 12 to what an estimated 300 visitors, eagerly bustling in to see the new premises of the organisation formerly known as ArtsAlive Inc.

became a blessing, as the search for new premises brought the opportunity to reimagine the organisation and rethink the ARI’s role within the broader Australian art scene.

ArtsAlive ran for 12 years in different incarnations, filling the niche of artist-run-initiative in Northern Tasmania and last year underwent a significant restructure and relocation.

The result is Sawtooth ARI Inc. an organisation that has grown out of AAI and focuses on developing pathways for emerging artists from Northern Tasmania as well as contemporary arts education in our region.

The departure from its previous location behind Fresh Café on Charles Street and across from Launceston’s lovely Princess Square soon

A grant from BHP Billiton Temco’s Community Foundation saw the refurbishment of the First Floor Level of the circa 1940’s Wool and Skin

Artful PANOPLY A collective affair by four Australian Artist Run Initiatives.

On a sultry evening in March, an eclectic mix of people gathered for an equally eclectic inaugural exhibition and to celebrate the long-awaited opening of Launceston’s impressive Sawtooth ARI.

Facing an enforced move from its home in Charles Street, it appears the board seized the opportunity to re-invent the Arts Alive ARI. In doing so, this artists’ initiative is taken to another level – the bar is raised.

The anticipation of Sawtooth’s executive and its committee generated a palpable energy.

As a contemporary artist, I was thrilled to witness the birth of this exciting initiative. As a visitor to the space, I am intrigued by the possibilities and by what might emerge from within these four spaces.

An impressive number of guests enjoyed an opening exhibition which I overheard described as Launceston’s “mini MONA”.

Foreground artwork by Tricky Walsh

It’s a fitting description for an exhibition containing its fair share of sex, an emotive freeze-dried calf, architectural structures (a

Merchants Building, 160 Cimitiere St (above Stories’ Bookshop) take place over summer.

The ARI now offers two large exhibition spaces, a project space, a permanent video gallery, a boardroom, member’s lounge and public arts hub; all naturally lit with a stunning z‘sawtooth’ roof.

The gallery launch and inaugural exhibition opening, PANOPLY, was a collective affair by four Australian ARI’s (artist-run-initiatives): Sawtooth ARI (Launceston), Six_a ARI (Hobart), Inflight ARI (Hobart) and Death Be Kind (Melbourne).

Launceston City Council also came on board to sponsor the opening event and with support from Arts Tasmania through the assistance to organizations fund we will be ticking over four new exhibitions every month during 2011.

wow with the children), abstract paintings and digital prints, intricate M.C. Escherstyle works on paper, whilst an intriguing vertically attached tent compliments a semiinflated pink lilo.

Within the dark and intimate confines of a dedicated video gallery, a flaming vagina is causing some angst in the community, as is a series of digital images depicting sexual acts to backgrounds of war (despite visible entry warnings that material may offend).

There is more that simply must be seen but which is impossible to describe adequately within the limits of this critique. The art is exciting; the exhibition is energetic, with an absence of labels that might distract audiences from the true intent of this event, which is the emergence of Sawtooth’s contemporary art space.

Having received over 35 applications for this year’s exhibition call-out, the Sawtooth ARI program is soon to be released with artists applying from across the state and a third of applications being from interstate.

Feedback, comments and criticism will be left to Tassie art crew peers, but if 300 people on opening night followed by an “Art or Porn” debate in The Examiner newspaper (March 18) is anything to go by, a venue for the exhibition, promotion and debate of contemporary art in Northern Tasmania is timely and sawtooth ARI looks forward to times ahead.

Fernando do Campo Director: Sawtooth ARI

and refreshing theme for future exhibition opening events.

The building’s architectural bare bones fit perfectly with an artist run organisation – sun-bleached beams support a rusting tin roof, complementing mere glimpses of solid brick walls and original threshing doors.

Its visible but confined dagginess is contrasted in pristine white walls inviting contemporary artists from around Australia to exhibit in one of Sawtooth’s new galleries.

Launceston has much to look forward to.

For too long now, the gap in Launceston’s available exhibition space has been inadequately filled by cafes and restaurants.

Viva Sawtooth.

Sue Quinn

Speeches were inevitable given the nature of the gathering, but limited in length – which I understand will be a continuing

Installation view

Image: Fernando do Campo

28 Arts

ART FORUM

Flickerfest celebrates Twenty Years

State Cinema, Cygnet, Queenstown Saturday March 19

Flickerfest, Australia’s leading International Short Film Festival, spent three nights in Tasmania during its 30-stop tour with director Bronywn Kidd.

The first two screenings were in the plush surroundings of Hobart’s State Cinema followed by screenings in Cygnet and Queenstown. Friday featured a prize selection of Australian shorts and a moderate but enthusiastic audience were captured by animation and suspense, comedy and grief.

The best of the ‘Best Australian Shorts’ did not secure prizes, but Shaun Tan’s short animated film The Lost Thing, based on a book by the same name, has made a successful transition to moving image and won an Oscar to boot.

The storyline is simple and engaging in its progression. The “lost thing” found by a boy looking for bottle tops on a beach, is curious, an enormous teapot like mechanism with wandering tentacles that wave like a cat’s tail and retract like a shy puppy.

The city is grey and utilitarian; the people look past the lost thing just as some societies walk past a homeless man. The film, narrated by Tim Minchin depicts a journey and the wonder and loss of childhood. The end result is at once wondrous and sobering.

The Telegram Man starts slowly with a beautiful but long scene in which an old man, Bill Williams (played by Jack Thomson), is riding a red bike and puffing his way across a dawning country landscape.

It is when Williams enters a lively pub and the conversation falters you realise something is terribly wrong and the story gathers pace.

It is 1944 and Australia is engaged in war.

In the rural towns of New South Wales, one family each week discovers that a loved one has been lost.

Gary Sweet as John Lewis makes an effort to engage Williams in conversation at the pub, a friend amongst a wary community. But when he arrives at the Post Office the next morning, the enormity of William’s situation is revealed and the film builds quickly, climaxing in a terrible roar of heartbreak.

The Telegram Man is based on American Farm ‘44, a short story by John Boyne,

the award winning writer of The Boy in the Striped Pyjamas.

The Telegram Man explores the communities and families left behind and the dreadful job foisted upon a telegram delivery man who before the war delivered messages of happiness. The film was emotional, resonating with a deathly silent audience and a timely reminder at the end: lest we forget.

Glenn Owen Dodds’ title character wears tight brown pants and gambles on horses. He is also God. The short stars David Wenham as Glenn Owen Dodds and Abe Forsyth as Michael Radcliffe, a commuter who stumbles upon and joins a queue of people.

Glenn Owen Dodds is an engaging comedy which at first joins in with Radcliffe’s scepticism as he sits at a cluttered desk for a five minute interview with the Man from “up there” who cracks jokes about nuns and uses sleight of hand.

The scepticism quickly morphs into bewilderment when God reveals his intimate knowledge of Radcliffe’s bedroom habits and thoughts.

Radcliffe leaves bemused by the brief appointment, where his one question, regarding the meaning of life, is ignored due to the buzzing of the psychiatrist-style timer. God, however, has other plans and redeems himself, giving Radcliffe a cheeky helping hand and in although God can control the weather and know your thoughts, it is revealed that even God can’t cheat the pokies.

The Kiss is described by Festival Director Bronwyn Kidd as “ponderous” and “a little bit darker.” Based on a story by Peter Goldworthy, it won two AFI awards for best short fiction story and for best cinematography.

Two girls are riding their bikes down a bush path on a hot sticky night. Fuelled by cheap alcohol and innocent lust, they seek refuge from the heat in a deep, open water tank surrounded by trees and a star-littered sky both ominous and glorious.

The water shots are filled with movement and shifting light but the night takes a sinister turn when the girls realise that a lack of rainfall has lowered the water level in the tank and that they cannot reach the ladder to get out.

Panic takes hold and an element of horror and suspense overrides the senses. The playful sexual tension that was simmering between the two girls in earlier scenes gives way to apprehension and alarm as one pulls the other down in a stranglehold.

The film is strikingly visual and chilling to the core. In so many ways, the film could have become a cheapened coming-of-age flick or teen horror film, however writer-director Ashlee Page stayed true to Goldsworthy’s story - apart from a switch from two young boys to girls- and in his words has created “less an adaption; more of a visionary recreation.”

Flickerfest tours annually, it is open to film makers across Australia. For more information check out: www.flickerfest.com.au Katherine Farrell

Get inspired by UTAS Art Forum, a lecture based presentation held at the Hobart Art School (Dechaineux Lecture Theatre, The Centre for the Arts (UTAS), Hunter St. Hobart) each Friday at 12.30pm-1.30pm.

Artists of all walks of life present a folio of their work.

This month: April 8 Donald Lawrence teaches visual arts at Thompson Rivers University, British Columbia, Canada. Through a mixture of gallery and landscape-based projects his artistic practice explores the meeting place of urban and wilderness culture, often drawing upon his particular interest in sea kayaking.

April 15 Julie-Anne Long is an award winning independent dance artist based in Sydney.

Her latest body of work, The Invisibility Project, focuses on the issues surrounding the invisibility of middle-aged women through a series of public performances infiltrating public places where they are seldom welcome and representing themselves ‘inappropriately’ in public.

April 29 Kees Dorst is Professor of Design at the University of Technology Sydney and Senior Researcher in Design at Eindhoven University of Technology. Kees explores the ways in which designers think, learn and practice. He works as a consultant and lectures at universities and design schools throughout the world.

May 6 Nick Mangan integrates the by-products of consumerism ito unique sculptural forms.

Mangan’s sculpture shares an affinity with the work of young contemporary artists such as Ricky Swallow, James Angus and Tim Silver - in which everyday items are deified in sculptural forms distinguished by aesthetic and technical proficiency.

Arts 29

ANDREW ON ART There’s a real plague in Tasmanian Art, and it’s a widespread blight that’s being going on for years. It’s also connected to a Sensitive Political Issue, so this should be fun.

Fear of an empty planet (detail) - Hannah Flower

If anything’s going to get the hate going, this will be it. I doubt that it will really, because by and large, we are a bloody apathetic lot in Tasmania when it comes to clichés in our art and in our political opinions.

Being interested in environmental politics is a real bugger of thing for instance – what if you think that the forests need to be far better managed than they are, and that the untouched ones should remain so, but you get really, really annoyed by the terrible antics of minority of activists.

To translate that one to an art realm, I just have to gripe about something which I have come to call Tip Shop Art. Let me explain what I mean before I’m lynched.

Devils under Starry night - Bill Flowers Image: Jennifer Rowlands

Father and daughter share a passion for art It was a family affair as father and daughter held separate art exhibitions at the same time and same place - City Dolls and Starry Nights at The Space Art Gallery, Ulverstone.

Hannah Flowers had an interesting childhood where reptiles and marsupials in the home were the norm. She was like a wild creature herself, often running up trees like a possum on the family’s country property.

This natural behaviour was encouraged by her father, Bill Flowers’ bohemian values. He worked as a wildlife artist and screenprinter.

Now, a natural part of any person’s development for a child is to turn away from their parent’s lifestyle, in order to discover themselves, so as a young teen Hannah came in from the garden, leaving behind her butterfly nets and muddy feet to take up studies in beauty and hair design, and so set out to be her own person.

It was during her hairdressing apprenticeship in Melbourne that she decided to change course from creative hair design to studying art. Her artwork shows her experiences as a young woman moving from a regional area and discovering city life in both Melbourne and Hobart.

City Dolls is Hannah’s first solo exhibition and portrays the edgy beauty of femmes with

attitude, existing within the streetscape of a large city with urban beauty and smouldering glances. Like her father, she freely paints what she knows and feels.

After the controversy of Bill Flowers’ painting Last Supper and the steady sales of Bill Flowers’ last exhibition, he is inspired to continue with classic style featuring devils, but to move on from parodies of famous paintings.

Bill’s latest exhibition Starry Nights features Van Gogh-inspired night skies mixed with other masters, but also teamed with Bill’s own style to create something very unique.

As a father, he is very proud to see his daughter Hannah’s first solo exhibition, and to exhibit alongside her in the same building.

With the two solo exhibitions held within different rooms of the same premises, they are strikingly different. Walking from one room to the next presents different subject matters in different styles.

Jennifer Rowlands

The Resource cooperative are an admirable organisation who do business in an interesting way, eschewing traditional models and still being, as I understand it, pretty decent to work for. So it’s not the organisation that I refer to at all. I respect its ethics and practices, and even like some of the people who work there.

What I’m getting at is a kind of phenomenon whereby people get hold of thrown away objects and make them into art. Like it or not, Resource shops are the source of many such alleged art works, and so a label is born.

My objection is simple enough: it’s actually NOT art because you say it is.

Or at my most charitable, it’s not good art. It’s not because I don’t get it; I do.

I’m a staunch investigator of anti-art, re contextualisation and ready-mades.

So let’s get to it: you don’t recontextualise an object by calling it art and placing in a gallery and leaving it at that. Now before you get all Marcel Du Champ on my arse and bring up his work Fountain - which is a ceramic urinal - and claim that the precedent has been created and it’s totally fine to do that, I’m going to call bullshit on you.

Let’s just pick it to bits: ot’s a urinal.

Du Champ bought the urinal from its manufacturers, the J L Moot Ironworks in New York. He didn’t find it.

He chose it.

It’s on its side. Du Champ tilted it 90 degrees. He signed it R Mutt. Now, at the time Duchamp was a board member of the Society of Independent Artists in New York, and submitted the piece under the name R. Mutt, to their 1917 exhibition, at which it was declared that all work submitted would be exhibited.

After much debate by the board members (most of who did not know Duchamp had submitted it) about whether the piece was or was not art, Fountain was hidden from view during the show. Duchamp resigned from the board after the exhibition.

Get it? Du Champ did not see his object and think it looked cool. He had an idea and the object came later.

That’s the source of my problem.

Because it’s fine with me if you use found objects in service of your idea.

If you carefully collect things with a purpose in mind that said objects are for, if you have a well formed reason an intent - beyond the object itself, that the object brings to life – look, that’s excellent.

But if you get the object, think it’d be cool to use because you can’t think of anything else to do with it and you don’t want to throw it out – it’s probably going to be very bad art.

And I do not care how well intentioned you are or if you’re trying to raise money for your cause because it is in fact possible that you are making your cause look very stupid outside of the small group of people you interact with, and if you really gave two hoots about your cause you might consider that for a second.

However that does not mean that I don’t think you should do it. Far from it; I love tip shop art you see.

It’s consistently the funniest thing I see in Tasmanian Art. There’s nothing I like better than looking at a crappy ready-made, made by a person who has no real idea what a readymade is, and weeing myself laughing at how crap it is. My life would be poorer.

So keep at it, these are troubled times and I could do with a laugh.

Follow me on TWITTER: @andrew_w_harper. Bitch all you like.

andrewharper@yahoo.com andrew harper

30 Arts

WARP GALLERY GUIDE april SOUTHERN 146 ArtSpace New Work by Carey Merten 11th Apr - 6th May.

Museum of Old & New Art Monanism, 22nd Jan - 7th Jul.

Art Mob Quela, Julian Oates 1-10th Apr. A New Pace, Mick Quilliam 1-17th Apr. The Queen in Arnhem Land, Alex Nganjmirra, 29th Apr - 5th May.

Tasmanian Museum & Art Gallery Volcano Lover, Lucy Bleach 18th Mar - 3rd July. C20 -100 years of Australian art from the TMAG collection ends June.

Bett Gallery FRONTSPACE: Jonathan Kimberley paintings.

BACKSPACE: Ian Bonde sculpture. 6th Apr 03rd May. OPENING’S 6pm 8th Apr. Carnegie Gallery The Stereoscopic, Billy Cowie, 11th Mar - 10th Apr. Blue Shadows, Michael Muruste 22nd April - 29th May. CAST Life of Imitation, Ming Wong, 24th Mar - 24th Apr. 130 Davey Street & Walking through clear fells, Raquel Ormella, 7th May - 5th Jun, OPENING 6pm 6th May and an artist floor talk at 3.30pm 7th May. Colville Gallery Gallery 1: Milan Milojevic. Gallery 2: Darin Frankpitt. Both shows 25th Mar - 13 Apr. Vitrify Ceramics Awards, 15th Apr - 4th May Criterion Gallery New Works by James Newitt 25th Mar - 7th May. Despard Gallery Wooden Heart, Adam Rish. Cat Woman’s Dreams, Dale Richards. Both shows 31st Ma r- 26th Apr. New works by Geoff Dyer, 28th Apr - 24th May. Entrepot Gallery MAIN: To Be or Not to Be, Diane Masters & Suzy Baker. LOUNGE: Heretics of the Free Subject, Shane Eastwood. Both shows run 11th Apr - 5th May. Goulburn St Gallery Derek Smith & Terry O’Malley (ceramics &oils) 1st-28th April.

Inflight The Arts Appreciation Society Group Exhibition 8th -30th Apr. Inka Gallery Inc. Water and Air, C. Adet ends 13th Apr. Loved up Colour, A. Blatman 14th Apr - 4th May.

Salamanca Arts Centre: Long Gallery & SideSpace - Dis-covery, 10 days on the island group show 25th Mar - 1st May. Top Gallery - Folk Space, Meg Collidge, 1-30th Apr. Kelly’s Garden - The Crossing, Julie Gough 25th Mar - 1st May. Schoolhouse Gallery Pacific Reggae: Roots Beyond the Reef 18th Mar - 14th Apr. Tasmanian Landscape photography exhibition 1st – 14th April. Hunter Island Press annual exhibition 29th Apr - 12th May.

THE MIDDLE Queen Victoria Museum & Art Gallery - Artrage, now - 17th Apr. ArtStart, Game Heroes and their wonderful worlds, now 13th Apr. Hatching the Past: Dinosaur Eggs & Babies, 2nd Apr - 19th June.

Three Windows Gallery Changing Southern Midlands Artists The Academy Gallery Think Tank, group exhibition curated

by Malcom Bywaters. River Effects: the Waterways of Tasmania, group exhibition curated by Malcom Bywaters & Noel Frankham. Both shows 11th Mar - 8th Apr.

NORTHERN TAS Devonport Regional Gallery -Ten Days on the Island, Main Gallery: Tales from Suburbia.

Little Gallery: Irretrievable light - Brett Martin. 18th Mar - 17th Apr. MAIN GALLERY: North West Art Circle Annual Exhibition & Awards.

LITTLE GALLERY: Celtic Serpent, Bill Flowers.

Both gallery’s 23rd Apr - 15th May, OPENING 6pm 6th May. Burnie Regional Art Gallery Burnie Print Prize 2011, 19th Mar - 8th May.

Masterpiece IXL Gallery Clearance of Investment Stock: colonial to contemporary art (Autumn) * If you are an exhibiting gallery or space in Tasmania and want to be included in the Warp Gallery Guide email: alison@warpmagazine.com.au

137 Collins Street, Hobart 03 6234 3788 www.arterydirect.com.au

Arts Opportunities Check out the list of upcoming workshops, grants, residencies and other arts opportunity’s within Tasmania. This is only scraping the top of what’s out there for artists and alike so jump on the World Wide Web and do some surfing around the websites I have listed to find out more awesome stuff to do and be part of.

Workshops

Other Opportunities

Animation and Digital Imaging Workshops: Aimed at young people to provide digital art skills as well as the chance to exhibit in the Moonah Arts Centre Program in November.

March 25 – May 10, free @ Moonah Arts Centre Ph: 6214 7633.

146 ArtSpace: An exhibition space located in the foyer of Arts Tasmania office at 146 Elizabeth St, Hobart. Applications for non-commercial exhibitions are encouraged from artists, ARI’s, Curators and arts based organisations; any art form is considered.

Opens April 30 and closes May 28.

Application toolkit available from 30 April, www.artsatwork.com.au/146artspace.

Sad Rags to Glad Rags: Turn op-shop or re-work new clothes into wearable originals with Aukje Boonstra.

May 21-22, 10am-4pm, $70 per day @ Moonah Arts Centre Ph. 6214 7633.

Lino Printing: Any skill level taught by Suzanne Crowley, also explore hand-colouring your prints using watercolour paints. June 4-5, 10am -4pm, $84.40 (materials provided) @ Moonah Arts Centre Ph. 6214 7633.

Glamorgan Spring Bay Council Art Prize: Painting, watercolour and printmaking, entries close April 29. Prizes to the value of $6,250 will be awarded, for further information contact Lona Turvey on 6257 4778, lona@freycinet.tas. gov.au. Entry forms can be downloaded from www.gsbc.tas.gov.au

Arts & Disability Program: For individual artists and organisations who work with people with a disability.

Opens March 1 and closes May 2. Application toolkit is available from www.arts.tas.gov.au/ add or contact Arts Tasmania on 6233 7308.

Art Site Commission Elizabeth College: 2D artwork and graphic design, budget of $9,000 + GST. Expressions of interest solo or collaborative applications close April 18.

To obtain a detailed brief quote the project reference; A-453-2010, and email public. art@artsatwork.com.au or phone 6233 5087.

Assistance to Individuals: This program accepts applications for a variety of projects proposed by artists to further their career. Opens May 1 and closes August 1. Application toolkit is available from www.arts.tas.gov.au/individuals or contact Arts Tasmania on 6233 7308.

Sawtooth ARI Call to video artists: The Launceston ARI launches of a fourth gallery space with a permanent video gallery that will host a monthly exhibition program.

A projector and two plasma screens are available. Email expressions of interest for 2011 to sawtoothari@gmail.com or go to www.art.org.au

Start up Grants: For young artists or organisations, grants of up to $3,000 are available to young artists or organisations (16-26 years of age) who have not previously received an Arts Tasmania Grant. Individuals open May 1 and closes August 1. Organisations open now and close 2 May. Visit www.arts.tas.gov.au or contact Art Tasmania on 6233 7308

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

Grants

*If you are an arts organisation or body with an upcoming opportunity that is within the arts bracket and would like it included in Warps Arts Opportunities guide please email all details to alison@warpmagazine.com.au

Performing Arts 31

Artful destinations An exploration of North, South, East and West, Tasdance’s new program Artery is merging the talents of four burgeoning choreographers.

As part of Ten Days on the Island, Tasdance is hitting the road on a five week tour around Tasmania, promoting and celebrating contemporary dance in the far corners of the Island.

Trisha Dunn has been performing with Tasdance for ten years. Growing up in South Australia, she followed a well worn path, studying classical ballet at a small local school in Adelaide followed by the Queensland Dance School of Excellence, before “finding the shoe that fit” at the Victorian College of the Arts where she had her first real taste in contemporary movement.

Since securing 12 month contract to Tasdance in 1999, Dunn has toured extensively at home and overseas, with opportunities to perform with Chunky Move in Melbourne, on a three month residency in Italy working with renowned dance theatre company, Deja Donne, and also a collaboration with the Contemporary Performance Festival, Es.Terni.

“We’re constantly surviving through diversifying. I teach yoga, I apply for funding, work with other companies.

Work [projects are] few and far between - it’s a challenging career,” Dunn said.

With a small population, few theatres and a wealth of open space, working in Tasmania is indeed a challenge, though Dunn emphasises that she “loves the Island, the people, the landscape.”

Even as a child, she had a fascination for Tasmania, and her life is firmly fixed in the State, although her performance work might take her to further-flung areas of the globe, such as East Asia.

Dunn has used her travel experiences, journals and memories to inform her part of Artery’s program. Commissioned

by Tasdance Artistic Director Annie Grieg, Dunn’s section of the program explores the dichotomies that exist within Asian cultures, the presence of incredible beauty and destruction, wealth and poverty.

“I am intrigued by their apparent fatalistic way of living and strong beliefs in the cycles of nature, karma and reincarnation and have used these philosophies as starting points for the work,” Dunn said.

Describing herself as an “emerging choreographer,” she is still working on her techniques and strategies in the studio, working in a collaborative manner with the dancers, using a combination of tasks, base inspiration and choreographed movement.

“How we engage in movement as opposed to what we are doing,” is her priority. Although the work stems from a personal venture, she believes that the

choreography becomes collaborative, embarking on a journey of its own.

“You end up with a relatively abstract work that still holds onto the essence of what you began with.”

Dunn’s work is only one quarter of a whole, as Artery engages the audience with four different pieces of work within a singular program.

Adam Wheeler, Solon Ulbrich and Alice Lee Holland offer the other three sections, drawing inspiration from gravity, sunsets and Tasmania’s unique waterways, forests and Islands.

Trisha Dunn is enthusiastic about the upcoming tour and when I catch her, she is busy op-shopping with her mother. The future for a dancer is always uncertain, fraught with injury and financial worry however Dunn is optimistic; she wants to remain engaged in dance and in the Tasmanian Arts sector as much and for as long as possible.

Her passion is “most certainly performance, both as part of and creating future dance works.”

Artery is touring until April 20 as part of Ten Days on the Island and a broader company tour.

Sarah Mashman

Artery Launceston April 7 & 8 Hobart April 14-16 Burnie April 20 For more details go to Warp’s Performing Arts gig guide or www.tasdance.com.au

32 Performing Arts

The Seagull has landed Sarah Mashman sat down with a young director heralding his return to Hobart with a challenging repertoire. Alex Rigozzi takes on The Seagull by Anton Chekov.

Following a successful stint directing Shakespeare in the Gardens’ production of The Tempest, Alex Rigozzi has gathered his cast for a brave new production.

Following a rapid rise through the ranks - from acting in a University drama group in Tasmania, to studying directing at the Victorian College of the Arts, Rigozzi is hungry for work.

He has performed in Shakespeare in the Gardens performances three times and been assistant director once, before taking on directing himself.

In 2005 he formed Deep End Theatre to produce original Tasmanian scripts and is now moving in to Hobart’s Playhouse Theatre.

The Seagull both attracts and terrifies Rigozzi.

“I read the script and I knew that I couldn’t fully realise it in my head” he says, however he is looking forward to the rehearsal process with his actors where they can create and develop their characters and the tone of the play.

After the second wettest summer on record, Rigozzi is looking forward to spending some time in a controlled environment at The Playhouse, home to the Repertory Theatre society. The challenges of working in the Botanical Gardens where it is “so different in every way (from a theatre)” will aid Rigozzi as he develops his directing style.

“One of the most important lessons I learnt at VCA was communication,” he says, and he is conversational and relaxed and in many ways, praising the wealth of talent in Tasmania.

He also takes advantage of Hobart’s small theatre community that allows him the freedom to “figure it out for himself,” he has a quiet enthusiasm for what he has achieved so far and his ambitions are vast but unpretentious.

The Seagull

Where: The Playhouse Theatre When: April 29 - May 14 Tickets available online and through Centertainment

Comedy Voltron

Chekhov’s first major play, The Seagull, is in Rigozzi’s words,

“either a very dark comedy or a tragedy that’s very funny…”

The title of the play is taken from the second scene where a grotesque symbol, a freshly shot seagull is presented in a manipulative game of love. Suicide, love, loss and humiliation are key points of Chekhov’s play, which employs subjects that engage the gamut of emotional capacity without tipping into melodrama.

Suicides are off stage and comedy lightens the sombre moments as the characters deal with that most elusive substance, time.

The Seagull’s four main protagonists include the naive Nina, the fading actress Irina, her son, the playwright Konstantin Treplyov, and the famous scribe, Trigorin. A dramatic tale about the romantic and artistic conflicts that come between them, the four act play is staged over two years and is a fascinating satire of artistic ambition and its consequences.

The exploration of characters and the cohesive bond between the cast and audience reflects the nature of theatre; “every night is a new experience with a different audience,” Rigozzi says.

Rather than go through the motions, he expects his actors to engage with the text and breathe life into the characters.

Ultimately, Rigozzi applauds the actors in Hobart’s theatre community saying, “people’s reasons for doing it are different in Hobart - it’s for the love.”

Sarah Mashman

Matt Burton Isn’t So Different To Henry’s Cat After All Grand Poobah Wednesday March 16

The legend of Voltron: Defender of the Universe will jump ranks from children’s anime to live action and fast-paced comedy in April with Comedy Voltron.

Featuring five performers from disparate regions of Europe and some closer to home, the fab intend to set the Grand Poobah rattling on its foundation.

For Sailor Moon and Transformer fans, the show’s producer, performer and Voltronobsessed Tim Logan gives a brief synopses of the series, explaining it was “about five powerful lions who came together to form Voltron, an awesome fighter that destroyed bad things.”

Before you start singing Captain Planet themes and expecting a theatrical reenactment, role play is not on the ticket - but Voltron merchandise, including an inflatable “bop bag” will be available.

The line- up features Luke McGregor and John ‘Cambo’ Campbell from Melbourne’s Studio A, international sensation European Man and Hobart comedy stalwarts Mick Davies and Tim Logan.

Campbell in a very un-Voltron like manner says that he plans to relax in Hobart, “have a quiet meal in China Diner, a bit of shopping at Myers” and take in “the chilly wonder of Antarctic adventure.”

Prominent local comedian Matt Burton debuted his solo show Matt Burton isn’t so Different to Henry’s Cat After All at The Grand Poobah, hosted his alter-ego “Carl”, MC of the Brolesque Cabaret in February.

The show will be “like two half excellent things, but put together,” European Man chimes in.

A likable, foolish and slightly sinister salesman with an unsure delivery who desperately attempts to sell unappealing sounding cat food throughout the show, Carl was only part of the show with opening performers Billy Barnard and Mick Davies performing impressive sets before Burton took the stage as himself.

Logan is “giddily excited” to have this comedy show at the Grand Poobah, saying that “we had some amazing nights years ago and I think with Juniper at the helm this will be one of the best performance venues in Hobart.”

Comedy Voltron continues over two nights featuring live comedy, special guests and robots.

Katherine Farrell

Comedy Voltron

Friday April 29 and Saturday 30 from 8pm at the Grand Poobah. Entry is $12, with the second night free for opening night punters.

Burton had a confident stage presence with charisma, passion, varied material, showing great versatility. Highlights included returning to the stage to provide his own commentary to a Delta Goodrem song and an unexpected serious rant regarding comedic taboos which received a round of applause.

The recently refurbished Grand Poobah provided a comfortable atmosphere for the successful show and Burton will be touring Matt Burton Isn’t So Different to Henry’s Cat

After All up the East Coast of Australia from the 25th of March.

Follow Matt Burton, Carl, Billy Barnard and his revolving troupe of comedians, carnies and cat food as they stop in pubs, bars and housewives doors everywhere via his Facebook page.

LINDSAY BLACK

Performing Arts 33

Tim Minchin Vs The TSO Wrest Point Monday March 21

“I’m quite famous now, so suck my balls” sings Tim Minchin, unashamedly defending the scope of his new show after having just unveiled his own caged presence in the overly dramatic mask of an OTT stage magician.

A self confessed rock n’roll nerd and Terence Stamp styled satirist, Minchin has been an international success for five years now, and having not seen him perform live since one of his first national tours all those years ago, I was excited to see what he’d do versus the Tasmanian Symphony Orchestra.

Unfortunately for me, it did not feature a battle of any kind but fortunately for fans of Minchin’s mischief making wonka act, it works. The orchestral backing and arrangements of favourites like Rock ‘n Roll Nerd are fantastic as are the newer songs but it’s possible that a first timer may be slightly lost in the fold and it did feel like he was starting to preach to the

choir. His audience banter helped breach the air of such a large show and he was not without some brilliant quips “The day they discover yoga matts are carcinogenic will be the happiest day of my life” Though an unnecessary and more importantly unfunny mention of Japan’s situation showed that at least he’s still open to improvisation. But apart from the 2 or 3 perfectly constructed songs that make up the lengthy show, I gotta say that Minchin is better in a smaller venue, arena shows may not kill comedy as he slyly suggests but it does rob them of the intimacy that made his early shows a true theatrical experience.

This show will make a great dvd but for me he’s best with his piano and a dark empty stage.

Tim Logan

Performing Arts Guide - APRIL THE SOUTH

THE north

CABARET

DANCE

DANCE

THEATRE

The Brisbane Hotel Circus Horrificus and Friend’s Cabaret April 4 and May 4

Carnegie Gallery Stereoscopic (Part of Ten Days on the Island) 11 March- 10 April

Burnie Arts and Function Centre Barry Crocker’s Banjo April 7

Les Girls Flirty Fridays at Les Tease April 8 and 15

Burnie Arts and Function Centre Tasdance presents: Artery (Part of Ten Days on the Island) April 20

Peacock Theatre Tasdance present: Artery (Part of Ten Days on the Island) April 14-16

COMEDY Brookfield vineyard Brookfield Comedy Club April 13 The Grand Poobah Comedy Voltron April 29 and 30 The Lower House The Lower House Comedy Lounge April 14 Onba The Clubhouse April 12 and 26 The Queens Head Danger Academy April 11 & 25

THEATRE Contemporary Art Services Tasmania Ming Wong Life of Imitation March 24- April 24 The Derwent Entertainment Centre The Sound of Music April 13 to May 14 Playhouse Theatre The Seagull April 29- May 24

Launceston Earl Arts Centre Tasdance presents: Artery (Part of Ten Days on the Island) April 7 & 8

Devonport Entertainment and Convention Centre Furiously Fertile April 8 Tenterfield Saddler April 13 Launceston Earl Arts Centre Joan of Arc April 28-30 The Princess Theatre Play on April 13- 16 Breast Wishes April 28-30

Salamanca Arts Centre National Theatre Live: Frankenstein April 9 & 10 Tasmanian Theatre Company Poxed Backspace Theatre March 31- April 17 Theatre Royal Tuesdays with Morrie April 13 and 14

Friday the 8th of April The Roobs, The Lucky Dips & Truckshow Saturday the 9th of April Three Blind Dates / 7.30pm / $10 followed by the ‘Huon Valley Environment Centre Fundraiser’ Thursday the 14th of April ‘Future Shorts’ / Adult babies, PJ Harvey, Russian Poodle Trainers / 8pm / $5 Friday the 15th and Saturday the 16th of April The Woohoo Revue Friday the 22nd April Bob Log III with The Ray Guns Saturday the 23rd of April The Roobs, Truckshow, Guthrie and The Super Kunts Sunday the 24th of April POPTIMISM / Tiger Choir (CD Launch), All Fires the Fires, Peter Escott (Comedy) and DJ’s

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

Friday the 29th and Saturday the 30th of April Comedy Voltron / Five Comics Will form The Ultimate StandUp Comedy Force / 8pm Friday 6th of May Marianne Dissard

34 Album Reviews

ALBUM ReViEWS After a painfully long three and a half year wait, Radiohead’s eight studio album The King of Limbs was announced with typical enigma just a few days before its online release.

Frenzied opener Bloom sounds like four or five different songs playing simultaneously, propelled by the kind of swirling loops and beats that lurked throughout Thom Yorke’s solo release The Eraser. This leads into hypnotic groove of Morning Mr. Magpie, which just like Nude on the last album has been kicking around for nearly a decade before finally seeing the light of day in a studio release. The similarly paced Little

By Little adds some more spice with its falsetto-chorus and rolling beats, before

Radiohead The King of Limbs

leading into the instrumental Feral, which serves to break the album up in the same way as Fitter, Happier did on OK Computer and Treefingers did on Kid A. It’s a nice enough pitstop, but nothing compared to the immersive brilliance of the twin highlights it precedes, beginning with the album’s first single and centrepiece Lotus Flower.

Up next the gorgeous Codex combines the off-kilter piano chord progressions of Pyramid Song with the dreamy, distant horns of How to Disappear; a lovechild to make any Radiohead fan weak at the knees. Its delicate beauty begins the shift from the manic first half of the album to a markedly more serene run home: Give Up The Ghost and Separator are sweet and gentle.

Though a polished set of songs, the sharp closing of the leaves you asking, “Is that it?” With such gaps between albums and a bountiful set of new songs trotted out across recent live shows, the release is more like an EP than a long-player. Is this the latest attempt by an infamously disruptive band to break the traditional shackles of releasing music?

Tyler Mathes

Bayside

Feeder

Generationals

Killing Time

Renegades

Con Law & Trust

Killing Time is New York punk rockers Bayside’s first album on their new label Wind Up Records, and second release of a cemented and comfortable line up. The group have recovered from losing drummer John Holohan and are now stronger than ever as this, their fifth record, is one of their best.

There is energy in spades from the word go with opener Already Gone, which leads into one of the standouts, and first single, Sick Sick Sick, a punk rock, sing-a-long, anthem if ever there was one. Things slow down for the piano laden On Love, On Life, which only really serves as a vibe changer as it lacks the memorable melodies of the other songs. The record ends with the title track Killing Time, which takes the rock road with gloomy riffs and excellent dynamics, letting the album finish on a big note. Vocally, the emotion pours out of Raneri’s voice in its finest moment.

Fans will no doubt love this record as it is the Bayside they know and love, done on a bigger scale and with an added sense of maturity, showing that this band has what it takes to move to the big stages.

Luke Carlino

Feeder have been around for a long time. Their latest release Renegades, came out in the UK at the end of last year, with another record close behind that will hit the shelves soon.

American indie-pop duo Generationals’ first outings are finally on store shelves. Not only that, but their debut album Con Law and the follow-up EP Trust have been packaged together, resulting in a sense of nostalgia.

Opening track, White Lines, is a good example of things to follow, the guitars are full bodied and drive the majority of the music, which usually then opens into a shimmering, bright and catchy chorus.

Nobody Could Change Your Mind opens the record, twinkling and glistening gently before a burst of brass shatters the serenity. Soon, the duo’s single When They Fight, They Fight yanks their aesthetic towards an entirely different result, a danceable retro-throwback complete with girl-group vocals ensuing. Wildlife Sculpture is a slice of jangly electro-pop driven by an array of precise arcade-inspired effects.

Despite what the sticker on the cover of the record would lead you to believe, the album’s title track is far from the standout. It certainly contains some catchy hooks, and an epic sounding tremolo guitar matched well by its delayed vocal lines, but the stabbing chorus is extremely un-exciting.

The standout is instead the following track, Sentimental, which opens with a huge rock riff that dissolves into a low pitched and dirty verse, making this the best rock track on the record.

The atmospheric Down By The River uses haunting falsetto vocal lines and distortions to create a very unique sound.

The album ends with the lyrically poor, Left Foot Right, and the appropriately titled, The End, a fast paced rock song which has a touch of Foo Fighters in its chorus.

Luke Carlino

The band’s Trust EP, meanwhile, begins with the chugging bass of Say For Certain, a restrained outing that bears a brand new, minimalist focus. Carrying The Torch continues this form, a playful, yet softly-spoken shuffle on offer. Then there’s Victims Of Trap posed as a sweet nursery-rhyme full of hazy repetition, whilst the title-track wishes to soundtrack a tropical vacation of sorts.

Overall, as a collection, Generationals are set to keep you on your toes. The records complement each other and work together to imply the duo’s enormous potential, whilst also offering a fun-filled, intriguing escapade to be embraced sporadically.

Nick Mason

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Album Reviews 35

In 2005 Kansas City 5-piece, The Get Up Kids disbanded after ten years of constant touring. Fast forward to 2009 and the band got together in a “spur of the moment” decision to help promote the tenth anniversary of their breakout album, Something To Write Home About.

Get Up Kids, The There Are Rules

Then they decided to return to their independent roots and formed their own label. This all but cemented their proverbial rebirth and in turn helped recapture the DIY spirit they had once enjoyed.

The fruit of their labour is their fifth fulllength LP, There Are Rules, which sounds so fresh, immediate and catchy that the tracks could have been produced by a young bunch of misfits tinkering away in their garage.

While The Get Up Kids are known as alternative-punks, There Are Rules starts off with a bunch of fuzz and scary apparitions and deviates even further from the expected from there. So it is that they go from a raucous rock song, Tithe to a catchy Strokeslike number with punch in Regent’s Court.

From there we get a hint of Kraftwerk in Shatter Your Lungs and are thereafter offered layered and intelligent pop/rock songs.

There Are Rules is proof that a band can retire and regroup and still make a good album of vital-sounding music. That is not an accolade many can claim as their own, but it seems that with the pressure off they have managed to produce both interesting and exciting sounds that are raw where they should be and well-done elsewhere.

Natalie Salvo

Elsewhere there is Rally ‘Round The Fool with broody lyrics and off-kilter sounds that mean that it wouldn’t sound out of place on Joy Division’s masterpiece, Unknown Pleasures. When It Dies meanwhile, is a return to their emo roots and a song you could easily imagine Placebo pulling off.

Red Rockets of Borneo

Holly Throsby

Adalita

Red Rockets of Borneo

Team

Adalita

Red Rocket of Borneo debut album slaps you in the face with its aural explosion of manic rock and roll, with its heady mix of swampy guitars and bluesy rhythm the album explodes with the track Victim of Fashion. It punches you so hard that you lose your breath and gasp for breath. The next track slows the pace down a bit and you manage to just catch your breath again.

Then it’s back into to the ring with the track Sphygmold.

Somehow, Holly Throsby has more or less flown under my radar until now. Although I found her voice instantly recognisable from many afternoons of Triple J listening, I’d never paid enough attention to match it to a name before.

After a few listens through her new album Team, I’m wondering exactly how that happened. Sure, she channels that familiar soft and wispy aesthetic, but there’s something different and interesting at play here.

The rest of the album continues in this fashion. It’s a rollercoaster ride of punishing rock and roll. I am yet to see the band live, but if the album is any indication, they are going to set a bomb off under the audience and watch the crowd run around frantically trying to put the fire out.

For one, Throsby’s lyrics jump out at me much more so than those of her counterparts. Her storytelling ability has obviously benefitted from four album’s worth of experience.

The real golden moment on this album arrives in the form of Here Is My Co-pilot, a deceptive pop number which absolutely soars. Layered vocals and minimal backing instrumentation are all that’s needed to lift Throsby’s melodies and keep them afloat throughout the song.

The track Swagger Like a Storm is exactly that- it grooves like a thunderstorm about to erupt over the sea, punch, punch bang and it’s over.

The whole album is over in a blink of a eye which is a good thing. At the end of the album you’re left scratching your head wondering what the hell just happened.

Mark Ireland

The remainder of the album doesn’t quite manage to reach the heights attained on this track, and from that perspective the album as a whole is a little disappointing.

Thankfully the warmth of the production and deft, honest quality of songwriting on Team make it a comfortable listen throughout, and a perfect study soundtrack.

David Hennessy

Magic Dirt’s front woman, Adalita Srsen’s entrance into the solo artist realm is sure to turn the heads of Australian rock fans. This is a stark contrast to the hard rocking sounds of Magic Dirt, a stripped bare Adalita, sharing her soul, her poetry and her amazing voice.

First single and opening track Hot Air, brings that familiar sounding vocals, a strong guitar riff, that intertwines through lyrics touching on depression.

The Repairer is a tribute to Magic Dirt bassist Dean Turner, who passed away from cancer last year. Jewel Thief features a heavy rock guitar opens the track followed by the scratchy, scathing vocals of Adalita. The fastest and heaviest track from the album, it is the closest sounding track to something from Magic Dirt.

Lassa Hanta, an instrumental features guitarist Raul Sanchez and is evocative, thought provoking, and imaginative. One of the highlights of the album is almost saved for last, Goin Down.

A great guitar runs the track and it’s deep, lyrical and hard.

This is an album that will stand high on its own for 2011 and for releases in this genre. It may not get commercial acclaim, but this is an excellent album amongst the history of Australian rock.

Andrew Cock

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36 Album Reviews

ALBUM ReViEWS CONT. In a way, it’s hard to believe that The Experiment should be the debut album from Sydney-siders Art Vs Science. It seems like there’s been hype aplenty for so long. But how do the band fare in replicating such success in their first full-length release?

The record’s first impressions can best be described as formidable, Finally See Our Way rocking out with emphatic brilliance. When its chorus hits, it’s as if the band shifts its decibel output into overdrive, a swift and powerful introduction. Take A Look At Your Face continues their imposing form, the sinister club trip professing a relentlessly grotty guitar line. Its follow-up, A.I.M. Fire, seems destined for attention. With Thoughts is an outstanding addition to the album, a

Art vs Science The Experiment

tender Dan McNamee encouraging “Keep on thinking beautiful”, in a perfectly placed interlude. It works to demonstrate a new, welcome dimension of the band’s repertoire.

The Experiment isn’t perfect, however. There are some tracks that appear misguided and ultimately grating. Magic Fountain has potential, but the inclusion of a naff spokenword narrative kills the track completely.

Meanwhile, the insufferable throbbing of Bumblebee - the word itself voiced with Cartoon-Network-like charisma over and over again - equates to 3:39 of your life that you won’t get back. But these are minor quibbles. Album finale, Before You Came To This Place, loses some the album’s previous bite, and gives in a pleasant disco tinge.

Overall, The Experiment can be called a success. However, buyer beware: this is the debut from Art Vs Science - it was always going to be big, chaotic and bear a certain crazy charm. The Experiment is just a whole lot of fun, which might not be enough for some. The Experiment’s simple yet effective brief as a restless floor-filling hit factory looks poised to stir much within the rest of us.

Nick Mason

The Twilight Singers

Oh Mercy

Braids

Dynamite Steps

Great Barrier Grief

Native Speaker

The Twilight Singers have released 5 albums since their inception in 1997 and Dynamite Steps makes album number 6.

Though Dynamite Steps has its moments, it falls back onto the standard alt-rock traditions too often. Tracks like ‘Gunshots’, ‘Never Seen No Devil’ and ‘The Beginning of the End’ have promising slower moments, but they are, all too quickly, smothered by the standard alt-rock drum beat and muddy guitars.

This is demonstrated on the album’s opening track – ‘Last Night In Town’. The track opens with some haunting atmospherics and a foreboding piano line but by the halfway point the track has broken out into a pretty standard electronic rocker.

‘Be Invited’ is slower and layers bluesy keys, skittering drums, lilting strings under some Lanagan-aided vocals. ‘Waves’ is a fuzzed-out rocker that cranks the pace with squealing guitars and impassioned vocals. ‘She Was Stolen’ (another high point) is built around a piano line and builds with a militaristic drumbeat to be genuinely uplifting.

In the end Dynamite Steps is well produced and is filled with a series of solid rock songs. However, the variety and promise of the first half of the album is overrun by the monotony of the latter half.

Great Barrier Grief. Get it? Grief. Like, instead of reef.

It seems the pun-police really need to exercise some authority over Oh Mercy before this kind of hilarity gets out of hand.

The title, Great Barrier Grief, is apt enough: Melbourne’s Oh Mercy seem to have encountered their glass ceiling, cowering at once with little sign of creative bravado.

It’s not so much that the record is a reserved affair, it’s that it’s bewilderingly timid, even alongside the band’s debut.

The equation is simply this: take Privileged Woes, dilute it a little, and voila. Great Barrier Grief somehow sounds smaller, tinnier and less inspired than its predecessor. For that reason, it comes across as a complacent outing.

The melodic similarity between one of their previous tracks, Broken Ears and a new offering, Tenderness, is both astounding and disappointing. It demonstrates the band traversing chartered territory, the most basic elements of their music continually resurrected and repackaged, a thinly-veiled illusion that ensures a typically bland offering.

It’s a crying shame that such sensational poetry courtesy of front man Alexander Gow should suffer due to such a complacent backdrop. A disappointing affair in desperate need of spark, surprise and intrigue.

Braids debut LP is billed as a mini album due to its short track listing, but with seven songs clocking in at 44 minutes of lush sonic heaven, there is nothing small or understated about this record. Native Speaker is a sweeping wonderland of layered electronic glitches and Raphaelle StandellPreston’s divine vocal delivery.

Opener Lemonade is easily the most accessible tune on the album with its syrupy sound effects and mild avant garde sensibilities, it really does sound as though it could be a b-side to Merriweather. The delicate rhythms of Glass Deers are all encompassing as it steadily moves forward with no real hook or chorus, much like the title track which precedes it, the beautiful instrumentation is enough to hold your attention.

Native Speaker is not a ground breaking debut, but it is an important release from a band who are sure to evolve and continue to delight music lovers in the future. The music falls short in places and at times it begins to feel as though you are listening to a never ending loop of sameness.

There are some golden moments on this album though, which show tremendous promise of more amazing things to come from Braids in the future.

Kathryn Mahina

Nick Mason

John Ward

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Album Reviews 37

Peter Bjorn and John reappear with album number six – Gimme Some, leaving 2009’s Living Thing as a distant memory. Gimme Some returns the Swedish trio to their power-pop roots. Originally planned as a punk-rock album it has definitely arrived as a pop rock album. The raw energy is evident throughout the album, a new producer - Per Sunding, (The Cardigans, Bob Hund) and a new attitude after two albums slipped by after the 2006 super success of the single Young Folks.

Peter, Bjorn & John Gimme Some

The three opening tracks – Tomorrow has to wait, Dig a Little Deeper and Second Chance are the best of the album, capturing the listener into the unpredictability and difference of Peter Bjorn and John album.

Tomorrow has to wait kicks off the album with deep, resonating drum beats that piques interest and runs like the heartbeat of the track. Fantastic vocals and a catchy chorus combined with repetitive guitar line, all jammed into a short, under three minute track.

Dig a Little Deeper is much more uptempo track it contrasts Tomorrow has to wait well, a fun track with a life of it’s own.

The third in the opening trio Second Chance is the standout of the album. Funky guitars, the reappearance of the cowbell and enough whoa-ohs for everyone to sing along to.

Lyrically almost too fast at times, it fits the track and the fact that it is a speedy 99 second track, a nice curveball to mix things up.

Whilst many fans (more so commercial radio listeners) have craved a follow up to their hit Young Folks, they have tried to steer away from that and good on them. They’ve created an album of tracks that they should be equally as proud of. The unpredictability of the album makes for an interesting ride, the strong lyrics and song-writing makes it well worth a listen.

Andrew Cock

Breaker Breaker throws in a much faster guitar in an almost a strokes-esque sound.

Audiac

Jimmy Eat World

Charles du Cane

El Toroloco

Invented

Port and Rail

Melbourne rock quintet Audiac combine the traditional elements of Australian rock with the more modern components of indie and post-punk styles to produce El Toroloco, an album of 11 easily enjoyable tracks that see Audiac progress in terms of well produced and engineered music.

Jimmy Eat World’s Invented is the much needed follow up to Chase This Light. It doesn’t take long for the usual sound of JEW to come on board with Heart is Hard to Find. The high school-esque lyrics of Coffee and Cigarettes are all fun and nostalgic making you wonder why they didn’t write the track earlier in their career.

This concept album is a collection of tunes inspired by art and war – and their co-existence – and is nothing to be sneezed at.

It’s for listening to, over and over again. There’s an arresting nature to the odd-sounding and irresistibly catchy electro pop that has become Du Cane’s signature, but there’s every chance this album will prove more than a passing fancy.

El Toroloco is introduced with a short, fast rush of adrenaline in the form of Light Years Away, which focuses on a simple chord progression overlapped with vocals that are closer to the ranting style of Nick Cave, but slightly less monotonous and frankly not quite as cool as the self-proclaimed king of pub rock.

Stop features a memorable lead guitar solo. Even in a slower paced track, the solo keeps the listener hooked with higher notes than most other songs on the record. Little thing is yet another song with melodic keys, strings and predictable riffs stretching the album out a bit more than it needs to be.

The same applies for Cut.

Something Goin’ On is a surf-rock song about World War II with an underlying menace in the vocal. Fuzzy guitar hooks abound and the listener will be hard-pressed to resist curling their lip and growling along with the chorus.

A standout on the album is If You Were Ever Meant To Be There, which sees a slight change in direction into a more acoustic, slowed down sound that adds some complexity and depth to the album, which was placed in the perfect position between the pop-rock ball of Sherilyn and the grungy experience of Half a Guitar.

Rick Burch takes over the vocals on Action Needs an Audience. A little under-produced on this track, it seems a bit rawer like their earlier work. The title track is no doubt the best song of the record with a seven minute epic builder from mellow acoustic vibes going in to a hard punk rock sound.

The latest release from Audiac is a solid, hard-hitting rock recording and could only be enhanced by a positive live performance, which would only be expected from the quality of songs from an all-round great local band.

Invented is an album that at first you might put back in your collection, only to listen to it a few times and really pick the mood of it.

Once you get past the initial quirkiness and realise that every last part is perfectly placed, and the whole package sounds brilliant, you’ll be hooked. At times there’s a country vibe, but you can scratch the western. Other tracks are heavier in beeps and bleeps - think more ‘country & console’, if you will.

Best Bent Wire might make you think you’re listening to something Beck left behind in the studio.

It’s not, though. All 10 songs on Port and Rail are originals one listen and you’ll have no doubt!

Damien Peck

Josh Clements

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Stu Warren

38 Live Reviews

The DIRTY LOVE ALBUM LAUNCH w/ UPSIZE GENERATION Spurs Saloon Friday March 18

As soon as I arrived I knew this wasn’t just another rock show. With a DIY catwalk extending into the dance floor and a light show that could kill a small animal I knew I was in for something special.

the zombie theme) by smashing the crowd between the eyes with Social Distortion’s instrumental, “Zombie road”, before firing into a Dirty Love Classic, “Party”, and did they get the party started?!?!

Kicking the night of in style were new kids on the block Upsize Generation. Blasting out an arsenal of punk rock anthems about partying, drinking and ex-girlfriends, the band was received well by the teeny bopper crowd, but was perhaps a little lost on the older generations. With huge guitar and drum sounds, they were also extremely tight and it was obvious they’ve been working hard.

Seeing the Dirty Love on Friday night was like seeing a brand new band.

When Rob Zombie’s “House of a Thousand Corpses” tore across the PA and a flash of blinding light and smoke filled the stage, I knew it was The Dirty Love’s turn.

Sneaking onto the stage one by one, the band appeared from nowhere. Jumping straight into their set they continued the intro (and

With saturated distortion flooding the guitars and vocals, and squealing feedback cutting through the mix, pinning you against the wall from start to finish, the band reminded me of a modern age Beasts of Burbon.

As the night went on, the band continued to surprise me with new material from their new album (Black and White), showing fans old and new a brand new sound and delivering a show that will be hard to forget.

I’ve seen this band dozens of times but Friday night was the first time I’ve seen The Dirty Love.

Cabe Mackenzie

APRIL Fri 8 Sat 9 Sun 10

Mick Attard Jules Boult with Pete Cornelius Open folk session

Wed 13 Thurs 14 Fri 15 Sat 16 Sun 17

Turry Beevor The Timbers with Invisible Boy Future Recollection Live Music Open folk session

Wed 20 Thurs 21

Mick Attard Pay Off the P.A including Guthrie and The Little Cubas live Music Live Misic Open Folk Session

Fri 22 Sat 23 sun 24

Wed 27 Thurs 28 Fri 29

Open Mic Night $12 jugs of boags draught The Little Stevies The Titz in the bar

MAY Wed 4 Thurs 5 Fri 6 Sat 7 Sun 8 Wed 11

14 Brisbane St Launceston Tasmania 7250 - (03) 6331 5346

Turry beevor Dave Adams Andrew mcsweeney Live Music Open folk session Marita Mangano and Bill Kelly

Live Reviews 39

M.O.T.O (USA) with The Roobs, Once Upon A Time In The West, The Ray Guns and Sister Olivia The Brisbane hotel Saturday March 19

A rock n roll jaunt with three local acts and one touring act. The night was warm with whiskey, the hip kids who sat in the corners could have been playing knuckles for I cared, I came to see some rock n roll, and rock n roll I did see. It’s times like this that you need a smoky bar, instead we get an odourless room full of 20 something’s swaying along to the sounds of Once Upon A Time In The West. Once a 2 piece, they have now incorporated a steel slide guitar which is making this band sound sweeter than ever before. Local rogue Tim Spurr hit the stage for one of his own country ballads, definitely an artist to keep an eye on. Their music could be categorised as tear jerking soul, they’re a little bit country and a little bit rock, a slowed down tempo that was fitting as an entry for the night that was to be.

Up next we had the more energetic sounds of The Ray Guns, fronted by Liam Martschinke this young fellow had all the moves, the wild screams, he had the pace, and the pace was fast. The band were right up there behind him also, but alas, the crowd weren’t there sharing it though, they had a few go goers up the front, but for their energy I would like to see some people hitting that dance floor. If you like your high energy rock n roll people go check them out next time they’re playing!!!

fledged ripping boner to a cock full of speed, there’s nothing going on. Paul Caporino on vocals is backed by Ali Spazzy (Drums) and Lucy Spazzy (Bass), once upon a time these girls had their faces on beer bottles that circulated throughout Australia, they play tough chick rock when in The Spazzy’s, not gruelling songs about yesteryears forgotten heroes. The crowd had slowed down too; maybe they should have played 2nd or 3rd on the bill to keep the pace of the night flowing, maybe. At this stage I went out for a cigarette, contemplated, went back into the band room, nothing, had a couple of shots in the front bar where Sister Olivia was djing, while watching the kids swinging away to simple melodies I got thinking that this isn’t so different to what was happening next door with M.O.T.O., so I headed back in for round 3.

This time though the scene was different, Lucy had found her groove, the crowd had come down from The Roobs onslaught and the vibe was back. Paul was still singing his repetitive pop songs but they now had flair, they’re memorable, the crowd is singing along to these basic songs like they were 10 year olds in front of the TV watching Video Hits and it ended up being another great night at the Brisbane Hotel.

Next up were the big boys of the local rock n roll scene, The Roobs make up a few of the who’s who’s of the Australian rock n roll scene, they’ve all played in bands from the times when garage rock was fucking cool and not about how poofy your hair is or how tight your skinny jeans are and the crowd knows it, the crowd loves it, the crowd is going ape!!

Ol’ “Iggy” is gyrating with the licks, young “newbies” humping the speaker stacks to the beats, people on shoulders jumpin’ around, wild in the heat. This is the part where you forget yourself, the band has gone into a trance, they don’t give a fuck about you, you don’t give a fuck about them. Everyone is melting. And it’s sounding sweet! I hadn’t seen The Roobs for some time and they didn’t disappoint on this night at The Brisbane Hotel.

I could have called it a night right there but I still need to check out M.O.T.O. aka Masters of the Obvious. And obvious they were.

Mervin Allan

I did not like this band at all when they first hit the stage; it was poppy, basic, repetitive and downright annoying. I’ve gone from fully

Gareth Liddiard with Dan Kelly

Republic Bar & Cafe Saturday March 5

The Brisbane hotel Friday March 18 Kicking off the night Dan Kelly’s poppy set warmed the speakers nicely with his anecdotal songs portraying much colloquial thought.

I have never been one for audience participation at a gig, it seemed to fit Dan’s set on this occasion (if not slightly shy on the crowds account). As an artist I feel he is playful yet bordering on kitsch, yet classy and well written.

Faceless voices in the crowd referenced Flight of the Concords though I feel Dan Kelly’s essence is much deaper than that. Finishing with a nice lead guitar break, Dan Kelly also utlised various electric guitar effects, including a backing beat throughout his set. Its nice to see a solo guitarist playing electric.

Gareth Liddiard’s boyish cheeky humour was infectious from the very first moment. The audience hung onto every word as Gareth shared songs off his new solo album ‘Strange Tourist’, as well as a few old favourites.

Donavon Frankenreiter

Gareth’s delivery was passionate and what can be considered nicely punk for an acoustic show. A hush fell over the room as he played stripped back acoustic/poetic folk songs - tales of life and death and adventure.

In between beautifully lyric-heavy songs he added fire to the Launceston Hobart rivalry as well as making other more endearing comments about Hobart. Even with out the backing of Australia’s greatest hard-rock band The Drones - he held the audience, spellbound to every word.

This was a fantastic night - Gareth Liddiard is a storyteller, a troubadour, a songwriter for songwriters!

Zoezac Visoiu

Donavon Frankenreiter took the stage at Hobart’s Republic Bar & Cafe looking like a man quite happy with his lot.

The surfing singer/songwriter strolled through the room in a suit jacket and battered fedora, adding just a touch of formal to his otherwise leisure exterior, all the while sipping on a short drink of an undetermined nature.

He was followed by a gaggle of equally casual looking musicians, the whole ensemble accompanied by hoots and hollers from the packed bar room.

Donnie looked every bit as relaxed in picking up his guitar and greeting the audience as I imagine he would fronting up at his local break with a surfboard under his wing.

As soon as the tunes started I was reminded of the cruisy, free-wheeling nature of Donnie’s take on surf rock and how effortlessly the troubadour entertains his fans.

That smooth, untroubled voice just emerges from behind his signature brush moustache and the audience is at once enraptured by the charismatic frontman and immersed in the smooth grooves his band provide for dancing to.

Particularly noteworthy during the set was the funked-up energy delivered from the organ to the left of stage. Such a pity the whole crowd couldn’t have a better view of the guy on the double-deck keyboard as he charged along at a frenetic pace.

The set was met with much drunken grooving and plenty of singing along from the crowd, and, from Donnie’s perspective, many, many impersonators. I guess that comes as par for the course when your merch stand sells moustaches alongside t-shirts and albums.

All in all, a very fun night out enjoying the wares of a very fun-loving musician. stU warreN

40 Event Guide

GIG GUIDE / Hobart Date

Venue

Date

Acts / Start Time

APRIL Thursday

07 Cargo Bar Pizza Lounge Dr Syntax

Sunday

Monday

Tuesday

Jamie Pregnall Quartet 8pm

The Republic Bar & Café

Girl Friday 9pm

14 Cargo Bar Pizza Lounge

Michael Clennett and guests

Joel Everard, Under the Apple Tree

Jazz @ The Doctor

Sitar Lounge at Brookfield

Irish Murphy’s

Joel Everard, House With A Heater

The Brisbane Hotel

Circus Horrificus + The Supercunts + Three Blind Dates

The Grand Poobah

Future Shorts

Queens Head Bar & Café

Fee ‘n’ K 7:30pm

The Brisbane Hotel

NowyourefuckeD + Will and The Screaming Seniors

The Republic Bar & Café

Drapht with special guests Mantra & The Tongue 9pm

Queens Head Bar & Café

Thursday Thunder 9:30pm

Wrest Point Ent’ Centre

Eric Bibb with Ruthie Foster 7:30pm

The Republic Bar & Café

Pugsly Buzzard 9pm

Henry Jones Art Hotel

Randal Muir

Henry Jones Art Hotel

Lachlan Court

08 The Observatory (Lounge)

DJ Millhouse

Brookfield Vineyard

Saturday

Thursday

Acts / Start Time Cake Walking Babies 8:30pm

Dr Syntax

Irish Murphy’s

Friday

Michael Clennett and guests

Venue Queens Head Bar & Café

Friday

The Observatory (Main)

DJ Johnny G and Guests

The Telegraph Hotel

Michael Clennett followed by Entropy

Cargo Bar Pizza Lounge

DJ Grotesque

Ivory Lounge Bar

DJ Alex Felix and Guests

Dr Syntax

Indie/House DJ 8pm

Irish Murphy’s

Joel Everard, Dr.Fink

The Grand Poobah

The Roobs, The Lucky Dips & Truckshow

Brookfield Vineyard

Keith Donnelly & Flossie Malauialle

The Brisbane Hotel

Damage w/ Face the Fiasco + Cashman + Wolf Pack + Bears + DJ Peta Rabbit & Friends + DJ Flaps

Queens Head Bar & Café

15 The Brisbane Hotel

James Parry Album Launch w/ The Baxter Stockman, Billy Whims and Tim Spurr 8:30pm

The Observatory (Lounge)

DJ Millhouse

The Observatory (Main)

DJ Johnny G and Guests

The Telegraph Hotel

Michael Clennett followed by The Big Swifty

Cargo Bar Pizza Lounge

DJ Dave Webber

Ivory Lounge Bar

DJ Alex Felix and Guests

Dr Syntax

Indie/House DJ 8pm

Irish Murphy’s

Tony Brennan, Australian Made

The Grand Poobah

The Woohoo Revue

Brookfield Vineyard

2 1/2 Days in Margate Piano Marathon

RPM 8pm

Wrest Point Ent’ Centre

Charmaine Wilson Spirit Whispers 7:30pm

The Republic Bar & Café

The Holidays with guests Gold Fields 10pm

Queens Head Bar & Café

Black Coffee 8pm

Henry Jones Art Hotel

Bill Whitton & Danny Healy

The Republic Bar & Café

Ben Wells & The Middle Names (Old Sea Salt single launch) 10pm

Henry Jones Art Hotel

Maria Lurighi & Tom Vincent

09 The Observatory (Main)

DJ Brendan and Guests

The Telegraph Hotel

Ado and Devo followed by The Smashers

Cargo Bar Pizza Lounge

DJ Millhouse

Ivory Lounge Bar

DJ Sticky Buds (Canada) with DJ Dameza and DJ Mez

Dr Syntax

Karaoke

Irish Murphy’s

Wolfe Brothers, The Pirates of the Cover Scene

The Grand Poobah

Three Blind Dates 7:30pm

The Grand Poobah

The Huon Valley Environment Centre Fundraiser

Brookfield Vineyard

The Chordwainers

The Brisbane Hotel

ALL AGES - CC Rocks No1 10 bands from Claremont College including Crusador + Kramer Janes + Black City Rats + Inferior

Saturday

16 The Observatory (Main)

DJ Brendan and Guests

The Telegraph Hotel

Michael Clennett followed by Dr. Fink

Cargo Bar Pizza Lounge

DJ Millhouse

Ivory Lounge Bar

DJ Ron Swan, DJ Mez and DJ Dameza

Dr Syntax

Karaoke

Irish Murphy’s

Dave Wicks, The Smashers

The Grand Poobah

The Woohoo Revue

Brookfield Vineyard

Marathon continues over 10 piano players

The Brisbane Hotel

Over Reactor (vic) + Incarcerate + Chi Roh

The Brisbane Hotel

Front Bar - The Stitch Up w Floor Board George playing Funk/Hip Hop/Electronic/Soul/World

The Brisbane Hotel

18+ - The Timbers (SA) + Linc Le Fevre

The Brisbane Hotel

Late Night Krackieoke w DJ THEJOKEWASOVERAMONTHAGO!

PlanB

AJAX, Kir, Lids, Adam Turner

Queens Head Bar & Café

24/7 9:30pm

Queens Head Bar & Café

Ebeneza Good 9:30pm

The Republic Bar & Café

Sugartrain 10pm

The Republic Bar & Café

The Funk Band featuring Tim Partridge 10pm

Federation Concert Hall

Rossini and More 2:30pm

Wrest Point Ent’ Centre

John Waters 7:30pm

Southport Hotel

Pugsley Buzzard

Henry Jones Art Hotel

Dean Stevenson & Randal Muir

10 Baraki Wine & Tapas Bar

Sunday

17 Cargo Bar Pizza Lounge

Wolf Brothers followed by DJ Dameza and DJ Grotesque

Sunday Skool @ Baraki 3pm

Irish Murphy’s

Ivories at Irish

Cargo Bar Pizza Lounge

Where’s Mary followed by DJ Dameza and DJ Grotesque

Dr Syntax

Jazz @ The Doctor

Irish Murphy’s

Pete Cornelius, Blue Cow, Tane Emia-Moore, Ash Colls

Brookfield Vineyard

Marathon continues (Pugsley Buzzard)

Brookfield Vineyard

The Timbers

The Republic Bar & Café

Rosie Burgess Trio 9pm

The Brisbane Hotel

Marination Station Volume Two: The Downbeat Boogaloo

The Republic Bar & Café

Don’t Lose the One 9pm

Dr Syntax

Poker

Danger Academy 8pm

The Republic Bar & Café

Pat Berechree 8:30pm

11 Queens Head Bar & Café

Monday

18 Irish Murphy’s

Token Therapy (Martin O’Brien), Blizz

Irish Murphy’s

Radio Silence, Andi, Nick Balcombe

Dr Syntax

Poker

Dr Syntax

Dr Syntax Songwriters Night

The Republic Bar & Café

Quiz Night 8:15pm

The Republic Bar & Café

Soul Fish 9pm

12 Onba

The Clubhouse

Tuesday

19 Irish Murphy’s

Wednesday 20 The Observatory (Lounge)

Tasmanian Songwriters and Producers Night

DJ Dameza

Irish Murphy’s

Ray Martians, Fringe Dwellers

Dr Syntax

Budge

Dr Syntax

Girl Friday 8pm

Queens Head Bar & Café

Organ Doctors 8:30pm

The Republic Bar & Café

Double Down 9pm

The Republic Bar & Café

Brian Fraser 9pm

Wednesday 13 The Observatory (Lounge)

DJ Grotesque

Thursday

21 Cargo Bar Pizza Lounge

Michael Clennett and guests

Dr Syntax

Alex Byas + Andrew G Marshall 8pm

Dr Syntax

Jamie Pregnall Quartet

Brookfield Vineyard

Brookfield Comedy Club (Dave Bloustein)

Irish Murphy’s

Joel Everard, Ray Martians

Friday night is Indie night @ Dr Syntax In 2011, the Dr Syntax has returned and is presenting a variety of brilliant newly established music nights. d dy Bay R 139 San TAS 7005 ay Sandy B 258 36 (03) 622 om.au Warp fo@reallive.c in

Friday night @ the Dr Syntax is presenting electro and indie club night DJs - which will fill your night with beats, pop, mash-ups, house, dnb and dubstep.

Event Guide 41

Date

Friday

Saturday

Sunday

Monday

Tuesday

Venue

Acts / Start Time

Venue

Acts / Start Time

The Brisbane Hotel

In Malices Wake + Desecrator + Taberah + Random Order

The Observatory (Main)

DJ Johnny G and Guests

The Republic Bar & Café

Adalita with special guest Amaya Laucirica 9pm

The Telegraph Hotel

Michael Clennett followed by The Smashers

Brookfield Vineyard

Rosie Burgess Trio

Cargo Bar Pizza Lounge

DJ Grotesque

Henry Jones Art Hotel

Randal Muir

Ivory Lounge Bar

DJ Alex Felix and Guests

22 The Observatory (Lounge)

DJ Millhouse

Dr Syntax

Indie/House DJ

The Observatory (Main)

DJ Johnny G and Guests

Irish Murphy’s

Ian Murtagh, House with a Heater

The Telegraph Hotel

Michael Clennett followed by Entropy

Queens Head Bar & Café

Lively Up 9:30pm

Cargo Bar Pizza Lounge

DJ Grotesque

The Republic Bar & Café

Sampology’s Super Visual Monster Mash 10pm

Ivory Lounge Bar

DJ Alex Felix and Guests

Henry Jones Art Hotel

Bill Whitton & Aaron Entrez

Dr Syntax

Indie/House DJ

Irish Murphy’s

Joel Everard, Dr.Fink

The Observatory (Main)

DJ Brendan and Guests

The Grand Poobah

Bob Log III, The Ray Guns

The Telegraph Hotel

Michael Clennett followed by Dr. Fink

Henry Jones Art Hotel

Our regular house sound as its Good Friday

Cargo Bar Pizza Lounge

DJ Millhouse

DJ Brendan and Guests

Ivory Lounge Bar

DJ 1928 (Melb) supported by DJ Danny Paradi$e & DJ Mez

The Telegraph Hotel

Ado and Devo followed by The Smashers

Dr Syntax

Karaoke

Cargo Bar Pizza Lounge

DJ Rabb

Irish Murphy’s

John Harwood, The Smashers

Ivory Lounge Bar

DJ Danny Paradi$e, DJ Mez & DJ Dameza

The Brisbane Hotel

Dr Syntax

Karaoke

Little Bear (CD Launch) + Cheery Slug + Unsoundbwoy

Irish Murphy’s

Dave Wicks, The Pirates of the cover Scene

The Brisbane Hotel

The Grand Poobah

The Roobs, Truckshow, Guthrie & The Super Kunts

Brand New Second Hand “Psychedelic” w DJ Broken Tiny + DJ Kookaburra + Sister Olivia

The Brisbane Hotel

All Ages 3pm - 7pm - “TasBattles” w Greeley + Dunn D + more tba

Queens Head Bar & Café

Pumpkin Heads 9:30pm

The Republic Bar & Café

The Little Stevies 10pm

The Brisbane Hotel

Drunk Elk + Untermorast + The Love In

Moonah Arts Centre

Audrey Auld

Queens Head Bar & Café

Midnite Revival 9:30pm

Henry Jones Art Hotel

Dean Stevenson & Randal Muir

The Republic Bar & Café

Japan Relief: Ride the Tiger, Lincoln LeFevre, More TBA 8:30pm

Henry Jones Art Hotel

Mia Palencia & Randal Muir

23 The Observatory (Main)

24 Baraki Wine & Tapas Bar Cargo Bar Pizza Lounge

Fee Whitla followed by DJ Dameza and DJ Grotesque

Irish Murphy’s

Fritz, Jade

Dr Syntax

Dr Syntax Launch Party

The Grand Poobah

Poptimism Tiger Choir (CD Launch), All Fires the Fire, Peter Escott (Comedy) and DJ’s

The Brisbane Hotel

ALL AGES - Frenzal Rhomb 3pm

The Brisbane Hotel

18+ - Frenzal Rhomb 9pm

The Republic Bar & Café

Carus Thompson & Band 9pm

25 Queens Head Bar & Café

Rogue Acoustic, Dave McEldowney

Dr Syntax

Poker

The Republic Bar & Café

Quiz Night 8:15pm

26 Onba

Friday

Barry Jones, Josh Durno, Dominic Frances

Dr Syntax

Girl Friday

The Republic Bar & Café

G B Balding 9pm Dominic Francis

Wrest Point Ent’ Centre

WASHINGTON - The Tour of Laughter & Forgetting with Special guest LISSIE 7:30pm

Queens Head Bar & Café

Billy Whitton & the Hepcats 8:30pm

The Republic Bar & Café

Fritz 9pm Michael Clennett and guests

Dr Syntax

Jazz @ The Doctor

Irish Murphy’s

Joel Everard, Radio Silence

The Brisbane Hotel

Phat Meegz

Queens Head Bar & Café

Bowerman & Parker 8:30pm

The Republic Bar & Café

Trumps 9pm

Henry Jones Art Hotel

Randal Muir

The Observatory (Lounge)

Sunday

01 Cargo Bar Pizza Lounge Irish Murphy’s

Comedy Voltron 8pm DJ Millhouse

Michael Clennett and guests Ivories at Irish

Monday

02 Irish Murphy’s

Australian Songwriters Association

Tuesday

03 Irish Murphy’s

Tasmanian Songwriters and Producers Night

The Brisbane Hotel Thursday

Yellowfever (USA) + Love Connection (vic)

05 The Brisbane Hotel

Circus Horrificus and Friends

The Grand Poohbah Friday

Saturday

06 The Observatory (Lounge)

DJ Millhouse DJ Johnny G and Guests

The Telegraph Hotel

Michael Clennett followed by The Smashers

Cargo Bar Pizza Lounge

DJ Dave Webber

Ivory Lounge Bar

DJ Alex Felix and Guests

The Grand Poobah

Marianne Dissard

The Brisbane Hotel

Damage w Ballpoint + Declaration (vic) + Your Demise

Queens Head Bar & Café

***INXSive*** 8:30pm

Federation Concert Hall

Howard Shelley Selects 7:30pm

07 The Observatory (Main)

DJ Brendan and Guests

The Telegraph Hotel

Ado and Devo followed by The Smashers

Cargo Bar Pizza Lounge

DJ Grotesque

The Brisbane Hotel

Pspiralife - Album Launch 10pm

Wrest Point Ent’ Centre

“NOW WE’RE SWINGIN” starring Tom Burlinson 7:30pm

PlanB

Ministry of Sound Electro Sessions ft. RoB PiX, Corney, DJ Squish and Gillie

Queens Head Bar & Café

Basil The Rat

Brookfield Vineyard

Susan Gai Dowling

08 Cargo Bar Pizza Lounge

Monday

09 Queens Head Bar & Café

Irish Murphy’s Irish Murphy’s 10 Onba Irish Murphy’s Thursday

Yellowfever (USA)

The Observatory (Main)

Sunday

Tuesday

Art @ the Brisbane

04 The Brisbane Hotel

Danger Academy 8pm

Cargo Bar Pizza Lounge

Comedy Voltron 8pm

May

DJ Grotesque

Dr Syntax

29 The Grand Poobah

30 The Grand Poobah

The Clubhouse

Irish Murphy’s

28 Brookfield Vineyard

Saturday

Danger Academy 8pm

Irish Murphy’s

Wednesday 27 The Observatory (Lounge)

Thursday

Sunday Skool @ Baraki 3pm

Date

12 Queens Head Bar & Café The Republic Bar & Café

Sticks and Kane followed by DJ Dameza and DJ Grotesque Rod Fritz, Nick Balcombe, Nick Papadakis Danger Academy 8pm Ray Martians, Ian Murtagh The Clubhouse MyBlackson, Chris Rushworth, Nick Foster Thursday Thunder 9:30pm Hungry Kids of Hungary - The Final Escapade

Saturday night is your karaoke night, so rock on up and join in the fun!

Mid week the Dr Syntax presents a unique selection of music nights, with regular Jazz, World Music, Hip Hop, Comedy and local singer / songwriters evenings also.

Come long and show your support for one of Hobart’s newest and happening live original music venues.

Warp

42 Event Guide

Launceston Date

Venue

Acts / Start Time

APRIL Friday

Saturday

Sunday

Mace, SheBounce, Sam La More, PD 10pm

Hotel New York (Front Bar)

Roger Davis 11pm

The Hub

Styre w/ Myocardian & more 8:30pm

Country Club Show Room

John Waters 7:30pm

The Royal Oak (Bar)

Mick Attard

09 Hotel New York

Mace, Roger Davis, Boaz, Basssup 10pm

Maginty’s Bar

Cam Windram 9pm

Burnie

The Merchant

Brett Collidge 8pm

Devonport

The Warehouse

Sam La More + Scavenger 11:30pm

JAZZ 3pm

Smithton

Tall Timbers

Brett Boxhall 8pm

The Alex

Threez A Crowd 4pm

Maginty’s Bar(1st Floor)

John Haufmann 2pm

Open folk session

Saturday

Sunday

Charmaine Wilson Spirit Whispers 7:30pm

Pugsley Buzzard (Syd) 8pm

09 Burnie

10 Devonport Burnie

Shearwater Country Thursday

14 Burnie

Two Piece 2pm

Burnie Town Hall

Rossini and More

Hotel New York

Over-Reactor, PD, Mace

Burnie

Maginty’s Bar

Viktor Zappner’s Swing Quartet 9pm

Hotel New York (Front Bar)

Basssup 11pm

Devonport

Don College (U18 show)

Over Reactor

Manhattan

PD 10pm

The Royal Oak (Bar)

Future Recollection

16 Hotel New York Hotel New York (Front Bar) The Royal Oak 17 Fresh on Charles The Royal Oak (Bar)

Wednesday 20 Irish Murphys The Royal Oak (Bar)

Friday

15 Burnie

Maginty’s Bar

Brian Fraser sings the Blues 9pm

Saturday

16 Burnie

Mecca Lounge-bar

Cam Windram 7pm

Burnie

The Merchant

Tom Vincent 8pm

Live Music

Burnie

Maginty’s Bar

Paradigm 9pm

JAZZ 3pm

Devonport

Spurs Saloon

Selecta 10pm

Open folk session

Ulverstone

The River Arms

Threez A Crowd 10pm

Mace, Basssup, SheBounce, PD 10pm EMC, G-Rox, Basssup 11pm

Adalita Mick Attard

Thursday

21 The Royal Oak

Pay Off the P.A including Guthrie and The Little Cubas

Friday

22 Hotel New York

EMC, Boaz, Basssup, PD 10pm

Sunday

17 Devonport

The Alex

Brett Collidge 4pm

Thursday

21 Burnie

Maginty’s Bar

Viktor Zappner’s Swing Quartet 9pm

Saturday

23 Burnie

Mecca Lounge-bar

Jarodeo Clown 7pm

Hotel New York (Front Bar)

SheBounce 11pm

Burnie

Maginty’s Bar

Brett Colledge 9pm

Manhattan

Basssup 10pm

The Hub

Sanguari Misanthropia w/ supports 9pm

Ulverstone

Oz Rock Inn

Audrey Auld 7pm

The Royal Oak

Live Music

Ulverstone

The River Arms

Jesse & Jase

The Alex

Adam Wiseman & Katherine Leary 4pm

23 Fresh on Charles

JAZZ 3pm

Sunday

24 Devonport

Hotel New York

EMC, PD, Boaz, SheBounce 10pm

Thursday

28 Burnie

Maginty’s Bar

Viktor Zappner’s Swing Quartet 9pm

Manhattan

Basssup

Friday

29 Burnie

Mecca Lounge-bar

Peter Babic 7pm

The Royal Oak

Live Music

Burnie

The Merchant

Filthy Strings 8pm

Devonport

The Central

Snatch 10pm

Maginty’s Bar

Cam Windrum 9pm

The River Arms

Two Piece 10pm

24 The Royal Oak (Bar)

Open folk session

Wednesday 27 The Royal Oak (Bar)

Open Mic Night $12 jugs of boags draught

Thursday

The Little Stevies + support

28 The Royal Oak (Boatshed) 29 Hotel New York

G-Rox 11pm

Manhattan

PD 10pm

The Royal Oak (Bar)

The Titz

30 Hotel New York

Mace, PD, The Only, Basssup 10pm

Wednesday 04 The Royal Oak (Bar)

Turry beevor

Thursday

05 The Royal Oak (Bar)

Dave Adams

Friday

06 Country Club Show Room

“NOW WE’RE SWINGIN” starring Tom Burlinson

07 Princess Theatre

Andrew mcsweeney Howard Shelley Selects 7:30pm

The Hub

Damage (bands tba) 8pm

The Royal Oak

Live Music

08 The Royal Oak (Bar)

Open folk session

30 Burnie Ulverstone

MAY Thursday

05 Burnie

Maginty’s Bar

Viktor Zappner’s Swing Quartet 9pm

Saturday

07 Burnie

Maginty’s Bar

The Marvans 9pm

The Warehouse

MOS Electro Sessions feat. Timmy Trumpet

Thursday

12 Burnie

Maginty’s Bar

Viktor Zappner’s Swing Quartet 9pm

Devonport

EMC, G-Rox, PD 11pm

May

The Royal Oak (Boatshed)

Saturday

EMC, Basssup, Mace, PD 10pm

Hotel New York (Front Bar)

Hotel New York (Front Bar)

Sunday

Burnie

L.B.C Present Jules Boult with Pete Cornelius

The Royal Oak (Boatshed)

15 Fresh on Charles

Saturday

Peter Babic 7pm

Dirt, Kava, DJ Dazzler, King Of Burnie Hotel 8pm

Damage w/ Luca Brasi, Wolfpack, Woof Woof, Phoenix Lights, Save the Clocktower & Surrender 8pm

Friday

Saturday

Viktor Zappner’s Swing Quartet 9pm

Mecca Lounge-bar

Kinf of Burnie Hotel

The Hub

The Timbers with Invisible Boy

Friday

Maginty’s Bar

08 Burnie

Burnie

PD 10pm

12 Country Club Show Room

07 Burnie

Friday

The Titz 9pm

Manhattan

10 Fresh on Charles

Thursday

Vanessa Garratt 7pm

14 The Royal Oak (Bar)

Sunday

Acts / Start Time

Maginty’s Bar

Thursday

Saturday

Venue

Mecca Lounge-bar

EMC, Mace, PD 11pm

Turry Beevor

Sunday

city

Burnie

Hotel New York (Front Bar)

Wednesday 13 The Royal Oak (Bar)

Saturday

Date APRIL

08 Hotel New York

The Royal Oak (Bar) Tuesday

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Karaoke Every Wednesday night from 9pm

Grand Final Wednesday 27th of April The winner will take home a WII singstar plus $2000 towards a fully catered function at Irish Murphy’s!

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Growing original artists Sunday through Tuesday every week

Thursday to Saturday The best of Hobart’s cover bands every week Featuring

Joel Everard The Pirates of the Cover Scene Australian Made The Smashers Dr. Fink ...and many more.

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Serving great mealS for lunch & dinner everyday!

HOBART | 21 Salamanca Place

6223 1119 | www.irishmurphys.com.au