Warp Magazine July 2012

CiviC Square & CBD CiviC Square & CBD Five days nights of playful, interactive ambitious Five days andand nights of playful, interactive andand ambitious contemporary music performance. contemporary art,art, music andand performance.

junctiOnArtsFestivAL.cOm.Au junctiOnArtsFestivAL.cOm.Au

Photo Courtesy Branch Nebula

Photo Courtesy Branch Nebula

Over 50 Free events Over 50 Free events 22—26 August 2012 22—26 August 2012 LAuncestOn LAuncestOn

Se fa S l l i n g t!

Van She SAT JULY 21

Jay Hoad Thur, July 5 Dallas Frasca Fri, July 6 Ash Grunwald Sat, July 7 & Sun July 8 (afternoon) Swump Sun, July 8 Quiz Night Mon, July 9 Joe Piere Tue, July 10 Brian Fraser Wed, July 11 Courtney Barnett + Royston Vasie Thur, July 12 Kool Keith Fri, July 13 Doctor Werewolf Sat, July 14 Evan Carydakis Quartet Sun, July 15 Billy Whitton Mon, July 16 Pat Berechree Tue, July 17 My Girlfriends Sister + Myamora Wed, July 18 Pataphysics Thur, July 19 Boil Up Fri, July 20

Chasm & Hau Latukefu SAT JULY 28

Carus (album launch) WED AUGUST 8

Van She Sat, July 21 4 Letter Fish Sun, July 22 G B Balding Mon, July 23 The Baker Boys Tue, July 24 Rai Thistlethwayte Wed, July 25 The Jed Rowe Band Thur, July 26 Set Sail Fri, July 27 Chasm + Hau Latukefu Sat, July 28 Republic Music Quiz (afternoon) Sun, July 29 Wahbash Avenue Sun, July 29 Quiz Night Mon, July 30 Hoot Owl Tue, July 31 Carus (Album Launch) Wed, Aug 8 Children Collide Wed, Aug 15 Snakadaktal Fri, Aug 24 Tim Freedman (The Whitlams) Sat, Sept 1

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Kool Keith FRI JULY 13

SBS, Renegade, new woRld aRtiStS & max pReSent

Some kind of geniuS tour FRi 5 oct

on Sale now – Selling faSt

FUllY ReSeRVed Seating Hobart Showtime 8.00pm – 10.40pm with inteRVal wreSt Point www.tixtaS.com.aU call 1300 795 257 entertainment gRoUp BookingS oF 6 oR moRe aVailaBle www.rockwizlive.com.au centre

Second SHow Sat 6 oct

3 BRISBANE STREET HOBART 6234 4920

voicEbOx drawing upon the European tradition of spontaneous performance in circus spaces, spiegeltents and halls, the Festival of Voices is transforming City Hall into a musical luna park. With cocktail and lounge areas, candlelight and cabaret performances, Voicebox is a place of temptation for the senses. running throughout the Festival, often with multiple shows per night, you will be privy to some of our most talented and intriguing performers.

Voicebox. it’s the heart of the Festival.

F r O m J u ly 6

Expect this year to be bigger and better than ever before – a dazzling journey through the elements with fire, sculpture and voices. This is a free family event that will warm your heart as everyone joins in celebration and song. So rug up, pull on your best beanie, and bring your family and friends to be part of this very special mid-winter tradition.

C a S T r ay E S p l a n a d E , S a l a m a n C a , F r i d ay 6 J u ly, 6 p m FREE

FOOd OF lovE brought to you by the north Hobart residents Group, Elizabeth Street will be closed off to traffic to make space for the latern-lit “long Table” running from lefroy Street to burnett Street. Serenading vocal ensembles, wandering minstrels and poets, and spontaneous performances by Festival guest artists will replace cars, trucks and buses. bring your friends and the family. pack a picnic or choose from one of the many food venues along the strip. but wherever you choose to dine at Food of love, you will be touched by the Festival of Voices magic. n O r T H H O b a r T, S u n d ay 1 5 , 5 p m – 8 p m FREE

THE unsuitablE cAs E OF mE after the house has lost its fullness, the pub has lost its history, the chairs have lost their comfort and tea has lost its heat, you find yourself doing the most dangerous thing – measuring the man you are, without the women who left you. music written and performed by dean Stevenson with string quartet, to a story by Tasmania’s international playwright Finegan Kruckemeyer. designed by Selena de Carvalho.

T H E p E a C O C K T H E aT r E , S a l a m a n C a a r T S C E n T r E S a T u r d ay 7 J u ly, 8 p m S aT u r d ay 14 J u ly, 8 p m $28

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"The Best Cheapest Pub Meals In The World!"

Lunch - Tues till Fri 12:30 till 2:30 Dinner - Tues till Sun - 5:30 till 8:30

News

News in Brief WHITE KNIGHT FOR TASMANIAN MUSIC FESTIVAL In case you hadn’t heard, the Marion Bay Falls Festival had run into a bit of strife on the money front. The future of the festival was looking grim without some kind of donation or corporate/government support.

Fortunately, Graham Wood (co-founder of wotif.com and music website We Are Hunted) dug deep and donated a hefty (and confidential) amount of money to keep Falls Festival running. He has a long term vision, but he’s supplying financial support on a one-year-at-a-time basis.

begs the question, why are we bothering to tell you all this, you’ll hear about it soon enough anyway, it’s not like she needs the help. Anyway, the album will be available in Australia on September 7 via 8 Ft. Records/ Inertia. Tell your friends you already bought it.

NO STOPPING GURRUMUL

Presales for the show are $10 plus booking fee and available from Ruffcut, The Telegraph Hotel, Cargo Bar and The Observatory.

THE CULT OF AMANDA PALMER “Drama-pop-punk-caberet-piano-slayersuper-blogger” Amanda Palmer has just raised over a million dollars via crowdsourcing to release her new album Theatre Is Evil. This mammoth amount of coldhard cash not only proves her Jesus-like popularity amongst hipsters and yuppy artists, but is obviously more than enough money to release and flood the Australian market with promotional propaganda. Which

Added to this will be a number of prizes on the night for the catergories of: best dressed Prom King & Queen, Most Gravity Defying Hair, Best Pash Rash, and finally Best Sock Wrestle Scrag Fight. Other activities will include formal portraits and 80’s makeovers.

Entry is $10 for those in costume and includes a free glass of punch on arrival.

Doors open 9pm.

TONITE ONLY MOVES Originally planned for PlanB, Tonite Only will now be playing at Observatory Bar on Friday July 6. Sitting on top of the ARIA Club Charts for 11 consecutive weeks with “We Run The Nite” in 2011, the dynamic duo of Sam La More and Groove Terminator will be ruling the dance floor.

prom memories with this special themed night on Saturday July 14. Entertainment will come from one man band BJ Morriszonkle, musical/cabaret act Tomas Ford and MC Emily Newton plus the Poobah house band performing prom night classics.

SUNDAY JAZZ Gurrumul has been keeping busy. A recent documentary on his life and career on ABC’s Australian Story had almost 1 million Australian viewers and rocketed both his albums Gurrumul and Rrakala back into the iTunes Top 10.

This followed his performance at the Queen’s Diamond Jubilee concert at Buckingham Palace, which was watched by over 100 million people across the globe. Gurrumul also features on “Sing”, the diamond jubilee song co-written by Take That’s Gary Barlow and Sir Andrew Lloyd Webber, currently sitting at #1 both in the UK albums and singles charts.

A POOBAH PROM NIGHT Hobart’s Grand Poobah are offering patrons the opportunity to re-live their high school

“Little Jazz Bird” Laura Bernay (sister of Johnny Diesel) will be performing a special Sunday early evening show at Brookfield Margate. Renowned as a multilingual singer and flautist, Bernay will be performing with the backing of the Mike Nelson Trio.

Performing from 5pm on Sunday July 22, tickets for the show are $20.

They’ve also chosen (appropriately enough given the album’s title) Australia to debut their new live show. One of the headliners of Splendour In The Grass, Smashing Pumpkins are also doing three sideshows.

Hobart at the Brisbane Hotel.

See Smashing Pumpkins at Challenge Stadium in Perth on Thursday July 26, The Sydney Entertainment Centre on Tuesday July 31 and lastly The Hisense Arena in Melbourne on Thursday August 2 and

SPLENDOUR TIME!

THE TASTE TALENT SEARCH We’re only in July, but the boffins at the annual Taste of Tasmania Festival are already on the hunt for Performers and Activity Providers. If you’re a stage based performer (band, soloist, choir, etc.) or a roving performer (i.e. Street theatre), you can acquire all the information you need, and complete the online expression of interest form at www.tastefestival.com. au. Make sure you fill out the correct form, or you could end up applying for a food stall. Entrants are asked to be patient with replies, it could take months to sift through all the information. Expressions of Interest submissions close on Wednesday August 8.

KISSES ALL ROUND A SMASHING TIME Smashing Pumpkins. Remember them?

They pretty much owned the 1990’s for a lot of people. They helped define Alternative music and have influenced countless bands throughout the 00’s and the early part of the 10’s. They recently released a new album titled Oceania via Create/Control.

Kissteria are Australia’s premiere Kiss tribute band, they have been entertaining crowds around the country for 15 years now. That’s a long time. They recently came second in a worldwide search to find the best Kiss tribute band on the planet, held in Las Vegas and judged by Kiss guitarist Tommy Thayer. They will be visiting Tasmania on Friday August 10, playing in

Tickets available via Ruffcut, Oztix and the venue.

Despite a recent slump in Australian music festival scene, Splendour In The Grass has managed to buck the trend to produce a massive lineup for 2012. Consisting of acts such as Jack White, Bloc Party, Smashing Pumpkins, At The Drive In, Hilltop Hoods, The Kooks, The Shins and Miike Snow to name just a select few. The festival runs a total of 3 days from Friday July 27 to Sunday July 29 at Belongil Fields, NSW. Tickets are still available in very limited numbers from Moshtix.

COLLISION TIME Children Collide have heightened anticipation ahead of their upcoming Monument Tour with the release of an online video for album track Sphere of Influence, and with the announcement that Brisbane’s Dune Rats, and Adelaide’s Bad Dreems will be joining them on their national tour. The bands will be making one stop in Tasmania, playing at the Republic Bar & Café on Wednesday August 16.

IT’S PHYSICS

playing to over 70,000 people. Now in 2012, they’re set to take over once again with the release of Pacifica, due for release on September 14 through Modular Recordings.

Pacifica is described as ten prismatic, synthlaced ventures in to uncharted musical territories. To celebrate its release, The Presets will be headlining the Parklife festival later this year.

DANCING BEARS Last year, national youth broadcaster, Triple J, announced that Snakadaktal would be one of the acts to watch out for in 2012. Oddly enough, here we are in 2012 and Snakadaktal are touring nationally to support the release of their new single “Dance Bear”. They will be appearing at the Republic Bar & Café on Friday August 25, supported by Sydney pop outfit Sures and local favourites, Ben Wells and the Middle Names.

STILL BEAUTIFUL ‘An Evening With The Beautiful Girls’ is a celebration and a conclusion to the decade long journey that has taken Mat McHugh and his boot-full of songs from country to country. Following the 2009 release of his debut solo album Seperatista and the success of his sophomore solo release Love Come Save Me Mat has decided to call it a day with The Beautiful Girls. But before they’re done, they’re setting off on a massive 26 stop national tour, including 3 stops in Tasmania. Thursday September 6, they’ll be at Hotel New York in Launceston, Friday September 7 in Devonport at Spurs Saloon and on Saturday September 8 at Wrest Point in Hobart.

NEW BEGINNING FOR MIA

MEET OUR WRITERS Warp Tasmania JULY 2012

Editor Ali Hawken

.........................................

ali@warpmagazine.com.au

www.warpmagazine.com.au www.facebook.com/warp.mag

Sub Editor Rebecca Fitzgibbon

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rebecca@warpmagazine.com.au

ART Andrew Harper andrew@warpmagazine.com.au

INTERESTED IN WRITING FOR WARP? contact ed@warpmagazine.com.au .........................................

DESIGN Miu Heath catspop@gmail.com

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GIG GUIDE Submit your events to

gigs@warpmagazine.com.au

Writers Sose Fuamoli, Sarah Leary, Eva Lubulwa, Josh Clements, Lyn Geisel, Daniel Townsend, Jervis Dean, Jarred Keane, Lucas Thomas, Caity Rode, Lisa Dib, Brett Neuling, Sybelle Foxcroft,Rebecca Whitehead, Loani Arman, Calum Power NEWS Submit your press releases plus publicity images through to the appropriate editor for consideration.

SOSEFINA FUAMOLI

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

The opinions expressed in Warp Magazine and Warp online do not necessarily reflect those of the editors or publishers.

Why do you write for WARP? I started up with WARP because it was a great opportunity to gain experience in the street press field. It’s pushed me to produce some of my best work and I love the experiences I’ve had with the magazine so far.

If you were so addicted to something that it destroyed your life, what would you like it to be?

It’d have to be live music. I go to enough shows as it is, but if I have to choose something to destroy my life - why not go out with an awesome soundtrack?

What do you like about your tastes and passions in/for music?

I’m loving that I’m still being surprised and impressed by music that I thought I’d never

be interested in or had never heard before.

I’ve never tried to pigeon-hole my tastes and I love being at a show where I know none of the artists and just going in blind and seeing what happens.

Recently listed in MTVs ‘Top Ten Breakout Bands of Australia’, Pataphysics is an interesting and original mix of hiphop, soul, jazz and global rhythms. Led by multilingual multi-instrumentalist Pat Marks, Pataphysics is known for incorporating powerful politically conscious flows with freestyle poetry, live improvised beats and percussion, and even traditional north Indian rhythms. Having recently toured and performed all over Australia, Pataphysics will be making their first Tasmanian appearance at the Republic Bar and Café on Thursday July 19.

SET TO REIGN AGAIN

Music’s the best thing in the world isn’t it?

It’s something everyone can relate to, no matter what language or culture. There’s nothing complex about the way it can affect people, I love that organic nature of music.

In my world, it’s definitely in my top three.

First song you listened to when you woke up this morning?

Mia Dyson has had quite a journey over the past few years. From 2009 to now, she has separated from her long-term partner, gone broke, lost her band, and her management tried to change her name and sell her out to reality television. She moved to an America that didn‘t know her name, and toured across the country on a shoestring budget, embracing all that is American culture. ‘The Moment’ is a result of this journey and is a gutsy and revealing album. To celebrate its release, Mia has returned home, and will be performing all over Australia, including a stop at the Republic Bar & Café, on Friday September 21.

A NEW ST.ART The annual Clarence St.Art festival is back for another year, and this year promises to be bigger and better with more events, more competitions and more prizes. One of the new competitions to be introduced is the Vectorizer Prize. It’s essentially a competition for digital artists, three winners will be selected from the submissions, and will be projected on to the side of Eastlands (also nabbing themselves $500 gift cards).

For more information, or to grab an entry form, check out www.ccc.tas.gov.au/start.

‘Running Up That Hill’ by Kate Bush.

Last song you sang in the shower?

‘City Girl’ by The Jezabels. Singing was debatable.

It’s been over four years since The Presets took the dance music world by storm with their sophomore release Apocalypso. The album garnered the duo a swag of awards and lead to a national tour which saw them

BAND BATTLES RECOMMENCE After an absence of six years the TUU is pleased to announce that the popular National Campus Band Competition will be

held across UTAS campuses during July and August. Entries are now open online at www. aaca.net.au/ncbc. Heats will be held in both Hobart and Launceston during July. The state winner will be decided in an August state final and the winning act will be flown to Adelaide to compete in the national final.

At least one member of each participating band must be a currently enrolled student of the University of Tasmania.

DEVONPORT HAS THE BLUES The Continental Blues Party is the brainchild of acclaimed musician, singer and songwriter Robert Susz. Susz first came into prominence as the lead singer, harmonica player and chief songwriter of the 80’s soul band, the Dynamic Hepnotics, before moving on to form the Mighty Reapers in 1988. The Continental Blues Party specialise in soul, blues and down home funk, and will be playing at Red Hot Music in Devonport on Sunday July 22.

Tickets are on sale now by calling 64242286 or 64249816, $20 Adults, $10 for under 16s.

The show commences 7pm.

LIFE IS A PARK It seems like Australia’s Music Festival Season lasts for 12 months these days, our credit cards are still reeling from the Summer past and hype is already being built up for the next batch. Leading the charge, is the ever popular Parklife Festival. Stopping in Brisbane, Sydney, Perth, Melbourne and Adelaide at the end of September/start of October, they’ve just announced their lineup, and it’s a doozy! The Presets, Nero, Rusko, Passion Pit, Tame Impala, Plan B, Hermitude, Parachute Youth, Modestep and too many more to list, we recommend checking out their website, www.parklife. com.au.

CLASH OF SOUNDS Edge Radio 99.3fm is putting on a night of spontaneous music with the Hobart Improv Collective and the Tasmanian Improvised Orchestra at the Brisbane Hotel on Friday July 13. The night will consist of two acts, firstly, The Hobart Improv Collective, consisting of current and ex-members of local acts such as the Native Cats, M.O.1.O., Drive West Today & Moe Grizzly. The second act is The Tasmanian Improvised Orchestra, led by Brian Ritchie who will be joined by members of Hobart’s Jazz and Classical music scenes. Doors open at 9pm with entry $10.

YOUR CHANCE TO BOOK A SET WITH GOODWILL If you’re a House or Electro-House DJ in Hobart, you might want to get in touch with PlanB nightclub via face book. They’re on the hunt for someone to support GoodWill at PlanB on the Friday July 27. Hell, if the talent is there, there may even be two spots up for grabs! It’s an online thing, so start practicing, record a set, and search for “DJ COMP at PlanB” on the book of many faces for more information!

JULY FRI 6TH MIDNIGHT SAT 7TH THREE FAZE THREE SUN 8TH SALSA/SWING NIGHT WED 11TH OPEN MIC THURS 12TH CHRIS MEEK FRI 13TH THE TITZ SAT 14TH THE ROCK PIGS SUN 15TH FETCHING RUBY THURS 19TH EVIL CISUM FRI 20TH THREE FAZE THREE SAT 21ST GOV'NOR SUN 22ND EVIL CISUM DEVONPORT JAZZ FESTIVAL WEEKEND THURS 26TH NEIL GIBSON FRI 27TH THE UNIT SAT 28TH KING CAKE (12PM SHOW) SHEYANA BAND (9.30PM SHOW) SUN 29TH STAGEDOOR STOMPERS (12PM) TREV HEINS (6PM SHOW)

AUGUST WED 1ST TAPAS TRIVIA THURS 2ND EVIL CISUM FRI 3RD RINGMASTERS SAT 4TH T.M.G. SUN 5TH EVIL CISUM

Music

Music

AN IDEA OF HAPPINESS NOT ALWAYS KOOL KEITH...

POPPA LARGE, DR. OCTAGON, REVEREND TOM, BLACK ELVIS, TASHAN DORRSETT, DR. DOOOM ARE JUST SOME OF THE NAMES USED BY KOOL KEITH, THERE ARE AT LEAST 30 OTHER RECORDED ALIASES, AND THERE ARE PROBABLY MANY, MANY MORE. Whatever name you know him by, you have to admit that he has been one of the most important MC’s since hip hop‘s inception.

Since his early days with seminal rap group Ultramagnetic MC’s, Kool Keith has always done things differently to the rest of the industry. From his abstract and obscure lyricism, to his flamboyant and emphatic style, Kool Keith has set more trends and influenced more artists than he’d like to admit. He was the first to wear feathers, capes, outlandish clothes and wigs on stage, paving the way for acts like Lil Wayne and Odd Future. He invented Horrorcore rap.

Paving the way for acts like Gravediggaz, Necro, and Ill Bill. He bought concept albums to hiphop. One of the first concept albums he created, was Dr. Octagon.

Dr. Octagon was a classic album, combining three heavyweights in their respective fields.

Dan the Automator (and Kutmasta Kurt) beats, Q-Bert cuts, and Kool Keith raps.

“Blue Flowers” is a favourite for any hiphop fan. The album received critical acclaim, and has proven to be the most successful release for Kool Keith. He followed the Dr. Octagon series with the Sex Style release in 1997, then becoming Dr. Dooom in 1999 and killing Dr. Octagon on the first song of the First Come, First Served“ album. Since then, he has released a further 10 official solo albums under various aliases, but there are 8

warpmagazine.com.au

countless other unofficial releases floating around the internet While working on solo albums, he also managed to release a hefty amount of collaborative albums with other artists.

Analog Brothers saw him team up with another legend in Ice-T. Masters of Illusion saw him team up with Kutmasta Kurt and Motion Man. This mountain of releases may have reached its end with the recent release of “Love & Danger“. The lead single from the album, titled Goodbye Rap see’s an uncharacteristically pensive Kool Keith explaining why he dislikes the modern day rap scene and doesn’t want to be a part of it any more.

Appropriately enough, Kool Keith is playing at the Republic Bar & Café in July on Friday the 13th. Supported by Doctor Double Denim and DJ Mad. If what he says on “Goodbye Rap” is to be taken at face value, this could be our first and last chance to catch the legend himself on stage.

SHANE CRIXUS

Tickets are $25 + booking fee, and are available via Moshtix, Ruffcut, and at the venue.

VAN SHE HAVEN’T RELEASED A STUDIO ALBUM SINCE 2008’S V. WITH A HECTIC TOURING SCHEDULE AND A LOAD OF SUCCESSFUL REMIXES UNDER THEIR BELTS, THE BAND IS BACK WITH THEIR LONG-ANTICIPATED SOPHOMORE RECORD. MIKEY DI FRANCESCO TALKS WITH SOSE FUAMOLI ABOUT VAN SHE’S IDEA OF HAPPINESS.

Mikey Di Francesco and his Van She band mates have come out of a meeting with their label Modular and are feeling good about nearing the release of the band’s second record Idea of Happiness. As we speak, the album still has roughly three weeks before it drops to the public, and already the hype is generating strongly.

“We just had a meeting with Modular… actually holding something in your hands that you’ve finished is, well, it’s one of the reasons you do it. It’s definitely a reminder of why you do it, you know?”

The last few years have seen Van She touring pretty consistently abroad and on the home-front as the full band, as well as Van She Tech, both projects producing some killer remixes for both local and international artists alike. While for us, it’s probably seemed like a long gap in between studio releases, Di Francesco sees it differently.

to use the lessons - good and bad - they gained from their first album and produce a record which reflected the band wholly and completely as they are now.

“With the first record, we went to the UK and we went to a big producer,” Di Francesco explains. “When the time came to do the second record, we had learned a lot and obviously we’d been doing remixes and had been working with other people…we felt like we had the knowledge and the facilities to do it ourselves. Obviously, it would be a lot cheaper and we wouldn’t be restricted by deadlines and budgets if we did it ourselves.

The ball was in our court and it was down to us to make it as good as we possibly could.

That was the main thing for us; being able to just do it at our own leisure, on our own timeframe.”

“Well, we toured for about two and a half, three years from the first record and the remix record. By the time it got to the second record, time had already lapsed. We did a bunch of writing and then we built the studio and then we did it!”

“There were lots of things that were on [our first] record that were in our original demos, because by the time we got there and we tried to replace things, we [decided], ‘Nah, the original snare’s better, let’s put that back in’. I think a lot of it has to do with capturing the initial vibe; when you’re revisiting something and you’re reinventing the wheel, it doesn’t necessarily mean that it’s going to be better.”

Idea of Happiness not only marks Van She’s first studio release in four years, but the first record they have both recorded and produced themselves. With a King’s Cross studio set as their nest for the creative period which would eventually become album number two, Van She were able

With the lead single ‘Idea of Happiness’ and its follow-up ‘Jamaica’ being absorbed quite well by the public, it’s fair to say that Van She and the other local electro-infused artists have struck a good time in today’s climate to be making their comebacks and breakthroughs. Interested in the cyclic

“It’s really easy to be self-indulgent and to write something that only you can relate to, but the challenge is to write something that appeals to a broad audience and a lot of people.” nature of the Australian music environment, I ask Di Francesco for his thoughts on where electro-pop sits currently.

“I suppose the main thing would be, obviously, a good chorus; something that’s upbeat and uplifting. I think it’s really easy to be self-indulgent and to write something that only you can relate to, but the challenge is to write something that appeals to a broad audience and a lot of people. In Australia, I think people are really hungry for music that makes you feel good.”

“There really isn’t much else that’s going to happen other than sitting on aeroplanes and hanging out in the airport lounges! We’re going to Jamaica next Thursday to shoot the clip for the next single, so in between that and rehearsing and getting ready for the tour, we’ve got our work cut out for us over the next month!”

There’s got to be some perks though, right?

“Yeah!” Di Francesco laughs, “It’s good for the frequent flyer points!”

SOSE FUAMOLI

The band’s upcoming national tour will give the fans the long-awaited chance to finally see the Van She lads in action with some new material, and while Di Francesco and co are looking forward to it, they’re not expecting to get any breaks.

Van She play the Republic Bar and Cafe in

Hobart on July 21. Tickets available from the venue and through Moshtix. www.vanshe.com

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Music EE FR W

TO TRIVIA OR NOT TO TRIVIA? THAT IS THE QUESTION...

i iF

J U L Y E V E N T S

Question One: In which ancient language did the word ‘trivia’ refer to the place where many roads connect?

Today’s Trivia Nights are still all about connecting. They’re also about beer, food, knowing stuff and maybe picking up a few bucks for one’s smarts.

“As long as you keep it fresh and fun, the Trivia Nights are excellent,” says Bones.

“The Republic has a very loyal patronage, but they’ll soon let you know if your game is slipping, which is great.”

As with any competition, there are some who get all religiously serious about it...and then there’s everybody else.

The Republic will this month celebrate the first anniversary of their quarterly music trivia nights.

Brisbane Hotel quizmaster Bradley Almond says their Trivia Night is for people who want to have fun.

“They’ve been really popular and some have even sold out,” says Bones. “It’s a Rockwiz kind of thing with stuff from the 50s right up until current pop and rock with a bit of classical and jazz thrown in too.”

“Some of the quiz nerds have come expecting big prizes and they’ve kind of disappeared,” Almond says. “We just want it so you rock up and there’s trivia and there’s pop culture and it’s a really good night.”

“The winning team gets a hundred bucks to split and I usually walk away with ten bucks in my pocket after a few pints, so it’s really not about the money here,” he laughs.

The Republic Bar and Cafe has been doing trivia for years thanks to their devoted and

THUR 5

honest patrons, according to quiz man Damien Bones.

Question Two: Jazz is a musical style that originated in which part of the world?

Launceston’s Hotel Tasmania has recently recruited new kid on the block Michael Burgess to host their Tuesday Trivia Nights.

“It’s free entry, starts at seven and there’s a jackpot,” says the polite lady at reception with the please-don’t-ask-me-any-morequestions smile. At time of writing, the

ZOOPHYTE’S POINT OF VIEW

Peter Escott's : Pinball at Hanging Rock FRI 6

Skunk SAT 7

The Essence of Pole Dance and Burlesque: Jamilla Deville Showcase Event with Sarah Muir, Miss Kitty's Meow, Scarlett Jezebel and many more!

THEN DJ Set by Ash Grunwald after midnight jackpot was fifty dollars, ready to accrue each week (the fun jackpot, however, was overflowing).

love it when something’s already going on.

And we love that there are things happening on a Tuesday.”

Bradley Almond discovered the joys of trivia in the UK and saw the potential for his old southern stomping ground.

Question Three: Which combative Norse god lends his name to the day we call Tuesday?

“I was in Edinburgh for the festival,” Almond says. “The whole place was this excellent blend of music, comedy and the military tattoo, and I landed this spot doing a pub trivia night. I knew it would go really well in Tassie.”

“People are getting used to going out during the week now,” he says. “A lot of us are too busy to organise our own gatherings so we

AG: We have had members move on and others join, including me, so that’s obviously changed the sound and dynamics of the band. Having someone replace another member changes everything from sound to chemistry to the way we approach writing.

We are a completely different band to the band we were five years ago. This hasn’t happened intentionally either, it’s just what naturally happens when people come and go. It’s been tough, but at the same time very invigorating.

Tiny Spiders, Tiger Choir & The Crazy 88's FRI 13

Spooky Market Night plus Per Purpose, Naked & The Shits SAT 14

PROM NIGHT with MC's Tomas Ford & Emily Newton B.J Morriszonkle, Tomas Ford and The Very Special Poobah Prom Band SAT 21

Bob Log 111 FRI 27

The Crazy 88's (Album Launch) Dig & The Lucky Dips

AG: It definitely differs from our live shows, which are a bit more raw and dirtier. There are 13 tracks that represent where we were at the time of recording. We are constantly developing and thinking about music differently. Having said that, the album reflects where we were at over the last couple of years.

W: What changes have the band gone through in the past five years and how have those changes affected your music?

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The Brisbane Hotel: every third Tuesday, with a movies night on Tuesday July 10 The Republic Bar and Cafe: Monday nights, quarterly music trivia on Sunday July 29 Hotel Tasmania: every Tuesday

Five years is a long time in the music business, but Zoophyte have not been forgotten, with their new single ‘Let You Go’ being bounced around on playlists, and a collaboration with legendary music engineer Bob Ludwig on their new album. The band are also about to set off on tour with INXS, which all adds up to an exciting return to the limelight.

Andrew Gilpin: We have been playing a lot of music, writing and recording. Reinventing our whole sound, I guess. Writing as much as we can and experimenting with different instruments and sounds. It has been a very busy time and we’ve been playing everywhere and anywhere, meeting people, driving thousands of kilometres across the country.

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DANIEL TOWNSEND

W: What can fans expect from the new album?

Warp: What have you been doing for the past five years since the release of your debut album, Another Point of View?

2 for 1 cocktail jugs & shooter shakers 8–10pm djs from 10pm

Answers: Latin, Southern America, Tyr

AFTER A FIVE YEAR HIATUS, MELBOURNE ROCKERS ZOOPHYTE ARE BACK.

Speaking to Warp Magazine, bass player Andrew Gilpin dished the dirt on where they have been for the past five years and what fans should expect from their new material.

WED 11

W: What was it like working with Bob Ludwig?

tfwoor one

AG: We called him up and we sent him the album. Two weeks later, he sent it back. It was like a ninja creeping into your kitchen at night and taking all your mandarins from your fruit bowl and then realising they’re gone many weeks later. You try and speak to the ninja but you don’t know where he is.

He comes and goes without anyone noticing, much like Bob.

HUNT

W: What are your thoughts about the upcoming tour and supporting INXS? AG: I think it’s cool. Playing with a band that played Wembley Stadium and had the coolest lead singer Australia has ever seen is something we are very grateful to have the opportunity to do. We love INXS. We are driving to every show from Melbourne to central NSW and back, then back again, which is a lot of driving and a good chance to read a few books and listen to Charles Mingus and The Kinks and the Funk Brothers and lots more.

HAYLEY MAGUIRE

Zoophyte will be supporting INXS on tour throughout QLD and NSW earlier this month, followed by a show at the Launceston Uni Bar on July 18.

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Music

Music

FIVE RECORDS IN MY COLLECTION... with Jed from The Jed Rowe Band

Wednesdays *************************** djs sPinning FrOM 6PM

5:30-10PM sPecials classic Pizzas $10 PreMiuM Pizzas $15 and beer jugs $10

ALTERED STATES USING ALTER-EGOS TO CREATE A HYPER-REALITY, TO HIDE, GAIN CONFIDENCE AND GIVE THE PUBLIC WHAT THEY WANT

PART I: The Power and the Fun Alter Egos are the suicide prevention of many artists. While the regular person is laid bare on stage and in recordings, having to be wholly accountable for any flaws, a fictional character has no accountability to laws of morality, society, or even a defined past. An alter-ego is tied to no such reality.

Keith Thornton has spent close to 30 years playing with no less than 16 different alter egos. The best-known include Kool Keith, Dr. Octagon, Ultra, Dr. Dooom, and Black Elvis. What’s remarkable about Thornton is how he engages the abstract and the explicit with varied motivation, seeming at once childish yet soberly manipulative at the same time.

In a 2011 interview with the AV Club, Thornton elaborated on his decisions to resurrect a murdered alter ego only to destroy him again.

“Dr. Octagon wasn’t my life. I’ve done tons of projects. I had groups... I rapped on Prodigy’s Smack My Bitch Up, you know. I’ve done a lot of things that were totally around different things. People tend to confuse my music with my mind. I write, and do, weird things sometimes as though I’m on drugs, or just crazy.”

Thornton may not be stable, but he successfully uses a progression of personas to layer the music with a mythology that is a true escape for both himself and the audience.

“When you do these things, it’s as if you’re making yourself a superhero,” Thornton’s long time collaborator, KutMasta Kurt explained. “A majority of these hip-hop guys have been, and still are, into comic books.

With Keith, one guy is a serial killer; another guy is the porno guy... then there are others.

Basically his solo career was his hidden self – he just amplifies his different personality facets.”

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Another hip-hop artist with comic book ties is Watkin Tudor Jones, who disbanded his successful hip-hop group Max Normal in 2002 to work on a multi-media concept involving a graphic novel with soundtrack and live show as The Constructus Corporation, which produced an 88-page graphic novel, CD and downloadable album.

Five years later he re-emerged with Die Antwoord, a band that perfectly exemplifies the use of alter-egos to manipulate reality and expectation. They mask their intentions as well as their true identities not just with stage names, but by living these personas as though the stage names really are them, and critics are split as to how much is intentional.

Jones uses the stage name Ninja, along with mother of his child (and former PA) Anri Du Toitis under her stage name of Yo-Landi Vi$$er. Jones has recorded under several names since 1995, such as Max Normal and MC Totally Rad, while Vi$$er is more of an exaggerated version of her assumed name Yolandi Visser. They have recently grown in notoriety for their second album TEN$ION’s merits as a questionably ironic rap-rave album, while their debut in 2009 along with the viral video for the single Enter the Ninja, was mocked for being ridiculously pompous and absurd.

Songs like I Fink U Freeky left everyone torn as to how good they actually are and how much they believe what they’re doing, aside from the generic conversations about musical composition. Not nearly prominent enough is how a mature group with as much experience as they have, would not be creating explicitly cheesy 90’s rave music if they believed it was high art.

In a 2010 VICE interview they elaborated quite in character on what they do and what their music is about, Ninja: “We’re from the hip-hop family, but we do rap-rave next level shit.”

VICE: “Umm, rave’s been a bit quiet lately.”

Yo-Landi: “It’s never been quiet in our homes.”

N: “Here in South Africa the taxis play rave music fokken loud my bru. You can hear it from the next city when the taxi comes through, you hear DOOM DOOM DOOM—they got the rap-rave megamixes pumping like a nightclub.”

Y: “Our whole philosophy basically is, like, drive fast and play kak music loud. It’s a zef rap-rave jol, with lasers, smoke machines, 3D graphics, rappers… and everyone’s gonna be there.”

N: “Zef is our flavour, our style. It means fucking cool. But even more cool than fucking cool. No one can fuck with your shit.

Zef’s the ultimate style, basically. To sum it all up, in this place, South Africa, you get a lot of different things: whites, coloureds, English, Afrikaans, Xhosa, Zulu, watookal— I’m like all these different things, all these different people, fucked into one person. I am Ninja. I am Zef!” Alter-egos can play with the truth. They don’t need to own anything they say or do, because they can sacrifice or abandon those shells at any point. And they’ll probably have nice comfy houses to hide in too if their mythology turns sour and they can no longer take their masks off.

Next month: Musicians who’ve lost control of their alter-egos. Is there any coming back?

JARRED KEANE

Powderfinger - Double Allergic

Gillian Welch - Time (The Revelator)

I first heard about this band when I was in Grade Nine in high school in Northern NSW. They were from Brisbane, just a few hours up the highway, and they were cool. One of my best friends said so. I bought their second album, Double Allergic, and fell in love with it. This was 1996, the American grunge movement was still having an influence on pubescent Australian boys, and this album tapped into that with distorted guitar riffs and a good dose of angst. But this band also had something that other bands around at the time didn’t - Powderfinger had Bernard Fanning’s voice; sweet, gentle and soulful or urgent, emotive and powerful. Fanning’s singing was sublime enough to soothe the wounded beast of adolescence.

Fast forward 10 years and life had changed utterly. I was living in Melbourne now, and I was a father. The latent musician gene in me had surfaced and I was a fully fledged guitar strumming pauper. I’d heard of Gillian Welch but wasn’t interested. Didn’t like country music. Then somebody gave me a copy of Time (The Revelator) and it quietly knocked me for six. It was beautiful, entrancing, timeless and perfectly realized. I played it all weekend alone in an empty house. I didn’t care what kind of music it was, I just couldn’t stop listening to it.

Ben Harper - Fight For Your Mind Another of my teenage faves. A school friend gave me a dubbed cassette with this album on it. The first song that got me was ‘Another Lonely Day’ - a simple song, simple production, with Harper’s voice deep, broken and fragile. The familiar themes of love lost and hearts broken appealed to me, allowing me to wallow pleasantly in self pity at the sting of yet another failed teenage romance.

There were also tracks like ‘Ground On Down’ which just plain kicked arse, Harper’s distorted lapsteel guitar planting the seed for my own later love affair with the instrument.

Jeff Lang - Cedar Grove When I was a teenager I once heard Jeff Lang on the radio in a public toilet. Despite the less than salubrious setting, I remember thinking that it might be important. The song was ‘Bateman’s Bay’ and it had a pretty slide guitar line and Lang’s voice, high and lonesome, telling a story. I’d been to Bateman’s Bay - my auntie lived near there.

People didn’t usually write songs about places I’d been to; they wrote about LA or New York or Nashville. Fifteen years later, I was sitting with Jeff Lang in a recording studio in Brunswick, Melbourne doing the final mix of The Ember and The Afterglow, an album that Jeff had just produced for us. I asked Jeff for a copy of Cedar Grove and he gave me one. Bateman’s Bay is one of the tracks on that album. I didn’t tell Jeff where I first heard it.

ENTERTAIN AT THE TASTE ExpRESSIONS OF INTEREST ARE NOW OpEN IN THE FOLLOWING AREAS: • Stage based performances including bands, soloists and choirs

• Children’s carnival rides (small rides only)

• Family programs including sports and cooking activities for children

• Roving performers and street theatre

• Community artist participation

FOR DETAILS VISIT TASTEfESTivAl.com.Au OR pHONE 6238 2410.

Beck - Mutations I tried going to university - it didn’t work out. Instead I went snowboarding, spending winter living and working in the Colorado Rocky Mountains. Traveling without a guitar or even a single CD, the only music I had access to was the repeated soundtrack blasting over the PA at work, which seemed to consist almost solely of Lynyrd Skynyrd’s ‘Freebird’. To remedy this, I bought myself a discman and a handful of CDs, one of them being Beck’s Mutations. It was raw, clever, wacky and infectious. I sang along, I read the lyrics. I didn’t understand them but I loved them all the same.

217 Sandy Bay Road Ph: 6224 4444 w w w. t h e m e t z . c o m . a u

ExpRESSIONS OF INTEREST cLOSE WEDNESDAY 8 AUGUST 2012. * Please note: Submission of an expression of interest does not guarantee a place within the festival.

The Jed Rowe Band play The Republic Bar in Hobart on July 26, The Friday Night Folk in Sheffield on July 27, The Royal Oak in Launceston on July 28 and The Bridge Hotel in Forth on July 29.

an initiative of

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Music

Music

RUNNING WITH THE WOLVES TWO OF THE FASTEST RISING STARS IN AUSTRALIAN DANCE MUSIC, DOCTOR WEREWOLF ARE RIDING THE BASSTRAIN TO THE TOP, PUSHING DUBSTEP, DRUM AND BASS AND BASSLINE ELECTRO ONTO ANYONE WHO WILL LISTEN. HANNAH McCONNELL SPOKE TO ONE HALF OF THE DUO, ANDREW BELL. Meet Doctor Werewolf. A DJ act from Sydney who are taking the dance world by storm with their explosive and bassheavy sounds.

“Our music is obnoxious!

It’s loud, it’s bassy and it doesn’t let up or make apologies for anything,” Andrew tells. “The name Doctor Werewolf very much seemed to fit what we produce as musicians and how we play out. Loud party bass that will change direction at the drop of a hat.”

The pair is made up of Andrew Bell and Adam Zae - both well accomplished classically trained musicians and composers.

They made the transition to electronic music and unleashed on the Sydney club scene a couple of years ago.

“I suspect our childhood Nintendo obsessions may have had something to do with electro creeping into our subconscious.”

“Both of us learnt to play the piano first, I believe. But my main instrument growing up was the trumpet. Mum seemed to think that it would be quieter around the house than the drums. She regretted that decision!”

Doctor Werewolf have lately been putting emphasis on including Australian tracks in their mixes, with their set for Triple J utilising 100 per cent Australian music. But Andrew says there is no formula to selecting what songs make the cut.

“There’s no real process to how we choose what songs to use. People either ask us to remix for them or we decide we want a challenge… which is pretty much how our Trololo Man remix came about.”

Werewolf sightings have been reported at several large-scale festivals around the country, including Good Vibes, Parklife, and Field Day, as well as prominent nightclubs such as Chinese Laundry in Sydney.

“They’re both great for different reasons.

There’s nothing quite like performing in front of a giant crowd when they’re hypnotised by everything you do, and then doing shots with them all. But then again, there’s nothing quite like being in a dark, sweaty, intimate club and really getting to know your audience up close and personal... and then doing shots with them all!”

There’s plenty on the cards for Doctor Werewolf for the rest of 2012, including their first trip to the island state.

“It will be our first show in Tasmania, we’re pumped because we’ve heard the crew down there is absolutely ridiculous!” Andrew shares. “And our new single ‘Lasercat Rocket Attack!’ will be out in August with a bunch of remixes that are off the hook - so that’s exciting. We’re also finishing off a couple of remixes at the moment for some cool people that we can’t talk about just yet and working on the next EP.”

Classic hits from the 70s, 80s and 90s!

With arguably an enviable lifestyle, I wanted to know what the best thing is about being a DJ. “Partying with rad people constantly, while someone else picks up the bill”

IT’S NOT ALWAYS ABOUT FITTING IN Doctor Werewolf play at The Republic Bar and Cafe in Hobart on July 14. Tickets are available from the venue or through Moshtix.

HE HAS BEEN DESCRIBED AS A GENIUS, AN INCREDIBLE VOCAL TALENT AND A MESMERISING ARTIST. TASMANIA IS ABOUT TO FIND OUT THAT CABARET PERFORMER KIM SMITH IS ALL THAT AND MORE WHEN HE BRINGS HIS NEW SHOW MISFIT TO THE STATE’S FESTIVAL OF VOICES. In 2009, Smith was awarded the Ira Eaker Back Stage Magazine Bistro Award for Special Achievement as an outstanding performer on the rise. He received this honour alongside the likes of Liza Minnelli and Charles Aznavour, cementing him as a talent not to be overlooked.

“I was enormously appreciative. Being on the same stage as Liza Minnelli, the daughter of Judy Garland and a very well respected, slightly insane performer on screen and stage was just wonderful.”

Kool Keith Friday 13th July 10pm $25pre/$30door >Tickets from venue and republicbar.com

REPUBLIC BAR & CAFE 299 Elizabeth Street North Hobart 03 62346954 14

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SATURDAY 21 JULY GRANADA TAVERN ST

Hannah McConnell

Growing up in a small country town, Smith found out being a performer was not the usual vocational path. However, he was encouraged by those around him and chose to study musical theatre at the Ballarat Arts Academy. His love of cabaret grew from there.

“I have been performing my whole life and performing in an intimate fashion, which is what cabaret is all about, has always been a part of it. Doing more dance solos in found spaces. Everything has pointed me toward it.”

For most, the idea of cabaret conjures up images of Cabaret the musical or the Moulin Rouge. Smith though tends to position himself away from the ‘razzle dazzle’.

666 MAIN ROAD, BERRIEDALE 9PM START / TICKETS $10

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critically acclaimed concert Misfit to Tasmania’s Festival of Voices.

“The show is basically about not fitting in, finding out how to fit in and sort of the elements in life that make you feel like you don’t fit in. These things aren’t particularly tangible ones. I don’t tend to have a themed show as such, it is much more about what the audience takes away from it.”

The past year has seen Smith record a cabaret album - including many of the songs from Misfit - and a pop album, which is a mixture of his own electronic original songs.

He will return in July to New York (where he currently lives) to continue work on the albums and creating his next show. When asked whether relocation back to Australia is on the cards, Smith admits that it is some way off.

“You can make much more work for yourself over there [New York], just in terms of having the audiences available to you and the interesting scene. I am certainly not finished with New York. I think you know when you are; I think that is a feeling you get and I have not received that transmission from anything so far.”

REBECCA WHITEHEAD

“I like performers who take time on stage, are comfortable in their bodies, and who don’t need the immediate approval of the audience. I think those performers are always most interesting.”

His performances infuse music with the aesthetic and the sound of the Weimar period. He is now excited to bring his

Kim Smith will be performing at the Festival of Voices Voicebox on July 7th at 8pm and July 8th at 7pm.

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Music

CHILD’S PLAY

HE PRE-DATES THE WIGGLES BY MORE THAN A DECADE, AND IT LOOKS AS IF THE ‘PAUL KELLY OF CHILDREN’S MUSIC’ WILL OUTLAST THEM TOO.

TWO OF THE FASTEST RISING STARS IN AUSTRALIAN DANCE MUSIC, DOCTOR WEREWOLF ARE RIDING THE BASSTRAIN TO THE TOP, PUSHING DUBSTEP, DRUM AND BASS AND BASSLINE ELECTRO ONTO ANYONE WHO WILL LISTEN. HANNAH McCONNELL SPOKE TO ONE HALF OF THE DUO, ANDREW BELL.

It’s hard to imagine a time when one man and a guitar was enough, but in the late 80s and early 90s, Peter Combe was more than enough; he was frickin’ awesome.

His catalogue of 22 releases includes seven gold albums, he has won three ARIA awards and millions of kids knew his songs by heart: ‘Newspaper Mama’, ‘Wash Your Face in Orange Juice’, ‘Spaghetti Bolognaise’, ‘Chopsticks’ and ‘Juicy Juicy Green Grass’.

Today, after more than 35 years performing without a skivvy or a stuffed animal in sight, Australia’s first popstar-for-children is still frickin’ awesome.

Make yourself a newspaper hat and go sing your lungs out on July 28 at The Brisbane Hotel. Two shows: 3pm - ALL AGES (For the Kids) and 9pm - 18+ (For the BIG Kids).

But it’s no longer just about the kids; Combe is now washing his face in orange juice with the grown-ups, the ones who grew up with his music.

“I’m in a new phase now,” he tells. “And it’s the most rewarding, uplifting thing that’s ever happened to me.”

Combe’s grown-up gigs started with a number of surprise requests to play at 21st birthday parties, and although his kids suggested he take his number out of the Adelaide White Pages, it turns out father knew best.

The former schoolteacher is audibly humbled about the recent resurgence in his career, which has seen him playing venues for the over 18s, including a memorable Falls Festival performance last year.

“There were 3000 people, singing all the words to the songs they’d grown up with,” Combe says with a laugh. “And singing very loudly.”

“It reconnects them with that lovely inner child we each have inside of us,” he muses.

“We all have that inner child burning inside of us waiting to be awakened by something.”

Connecting with the young and the young-at-heart is what Combe does best.

Remarkably, he has been doing it without any music industry support for most of his career.

“I was dropped by the ABC in 1992 and they haven’t contacted me since, which is just weird,” he says, sounding exasperated. “The Wiggles are fine but they very clearly have a preschool focus and once kids get to school they lose interest in The Wiggles almost immediately.”

“Good kids’ music needs to be joyful and it needs to be timeless; my songs work for little kids, they work with upper primary kids and they work with young adults in a pub!”

In addition to his over 18s shows, Combe has recently found his songs sound pretty sweet on a Saturday afternoon too.

Origami Hat Instructions Origami Hat Instructions

“A lot of the young adults who were coming to see me in clubs a few years back now have little kids of their own,” he explains.

“They aren’t so keen on going out until two in the morning and then getting woken up at six o’ clock with a splitting headache, so they’re bringing their kids to my matinee shows. They’re still being woken up at six www.origami-fun.com the next morning, but at least they’re getting a good night’s sleep!”

www.origami-fun.com

DANIEL TOWNSEND

MAKE A

PAPER HAT

1. Start with a 4. Fold the bottom edge (uppermost 3. Fold the top corners 2. Now fold the top down rectangular piece of layer only) up to the base of the down to the centre line. to the bottom edge. paper, white side up. triangles.

Crease well.

Fold the paper in half and open.

1. Start with a 4. Fold the bottom edge (uppermost 3. Fold the top corners 2. Now fold the top down rectangular piece of layer only) up to the base of the down to the centre line. to the bottom edge. paper, white side up. triangles.

Crease well.

Fold the paper in half and open.

5. Fold this part up once again, and crease well.

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6. Turn model over, and repeat step 4 & 5 on the other side.

6. Turn model over, and repeat step 4 & 5 on the other side.

7. Open out the hat to shape it, Your hat is now finished!

7. Open out the hat to shape it,

5. Fold this part up once again, and crease well.

5. Fold this part up once again, and crease well.

Music

Music

AGE AIN’T NO THING

HOT TIPS FOR ASPIRING DJS

LLOYD SPIEGEL’S LIFE CANNOT BE DESCRIBED AS ANYTHING OTHER THAN EXTRAORDINARY. HE GREW UP WITH PARENTS WHO WERE BOTH MUSICALLY INCLINED; HIS MOTHER WAS A CLASSICAL PIANIST AND HIS FATHER A DIE-HARD BLUES FAN. AT THE AGE OF SIX, HE BEGAN GOING TO BLUES BARS IN MELBOURNE AND AROUND THE AGE OF EIGHT BEGAN PLAYING. TO START TOURING WHEN HE TURNED ELEVEN SEEMED LIKE A NATURAL PROGRESSION.

ARE YOU A BEDROOM DJ WAITING TO BUST OUT ON THE CLUB SCENE? BUSY HOBART DJ SIMON LOVELL OFFERS 5 TRADE SECRETS ON HOW TO GET GIGS. Images: DJ Baby Cino

1: What venue is best suited to your music?

passionate about.

First things first, it’s time for you to determine what music you play? This can greatly hinder or aid your efforts in securing your first gig and will be the first thing a promoter asks you. There are a wide variety of venues aimed at different crowds/scenes and are after particular sound in their venue. If you are unsure of what genres are being played, ask a few people in the crowd that are getting into the music, they will know.

2: Bring friends or sell tickets to the events

I also suggest going out to the clubs and events that you would potentially like to play at and suss out what styles are being played.

Remember to stick to the genre that you are most passionate about, first impressions count and you don’t want to be pigeon holed and stuck playing music you’re not truly

Whilst nightclubs and promoters have fun, they’re also there to run a business.

If you can prove to the club managers or promoters that you have the potential to make them money through bringing a crowd along then they are going to give you a set over someone with the same skill level. If you get involved and help out promoters will look after you for your support. Proving yourself as more passionate, harder working and valuable than the competing DJs is key.

3: Hand out a mix CD After you have made contact with the right people it is time to pass them on a mix CD or a link to a mix that you’ve uploaded to

SMOOTH SAILING IN THE SPACE OF 18 MONTHS, SET SAIL HAVE PERFORMED IN 15 COUNTRIES AROUND THE WORLD ON A SELFFUNDED TOUR, PLAYED THE RED CARPET AT THE ARIAs, AND MADE HEADLINES WHEN THEIR SINGER GOT DEPORTED IN JANUARY. IT’S A BIO THAT READS A LITTLE DIFFERENTLY TO MOST YOUNG MELBOURNE BANDS, AND WITH A NEW ALBUM AND TOUR ON THE TABLE, IT’S CLEAR THAT THEY SIMPLY CANNOT BE STOPPED.

the internet. A CD is usually more effective especially if you put on your contact details and print a cover for it, a bit of bling never hurts.

to get noticed and once you start getting booked “keep the lights on”.

When recording a mix CD it’s important to suit the music to the set time you are aiming towards. You’re unfortunately not going to be able to secure a peak time slot at your first gig and will most likely play the opening set.

Targeting your CD to fill this requirement will greatly increase your chances of being booked.

Getting gigs is hard work, making contacts and networking will take up a lot of your time. However, it is important to note that you will have to start small and build yourself up. It is also really important to keep applying pressure and making yourself known by frequenting venues, they can’t consider you for gigs until they know who you are!

4: Enter Competitions

5: Work hard

SIMON LOVELL

DJ competitions are a great way of giving yourself exposure to new venues, meeting new people and ultimately getting yourself considered for gigs. It’s really important to take every reasonable opportunity you can

www.soundcloud.com/simonlovell www.frequencyevents.com.au

The unrelenting nature of Australian authorities is no secret – who of us hasn’t accidentally brought a “contaminated” souvenir back from Bali, only to see it ripped apart and tossed into a quarantine bin – but violinist Josiah Willows says that even when their singer Brandon Hoogenboom got deported, the band never actually considered that it might be the end of the road.

drum. The bizarre twist of fate not only saved May from what could have been an epic ass-whupping, but is also a testament to just how ballsy (or lucky) this band is.

“It was never a thing that the band would be over,” he says confidently. “But we definitely at one point thought that we’d be moving to LA and starting from scratch in the States.”

“We really try to push the limits of what we can do on our instruments,” says Willows.

“On this tour we were very excited about the live show because we’ve changed everything,” he says, before stopping suddenly, as though not wanting to spoil any more surprises.

Thanks in no small part to the petitioned support of thousands of fans, and a little thing called an ‘Entertainment Visa’, Hoogenboom is now free to come and go as he pleases. It’s good news for a band that have built a reputation around putting on quirky and often impromptu performances – some of which have scored them free beers on Virgin flights, or have seen them shut down by police in Times Square.

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Magazine, Spiegel was named one of the fifty greatest guitar players in Australian history, joining the famous names of Angus Young, Ian Moss, Phil Emmanuel and Keith Urban. Credit goes to Spiegel’s distinctive playing technique, along with the dedication he shows toward his craft.

During his twenty years of performing, writing and recording, Spiegel has released eight albums and toured extensively within Australia as well as overseas in Germany, Italy, Japan and the USA. He has met and performed with numerous legendary artists including Ray Charles and Bob Dylan. For Spiegel however, performing with blues artist B. B. King (at the age of nineteen) was the highlight.

“I tend to do a lot of single note guitar solos which essentially means that I attack the acoustic guitar as if I was playing with a ten piece band. My finger picking style is, I guess, very advanced, but where I really get my unique label from is because I attack so aggressively and show the guitar very little mercy.”

“That generation of musicians, who are sadly leaving us now, were really the last gentlemen of the game. I really took something from him [B. B. King]. What I took was that musicians have the ability to make people feel good and that is what we should aim our lives at doing.”

In the May 2012 issue of Australian Guitar

After the success of his latest album Tangled Brew - which combines blues, guitar and honest lyrics into one powerful mix - Spiegel is now again on tour with a whole new, amplified show.

“We found with the Tangled Brew tour that came before this, that it got to the point where the crowds were getting bigger and then the sound had to get bigger. So, I’ve moved from percussionist to a full drum kit

Whilst touring, Spiegel is also writing, hoping to get back into the studio in December to record.

However, as he explains, his focus at the moment lies with another project that has a very worthwhile outcome.

“I am running a Western Australian music program for Aboriginal students. I am attempting to supply every indigenous school in Australia with musical instruments for any child that wishes to learn. I realised they have a 70 per cent drop out rate in some of their schools and access to a musical instrument may encourage some of those students to go to school so they can play.”

REBECCA WHITEHEAD Lloyd Spiegel plays The Royal Oak in Launceston on Friday August 3, The Republic Bar and Cafe in Hobart on Saturday August 4 and Brookfield Margate on Sunday August 5.

Although the upcoming tour will hopefully be free of muggings and police, it should succeed in getting hearts racing for all the right reasons, as the band will be trying some new things with their live sound.

No matter what they’ve got in store, you can be sure it will be entertaining. They are Set Sail, after all…

KELLY SNYDERS

“We do take music quite seriously and we work very hard at it because it’s our job,” says Willows. “But at the same time we like playing fun music…and with all that energy, when you’re having that much fun playing music, I guess, you don’t really care about the appearances as such.”

Willows admits that it’s the little random occurrences that you experience when travelling and playing that bring about both personal and musical growth, that make the ride so great. Occurrences like when drummer Joshua May almost got mugged by a gang in a NY train station, until one of the guys remembered him from two nights before, because May had let him play his

“I go crazy if I don’t perform. I’ve had stages in my life where I take three or four months off but never of my own choice; I went by force. Every time I lost myself. I think I feel more natural on stage than I do in real life. It was just an organic progression to become a performer.”

which allows me to be a little freer with the guitar.”

WED AUGUST 8 REPUBLIC BAR & CAFE ELIZABETH STREET, NORTH HOBART | TICKETS WWW.REPUBLICBAR.COM To catch the Set Sail lads in all their glory, head along to the Royal Oak Hotel, Launceston on July 26 and the Republic Bar and Cafe, Hobart on July 27.

THUR AUGUST 9 IRISH MURPHY’S BRISBANE STREET, LAUNCESTON www.facebook.com/warp.mag 19

JULY GIGS

SAT JULY 7

Jed Appleton, Nick Pappy, Kenny Forshaw Mischa Calcaghlo & Jordan Hooper FRI JULY 13

SPOOKY HORROR with Johnny B and The Goodes, The Sin & Tonics with burlesque from Scarlet Jezebel and Belle Pepper.

SAT JULY 14

Lenoleum SAT JULY 21

The Pearly Whites and the Truth About You SUN JULY 22

Bob Log III SUN JULY 28

The Lawless Quartet

Republic Bar & Cafe 21st July 10pM $18pre sale $22door

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

Music

Music

MIDNIGHT CALLER WE ALL WORK AT THE SHOP (CONSUMER PRODUCTIONS, 2006) This is one of those sublime examples of when I think music can really happen in Hobart, when the local music scene consumes itself and something amazing happens. The Cross brothers, Dan and Patrick, had served in quite a few well loved music endeavours. The culmination of the years of playing in those bands certainly strengthened the development of their songwriting and playing for this record. Stuart Campbell’s drumming gives the necessary directness to the overall dynamics of these songs. Reggie Norris contributes a ragged glory with his guitar and backing vocals.

I really enjoy the songs like Repeater and Double Team which neatly balance the sweet tunefulness and the joyful noisiness that I think are Midnight Callers trademarks.

The slightly epic Thunderstick prepares the listener for what I think is a true classic song, regardless of whether it’s from Hobart or elsewhere – Raspberry, the song you wish you wrote.

FUGAZI RED MEDICINE (DISCHORD, 1995)

THE LAUGHING CLOWNS LAW OF NATURE (HOT, 1984)

DICK DIVER NEW START AGAIN (CHAPTER MUSIC, 2011)

I remember when this album came out, some older Fugazi fans were bleating about how the band had lost the plot, “that their older stuff was better…”snore. I believe Red Medicine delivers on the promise or the idea of Fugazi, the meshing of aspects of dub reggae and post-punk, the sinewy mix of influences such as the MC5 and James Brown.

This album reminds me of long bus trips to the North-West of Tasmania. I was studying in Burnie when I was 18 and found this album on cassette in the Devonport Library. It may sound like warped form of jazz at some points but this almost oversimplifies the sounds and ideas coming out.

It is sophisticated rock music, but not in an overtly trained musician way.

I was lucky enough to see them on the tour for this album when they played the Sapphire Ballroom in Hobart in 1996. I’d been flogging Red Medicine all through another crisp Tasmanian winter. Seeing them live, knowing the songs intimately was an experience I will cherish for years. Guy Piccotto even got out the clarinet for the dubby instrumental Version which they did very rarely live and probably confused a few of the punks in the audience. Kind of fucked with people’s expectations of the band. I think that was always Fugazi’s aim.

The songs soar with an almost Sergio Leone spaghetti western style mixed a kind of echoey noir, Louise Elliot’s saxophone imploring the songs to new heights while Jeffrey Wegener’s drumming ably provide an engine room for these tunes. A couple of years ago my old band the Bad Luck Charms played with Ed Kuepper and Jeffrey Wegener. I remember captioning the MySpace photo of the ad with our names with Ed’s and Jeffrey’s with “A teenage dream come true”.

THE JESUS LIZARD GOAT (TOUCH’N’GO, 1991)

THE MINUTEMEN DOUBLE NICKELS ON THE DIME (SST, 1984)

THE GO-BETWEENS BEFORE HOLLYWOOD (ROUGH TRADE, 1983)

Double Nickels on the Dime is a magnificent journey through the ideas, theories and spiels of D.Boon, Mike Watt and George Hurley. An urgent and passionate traipse through post-punk, jazz-fusion, hardcore, funk, folk, country, classic rock and field recordings. This is one of the most influential post-hardcore albums, that went on to inspire a lot great and crap bands that consequently sold bucketloads of albums using lessons learnt from the Minutemen.

The early 90s were prime cheap picking for vinyl junkies, people were ditching their LPs for CDs and people like me scoring some great sounding stuff. One time in Aeroplane Records I found this album for under $10 – bargain!

I can’t say whether anyone will come up with genuinely new and original sounds in indie guitar music, perhaps it’s been all done. But this is the genius of Dick Diver; they take old ideas and make them fresh and exhilarating again. I guess in that, is the heart of genius rock’n’roll - the brilliant reinvention. You can do a checklist through yer classic influences of course with this record – Television, Go-Betweens, Flying Nun, the Smiths, Sunnyboys etc, but New Start Again is a brilliant acknowledgment and transcendence of its origins.

I adore the lazily strummed chords and pinpoint solos, call and response vocals and dueling guitars. This records shimmers in summer heat and chimes through the cool night. Who doesn’t like a song about the shittiness of the dole? This record gives me hope for the continuing lineage of genius Australian guitar pop/rock.

Images: Korrina Davis

TOP 10

INDEPENDENT ALBUMS

THE FALL PERVERTED BY LANGUAGE (ROUGH TRADE, 1983) THE CANNANES THE AFRICAN MAN’S TOMATO (SELF-RELEASED, 1987)

MUDHONEY EVERY GOOD BOY DESERVES FUDGE (SUB POP, 1991)

LISTS LIKE THIS RUN IN ALL THE MUSIC MAGS AND AFTER A WHILE YOU UNDERSTAND THE “CANON” OF CERTAIN ARTISTS AND THEIR ESTABLISHED CLASSICS. SURE, HOBART INDEPENDENT MUSIC AFICIONADO JULIAN TEAKLE LOVES SOME OF THESE CRITICALLY APPROVED ALBUMS, BUT HE’S TAKING A MORE PERSONAL APPROACH HERE.

The Cannanes formed in inner-city Sydney in the mid-1980s and are part of that stratum of genius Australian bands that unfortunately not many people give a fuck about in their home country but generally well received overseas, especially in the U.S.A. The album, self released by the band, contains a slightly shambolic, charming, tuneful collection of songs.

This record distills the goofy, snotty, sarky, smartarse aspect of Mudhoney. They cut their hair (which shat the English music press, who’d pegged them as noisy, longhaired boofheads) and made a sneering, catchy garage punk rock record, with scant care for rise of grunge. The lack of selfconsciousness pushes the band to new heights, incorporating acoustic guitars and organs with prog rock spazz-outs.

I’ve been involved in the independent music scene for almost 20 years and if you’re a motivated person with a low attention span like me you can tend to wear a lot of hats whether it be through helping organizing shows for local and touring bands, doing radio shows on 92FM and Edge Radio 99.3fm, writing for music publications, working with local labels like Fear of Children, Consumer Productions and Rough Skies Records plus also playing with bands like the Frustrations, the Bad Luck Charms, the Native Cats and the Hobart Improvisation Collective.

This album is influential to me because it demonstrates that while you may not have the musical “chops” all you really need is the conviction, good songs & ideas and a bit of self belief to get your music out there, which the Cannanes did in spades, eventually touring overseas off their own bat, with little support in Australia.

Mudhoney understand their roots and part play homage; part put new fire into its punk rock heart. They wield guitar riffs that are brilliantly smart AND dumb at the same time, they understand the blues but don’t morph into bullshit John Butler crap I was pretty stoked to pick up the PURPLE MARBLED COLOUR vinyl that came out locally through Au-Go-Go Records from Aeroplane Records, that place was fucken goldmine sometimes.

Through doing all of this over the years I’ve been lucky enough to encounter some pretty wonderful music released on independent record labels or self released by the artists.

This stuff continues to inspire me after all these years.

JULIAN TEAKLE

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Singer Mark E. Smith would crop up in the cheap sea mail editions of the NME and Melody Maker that I bought from the Claremont Newsagency between the ages of 15-17, generally being a cranky, weird bastard, he always had something interesting to say. On Christmas Eve 1992 I collected my pay from working in an ice factory and went to the old Rare Groove Records to buy this LP. Getting home I whacked it on the record player and was kind of bit under whelmed. I thought “Jeez, these guys have influenced a lot of stuff I love and apparently been influenced by a lot of stuff I dig” but I kept with the record because of that and consequently it became one of my favourites and a particular influence on all of the music endeavors I’ve been part of.

Perhaps it isn’t a high watermark like the classic early Fall albums but for me it is a classic document of a band in transition – Brix’s tentative contributions to the band which would go on to shape their sound over the next six years from an art damaged vibe to a more art pop vibe. Opening song Eat Y’Self Fitter is a dead-set Fall classic – barmy, literate and (almost) maddeningly repetitive, like all great Fall songs. Hotel Bloedel is Brix’s first lead vocal, a gothic gem, guitars buzzing and violins swooping and scraping.

The Touch’n’Go Records mail order catalogue (remember those kids?

International Reply Coupons? International Money Orders?) spiel about the band said they were “best live band in the world and several other planets”. Who could resist! So I ordered the record directly, by mail, from the label, ensuring I included second and third choices on the order form as there was no way of checking if everything was in stock. Luckily after about 6 week wait the Goat LP turned up!

David Yow’s vocals sidles up to you like a friendly drunk, then slips into a psychotic howl, it beckons you then pushes you away (or rather you feel compelled to scarper).

The guitar, bass and drums are a like unstoppable rhythmic hydra (in the mythical way), mutating classic rock heaviosity ala Led Zeppelin into a manic perverse postpunk beast.

The Minutemen “jammed econo”. None of the songs on this record last more three minutes. They sang about things affecting everyday people because while they were totally dedicated to the band, they kept their day jobs and remained connected. The name of my show on Edge Radio “Our Band Could Be Your Life” comes from the song History Lesson Part 2.

Lindy Morrison is one of my all time favourite drummers, her contribution cannot underestimated and the band sound would have poorer and less original had she not be brought into the fold. Lindy never gets enough credit as the heart of a lot of these songs and she really shines on Before Hollywood. I can never get over her pulsing beat to Cattle and Cane. Mixed with Grant’s and Roberts poignant lyrics and subtle riffing and strumming, sentimental but not mawkish, this is possibly one of my favourite songs of all time. A huge influence on me as songwriter.

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Music

Music

“The socially awkward misfit who’s likely to cry if you challenge them on their favourite superhero, that’s... that’s just not what it’s like any more.”

Any more? So the stereotype is based on a historical reality?

“Well, it used to be like that when I was growing up,” Marin guffaws. “But everyone has a sense of humour now. They’re not likely to cry at all!”

Comic book shops are a universe unto themselves, but this doesn’t mean they classify as anything other than ‘the real world’. To a Melbournian, the Hobart nightlife can seem less-than-real-worldly, but we still shake our collective groove thang. It’s about perspective.

WORST. STEREOTYPE. EVER. Funny how most comics are no longer funny but we tend to think of comic book readers as funny. Funny, silly people who need a life.

Even if the clichés are true, we would do well not to disregard comic book readers.

After all, most Tasmanian clichés are true (behind the modern eight ball, a little bit “country”, wanting to move to Melbourne) and, like me, you’re probably one of them.

THE CHASM SOUNDSYSTEM

Truth be told, Tasmanians have a lot in common with comic book readers.

THIS IS HOW WE NEVER DIE IS THE LATEST RELEASE FROM SYDNEY PRODUCTION DYNAMO, CHASM. COMBINING MC’S FROM AROUND THE GLOBE WITH THE CREAM OF AUSTRALIA’S CROP, CHASM HAS CRAFTED SOMETHING OF A MODERN AUSTRALIAN HIPHOP CLASSIC. PERFORMING WITH MC HAU LATUKEFU (KOOLISM/TRIPLE J HIPHOP SHOW HOST) AT THE REPUBLIC BAR ON SATURDAY JULY 28, CRIXUS CAUGHT UP WITH THE TWO OF THEM, AND ASKED THE NOT-VERY-TOUGH QUESTIONS.

Crixus: What separates This Is How We Never Die from previous Chasm albums?

Chasm: I like to think my production is a little more polished on this one than previous efforts. Also this album features rappers from across the world as well as Australia and I’ve never branched out and worked like that before so I guess that sets it apart.

Crixus: There’s a lot of interesting MC combinations throughout this album, how did you make the decision to pair certain MC’s on a song? Were there similarities in styles that seemed to match? Or was it a juxtaposition of differing styles that you looked for?

Chasm: I would get one rapper on a beat and when I received their parts I would just listen over and think about who would sit alongside them nicely, who would sound right tone-wise, who would manage the topic well and basically who would complement the whole thing and take the track to another level.

Crixus: Hau, you have held down a very important role as the presenter of the Triple J Hip Hop show for a few years now.

Not only is it a lot of responsibility (playing a large part in shaping the minds & tastes of the hip hop loving youth of Australia), but 24

warpmagazine.com.au

it gives you a unique position to view the ever-changing landscape of Australian hip hop. How have you seen the scene develop over that time?

Hau: Certainly. Local hip hop was already starting to grow out of the underground with the Hoods selling well and topping charts when I took over the show. And not only getting fully fledged releases, but also receiving a lot of demos and self-released music, shows how popular the genre has become with Australian society. Since the Hoods we’ve seen Bliss n Eso, Drapht and 360 really propel into the mainstream. And when a scene does cross-over, you tend to get every man and his dog wanting to make that particular music. When that happens, you get a lot of weak releases, but then also, a lot of good. So as long as we have a balance, I’m all cool with its progression.

Crixus: What are the most important factors in making a great hip hop song?

What do young producers and MC’s need to know?

Chasm: Number one your drums have got to bang! Your snare and kick have always got to snap, that’s what really defines it and gives it the right feel. Number two, be original and try and create your own sound, don’t rip someone else’s style. Number three get your shit mixed and mastered by

professionals that know and understand bass music and hip hop.

Hau: To be themselves. That’s the number one priority. I often say this, but I’ll say it again: Only you can be you. If I want to hear Funkoars, I’ll listen to the Funkoars. If I want to listen to Eminem, I’ll listen to Eminem. I generally think the average hip hop fan can spot a fake quite easily. It’s only natural that you will, consciously or sub-consciously, sound like the artists you listen to day and night. But the thing is, is that you have to take that, and add on by injecting your own self into it. Just like Kool G Rap to Nas to Fashawn or Def Wish Cast to Hilltop Hoods to Horrorshow. It’s evolution and originality rolled into one.

Crixus: How do you keep inspired and motivated?

Chasm: I just love making music so I just take a day or two off here and there when I need to and I’m good to go again. I just love it, so it’s easy to keep inspired, I have heaps of ideas musically I want to try and make happen so that excites me and drives me to keep making more stuff. The industry sucks a bit and it’s hard to keep your paper right, it’s not easy but I try to just stay positive and stay working hard and not focus on the bullshit too much.

While our state is in the midst of a campaign to ‘Save A Mainlander’ and boost both our piggy bank and our profile, comic book stores are on a similar mission. We both

want more normal people among us.

Take ‘Free Comic Book Day’ for instance, when participating comic book shops around the world give away comic books to anyone who comes into their stores...for free!

A local example is Hobart’s Area 52, which offers a free all-ages Pokemon league on Sundays, free Friday night board games and a night for Collectable Card Games (CCGs) midweek. Again, for free!

“There is a real trend toward inclusivity among comic book stores now,” says the store’s James Marin. “By far and away most people I see in here are well adjusted, of all ages and many of them even have families.”

OVERCOMING CALAMITIES Hau: As cliche as it sounds; life. Well, life and a good imagination. I’m also lucky that great musicians want to work with me, too. That always creates a new invigorating energy.

Crixus: We‘re seeing you both at the Republic on July 28th, what can we expect from the live show?

Hau: What’s on July 28??? Haha, nah. Pretty much good times with a display of top shelf skills. Chasm on the beats and myself, along with other guests, rocking the mic, performing songs from his new album, This Is How We Never Die, amongst other things.

Just a whole bunch of fun.

Chasm: This show is going to be a soundsystem style thing, I’ll be playing my favourite joints plus stuff from my own catalogue and Hau will be jumping up to drop verses and generally hype the show.

SHANE CRIXUS

Chasm Soundsystem and Hau Latukefu play the Republic Bar on Saturday July 28 with support from Crixus. Tickets are $12 + b/f and are available via Moshtix, Ruffcut, or the venue.

AFTER BEING BANNED FROM PLAYING IN HIS HOMETOWN SINGAPORE, GOING BROKE FOR A BOTCHED RECORDING, AND LOSING HIS BEST FRIEND AND BANDMATE, SANNY VELOO STARTED OVER WITH EMPRA – A MELBOURNE QUARTET BORNE FROM TRAGEDY, TRANSFORMED INTO A ROCK-N-ROLL FORCE TO BE RECKONED WITH.

We each need a kind of escape from work, responsibility and everyday troubles, and the comic book store is one tasty poison of many.

“Most comics are a lot like soap operas with unlimited budgets,” says Marin. “You can watch Home and Away or you can read an epic superhero story with amazing artwork.”

The comic book format emerged in 1933 with the publication of Famous Funnies.

Superman patriotically punched heads from 1938 until after World War II, when fighty-fighty superheroes were no longer appealing.

By the 1960s, superheroes were burdened by human failings and even relationship troubles. College students strongly identified with these angsty, irreverent yet brilliant superheroes and thus the stereotypical comic book fan was born.

In the 1970s, comics were telling both otherworldly science-fiction stories and inner-city stories of drug addiction. By the

He’s had more setbacks than most aspiring musicians will ever have, but chatting to Warp from Brisbane – the band’s current stop on their national tour - Veloo sounds surprisingly happy, settled, and optimistic about the future.

“It’s been a labour of love over the last few years,” he says with an air of relief. “There’s a lot of work that went into getting the band to this point, so we are very proud of this album.”

The self-titled debut features eleven hardhitting tracks of good old fashioned rock, coupled with earnest and meaningful lyricism, and as Veloo talks about it, you can tell that bringing it together was a genuinely cathartic experience for him.

“This album was a tribute to my best mate who passed away, and I feel like I’ve finally honoured that friendship by releasing it,” he says, his voice breaking ever so slightly.

“This was our dream, so I did it for him.”

“I was only ever in one band, and that was a band with my two high school mates,” he admits. “So it’s taken really long for me to feel confident doing it on my own, and to have my own songwriting style.”

time specialty stores began popping up in the late 80s, comics could do anything.

And it’s the same today. So where do us comic book noobs start?

Rosalie Scarafiotti of Devonport’s Nerd Central recommends beginning with what is familiar to you.

“If you’re getting started, try a ‘one shot’,” she says, referring to the self-contained stories that don’t require a backstory. “Go with the things that interest you, because there’s such a wide range from Batman to Grimm’s Fairy Tales.”

Scarafiotti has also noticed an increase in females in the store. Real, live females.

“A lot of girls are getting into comics,” she grins. “There’s a heap of games and books that are being turned into comics and we get people in here saying ‘Well, I liked the book, so I’ll check out the comic’.”

As well as a sense of escape, comic book readers and ordinary Tasmanians alike need something to look forward to every week.

Wednesdays are universally sacred for comic book readers because this is when stocks are replenished. All over the world, midweek in the shop is a magnificent blend of Sunday for believers, Thursdays for pensioners and Fridays for the nine-tofivers.

All over the world - that is, except for one place.

“We don’t have a Wednesday rush,” James Marin explains. “We get our supplies shipped from the mainland, so we have a Thursday rush. Because we’re in Tassie.”

Comic book readers and ordinary Tasmanians, unite.

DANIEL TOWNSEND

working on the follow-up album, and after this tour’s over, we just want to start working on those new songs.”

They’re a long way from the festival stages of Singapore, where Veloo’s original band got banned for using profanities on stage and starting a crowd riot that shut the entire festival down. But Veloo has learnt a lot since then, and these days, he finds excitement in other things…like skydiving on tour.

“It was unreal”, he says, laughing. “It wasn’t as scary as I thought it’d be up there, you know, it was surprisingly peaceful.”

The boys are also particularly excited to visit Tassie after hearing from other bands that the shows “just go off”. And with the tour running until mid-August, it’s anyone’s guess what else these hard-rockin’ boys will get up to.

It’s been a rough ride, but as Veloo so rightly says: “As long as you reach the destination, that’s all that matters.”

KELLY SNYDERS

With his confidence back on track, all it took was a trio of Matts (Agius on bass, Gault on guitar, and Cattanach on drums) to round out Veloo’s vision. And although that “one band” (The Suns) will always be close to his heart, he feels like Empra is the real deal.

“I really do think we can go the distance,” he says sincerely. “We’ve already started

Empra will be heading down to Tasmania to play a show at the Brisbane Hotel on July 29. www. empraonline.com

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Music

Food / Drinks

KNOCKIN’ ON TROUBLE’S DOOR IT SEEMS LIKE ONLY YESTERDAY THAT ASH GRUNWALD STOLE OUR HEARTS WITH HIS CHEEKY GRIN, TANGLE OF DREADLOCKS AND SIGNATURE GROOVE-BLUES SOUND.

Hitting the scene in early 2004, it didn’t take long for him to strum and holler his way up the ranks, swiftly taking his place as one of Australia’s finest blues darlings. Eight years and five albums later, and the road dog is back with Trouble’s Door - a collection of some of his most personal songs to date.

After the success of 2010’s Hot Mama Vibes, Ash Grunwald packed up his wife and daughter, and made his way from the Victorian surf-coast to the Byron region in NSW – a move that proved to be fruitful in more ways than one.

Coming off a morning surf and sounding as happy as ever, Grunwald caught up with Warp for a bit of a chinwag about new politics, old memories, and surfing with some of the coolest guys in music.

“I don’t know what it is, but there are so many musos up here,” says Grunwald of his new hometown. “I hang out with a lot of them and enjoy surfing with them; it’s just really easy to be healthy and happy here.”

Having always presented himself as a lighthearted artist who’s all about good times and booty-shakin’, it’s somewhat surprising to see Grunwald tackling some serious issues on the new album. It’s even more surprising to learn that it’s something he’s wanted to do for a while.

“There have been a lot of things I’ve wanted to get off my chest, but I’ve always been hesitant to say anything of a political nature,” says Grunwald sincerely. “I didn’t feel confident enough, I guess, to back myself. I was just like ‘oh, people don’t want to hear that’. But you know, I’m on my tenth album, and it’s my tenth year… I just thought ‘well, stuff it!’”

After doing a benefit gig to stop coal seam gas mining, Grunwald realised that the rampant nature of capitalism and government in our society was a growing cause for concern, and inevitably found these themes weaving their way into the new album.

It’s a long way from the bright lights of Hollywood, where Grunwald’s single Walking was last year picked up for the blockbuster film ‘Limitless’. In stark contrast, the video for Longtime sees him enjoying a two-day surf session with new buddies Xavier Rudd, Kram, Pete Murray, Scott Owen, Fingers Malone and legendary surfboard designer Bob McTavish.

“It was very funny,” laughs Grunwald. “We had a ball doing it. You know, all these guys in the video, I see them all the time... and I just feel very lucky.”

Throughout his career, Grunwald has always been a devoutly independent artist. But this time around, he decided it was time to ask for a little bit of help - not from a record company, but from his fans.

He teamed up with Pledge Music, an initiative that allows everyday people to donate money towards independently released albums in exchange for exclusive gifts and experiences.

“I found out about it really at the last minute…and I thought ‘oh well, I’ll give it a go and see what happens.’ And it’s worked,” says Grunwald excitedly. “In the future I want to do it from the start and involve people in the songwriting process. That would be really cool and really new - it’s like you can have the people as your record company.”

Along with a guitar lesson via Skype and a day of surfing with the man himself, pledgers also had the chance to win one of the Grunwald’s prized lap-steel guitars.

“I was thinking of putting my motor home on there as well,” jokes Grunwald, adding

“There have been a lot of things I’ve wanted to get off my chest, but I’ve always been hesitant to say anything of a political nature... But yoau know, I’m on my tenth album, and it’s my tenth year… I just thought ‘well, stuff it!’”

with a big laugh: “you could just be selling things around your studio that you don’t want anymore, like ‘I’ve got an old bike here, anybody want that!?’”

Of course, no new album release is complete without an accompanying tour, and so Grunwald is hitting the road once more, taking his renowned live performance on a 24-show run to some of his favourite haunts across the country.

He also hopes to continue with the Road Dog Diaries – a visual blog that he started on a 2011 tour as a way of documenting his onthe-road antics. The entries have dwindled somewhat over the last few months, but as we reminisce about all the moments that went undocumented in his early days and discuss the potential for a full-length documentary, Grunwald perks up and says that “as of this interview, I feel encouraged to keep going with it.”

“Paying a taxi driver to give us a lift up a hill and then go and block traffic at dangerous intersections, laying in the back of a ute, looking at the stars, having a spliff and then jumping out and skating down…things like that…that’s what made me wanna do it,” says Grunwald.

“It’s just really fun with a capital F,” he says.

“And that’s what I’m about. That’s what I’ve always been about, you know. Everybody likes to have fun, but I make it a priority.”

KELLY SNYDERS

Drinks of the month

WARUNG INDONESIA I KEEP SEEING ENTICINGLY CHEAP AIRFARES TO BALI SUDDENLY MY MIND IS FILLED WITH A YEARNING FOR WARMTH, A FOREIGN URBAN BUSTLE, AND TASTY FRESH STREET SNACKS...AT LEAST I CAN PRETEND I AM AWAY, OVER THERE IN THE TROPICAL HEAT WHEN I GO TO WARUNG INDONESIA.

Warung Indonesia is on the site that was formerly occupied by Hobart Woodfired Pizza, on the outskirts of Hobart CBD. What was an open expanse has now been transformed into a cosy and warm space. On previous visits, the set-up was different - an array of dishes sat behind a glass fronted hawker’s cart and you simply pointed at what you wanted and they loaded your plate up. The hawker’s cart is still there, but the glass fronting and food is gone, and now you order from a menu instead. It’s a little less fun ordering this way, because you can’t see what the dishes look like, however the food arrives freshly cooked.

You can also now order whole main courses from the menu, but I think it’s a lot more fun to order the $3 - $6 small portions so that you can get a good variety of dishes on your plate. For the average diner, four selections with rice is plenty, and this generally comes to about $20, which is a bargain.

The style of food is in the Padang style, which I discovered after some research is food particular to the indigenous people of West Sumatra, but is apparently found everywhere throughout Indonesia, and is known for its use of coconut milk, spices and hot chillies. The spicy eggplant is definitely knock-your-socks off hot, but oh-so-good with its salty sauce filled with chillies and dried anchovies. The balinese chicken was also wonderfully redolent of chillies - more in flavour rather than heat - however, most of the dishes are mild, so chilli-phobes need not fear of this place.

The highlight dish I have come across so far is probably the satay chicken skewer, which comes in a most delectable pool of peanut satay sauce. If I was at home alone, I may have licked the plate. Other dishes I have tried which are also good are the tempeh, which are little chewy sticks of fermented soy bean - doesn’t sound enticing but is really quite good - and the deep-fried stuffed tofu - a plump little ball stuffed with assorted vegetables, which definitely benefits from being freshly cooked, as they do now.

It’s heart warming food, cooked with love. Wash it all down with a bottle of cheap white, and you will leave with a fat tummy and a happy glow. What a treat to have this little piece of Indonesia with us here in Hobart.

SARA WAKELING

PLANB Made with real honey, American Honey is a Wild Turkey-based liqueur that gives an exceptionally smooth flavour experience. It is softer on the palette than our straight bourbons, though still packs a punch. It offers the perfect balance between Bourbon strength and a smooth honey texture. The citrus and caramel notes warm you from the inside and you can expect an extremely long finish.

REPUBLIC BAR & CAFE In the late 1800’s Brooklyn was one of the largest brewing centres in America, home to more than 45 breweries. Lager beer in the “Vienna” style was one of the local favourites. It is amber-gold in colour and displays a firm malt centre supported by a refreshing bitterness and floral hop aroma.

Caramel malts show in the finish. 5.2% alcohol content. $8.50

THE BRISBANE HOTEL

Warung Indonesia is located at 144 Harrington St, Hobart. Open nightly Tuesdays to Saturdays from 5pm, the Restaurant is B.Y.O.

The Kraken Rum takes its name from the mythical sea beast which is said to have wreaked havoc with tall ships and rum-running vessels throughout history. To that end, the result of a night out with The Kraken rum is said to be similar to the experiences of those sailors who have gone eye-to-eye and toe-to-tentacle with the giant creature-

They are happy to have survived and are looking forward to ROUND TWO. $8 straight up on ice/shot or $8.50 mixed with Ginger Beer and lime.

THE METZ ON THE BAY The Clover Club was created for an exclusive gentleman’s club in Philadelphia, this classic is light, fruity, fresh and velvety smooth.

The original uses grenadine, but at The Metz we have substituted it for a fresh raspberry syrup. Shaken and served in a vintage Champagne saucer. $15.

IRISH MURPHYS SALAMANCA The most sessionable of IronHouse brews, this Tasmanian lager is pale straw in colour with flowery aromas.

Brewed with Australian and German malts it is lLightly hopped for that refreshing taste. 4.7% Alc. $5 for a 10oz and $9.50 by the pint.

“When I wrote a lot of those songs, it was all in one sitting,” he says. “I went around to a friend’s place, they were away, and I just sat there and had a couple of drinks and wrote it all out.”

The resulting album, although littered with the sort of musical swag we’ve come to expect, is an emotional step forward for Grunwald, who recorded it all in his new home studio.

“Fingers [Malone], who helped produce the album and the single Longtime, we’re good mates,” says Grunwald. “So we just get up early in the morning, go for a surf, and then spend the next twelve hours in the studio.

And that’s really how I love to spend my time.”

Ash Grunwald will be gracing the stages at Spurs Saloon and Warehouse in Devonport on July 5, Hotel New York in Launceston on July 6, the Republic Bar and Cafe in Hobart on July 7 from 10pm and a special afternoon show at the Republic Bar on Sunday July 8.

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warpmagazine.com.au

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will be a great night of musical

SUNDAY JULY 15, 5PM - 8PM

Music

Music

FREE blockbusters Jersey Boys, Priscilla Queen of the Desert, We Will Rock You, and was a member of the original Australian cast of Shout! In Vogue: Songs By Madonna is an engaging and uproarious cabaret spectacular, direct from sell-out seasons in Sydney and at the Adelaide Cabaret Festival.

Strike a pose, get into the groove and express yourself as Madonna opens her heart.

VOICEBOX AT CITY HALL THURSDAY JULY 12, 8.30PM VOICEBOX: FREE ENTRY

A veteran of the Australian musical theatre scene, Griffiths has performed in

RESERVED SEATS $10

VOICEBOX AT CITY HALL SATURDAY JULY 14, 5PM

VIP TABLE $100

VOICEBOX: FREE ENTRY RESERVED SEATS $10

FREE FAMILY EVENT

THE IDEA OF NORTH - SHORT COURSE 3.30pm - 5.00pm | SOLD OUT IN-GRAINED Carnegie Gallery | 16 Argyle St 6pm - 8pm | Free

GOSPEL SPIRITUALS - SHORT COURSE Hobart Town Hall | 50 Macquarie St 1.30pm - 3.30pm | $38 HOBART SINGS The Odeon | 167 Liverpool St 4pm | $28/$23/$13 U16

Playhouse Theatre | 106 Bathurst St

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Festival Office | Level 3 Salamanca Arts Centre

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MONA – Nolan Gallery | 655 Main Rd Berridale

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The Odeon | 167 Liverpool St

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Carnegie Gallery | 16 Argyle St

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Federation Concert Hall | Davey St

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Elizabeth St | North Hobart

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Henry Jones Art Hotel Atrium | 25 Hunter St

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Masonic Temple | 3 Sandy Bay Rd

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t h e u n S U I Ta b le C A S E o f me Peacock Theatre | Salamanca Arts Centre 8pm | $28

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JUNE CARAVEL Voicebox at City Hall | Macquarie St 8pm | Free entry option, reserved seats from $10, VIP table $100

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FAME Playhouse Theatre | 106 Bathurst St 8pm | $29/$25

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GIN SWING Voicebox at City Hall | Macquarie St 9.30pm | $28 Ha

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IN-GRAINED Carnegie Gallery | 16 Argyle St 10am - 5pm | Free

Sulivans Cove

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FINALE CONCERT Federation Concert Hall | Davey St 1.30pm | $38/$33/$18 U16

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FOOD OF LOVE Elizabeth St North Hobart 5pm - 8pm | Free Family Event

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ANGEL STORY MONA -Nolan Gallery | 655 Main Rd Berridale 8pm | $38

F R I DAY 13 J U LY

APERITIVO CONCERT Playhouse Theatre | 106 Bathurst St 2pm and 6pm | $15 at door (free for major workshop passholders)

Recital Hall | Conservatorium of Music | 5 Sandy Bay Rd

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SINGER’S LOUNGE - FESTIVAL CLUB Long Gallery | Salamanca Arts Centre Open from 7pm | $10 at door (free for major workshop passholders)

ERIC DOZIER & MSG Voicebox at City Hall | Macquarie St 8.30pm | Free entry option, reserved seats from $10, VIP table $100

IN-GRAINED Carnegie Gallery | 16 Argyle St 10am - 5pm | Free

Hobart Town Hall | 50 Macquarie St

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VO I C E S O F V I C E - 18 + Voicebox at City Hall | Macquarie St 9.30pm | $28

HELOISE Voicebox at City Hall | Macquarie St 7pm | Free entry option, reserved seats from $10, VIP table $100

PA U L C A P S I S - 18 + Voicebox at City Hall | Macquarie St 7pm | Free entry option, reserved seats from $10, VIP table $100

S AT U R DAY 14 J U LY

Bahai Centre of Learning | 1 Tasman Highway

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K I M S M I T H - 18 + Voicebox at City Hall | Macquarie St 8pm | Free entry option, reserved seats from $10, VIP table $100

GLORIOUS SOUNDS - TRADITIONAL CHORAL MAJOR WORKSHOP W I T H LY DI A A DA M S Hobart Town Hall | 50 Macquarie St Tues - Sun from $189 bookings essential Full schedule www.festivalofvoices.com

BLENDED BARBERSHOP Peacock Theatre | Salamanca Arts Centre 7.30pm | $20

M I Z I M A S TA R R - 18 + Voicebox at City Hall | Macquarie St 9.30pm | Free entry option, reserved seats from $10, VIP table $100

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IN VOGUE: SONGS BY M A DO N N A - 18 + Voicebox at City Hall | Macquarie St 6.30pm | Free entry option, reserved seats from $10, VIP table $100

PRAISE, PROTEST AND PURPOSE - GOSPEL SPIRITUALS MAJOR WORKSHOP WITH ERIC DOZIER Bahá’í Centre of Learning 1 Tasman Highway Tues - Sun from $189 bookings essential Full schedule www.festivalofvoices.com

VOICE OF IDEAS Henry Jones Art Hotel Atrium | 25 Hunter St 6pm | Free but booking advised online at www.festivalofvoices.com

THE IDEA OF NORTH & MOIRA SMILEY AND VOCO MONA - Nolan Gallery | 655 Main Rd Berridale 8pm | $59

Hutchins School | 71 Nelson Road

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t h e u n S U I Ta b le C A S E o f me Peacock Theatre | Salamanca Arts Centre 8pm | $28

THE IDEA OF NORTH - MASTERCLASS Recital Hall | Conservatorium of Music 5 Sandy Bay Rd 1pm - 2.30pm | $38

PA U L C A P S I S - 18 + Voicebox at City Hall | Macquarie St 8pm | Free entry option, reserved seats from $10, VIP table $100

SINGER’S LOUNGE - FESTIVAL CLUB Long Gallery | Salamanca Arts Centre Open from 7pm | $10 at door (free for major workshop passholders)

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MEN@THE BAR -BARBERSHOP SHORT COURSE The Lark Distillery | 14 Davey St 5pm - 7pm | $20

T U E S DAY 10 J U LY

APERITIVO CONCERT Playhouse Theatre | 106 Bathurst St 6pm | $15 at door free for major workshop passholders

THE GRAND APERITIVO The Odeon | 167 Liverpool St 8pm | $23 (free for major workshop passholders)

FAME Playhouse Theatre | 106 Bathurst St 8pm | $29/$25

To North Hobart 1.3 km

City Hall | Macquarie St

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DOW NSTAGE CENTRE -MUSICAL THE ATRE WORKSHOP Peacock Theatre | Salamanca Arts Centre 10am - 4pm Saturday and Sunday | $120

W E D N E S DAY 11 J U LY

SINGER’S LOUNGE - FESTIVAL CLUB Long Gallery | Salamanca Arts Centre Open from 7pm | $10 at door (free for major workshop passholders)

PROUD MUSIC The Odeon | 167 Liverpool St 8pm | $38/$33/$18 U16

MARIA LURIGHI Voicebox at City Hall | Macquarie St 6.30pm | Free entry option, reserved seats from $10, VIP table $100

Castray Esplanade, PW1

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Hutchins School | 71 Nelson Road 10am - 4pm Saturday and Sunday | $280

DOW NSTAGE CENTRE - CONCERT Voicebox at City Hall | Macquarie St 8pm | $28

VOICE OF IDEAS Henry Jones Art Hotel Atrium | 25 Hunter St 6pm | Free but booking advised online at www.festivalofvoices.com

SINGER’S LOUNGE - FESTIVAL CLUB Long Gallery | Salamanca Arts Centre Open from 7pm | $10 at door (free for major workshop passholders)

SISI Voicebox at City Hall | Macquarie St 5pm | Free entry option, reserved seats from $10, VIP table $100

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CONDUCTORS PROFESSIONAL DEVELOPMENT MASTERCLASS

M O N DAY 9 J U LY

VOICE OF IDEAS Henry Jones Art Hotel Atrium | 25 Hunter St 6pm | Free but booking advised online at www.festivalofvoices.com

APERITIVO CONCERT Playhouse Theatre | 106 Bathurst St 6pm | $15 at door (free for major workshop passholders)

JUNE CARAVEL Voicebox at City Hall | Macquarie St 6.30pm | Free entry option, reserved seats from $10, VIP table $100

MOIRA SMILEY & VOCO - SHORT COURSE Long Gallery | Salamanca Arts Centre 3.30pm - 5.30pm | $38

Long Gallery | Salamanca Arts Centre

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S AT U R DAY 7 J U LY

IN VOGUE: SONGS BY M A DO N N A - 18 + Voicebox at City Hall | Macquarie St 8.30pm | Free entry option, reserved seats from $10, VIP table $100

EXTRAORDINARY FOUR CONTEMPORARY ACAPPELLA MAJOR WORKSHOP WITH THE IDEA OF NORTH Recital Hall | Conservatorium of Music 5 Sandy Bay Rd Tues - Sun from $189 bookings essential Full schedule www.festivalofvoices.com

T H U R S DAY 12 J U LY

APERITIVO CONCERT Playhouse Theatre | 106 Bathurst St 6pm | $15 at door (free for major workshop passholders)

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K ATIE NOONAN Voicebox at City Hall | Macquarie St 8pm | Free entry option, reserved seats from $10, VIP table $100

K I M S M I T H - 18 + Voicebox at City Hall | Macquarie St 7pm | Free entry option, reserved seats from $10, VIP table $100

FA RROW, FA RROW & FA RROW Voicebox at City Hall | Macquarie St 8.30pm | Free entry option, reserved seats from $10, VIP table $100

Peacock Theatre | Salamanca Arts Centre

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FIRESONG Castray Esplanade, PW1 6pm | Free Family Event

THE MARKET Masonic Temple | 3 Sandy Bay Rd 10am - 3pm | Free Family Event

STOMP HOLLER AND SING II - CONTEMPORARY FOLK MAJOR WORKSHOP WITH MOIRA SMILEY AND VOCO Long Gallery | Salamanca Arts Centre Tues - Sun from $189 bookings essential Full schedule www.festivalofvoices.com

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ESCAPE & ARRIVAL Peacock Theatre | Salamanca Arts Centre 5pm | $28

S U N DAY 8 J U LY

$28 FOR AUDIENCES 18+

VIP TABLE $100

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F R I DAY 6 J U LY

VOICEBOX AT CITY HALL SATURDAY JULY 14, 9.30PM

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F E S T I VA L AT A G L A N C E

Tickets through www.festivalofvoices.com and at the door subject to availability and if not otherwise specified.

Brought to you in an environment of burlesque mischief, the drag-tastic Miz Ima Starr, the glorious Lizzie Moore, and the mischievous multi-lingual Kim Smith have invited some of their disreputable ‘friends’ to entertain you for the night.

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Michael Griffiths IS Madonna. No accent, costume or wig. Just ‘Madge’ accompanying herself at the piano leading you on a journey through her tough life and tender songs. In a gender-bending explosion of powerful pop, watch this musical theatre star transform himself into the Queen of Pop.

She trained in the UK, appeared on the West End and now is a local musical treasure.

With a sound that ranges from funk-rock through to cabaret/vaudeville (with her band SiSi and The Sonics) and Electro-pop, with her album Explosion recently released, SiSi has completed a sell out tour of her one woman show BLITZ.

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VIP TABLE $100

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‘it’s wry, it’s camp, it’s exceedingly funny, and it’s outrageously bitchy and rude.’

The Advertiser.

A sell-out hit of the 2011 Festival, be sure to get your tickets early for this evening of temptation. In the shadowy depths of the Voicebox den you will hear tunes made famous by the drug-addled and debauched, songs of sweat and sin that are sure to keep you on the edge of your seat.

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RESERVED SEATS $10

This relocated songstress heralds from Liverpool, England and was born into a theatrical family; a father who worked with Ronnie Woods and an uncle with Rod Stewart.

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MICHAEL GRIFFITHS

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VOICES OF VICE

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CASTRAY ESPLANADE, SALAMANCA FRIDAY 6 JULY, 6PM

IN VOGUE:

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Hosted by Penny Terry of 936 ABC Hobart and ABC Northern Tasmania, The Festival opens with its spectacular evening event: Firesong. Expect this year to be bigger and better than ever before - a dazzling journey through the elements with fire, sculpture and voices. It won’t matter where you are - you won’t miss out. This is a free family event that will warm your heart as everyone joins in celebration and song. So rug up, pull on your best beanie, and bring your family and friends to be a part of this very special mid-winter tradition.

You won’t find this anywhere else in Australia.

VOICEBOX AT CITY HALL SATURDAY 7 JULY, 6:30PM SUNDAY 8 JULY, 8:30PM

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FIRESONG

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Visiting workshop artist Eric Dozier takes us to his personal musical roots: born in the small rural town of Bakewell, Eric swam in the melodies of Memphis Slim, and played catch in the city of Bessie Smith. Expect to hear combinations of blues and funk in his uncategorisable gumbo of gospel and traditional spirituals, ably joined by the very popular Melbourne Singers of Gospel. Dozier’s insightful lyrics and soulful melodies are certain to lure you into a sonic, 100mystical journey, serving up food for mind and spirit. It’s Down’n’Dirty Blues.

Sanctified Gospel. Old-time Country.

Grinding Rock. It was once said that good music comforts the afflicted and afflicts the comfortable. Eric’s music will have you pondering which side you fall on.

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more information available at www.festivalofvoices.com

“You can’t keep your hands from clapping, your feet from stomping, and your head from bopping to this highly charged and soul stirring gospel triumph.”

New York Times

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Arts

Arts

ANDREW IS A BIT UPSET WITH THE HOBART CITY COUNCIL

If you didn’t know about it already, the Hobart City Council have, after a consultation process, decided that their involvement with Arts and Culture in Hobart is to drastically change. Two major things have been decided and are open for public comment until the 5th of July, and that’s the closure of the Carnegie Galley as an exhibition space, and the winding up of the City Of Hobart Art prize.

The closure of the Carnegie is a sad thing as it’s a beautiful room, but it is in many ways less than ideal as an exhibition space.

It doesn’t have proper access for people with disabilities, and it’s hard yakka to haul heavier art work up and down the grand stairs that grant access to the Gallery area. .

What I am disturbed by, though, is that there’s no concrete suggestion about a more accessible replacement space in Hobart. I do see it as the Council’s job to make and invest in culture, and a central gallery space needs to part of the mission statement. A gallery space that’s accessible to all and properly promoted.

Why is a Gallery space important? Why should the council run one at all?

Because arts and culture is growing in this town, even in these harsh economic times.

If I can go into a skateboard shop and see an art show by some upcoming graffiti artist, if I can go to three different gallery openings a night some Fridays and encounter over 500 people, all from different walks of life

checking out a lot of different kinds of art, then I think Council has a responsibility to invest in that. I really mean invest as well – I don’t mean reducing artists to decorators by putting up some light boxes. There’s nothing wrong with those things, but they need to be part of a well-worked out strategy that presents and promotes art in Hobart, and that strategy needs to include a gallery.

Maybe the council just needs to give a space to some organised people and step back – but a space that is not commercial, rather one that focuses on exhibiting contemporary work.

So I’ll let the Carnegie go. What I won’t let go is the City Of Hobart Prize. This annual exhibition attracted entrants from all over the country and would consistently give Hobart a slice of contemporary practice.

Reading the actual report seemed to suggest the HCC thought they weren’t getting enough ‘recognition’ from the Prize.

I don’t understand how this leads to a need to shut the event down - wouldn’t it be a better idea to attempt to promote it properly, although how something called ‘The City Of Hobart Art Prize’ and opened by whoever the Lord Mayor is at the time is not recognisable as an HCC sponsored event is beyond me.

Flippancy aside, what’s being removed is a nationally recognised arts event that puts Hobart on the cultural map and has for a long period of time. Prizes like this create value and give artists recognition, and are gateways to successful art careers,

MONA PREVIEW - THEATRE OF THE WORLD HERE WE GO AGAIN.

I know of local artists who have benefited tremendously from the City of Hobart Art Prize. That’s what prizes like this invest in – the creation of culture. More importantly, once a year we get a council sanctioned example of how local contemporary practice stacks up against the rest of the nation, and it’s an art show that gets outside the ‘regular’ art audience. That’s the strength of the Prize – it grants legitimacy and gives exposure. I think it’s important and it needs to continue.

Follow Andrew on twitter : @andrew_w_harper for more rants, comedy and whining about the cold.

MONA loves to keep us guessing, and after exhibiting one of the world’s most controversial artists, Wim Delvoye, MONA are collaborating with The Tasmanian Music and Art Gallery (TMAG) to present a massive overflowing of contrasts and hidden miracles. Inspired by the lost idea of a museum-theatre constructed by Italian philosopher, Giulio Camillo (1480 – 1544) for the French King François I (1494 – 1547), curators Jean-Hubert Martin, Tijs Visser, Olivier Varenne and Nicole During have had unprecendented access to the collections at the TMAG – finding many previously unseen wonders, all designed to provoke reaction and thought.

Full report coming, but it is open to the public now so get on it. You know you want to.

ANDREW HARPER

warpmagazine.com.au

TASMANIA’S BIGGEST WINTER CULTURAL EVENT, THE FESTIVAL OF VOICES, IS TAKING A DIFFERENT DIRECTION UNDER LEADERSHIP OF WORLDRENOWNED DIRECTOR, KRIS STEWART.

Now in its eighth year, the Festival of Voices is expanding its repertoire and for the first time will be run over ten days. Kris Stewart, director and producer of events such as the New York Musical Theatre Festival and The Sydney Fringe, hopes the updated structure will allow people more time to experience some of the events on offer.

“Up until now, the focus of the festival has been on people that come to Hobart and do things at the festival, which has been great. I think one of the things we are trying to do is increase who the festival is for. Do more things that are targeted at the people in Hobart. Give them more options and opportunities,” Stewart says.

One of many new events being introduced is Voicebox, an intimate cabaret performance space. City hall will be recreated for the event and will play host to performers such as Katie Noonan. Voicebox will allow patrons the option to watch concerts for free whilst having a drink at the bar, or for a small charge, reserve a table closer to the stage.

“It came from the idea of wanting to have a space through the festival that if people want to they can just come along for free. I wanted to create an urban, downtown cabaret club where you could have a stiff drink; a fun, grown up kind of space,” Stewart explains.

culturalstrategy@hobartcity.com.au It doesn’t have to be much – but DO IT.

GIVING HOBART A VOICE

“We were finding in just five days it was getting hard to fit everything in. We wanted to have two weekends because the end of the festival - the Friday, Saturday, Sunday period - was getting so crowded. We thought we could actually cover a bigger period, do more stuff the previous weekend. It allows for people to participate in a lot more stuff and see a lot more things.”

If you want to chuck your five cents in – and you SHOULD – send an email to:

A massive re-contextualising of the MONA space has taken place, and it looks like if you haven’t been out there for a while, now is the time to venture into the depths and get weirded out once again.

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TOM O’HERN’s Vicious shit-eating godless vermin, June 16 - July 7 at Inflight ARI.

ANDREW HARPER

Jean Hubert Martin said: “Theatre of the World will attempt to revive visual thinking – a practical philosophy taking material form in objects. Life today is about visual images. We take so much of our learning and communication from television and the Internet but we are not learning how to analyse images. We have lost confidence in our own ability to understand and have handed responsibility to the experts, with Theatre of the World we hope to encourage visual thinking as a counterpoint to the abstraction of language”.

Image: Courtesy of MONA Museum of Old and New Art

WHAT A FILTHY LITTLE MAN

Tom O’Hern’s slightly calculated obsessivecompulsive drawing practice is one of Hobart’s most prolific – he turns up all over the place, in galleries, on the walls of pub toilets and the doorways of any building left abandoned for too long. Making marks or territorial pissings I couldn’t say, but I like the work – it’s going somewhere and Tom is up to something. This solos show at Inflight features a massive wall, some weird sculptures and most impressively, animation.

The Sculptures are almost gag pieces, nice enough, but only really grab you in concert with the other works on display; it’s the one massive drawing of a panorama of life in all’s it’s hideous wonder that first grabs you and given that it’s stupidly large, insanely detailed and ridiculously, hilariously hideous, you just can’t miss it. It’s filled with phallic imagery, feeding storks, mating dogs, death, decay and re-birth and it’s superb. It’s a cascade of horror to get lost in, and marks a leap past the fantastic horror imagery of previous works to wallowing in the filth of reality.

“What we wanted to do was produce something that was really buzzy, that got people out of the house. Got them to go see things and meet people; head to Salamanca and get something to eat. Just make sure that socially Hobart does not shut down in that period.”

We want to create little intimate spaces, three or four of them along the streets, little concerts. There will be a whole bunch of things people can be serenaded by. I think being able to meet friends there, have a drink or two and see how special that bit of Hobart is, is really lovely.”

A range of master classes and short courses will also run over a period of five days. Workshops in spirituality and musical theatre will be offered, as well as the chance to work with a Canadian Orchestral and Corral conductor.

“This year all the workshops are singing based. The idea behind the Festival of Voices is that it celebrates the instrument of voice.

In the past we have done hip-hop workshops and looping, talked about song writing; this year we are doing a festival of ideas which is all about debate, discussion and argument.

“We have a great [workshop] with Moira Smiley and VOCO, which is great if you enjoy singing and making noise with people. It’s a lot of body percussion and focuses on different ways you can make sounds. It is very physical and fun.”

The festival is once again coupling with MONA to host an acapella concert and Ghost Story, this year renamed Angel Story - a series of three written and improvised short stories accompanied by vocals.

Other successes from last year’s festival that will make an appearance again this year include Voices of Vice - a performance involving several of the festivals most talented artists - and the opening of the festival, Firesong. Stewart hopes that Firesong will become an established tradition with its procession through the city and notable bonfires. The event is entirely free and families are encouraged to attend.

“A lot of the things we are doing this year for the first time I am hoping become really regular parts of what we do,” she says.

“The idea behind the Festival of Voices is that it celebrates the instrument of voice.”

The finale of the festival, Food of Love, will see North Hobart transformed into a romantic outdoor dining setting. It will provide an opportunity for people who don’t normally venture out to North Hobart a chance to sample all the area has to offer.

“We are going to close the roads and put a long table and heaters down the middle of the street. There will be these little candlelight cabarets, people will come sing at your table for a moment or so and then sing to someone else,” Stewart says.

“None of this ‘there is a big stage at the end of the street’ stuff - that’s a bit local council.

“What is important to us now is to keep serving an audience that wants to sing, wants to be involved. But also doing more things for audiences who might want to see something or experience something in a different way. That is really the big focus from last year into this year.”

Rebecca Whitehead

Festival of Voices will be running throughout Hobart from July 6-15. www.festivalofvoices.com

The real win of this show though, is on a tiny screen opposite and a symbolic mirror of over-the-top obsession (there’s that word again), a complex, hand-drawn animation that features, a moving cascade of ugliness that folds in on itself, devours, gives birth, defecates and repeats. So hideous it’s wonderful, so juvenile it’s insightful, here is a bold leap for Tom O’Hern – it’s not the first animation I’ve seen but it is the best so far, and a real leap into his control of this new medium for him.

This show is fun, marks a great leap forward for a local lad who’s been promising much for a while now and is, despite its revelling in decay and filth, or more likely because of it, a show that’s really about dirty, stinky, wonderful, messy life. Scatological fun at its best.

ANDREW HARPER www.facebook.com/warp.mag 31

Arts

Arts

BURYING A GALLERY: THEATRE PREVIEW: ESTABLISHMENT AT CAST BOY GIRL WALL

Decade-old Hobart ARI Inflight has, in a rite of cleansing and renewal, basically committed Seppuku. Weird, but bold, the board of Inflight has dissolved itself and a memorial service was held at CAST on the 5th of June, speeches were made, there was sombre organ music and the whiff of rosemary.

but if you are an artist, it’s time to get off your arse, as if it ever wasn’t. Long live the new flesh, and don’t expect anyone to do a damn thing for you. If there’s one thing that Hobart teaches you, it’s that the only way to make something work in Hobart is with your own two hands.

ANDREW HARPER

The space is still open, but its future remains a question, as it does for many art spaces in Hobart. Spaces do come and go, propelled by the desire to run them and the need to have somewhere to show your work,

‘Boy Girl Wall is a gateway drug’ was the response of Lucas Stibbard when asked what his one-man show is. Lucas is usually an actor, but boy girl wall has a foot firmly planted in the world of stand up comedy and is kind of a bridge between both. So if you’re familiar with either stand up comedy or theatre but don’t know how to approach the one you’re unfamiliar with, then this is the show you need to see this winter. Story wise it’s about neighbours Thom and Alethea, a wall with a desire to play matchmaker, evil magpies (you know magpies are agents of darkness) and the speed of light.

It’s all done by one bloke too. Lucas and his crew from The Escapists have devised a show that meets the audience halfway, using chalk, an overhead projector and sock puppets to tell the story. It’s filled with gags and is a bit adult – it’s recommended for audiences over 15 and has been quite a hit with that age group, but I did discover the existence of an 86 year old lady who’d come along and been tickled pink by an avalanche of gags as well. The show has frantic pace and a flexibility; it’s not quite set in stone. There is a central plot – the fragmenting existence of two people who live in the West End of Brisbane – but Lucas talks to the audience every time, making no experience of Boy Girl Wall alike. This has what’s kept him interested and given the show a particular energy – it’s sort of still developing, and may never stop doing so.

Each new season has brought gags, refining the show to make it into a tight theatre experience that guarantees laughs for all, but especially the younger crowd who likes zines, the handmade aesthetic, cheeky jokes and lots of them and a good night in a theatre.”

WHAT IS FUNNY? WE ASK CRAIG WELLINGTON DIRECTOR OF THE HOBART COMEDY FESTIVAL

ANDREW HARPER

Boy Girl Wall runs at the Theatre Royal Backspace from Wednesday August 1 to Saturday August 4. All shows commence at 7pm. Further information from www. criticalstages.com.au

CHRISTINE JOHNSTON LISA O’NEILL & PETER NELSON

A U G 8 - 1 1 / P E A C O C K T H E AT R E ELECTRONICA dANCE METAL ROCk… wITH STORy, HuMOuR ANd ANIMATION.

PIN DROP

A U G 8 - 1 1 / P E A C O C K T H E AT R E “ONE Of THE MOST ExTRAORdINARILy INvOLvINg ANd REwARdINg THEATRICAL ExPERIENCES. uNfORgETTAbLE. gO.”

STAgE wHISPERS *THIS PERfORMANCE CONTAINS AduLT THEMES ANd ExPLICIT LANguAgE

THRASHING WITHOUT LOOKING APHIdS

A U G 1 5 - 1 8 / P E A C O C K T H E AT R E vIdEO gOggLES, CHAMPAgNE ANd A LOT Of LOud MuSIC. LIMITED TICKETS!

I think whatever your age, it’s what you grew up with that is your yardstick of funny, but you can still get newer stuff if you keep pace with the zeitgeist as it moves around. Age determines a viewpoint or yardstick but agile minds keep up with what is going on.

One generation may think ‘The Two Ronnies’ were the greatest, another ‘The Boosh’.

Both are actually right. Older folks need to see the lineage... There’d be no ‘Family Guy’ without ‘The Flintstones’ or ‘The Honeymooners’. Weirdly, younger people are sometimes the most prejudiced - unable to see old acts or old footage of comedy from yesteryear without blanking it as ‘whatever

AUG 14- 18 A CAvALCAdE Of PORTRAIT, SOAP bOx ANd dRAMA. PUbLIC NEEDED fOR fILMING b E A PA R T O f T H E P R O j E C T *SCREENINg Of THE dEMOCRATIC SET IS fREE…IT’S fOR THE PEOPLE.

S E A S O N PA S S A L L 4 E V E N T S ALL SINGLE TICKETS

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Junction is a very new, very fresh arts festival that focuses on making art fun, accessible and bringing it to the public.

Growing out of a one-off event surrounding the 2010 Regional Arts Conference in Launceston, Junction Arts filled a niche and simply grew wings. The second festival was put together in 6 months and was equally successful, filling Launceston with a rich variety of new arts events.

/ old’. Sadly those that do are missing out on some amazing stuff. Funny is funny.

Fashions change, funny doesn’t.

Humour as a luxury?

In a nutshell, ignoring all complexity, there are two sides to the coin: comedy and tragedy. If you decide to not laugh you are half a person, half a population, half a nation... Luxury is being the people in the room who haven’t lost their homes, jobs, borders, investments, anything - haven’t lost a thing - and are whining that things are tough. That’s luxury. Australia has it so easy.

Hardship here is “we don’t get a baby bonus any more”. Rich or poor if you can’t laugh you’re not living. If by “do I feel humour is a luxury in this serious day and age?” you mean “is laughing a luxury”, no, it’s not.

Luxury is being in a position to feel hard done by when you’ve no idea what hardship is confronting good people in presumably wealthy countries, let alone the third world.

Is humour good for your health and your views on clown doctors?

It has been proven that laughter is good for the heath. It’s not an argument, it’s a proven fact. Clown doctors however may be a problem - they combine two phobias. Clowns and doctors. But it is all subjective. If I’m in a hospital and have limited time left send me Noel Fielding or a stripper dressed as a nurse. Or both. Or Noel Fielding dressed as a nurse. I personally find clowns disturbing.

Anything else?

Hobart’s population doesn’t always realise that it’s Comedy Festival distils the best acts in the world and brings them here. It is the only 100% guaranteed to be awesome series of events an audience can attend. That’s a luxury.

Nic Orme

Since 2002, 30,000 people have laughed till they stopped at The Hobart Comedy Festival. Billed as “the world’s smallest cultural event” the festival has changed the landscape of Hobart with the growth of comedy venues, performers and courses. The tenth year will continue the tradition of unbridled hysteria with some of the best comics in Australia and beyond perform strictly limited shows upstairs at the Republic Bar through July and August. The festival will conclude with a comedy gala in the form of the annual Blundstone Big Finale at Wrest Point Entertainment Centre on Saturday September 1.

Of course this isn’t everything - five days may not seem like much but the program is fill to bursting; it looks like Launceston is THE place to be at the end of August. Get on their mailing list now and keep abreast of all the great events, all carefully chosen to be accessible even for non-arty types. JAF is focussed on fun and accessibility and it looks great.

T H E D E M O C R AT I C S E T bACk TO bACk THEATRE

AduLT $60 | CONCESSION $50 AduLT $25 | CONCESSION $20

I came offstage at the Edinburgh Fringe Fest and discovered someone had stolen my Blundstones. I can understand that they are a desirable commodity in the UK but I didn’t have spare shoes with me.

Does humour differ depending on your age?

COMING UP: JUNCTION ARTS FESTIVAL LAUNCESTON AUGUST 22 – 28 TAMARA SAuLwICk

Unfunny moment?

I think Australians are very comedy savvy.

On TV, in the mainstream, there are generally Aussie, Yank and Brit styles of show. But then it branches out family tree style... “Aussie” can mean any nationality as a sub-genre of being Australian because we are a very young nation and we all have ties to somewhere else. Greek Australian, Italian Australian, Lebanese Australian etcetera... I think that makes us able to relate to everyone and everywhere else.

We’re good at “getting” everyone else’s sense of humour in broad terms. E.g. We don’t remake programs here to broadcast them - we show the real deal no matter where it comes from because the majority of Australians can mentally tune in to the wavelength of the show. In the Sates, for example, they remake shows because only a small percentage of the viewing public “gets it” when they broadcast the original.

I think that makes us Australians best judge of “funny”.

MOBI LE STATES MI N I - FESTIVAL OF N EW AUSTRALIAN PERFORM ANCE

RRAMP – THE COLLECTOR,

I was on stage years ago and the particular comedy sketch was going well and the audience seemed louder than ever. I thought to myself, “This is going well,” then I looked behind me and saw the backstage crew had come on stage and were holding a massive banner reading ‘over acting’. It added something to the scene. Probably comedy.

Nationality and humour?

SALAMANCA ARTS CENTRE PRESENTS

T H E A R C H I V I S T & T H E E L E C T R O C R AT

Funny moment?

www.SALARTS.ORg.Au / PH:6234 8414

2012 see JAF growing up even more, having now become a festival in its own right.

There’s a smorgasbord of fun with some wild events sticking out of the program already – how does an 8-hour endurance event featuring sports mascots going insane until the drop from sheer exhaustion sound? There’s a guerrilla gardening event, transforming winter Launceston with tiny secret gardens emerging all over, duelling brass bands (did you know Launceston has the longest running brass band in Australia?), dangerous dance in a skate park (concrete is really not conducive to safe dance moves), loads of excellent bands and musical performers, and a resident zine artist, Mako (Masako Morita) who will draw what she see happening and produce a limited run zine each day.

All the info you want is here: www.junctionartsfestival.com.au Follow JAF on twitter: @junctionartsfes

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Arts

Arts

GALLERIES FILLED WITH NOTHING BUT SPEAKERS ARE THE BOMB

PAUL CAPSIS: COME AND SEE THE REAL THING

DAY OF THE DEAD

MOBILE STATES PREVIEW

ZOMBIE MARCHES ARE A RELATIVELY NEW THING, FIRST BEING CITED IN AMERICA IN 2001. IT’S A BY-PRODUCT OF THE 21ST CENTURY – IS THERE A REASON FOR THIS? WE ASKED HOBART ZOMBIE MARCH CO-ORDINATOR EMMA SONGDAHL FOR INSIGHT.

August sees Mobile States return to the Salamanca Arts Centre. This mini-festival of new Australian performance has consistently sold out in the past and is set to again with the 2012 program featuring four new works: THRASHING WITHOUT LOOKING is an experiential work that combines performance and live cinema. Created by the audience, for the audience, it involves video goggles, champagne and a lot of loud music.

Audiences are invited to indulge in small talk and a bit of quiet hysteria, in a textured and disorienting journey that considers the agency of the audience in a mediated space.

The work questions human relationships by creating bold transformative images and intimate interactions. This is as selfreflective and sensory as performance can get.

ART PREVIEW: IN A SILENT WAY - CAST, from July 28

PIN DROP draws on a series of interviews with people aged six to 92. Live voice mingles with the disembodied sounds of pre-recorded conversations; household objects are transformed into potential threats, and the most familiar of spaces become strange, as the mind plots the shortest route to a safe place to hide. Conjured into life by Tamara Saulwick’s rivetting performance and Peter Knight’s visceral score, this award-winning production has left reviewers and punters alike breathless.

I get excited when there’s nothing to look at in an art space, only sound to hear and wander through.

I get even more excited when the noise oozing from the speakers is made by people with incredible backgrounds in making new noise, and they don’t come much more thrilling that the contributing artists for In A Silent Way. You want a name to conjure with? How about Nick Bullen, one of the two founding members of grind gods Napalm Death? Bullen was off studying and made no sounds for roughly decade but is now back in action, and making intense weirdness for your joyful consumption.

The rest of the line up is a carefully selected cream of the most exciting producers of new sound and experimental music in Australia.

Joel Stern, Gail Priest, Samaan Fieck, Lawrence English, Darren Cook, Monica Brooks, and Laura Altman are bringing new works to the table, each work looping on a carefully placed speaker. The curator, Hobart’s Matt Warren, is interested in the idea of sounds bleeding into one another to create unique moments, so volume control will be precise as well – sounds will blend, not overwhelm. As the different length loops extend, unique moment of sonic activity will come and go, and even that will depend on where you stand at even given time, making every time choice part of the overall feel.

If that isn’t enough, the opening event will feature live performances from Monica Brooks and Laura Altmann. This performance will focus on audience interaction and moments of silence.

In a year already filled with awesome exhibitions that ask you to stretch out as an art fan, this one looks like something to really do your head in, in the best possible way.

Andrew Harper

RRAMP… A tall, lonesome lady-of-thehouse lives with the collections and memories that she stores in jars in the rooms of her big house. She has procured two unsuspecting members to join her

IT DOESN’T MATTER THAT YOU’VE NEVER HEARD OF PAUL CAPSIS, BECAUSE HE’S FINE. HE’S DOING WHAT HE DOES AND HE DOES IT ON HIS OWN TERMS. HE’D LOVE YOU TO SEE HIS SHOW, AND HE HOPES YOU ENJOY IT, BECAUSE HE’S A PERFORMER, AND THAT’S WHAT HE DOES; HE PERFORMS. IF YOU DON’T LIKE HIM, THAT’S OKAY. PAUL ISN’T FOR EVERYONE, AND HE KNOWS THAT. HE DOESN’T MIND. My chat with Paul Capsis was, to be frank, fascinating. He’s quite a guy. He’s proud of his work and his achievements but has a degree of humility one doesn’t see all that often in the famous – but then again, Paul isn’t really famous. He’s survived on his talents for over twenty years, has been in feature films, knocked back an appearance on Britain’s Got Talent (he’s too smart for that crap), played the Roundhouse in London and a lot more but he isn’t really famous, not in the tabloid sense. He’s no shy retiring wallflower, and has an astounding voice, but he’s done things his own way.

“I did this gig in rural Victoria, and afterwards, this guy said to me – you screech. You squawk. And I said I do. I’ll keep that, I thought. All the people that I love – like Patti Smith, like Janis – they did that.

They come from an emotional thing. They’re the ones that I love – I mean I am amazed by people who can hit those perfect notes, like Dame Joan Sutherland, she is incredible, but I like the ones where it’s something else, it’s not just singing”

In a Silent Way runs from Saturday July 28 to Sunday August 26. Cast Gallery is open to the public Wednesday to Sunday midday to 5pm.

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The passion in Paul’s discussion was palpable across the telecommunications ether, but everything he had said was like that. Passionate. Or opinionated:

“We are bombarded with crap like The Voice - I see these poor kids who do not realise what is happening to them. Look, I’m against competition – it’s not sport. It goes against art. It’s created this culture where people think you are there to be judged, and the internet is full faceless, negative people – where are you getting the idea that you can just judge people like this? Because they don’t really connect with being an artist, because being an artist is about working and about learning. You never stop learning. But who are these tragic judges who sit there? I see it; I hear it, people casually go into these modes of judgement” “I was in London, and I was performing at the Roundhouse – it’s this amazing venue, the Doors played there – and I was rung up after a show by this executive, and he’d seen the show and he asked me to audition for Britain’s Got Talent. Hop on the train to Manchester, you’ll be there in four hours, auditions are still open. I was like NO WAY. They do this you know – they get professional people on these things to make a show. I met people who went through it all and got humiliated. Not me. No way” Alongside this fascinating view into the mechanics of fame in the 21st century, Paul

spoke about his upcoming show as part of the Festival of Voices. He’ll coming off the back of a lengthy run of Angela’s Kit-chen, a solo play of sorts (nothing this man does fits any mould) about his Maltese mother, and will be turning up with his good mate Bev Kennedy, a ‘soulful player’ with experience with Rock, pop, classical, you name it. Paul drops names when I ask him what we can expect – Weill, Jim Morrison, Patti Smith, Janis Joplin, David Bowie. His heroes, sort of. He is, after a lifetime of singing the songs of others, beginning to write his own material, so there could be a bit of that as well, but we will get what Paul and Bev give us. Paul is likely to chat to the crowd and go from there, but really, I can tell you what we’ll get: Paul Capsis. You may not of heard of him, but if you get to this show, and you should, you’ll never forget him.

He’s not like anyone else.

ANDREW HARPER

Paul Capsis performs at Voicebox at the Hobart City Hall on Thursday July 12 and Friday July 13. www.festivalofvoices.com

Zombies are an empty vessel. There are more people currently alive than dead, or at least walking the Earth, so perhaps that can explain the existential crisis in liberal-democratic society. A feeling of powerlessness which perpetuates the need for consumption, poverty and war. Zombies embody capitalism’s anxiety of self; a crisis of conscience and consciousness.

Are all zombies the same or is there a hierarchy in the zombie community?

The Hobart Zombie March had an active group policy of free association and expression for the individual, as a form of street theatre and public performance art which resisted any form of ideological cooption, whether commercial or political. We aimed for neutrality.

Having an absence of class antagonism for zombies as a group has made things a uniquely enjoyable social experience as an end in itself. But people hide in the symbol too. Humans hunger for zombies perhaps even more than zombies hunger for humans. Zombies feed on our individualism, but they themselves don’t need it. The zombie is an incorruptible non-end in itself.

Are we all going to end up as zombies in the end?

Perhaps! People need to think more if they don’t want to end up as a zombie, or think less if they do.

When did Hobart join the bandwagon and what incited the first local uprising?

2007? I wanted to harness the zeitgeist at a time when youth culture seemed very apathetic. So I chose apathy as a motivator.

But it’s become popular with the whole family now.

How do people react?

People turn and stare. Most people laugh, a few people call us victims of fashion, more rarely people deride the zombies as disgusting and badly behaved. Children and their parents are generally delighted, though some parents bundle up their children and run away in a panic, scaring the life out of the child, no doubt.

band. Featuring Christine Johnston as the Collector, Lisa O’Neill as the dancing Archivist, her much shorter personal assistant, and Peter Nelson as the Electrocrat.

THE DEMOCRATIC SET uses a custommade film set, a neutral room with two opposing doors. A rapid series of short live performances and screen-based video portraits are created in collaboration with communities. Disturbingly obvious and tantalisingly strange, THE DEMOCRATIC SET is a cavalcade of portrait, soap box and drama.

Mobile States runs at Salamanca Arts Centre from August 8 to 18. www.sac.org.au/mobile-states-2012 Images: Jeff Busby

Back to Back Theatre, THE DEMOCRATIC SET

What are the best movies for inspiration?

George A. Romero’s five classics. His zombies inspire, because they evolve. He has this philosophical Marxist symbolism of shifting power relations where zombies are movements of change which control humanities’ future, leaving humans in a precarious position between life and death.

And the zombie changes as a symbol, from villain, to anti-hero, to hero. I read somewhere “Romero’s zombie is a collective nightmare with a political unconscious, buried beneath a layer of defence mechanisms, which allows for infinite viewer interpretations and subversive perspectives.”

Zombies appear in cultural legends. Are zombies myth or fact?

Zombies consumed Western imagination in the early 20th century as a colonial import turned feral. What may appear as culturally unrelated and politically detached has depended upon the cannibalization of the Haitian zombi by Western cinema, originally as the slave of a villainous master, developing into the plague we have today.

Rebecca Fitzgibbon

Hobart Zombie March breaks out on Saturday July 21. Get your zombie make up on, gather at 1pm for a 1.30pm start at Princes Park, Battery Point and shamble to North Hobart in search of braaaains.

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Music

Arts

Guide

Guide SOUTH 146 ARTSPACE CAUTION: Danger, Julie Munro- Allison, Jul 5 - Aug 2.

ART MOB Dot to Dot, group exhibition, ends Jul 10.

Critics Choice, selection of stock, Jul 13 - 29, OPENING Jul 13 at 6pm.

NORth middleCont. tas

Theatre of the World, TMAG & MONA collections, ends Apr 26 (2013) PEPPERCORN GALLERY A co-operatively run outlet for the fine art and craftwork of local Richmond artists.

PLIMSOLL GALLERY PhD Examination Exhibition, Yvonne ReesPagh, Jul 7-13, OPENING Jul 6 at 5.30pm.

BETT GALLERY Life, Group show, Jul 6 - Aug 4, OPENING Jul 6 at 6pm.

Foreplay, Group show, Jul 28 - Aug 19, OPENING Jul 27 at 5.30pm.

CARNEGIE GALLERY IN-Grained, Greer Honeywill, Jul 13 – Aug 12, OPENING Jul 13 at 6pm.

SADDLERS COURT GALLERY Exhibiting over 100 Tasmanian artists & crafts people.

CAST Establishment - Three artist organisations at CAST, Inflight, Taxonomy & Sawtooth, ends Jul 24.

SALAMANCA ARTS CENTRE LONG GALLERY: Dollhouse & Miniature Extravaganza, Miniature Enthusiasts of Tasmania Inc., Jul 28 & 29.

DUALLEY WATERFRONT CAFE & GALLERY Paintings by Geri Douglas, ends Jul 15.

SIDESPACE GALLERY: Tasmanian Waterways, Hobart Photographic Society Mono Group, Jul 16 - 22.

ENTREPOT GALLERY MAIN: Painting Society, ends Jul 12.

LOUNGE: I Felt Something, Hailey Gearman, ends Jul 12.

INFLIGHT MAIN SPACE: Viscous, Shit-eating, Godless Vermin, Tom O’Hern, ends Jul 7. Inflight Presents, Shaun McGowan, Jul 13 - Aug 4, OPENING Jul13 at 6pm.

PADDY LYN MEMORIAL SPACE: Silence.Sound.

Light.Cycles (in progress), Dane Chisholm & Lila, ends Jul 7. Diseased Minds, Peter Maarseveen, Jul 13 - Aug 4, OPENING Jul13 at 6pm.

INKA GALLERY INC. Works on Paper, Inka Members, ends Jul 18.

Gone Fishing, Carolyn Audet, Jul 19 – Aug 8, OPENING Jul 20 at 5.30pm.

JIMMY’S SKATE & STREET Dave Tovey, Jul 6 - 20, OPENING Jul 6 at 5.30pm.

MOONAH ARTS CENTRE Women’s Karadi Aboriginal Corporation, Naidoc Week celebration, Jul 2 – 8.

TOP GALLERY: Persons of Interest, Netty Gibson & Louise Josephs, Jul 6 - 27. Carrying Capacity: Gathering Form, Tyler Faulstich, Aug 3-31, OPENING Aug 3 at 6pm.

ROSNY BARN & SCHOOLHOUSE GALLERY City of Clarence Open Art Exhibition, Jul 15 – Aug 9.

SONA GALLERY Ongoing stock exhibition TASMANIAN LANDSCAPES GALLERY Luke O’Brien Photography. Art printing & mounting services also available.

TASMANIAN MUSEUM AND ART GALLERY Isle of Many Waters, an exploration of Tasmania’s Waterways, ends Aug 26. Colonial Huon Pine Furniture Collections, ends Aug 26.Within & Without, Colonial to Contemporary art, ends Sep 23. Regarding Landscape, TMAG Collection, ends Sep 23.

WELLINGTON GALLERY Thomas Anderson last available works original paintings, gallery open by appointment Ph. 6223 6643

NORTH

An Artist’s Journey – To the Landscape, Ogilvie High School, Jul 13 – 27, OPENING Jul 13 at 6pm.

GONE RUSTIC STUDIO & GALLERY 2012 Bendigo Bank Material Girl, Tasmanian Women artists, ends Jul 14.

Collectives, Tasmanian Art Group Exhibition, Aug 1 – 16, OPENING Aug 1 at 6pm.

NEW GALLERY - UTAS Newnham Discovering Design Through Furniture, Group show, Jul 5 - Aug 3.

MUSEUM OF OLD AND NEW ART Monanism, permanent collection.

THE HOBART COMEDY FESTIVAL 2012

Performing Arts

Gallery

POWERHOUSE GALLERY Illusions of a wall, Glen Butler, Jul 4 - 15.

Theatre installation be Becca Howard (BCA Performance Artists), Jul 18 - 29, OPENING Jul 18 at 6pm.

SAWTOOTH ARI FRONT GALLERY: Forgetting the Ordinary, group show.

MIDDLE GALLERY: Corpse Club, William Cheesman & Daniel Sowerby.

PROJECT GALLERY: Brain Vomit, Mathew Carey.

NEW MEDIA GALLERY: Flying Closet, Karin Chan.

All shows end Jul 14.

THREE WINDOWS GALLERY Changing Southern Midlands Artists

NORTH-WEST TAS ATRIUM GALLERY – UTAS Cradle Coast Cape Wickham & all its Glory, Bridget Levy, Jul 12 - Aug 9.

BURNIE REGIONAL ART GALLERY Artrage 2011, works by students from schools & colleges throughout the state. Bricolage Design Prize 2011. Both shows end Aug 5.

HA! High Art Exhibitions 2012, Hellyer College, ends Jul 15. Smithton High School, Jul 20 - Aug 12.

DEVONPORT REGIONAL GALLERY MAIN GALLERY: Dreamweavers, touring group exhibition, Jul 7 – Aug 19, OPENING Jul 6 at 6pm.

PARADOX BAZAAR Unique Tasmanian Art & Craft creations operated by, and featuring the works of, local Artists and Craftspeople and is constantly changing throughout the year www. paradoxbazaar.com.au ULVERSTONE VISITOR INFORMATION CENTRE Flowers in oils, Rhyllis Chambers, Jul 2 – 31.

KING ISLAND LOLLIPOP GALLERY + BOATHOUSE GALLERY Paintings by Caroline Kininmonth and Bridget Levy on exhibit throughout the year and continually changing. * If you are an exhibiting gallery or space in Tasmania and want to be included in the Warp Gallery Guide email: nic@warpmagazine.com.au

THE SOUTH COMEDY WREST POINT ENTERTAINMENT CENTRE Wayne Brady “Brother Down Under”, July 8 THE WARATAH HOTEL Clubhouse Comedy, July 20 THEATRE ROYAL HOTEL The Yard, July 3 and July 17 REPUBLIC BAR & CAFE Hobart Comedy Festival, July 26 – July 28

DANCE DERWENT ENTERTAINMENT CENTRE The Sleeping Beauty - Tasmanian Ballet Company, July 14

THEATRE WREST POINT SHOW ROOM Raymond Crowe “Unusualist”, July 6

CIRCUS THE THEATRE ROYAL Circa, July 11 - July 14

The North COMEDY FRESH ON CHARLES Fresh Comedy, July 19

DANCE PRINCESS THEATRE The Sleeping Beauty - Tasmanian Ballet Company, July 21 Voltage - Tasdance, July 26 - July 28 BURNIE ARTS & FUNCTION CENTRE The Sleeping Beauty - The Tasmanian Ballet Company, July 28

THEATRE BURNIE ARTS & FUNCTION CENTRE Marist Regional College “The Great Australian Rock Musical”, July 4 - July 11 Jane Rutter - An Australian in Paris, July 13 DEVONPORT ENTERTAINMENT AND CONVENTION CENTRE Raymond Crowe - “Unusualist”, July 5 James and the Giant Peach, July 20 Diving for Pearls, July 24 COUNTRY CLUB SHOW ROOM Raymond Crowe “Unusualist”, July 7 FRESH ON CHARLES Three River Theatre Play reading, July 11

TOMMY DEAN Drop off and pick up Tommy is a legend of comedy, regularly identified as the guy other comedians go to see. With a unique hilarious take on the world, on relationships and on the balance of the universe. As seen on Good News Week and Spicks and Specks - don’t miss your chance to see the comedy magic of Australia’s favourite American son.

JEFF GREEN Father of Men

DAMIAN CALLINAN The Merger

A Legend of UK comedy, Jeff returns to Hobart by popular demand. Jeff’s shows are a kaleidoscope of jokes, piercing insights and exquisite misdirections. His delivery is fast and unrelenting, leaving you struggling to breathe as you watch a man out of his depth struggle vainly against the arresting bonds of family, life and his malodorous new cat.

The Bodgy Creek Footy Club is dysfunctional. The township has seen better days... The mill’s closed, the tidy town sign has fallen into the long grass and the weir is as dry as a nun’s gusset.

Unable to field even one full side the footy club will have to fold or worse - merge... with their arch rivals, The Hudson’s Flat Redbacks. But prodigal son, coach Troy Carrington, has other ideas to both save the club and to serve his politically correct agenda. He embarks on a program to recruit players from the Asylum Seekers Refuge Centre. Will the new players cope with preseason training while fasting for Ramadan?

"One of the greats of laugh out loud omedy." Herald Sun “Cheekier and franker than a barrel full of monkeys” - Glasgow Herald

‘You don't really have a job, do you Dad?' It's hard enough being a full time comedian without your son questioning your very existence. Dave O'Neil was most popular guest on Spicks and Specks, having appeared 49 times. He is now the 'live cross guy' on Adam Hill's In Gordon St Tonight as well a regular on Randlings. Must see live!

8:15 PM THURS 26, FRI 27 JULY

Sold out at 2012 Sydney Comedy Festival

EARL ARTS CENTRE Fawlty Towers, July 12 - July 28

“Weird, wild and dangerously funny” - Richard Glover

THE ANNEXE When the Rain Stops Falling, July 13 - July 21

7PM THURS 26, FRI 27, SAT 28 JULY

DAVE O’NEIL One night stand up

"Dave is one of Australia's most accomplished comedians." The Age

FRESH ON CHARLES Midwinter Froth Poetry Reading, July 22

8:15 PM SAT 28 JULY HOBART COMEDY FESTIVAL

“One of Australia’s best performers” - The Age If you’ve loved Damian as Master of Ceremonies at The Big Finale for the past few years, you’ll love his one man show - your only chance to see him in Hobart this year.

HOBART COMEDY FESTIVAL 7:30 PM FRI 10, SAT 11 AUGUST THE REPUBLIC BAR & CAFE

The Blundstone BIG FINALE 8 PM SAT 1 SEPTEMBER Wrest Point Entertainment Centre

All of the shows are upstairs at The Republic Bar, North Hobart with very limited seats to each event Bookings at Centertainment 6234 5998 www.centertainment.com.au or at the venue All details at www.hobartcomfest.com

The gala that celebrates the end of our tenth birthday. The Blundstone Big Finale has consistently sold out every year. Always promises the best mix of big name guests and selected breakthrough acts to deliver the biggest night of comedy of the year.

Tickets to The Blundstone Big Finale are at Wrest Point Service Centre, Online at www.tixtas.com.au or by phone at 1300 795 257

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Album Reviews

Album Reviews

Anyone who has seen The Temper Trap live knows that they naturally gravitate to a bigger, almost heavier sound than was presented on their extremely polished debut. With the second release, they have embraced this element, and please don’t be confused by this, as it is a step towards maturity, a band that is more comfortable in their skin.

THE TEMPER TRAP SELF-TITLED

Whenever a band bursts out of the gate with a winner, just as the Melbourne-borne but now London-housed band did with their stunning debut Conditions, the follow-up will always be ripped to shreds for not being worthy of its predecessor. For this reason, I am not going to complain that there is a lack of ‘Sweet Disposition’ sounding tunes, or whine that the music has a harder edge, because I recognise that these lads have

Single Reviews Blackchords

Dance Dance Dance Wow, a dude’s Indie-Pop version of Ke$ha. Describe your day, hum & coo, talk about dancing and have an uplifting chorus. Could be in an Ad...

Jordan Oliver feat. Libby Morell All I Need Some lame and laughably earnest rapping from Oliver is made worse by boyish auto-tune, but made bearable by Morell’s Nightclub R’n’B singing

Blackmilk Rattle the Cage Deliberately trying to be dreamy. It teases my prick that something interesting will happen, like a key change or woah, distorted guitar!

Only the Sea Slugs The Stolen Name Yep, there’s something interesting here.

It’s an effort of aural landscaping, but it’s unintentionally imprecise.

Emma Louise Boy Do you have to listen to know what happens? Get some guts girl. Also, shave a minute or two off the song.

Honeywheeler Another Good, some guts and modern vintage girl punk. But a bit like Ashlee Simpson in parts. Could do with some actual pain.

Jantina and the Jaguars Sit There Lost in its convictions and what sound they actually want. Her vocals are briefly interesting but I don’t know what she wants from me.

The Disappointed Dirt Farmer I can see what they’re trying to do by halting riffs and singing in stilted rhythms, but the resuming melody doesn’t pick it up nearly enough.

The Order of the Black Werewolf Dreams of Home Right into bleeding heart. A slight twinge of male huskiness (kind of 90s). The post chorus lulls nails the coffin of this poprock song.

Ainslie Wills Fighting Kind Enough attitude to edge it over the line as an Alt-Pop/Rock song with a nearly trembling voice & well structured rhythm. If vague throughout...

JARRED KEANE

released another solid record.

Opening track ‘Need Your Love’ is one of the few songs that relies on synthesisers as its backbone, as they kick off the song supported by a rumbling drum beat, with vocalist Dougy Mandagi’s anthemic melodies towering over all. This relatively bright number leads into a sinister bass line and live samples from a news clip about the London riots in ‘London’s Burning’, an issue that clearly affected the group in their new home. The song presents a view from both sides of the fight, never really making its own point, but subtly arguing a case for and against, set to Clash-like guitar stabs and siren-sounding synths. ‘Trembling Hands’ is a stand out - a shimmering, reverbdrenched number that builds and swells, incorporating influences from bands like

U2 and Coldplay (which won’t help the band with the many comparisons they already get lumped with).

Lex Hives is The Hives’ first studio album since 2007’s The Black and White Album.

The lead single ‘Go Right Ahead’ has been receiving its fair share of airtime on Triple J - and for good reason; it’s exactly the type of song you want to turn up to full volume while out driving. You could be forgiven for wondering how the rest of the Lex Hives could possibly match the intensity of (and get stuck in your head in the same way as) ‘Go Right Ahead’; I certainly had my own doubts.

The record is dynamic, moving from the soft lullaby-like ‘Miracle’ to the up-tempo ‘This Isn’t Happiness’ and ‘Where Do We Go From Here’, and ending with the electronic-driven ‘Leaving Heartbreak Hotel’, an adventurous closer which puts the emphasis on a simple piano line and vocal melodies.

This record is a stepping stone in what will be a magical catalogue of works and one day all those who are currently dismissing this record as mediocre will look back and praise it as another classic.

THE HIVES

Right from the first track, Lex Hives barely stops to take a breath. It never lets up with foot-stomping drums, crunchy guitar riffs, and lead vocalist Howlin’ Pelle Almqvist doing exactly what his nickname suggests.

LEX HIVES

LUKE CARLINO

BEST COAST

DEF WISH CAST

CANCER BATS

THE ONLY PLACE

EVOLUTION MACHINE

DEAD SET ON LIVING

Best Coast’s latest offering, The Only Place, opens with the title track, a sun-drenched ode to the bands’ home of Los Angeles.

Although the cover of the album features a grizzly bear (the Californian state animal) cuddling a map of California, there aren’t really that many obvious references to The Golden State to be found on The Only Place.

There are some changes in lyrical themes from 2010’s Crazy For You; it becomes apparent from very early on that the subject matter of The Only Place is much more universally relatable: social isolation, fear about the future, home-sickness and the desire to create your own identity.

Some might not enjoy the simplicity of the lyrics, but I really appreciate the straightforwardness and honesty of Bethany Cosentino’s writing. The music is certainly more complex and layered, but there are no unnecessary frills to detract from the relaxed harmonies.

A notable absence on The Only Place is the lo-fi fuzz that coated previous Best Coast albums. There is still very much a 60s garage-pop sound; however, this time around it is more polished, giving greater clarity to the sweetness and warmth of Cosentino’s vocals.

I would have to say The Only Place is my album of the year so far. If you take it for what it is - dreamy pop with an edge - then you will discover a beautiful album.

CHELSEA MCINTYRE

Pioneering Aussie hip-hip troop Def Wish Cast return with their first album since 2006.

All three MCs deliver solid performances, and some big names are present in the production credits. M-Phases contributes with ‘Rock On’ and Plutonic Lab has taken care of the title track.

Evolution Machine is something of a mixed bag. ‘I Can’t Believe It’ is an album highlight.

Produced by DJ JS1, it’s an irresistibly funky track. Resin Dogs also deliver with the gutsy Dun Proppa. However, there are some lowlights too. The chorus of ‘Day Tripper’ is spectacularly awful.

There’s a heavy reliance on synth effects throughout the album. In many places this is effective, but the frequent use of Daft Punkesque robot voices is tacky at best and plain lame at worst.

One of hip-hop’s great attractions is its articulate anger… but boy are these boys angry! It’s really a CD for the converted; anyone looking for a gentle introduction to Australian hip-hop should look elsewhere.

Evolution Machine is relentlessly dense and in-your-face. However, in saying that, committed hip-hop fans will find something to get in to amongst the thirteen tracks.

ANGUS DAVISON

The Hives excel at writing songs designed for the live stage. You can just hear an audience belting out the call-and-response of “is it enough?” “NO!” on the semispoken-word track ‘I Want More’.

There is plenty of the classic Hives sound to be found on Lex Hives: two-minute, Stoogesinspired punk tracks like ‘1000 Answers’, ‘These Spectacles Reveal The Nostalgics’, and ‘If I Had A Cent’. However, the band shines just as brightly when they take a slightly different direction, such as the 80s New Wave-tinged ‘Wait A Minute’. The highlight of the album is ‘Patrolling Days’.

It is also the longest track, at four-minutes, but it hurtles along at break-neck speed, with Almqvist spitting out some absolute

THE SMASHING PUMPKINS OCEANIA

Have you ever seen an action film where the lead protagonist would say something like, “If you want to live, come with me?”

This album has that merit, but instead of avoiding the gunplay and heading towards that sweaty Stockholm syndrome moment, Cancer Bats decide to run straight through the minefield holding your hand and dragging you along with sadistic smiles streaking across their faces.

Dead Set On Living is an outstanding statement, a guide in how they are hard working, on how they are loud and brash, on how they really don’t give a fuck, and on how they met friends who almost came close to the end and lived to tell the tale.

This album starts out strong, and it doesn’t flinch at all from its strengths, which is grenade explosions of fast riffs and chanted screams. I’m sure after the first listen through, you would have the general gist of the hook phrases that are needed to scream at the top of your lungs, which is an instant notifier that a hardcore album has reached a good tone.

Love or hate it, it really is an album that questions your concept on what you cherish, like the age-old battles between life and death.

SEB ALVAREZ

Billy Corgan is back, and he’s bought some friends with him - friends he assembled via open auditions to create and mould the band he wanted, a band going under the name The Smashing Pumpkins, with Billy anchored securely at the helm.

Discounting the Teargarden series, Oceania marks the first proper studio album from The Pumpkins in five years and the 9th album by the band. From a slow start, the album builds and grows in crescendo and is characterised by Billy’s distinctive vocals.

This album has a big sound, and with each listen it grows on you, and you discover another layer to the multitude of songs.

The title track ‘Oceania’ is of epic proportions; nine minutes of musical mayhem, it ebbs and flows and stops and starts, epitomized by the beautiful vocal blend Billy creates with bassist Nicole Fiorentino.

‘The Celestials’ is a mixture of big guitar, raspy vocals and amazing harmonies that builds to a huge chorus. ‘Pinwheels’ starts off light and poppy, and then those guitars kick in.

This album has it all: 80’s inspired keyboards, driving guitar riffs and haunting harmonies, all tied together with Billy’s distinctive vocals. It might not go down in history as a legendary Pumpkins album, but it signals that Billy is surely back and headed in the right direction.

mouthfuls of lyrics.

The Hives might not be straying very far from the formula of the previous albums, but they have mastered their sound so well that it really isn’t necessary to go in any other direction. I can imagine there will be plenty for dedicated fans to love on Lex Hives, and it’s certain to win them over some new fans - as it has done for me.

CHELSEA MCINTYRE

STEVE SMYTH

GARBAGE

RELEASE

NOT YOUR KIND OF PEOPLE

Last month at a Lanie Lane gig, my friend and I watched with curiosity as the first support act made his way onto the stage.

He didn’t look familiar at all and we hadn’t caught his name, so we had no idea what to expect. He was only accompanied by his own guitar and a drummer, however it was impossible to ignore him when he let out his guttural roar of a voice. This man was Steve Smyth.

Smyth’s debut album Release commands just as much attention as his live show does.

Opening track ‘Barbiturate Cowboy And His Dark Horses’ could be the soundtrack to an Old West bar fight and demonstrates his throaty growl at its most powerful. Equally as dynamic is Smyth’s dreamy falsetto, captured beautifully on ‘Bar Made Blues’. A standout on the album is the banjo-driven travelling song ‘Endless Nowdays’. The album closes on a strong note with ‘Too Much A Nuthin’, a rollicking, sing-along track on which Smyth’s vocals soar to ecstatic heights.

Release spans multiple genres - country, folk, rock - yet it still remains a very consistent album. Smyth has incredible light and shade in his vocals, creating a sound that is quite unique amongst other current Australian artists.

CHELSEA MCINTYRE

Not Your Kind of People is Garbage’s first record in several years and my, how they have come back in form. As soon as ‘Automatic System Habit’ begins, it feels as if the ‘pause’ switch on the band’s career had been flicked off and we’d slipped back into Version 2.0 territory. This isn’t to say that it is a stale reinterpretation of the 1998 record; rather, it seems like the band have gone back to the formula which put them on the map as one of the more innovative and creative alt rock bands of that period.

The synths on the album opener allude to a modern take on arrangement and production by the band, and the pace at which the drums follow blend so well with Shirley Manson’s trademark vocal style.

Lyrically, this record is classic grunge; ‘Blood For Poppies’ has a longing behind it and features a high dosage of guitars and irresistible hooks. ‘Sugar’ and ‘Battle In Me’ have the same amount of punch behind them reminiscent of ‘Stupid Girl’ and remain two standouts on the album for me, even after their umpteenth playback.

Not Your Kind Of People is the album Garbage fans have waited too long for, and even if you’ve never gotten into the band before, the album serves as a great one to begin your Garbage education with.

SOSE FUAMOLI

KYLIE COX

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Event Guide

Event Guide

Hobart Date

Venue

Acts / Start Time

Date

JULY Sunday

1

Crossroads (St. Helens)

Live Bandjam

Irish Murphy’s

Luke Bennett, Luke Parry, Nathan + Liam, Across the Border

Venue

Acts / Start Time

Grand Poobah

Tiny Spiders, Tiger Choir & The Crazy 88’s

Grand Poobah

Stay away from that Trapdoor Wednesdays in the Swamp

Tuesday Wednesday

Irish Murphy’s

DJ Mac D

Monday

2

Irish Murphy’s

Ben Castles

Observatory (Lounge Room)

DJ Grotesque

Tuesday

3

Irish Murphy’s

Billy Bennett

Observatory (Main Room)

DJ Beerex

Wednesday

4

Irish Murphy’s

Original Music Night (Top Shelf)

The Royal Oak

Yyan & Dougall in the bar

Irish Murphy’s

Usual Suspects

The Royal Oak Friday

Saturday

Sunday

Monday Tuesday

Wednesday

5

6

7

8

9

Venue

Acts / Start Time

Date

Republic Bar & Café

Billy Whitton 8:30pm

Monday

23 Birdcage Bar

Tuesday

24 Birdcage Bar

17 Birdcage Bar Republic Bar & Café 18 Birdcage Bar Republic Bar & Café

Billy & Randal 8pm Pat Berechree 9pm

Brisbane Hotel Republic Bar & Café

Brian Fraser 9pm

Brisbane Hotel

Rosny Stock - All Ages - 6pm

Cargo Pizza and Lounge Bar

Joel Everhard

Brisbane Hotel

Illustraitor + Lacerta

Irish Murphy’s

DJ Mac D

Jude saint Jude + The rocky and Nancy’s in the bar

Cargo Pizza and Lounge Bar

Micheal Clennett

Observatory (Lounge Room)

DJ Grotesque

Tonic Bar

Comedy Night 7pm

Irish Murphy’s

Fritz

Observatory (Main Room)

DJ Beerex

Birdcage Bar

Reynold Senn 9pm

Courtney Barnett + Royston Vasie 9pm

Republic Bar & Café

Brisbane Hotel

Damage Nightclub w/ Linoleum (NOFX Tribute) + Lasso For Lungs + Wolves + DJ Kenji + DJ Peta Rabbit & The Slaptastic Crew

My Girlfriends Sister (EP Launch) + Seth Henderson + St Bernard + Myamora 9pm

Brookfield Vineyard

Open Mic

Cargo Pizza and Lounge Bar

Rum Jungle followed by Ado and Devo

Grand Poobah

Skunk

Irish Murphy’s

Pirates of the Cover Scene

Ivory Bar

DJ Grotesque

Observatory (Lounge Room)

Sami M

Observatory (Main Room)

DJ Beerex

Republic Bar & Café

Dallas Frasca + Rick Steward 10pm

The Telegraph

Micheal Clennett followed by Big Swifty

Alley Cat

Jed Appleton, Nick Pappy, Kenny Forshaw, Mischa Calcagno & Jordan Hooper

Birdcage Bar

Reynold Senn 9pm

Brisbane Hotel

True Radical Miracle (vic) + Chrysalis + M.O.1.O. + Treehouse

C Bar

Girl Friday 8pm

Cargo Pizza and Lounge Bar

DJ Jim King

Grand Poobah

The Essence of Pole Dance and Burlesque - Jamilla Deville

Grand Poobah

DJ Set by Ash Grunwald in the Kissing Room after midnight

Irish Murphy’s

Atari 2600

Ivory Bar

DJ’s Kenny Beeper, Lids and Mez

Observatory (Main Room)

DJ Beerex

Republic Bar & Café

Ash Grunwald + Fingers Malone 9pm

Sails

Billy Whitton 6pm

The Telegraph

Micheal Clennett followed by Dr Fink

Waratah Hotel

Chocolate Bedrock, The Pearly Whites and Concrete Lines

12 Birdcage Bar

Republic Bar & Café Friday

Saturday

13 Alley Cat

Spooky Horror with Johnny B and the Goodes, The Sin & Tonics

Birdcage Bar

Jason Patmore 9pm

Brisbane Hotel

Edge Radio Fundraiser featuring The Hobart Improv Collective V’s The Tasmanian Improvisation Orchestra

Brookfield Vineyard

Scarlett Affection

Cargo Pizza and Lounge Bar

Tim Davies followed by Sticks and Kane

Grand Poobah

Spooky Night Market Plus Per Purpose, Naked & The Shits

Irish Murphy’s

Dr Fink

Ivory Bar

DJ Millhouse

Observatory (Lounge Room)

DJ Grotesque

Observatory (Main Room)

Thursday

19 Birdcage Bar Brisbane Hotel

Friday

Nebraska (sa) + Amateur Drunks + naked + Anti Chynus Micheal Clennett

Irish Murphy’s

Joel Everard

Republic Bar & Café

Pataphysics 9pm

Brisbane Hotel

DJ Kenny Beeper DJ Grotesque

Micheal Clennett followed by Dr Fink

The Telegraph

Micheal Clennett followed by Entropy

Observatory (Lounge Room)

DJ Millhouse

Waratah Hotel

Waratah Hotel

Christopher Coleman Collective with Jed Appleton and Ali Probin 9pm

Observatory (Main Room)

DJ Beerex

PlanB

DJ COMP

Birdcage Bar

Jason Patmore 9pm

Linoleum

Republic Bar & Café

Boil Up 10pm

Brisbane Hotel

The Telegraph

Micheal Clennett followed by Pirates of the Cover Scene

Peter Combe + The Muddy Turds (All Ages 3pm & 18+ 9pm)

Brisbane Hotel

Brand New Second Hand - “Jokes” w/ DJ BTC + Astria Saga + Psycho Deric

14 Alley Cat Birdcage Bar

Jason Patmore 9pm

Brisbane Hotel

The Bride (nsw) + Save the Clocktower + Depths + Lives Lost + To Lay Hold Of - ALL AGES - 3pm The Bride (nsw) + Save the Clocktower + Ending Atrophy + Decades + To Lay Hold Of - 18+ - 9pm

Saturday

21 Alley Cat

Saturday

The Pearly Whites and The Truth About You

28 Alley Cat

Versions - AC/DC (Flannelette Night!) 9pm The Lawless Quartet

Birdcage Bar

Jason Patmore 9pm

Brookfield Vineyard

Blue Ball with Daystar Duo

Brisbane Hotel

Zombie March Afterparty w/ Phat Meegz + The Superkunts + DIY Instrument Open Jam (David Walsh Voodoo + DJ Dr El Suavo - ALL AGES

C Bar

Micheal Clennett 8pm

Cargo Pizza and Lounge Bar

DJ Jim King

Irish Murphy’s

Pirates of the Cover Scene

Brisbane Hotel

Late Night Krackieoke w/ MC Kitty Yarn

Brookfield Vineyard

Neil Gardener

C Bar

Fee & Steve 8pm

Brisbane Hotel

Hayley Couper (cd launch) + The Messengers

Ivory Bar

DJ’s Lids, Mez and Grotesque

Cargo Pizza and Lounge Bar

DJ Jim King

C Bar

Tony Voglino 8pm

Observatory (Main Room)

DJ Beerex

Federation Concert Hall

Christ on the Mount of Olives

Cargo Pizza and Lounge Bar

DJ Jim King

Republic Bar & Café

Chasm + Hau Latukefu + Crixus 10pm

Grand Poobah

B.J Morriszonkle, Tomas Ford and The Very Special Poobah Prom Band

Federation Concert Hall

The Maestro Speaks!

Sails

Billy Whitton 6pm

Grand Poobah

Bob Log III plus BadBoogieBass Show in the Kissing Room

The Telegraph

Ado and Devo followed by The Smashers

Waratah Hotel

Ben Wells, Seth Henderson, Sam Forsyth and Al Future 9pm

Billy Whitton 2pm

The Telegraph

Garod Matcham and Devo followed by The Smashers

Sails

Cargo Pizza and Lounge Bar

Where’s Mary followed by DJ Grotesque

Waratah Hotel

A Paperthin Party - “Olympics” 9pm

The Telegraph

Irish Murphy’s

Ian Murtagh

Shannon Noll in Concert 8pm

Waratah Hotel

Republic Bar & Café

Ash Grunwald 3pm

Wrest Point Entertainment Centre

Republic Bar & Café

Swump 9pm

Birdcage Bar

Bowerman & Parker 8pm

Republic Bar & Café

Quiz Night 8:15pm

15 Birdcage Bar

Jason Patmore 9pm

Sunday

29 Birdcage Bar

Jason Patmore 8pm

Brisbane Hotel

Empra + The Witching Tree + Upsize Generation + Inertia

Billy Whitton 6pm

Brisbane Hotel

Brissie Bingo with Timmy Jack Ray

Micheal Clennett followed by Dr Fink

Brookfield Vineyard

Alan Gogoll CD Launch

Muscles w/ TBA 9pm

C Bar

Tony Voglino 2pm

Bob Log III

Cargo Pizza and Lounge Bar

Joel Everhard followed by DJ Jim King

Birdcage Bar

Jason Patmore 8pm

Irish Murphy’s

Ian Murtagh

Brisbane Hotel

Buried in Verona (nsw) + Save the Clocktower + Ending Atrophy - All Ages - 6pm

Republic Bar & Café

22 Alley Cat

Brisbane Hotel

Instrument Making Workshop - 4pm

Brisbane Hotel

Brissie Bingo with Timmy Jack Ray

C Bar

Pete Thomas 2pm

Brisbane Hotel

Brissie Bingo with Timmy Jack Ray

Cargo Pizza and Lounge Bar

Tim Davies follwed by DJ Grotesque

Brookfield Vineyard

Laura Bernay - WA Jazz

Irish Murphy’s

Ian Murtagh

C Bar

Manhattan 2pm

Republic Bar & Café

Stolen Moments (Jazz Quartet) 9pm

Irish Murphy’s

Scott & Tim

Bowerman & Parker 8pm

Republic Bar & Café

4 Letter Fish 9pm

16 Birdcage Bar

Sunday

Monday

30 Birdcage Bar

Tuesday

31 Birdcage Bar

Republic Bar & Café Republic Bar & Café

Republic Music Quiz 3pm - Wahbash 9pm Bowerman & Parker 8pm Quiz Night 8:15pm Billy & Randal 8pm Hoot Owl 9pm

FRIDAY 5 ocT

hobart wrest Point entertainment centre

w ho ed! d s nc 2n nou an

Sun 22nd, Laura Bernay

Atari 2600

Ivory Bar

Set Sail 10pm

C Bar

Fri 13th, Scarlett Affection Sat 14th, Neil Gardner Fri 20th, Acoustic Music Night

Irish Murphy’s

The Telegraph

Van She + The Red Wolves 10pm

JULY Sun 8th, Jay Hoad

The Crazy 88’s (Album Launch) Dig & The Lucky Dips

DJ Grotesque

Republic Bar & Café

Monday

Tim Davies followed by Tim Davies Duo

Grand Poobah

Ivory Bar

Billy Whitton 6pm

Joel Everhard

Cargo Pizza and Lounge Bar

Kool Keith + Doctor Double Denim 10pm

Sails

Where’s Mary 8pm

Jed Rowe 9pm Jason Patmore 9pm

Republic Bar & Café

Jay Hoad

Cargo Pizza and Lounge Bar

27 Birdcage Bar

GoodWill Presented by PlanB and FratHouse

DJ Beerex

11 Birdcage Bar

Joel Everard

Republic Bar & Café

Chardy supports - Mez and Millhouse

Joe Pirere 9pm

Micheal Clennett

Irish Murphy’s

Dr Fink

Observatory (Main Room)

Film Society Quiz Night - 7pm

Glen Challice 9pm

Cargo Pizza and Lounge Bar

Irish Murphy’s

Ivory Bar

Republic Bar & Café

Birdcage Bar

DJ Beerex

Dr Werewolf 10pm

Brisbane Hotel

Rai Thistlewayte (Thirsty Merc) 9pm Puta Madre Brothers

DJ Beerex

DJ Beerex

Billy & Randal 8pm

26 Alley Cat

PlanB

Republic Bar & Café

10 Birdcage Bar

DJ Beerex

Sticks and Kane followed by Ado and Garod Matcham

Brisbane Hotel

Sunday

DJ Grotesque

Observatory (Main Room)

Cargo Pizza and Lounge Bar

Observatory (Main Room)

Brookfield Vineyard

DJ Mac D

Observatory (Lounge Room)

Observatory (Main Room)

Sticky Sweet

Brissie Bingo with Timmy Jack Ray

Baker Boys Band 9pm Where’s Mary 8pm

Acoustic Night

Irish Murphy’s

Brisbane Hotel

Nerd Night (gamers paradise)

Brookfield Vineyard

DJ’s Malakai, Mez and Kenny Beeper

Goatwhore (usa) + Ruins + Ruins of Gaia + Random Order - ALL AGES

G.B. Balding (Finger Pickin’ Blues) 8:15pm Billy & Randal 8pm

Irish Murphy’s

Republic Bar & Café Friday

Acts / Start Time Bowerman & Parker 8pm

Observatory (Lounge Room)

Ivory Bar

Brisbane Hotel

Thursday

The Lawless Quartet + Dr El Suavo + The Sin & Tonics + Truckshow

Pirates of the Cover Scene

Reynold Senn 8pm

25 Birdcage Bar

Republic Bar & Café

Jason Patmore 9pm

Irish Murphy’s

Birdcage Bar

Wednesday

Glen Challice 9pm

Cargo Pizza and Lounge Bar

20 Birdcage Bar

Republic Bar & Café

My Girlfriends Sister (EP Launch) + Seth Henderson + St Bernard + Myamora 9pm

Glen Challice 9pm

Thursday

Venue

Where’s Mary 8pm

se fa s l l i n g t!

Thursday

Republic Bar & Café

Date

second show – SATURDAY 6 ocT

AUGUST Fri 3rd, Open Mic featuring Jarrod O'Malley Sun 5th, Lloyd Spiegel

FULLY RESERVED SEATING ShowTImE 8.00pm – 10.40pm wITh INTERVAL www.TIxTAS.com.AU – cALL 1300 795 257 GRoUp BookINGS oF 6 oR moRE AVAILABLE

Fri 17th, Acoustic Music Night SEPTEMBER Sun 9th, Phoenix Singers

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Event Guide

Supported by

Launceston Date

Venue

Acts / Start Time

JULY Thursday

Friday

Saturday

5

6

7

Irish Murphy’s

Chris Lynch 7pm

Bolters Bar

Geale Bros 7pm

Hotel New York

Roger Davis, Joycie, PD

Hotel New York

Ash Grunwald, Joycie, Froff

Darcy, Scott Targett, Randall Foxx

Irish Murphy’s

Lorenzo Von Mattahorn

Hotel New York (Front Bar)

The Royal Oak

Jay Hoad in the bar

Irish Murphy’s

No Soda for Yoda

Tonic Bar

Nic & Carmel, Ian Holman 7pm

The Royal Oak

Empra + Inertia + Catch Benny in the Boatshed

Hotel New York

Toby Del Le Valle, PD, Randall Foxx, Joycie

Hotel New York (Front Bar)

Darcy, Toby Del La Valle

Irish Murphy’s

Candy Feet

The Royal Oak

Dallas Frasca + Rick Steward in the boatshed

Tonic Bar

Erin & Cabe, Ian Holman 7pm Ben Castles, Jack McNiff, Another Kind of Green open folk session in the bar Callum Tully

Tuesday

10

Irish Murphy’s

Ben Castles

Wednesday

11

Irish Murphy’s

Original Music Night (Top Shelf)

Saturday

28

Tonic Bar

Two Strung, Ian Holman 7pm

Hotel New York

DJ Venn, Randall Foxx, Goodwill (MOS), Joycie

Irish Murphy’s

Real Geal, Callum Tully, Jack + Miki, All Aboard

The Royal Oak

Jed Rowe Band in the bar

Tonic Bar

Nic & Carmel, Ian Holman 7pm

Wrest Point Show Room

Brian Cadd and Russell Morris 8pm

live music in the bar

Irish Murphy’s

Nathan + Liam

The Royal Oak

Brian Fraser in the bar

Bolters Bar

Jerome Hillier 7pm

Country Club Show Room

Shannon Noll in Concert 8pm

Crossroads (St. Helens)

Black Friday feat. Steve Gale & Philippe Castillo (WINGiT)

Hotel New York

Roger Davis, Joycie, Randall Foxx

Hotel New York (Front Bar)

Toby Del La Valle, Scott Targett, Randall Foxx

Date

Irish Murphy’s

All Aboard

JULY

The Royal Oak

The Embers + Nick Hill in the boatshed

Thursday

5

NORTHWEST CITY

Venue

Acts / Start Time

Devonport

TAPAS BAR

Neil Gibson 8pm

Julz & Lee, Ian Holman 7pm

Devonport

Molly Malones

Kram 8:30pm

PD, Basssup, Boaz, Joycie

Friday

6

Devonport

TAPAS BAR

Midnight 9:30pm

Irish Murphy’s

Cheeky Monkey

Saturday

7

Latrobe

Mackey’s Royal Hotel Nic & Carmel 9pm

Devonport

Molly Malones

Unbalance 9:30pm

Devonport

TAPAS BAR

Three Faze Three 9.30pm

Younger Dryas + Guthrie + Horehound + Becca Stevens + Jade & Bella in the boatshed

Tonic Bar

Nic & Carmel, Ian Holman 7pm

Sunday

8

Devonport

TAPAS BAR

Salsa/Swing night

Irish Murphy’s

Real Geal, Callum Tully, Jai + Andy, Lorenzo Von Mattahorn

Wednesday

11

Devonport

TAPAS BAR

Open mic 7pm

Thursday

12

Devonport

Molly Malones

Jerome Hillier 8:30pm

Devonport

TAPAS BAR

Chris Meek 8pm The Titz 9.30pm

16

Irish Murphy’s

Jack McNiff

Tuesday

17

Irish Murphy’s

Phil Picaso

Friday

13

Devonport

TAPAS BAR

Wednesday

18

Irish Murphy’s

Original Music Night (Top Shelf)

Saturday

14

Latrobe

Mackey’s Royal Hotel Jerome Hillier 9pm

Launceston Uni Bar

Zoophyte

Devonport

Molly Malones

Midnight 9:30pm

The Royal Oak

live music in the bar

Devonport

TAPAS BAR

The Rock Pigs 9.30pm

Man Overboard

Sunday

15

Devonport

TAPAS BAR

Fetching Ruby 6pm

Thursday

19

Devonport

Molly Malones

Darren Lloyd 8:30pm

Devonport

TAPAS BAR

Evil Cisum 8pm Three Faze Three 9.30pm

Thursday

19

Irish Murphy’s The Royal Oak

live music in the bar

Friday

20

Bolters Bar

Trevor Weaver 7pm

Hotel New York

Muscles, Joycie, Randall Foxx

Hotel New York (Front Bar)

PD, Toby Del La Valle, Randall Foxx

Irish Murphy’s The Royal Oak Tonic Bar

Erin & Cabe, Damien Maloney 7pm

Sunday

Hotel New York

Darcy, Roger Davis, Froff, Joycie

Irish Murphy’s

Ethel the Frog

The Royal Oak

21

Friday

20

Devonport

TAPAS BAR

Saturday

21

Latrobe

Mackey’s Royal Hotel Kram 9pm

Well Strung

Devonport

TAPAS BAR

Gov’nor 9.30pm

The Titz in the bar

Devonport

Molly Malones

Kool Daddy 9:30pm

22

Devonport

TAPAS BAR

Evil Cisum 6pm

Thursday

26

Devonport

Molly Malones

Devonport Jazz Festival

Buried in Verona + Save the Clocktower in the Boatshed

Devonport

TAPAS BAR

Neil Gibson 8pm

Friday

27

Devonport

TAPAS BAR

The Unit 9.30pm

Tonic Bar

Two Strung, Damien Maloney 7pm

Saturday

28

Latrobe

Mackey’s Royal Hotel Unbalance 9pm

Luke Parry, Billy Bennett, Mally + Julz, Candy Feet

Devonport

TAPAS BAR

King Cake 12pm / Sheyana Band 9.30pm

Devonport

Molly Malones

Devonport Jazz Festival

Devonport

TAPAS BAR

Stagedoor Stompers 12pm / Trev Heins 6pm

Sunday

22

Irish Murphy’s The Royal Oak

open folk session in the bar

Monday

23

Irish Murphy’s

Nathan Wheldon

Tuesday

24

Irish Murphy’s

Luke Parry

Wednesday

25

Irish Murphy’s

Original Music Night (Top Shelf)

The Royal Oak

Open mic night in the bar

42

warpmagazine.com.au

Fri 6th Jay Hoad Sat 7th Dallas Frasca + Rick Steward (the Boatshed) Sun 8th Open Folk Session

Sat 14th Younger Dryas + Guthrie + Horehound

Monday

Saturday

Thur 5th Jude saint Jude + The rocky and Nancy's

Fri 13th The Embers + Nick Hill

Tonic Bar

open folk session in the bar

Wed 4th Yyan & Dougall

Thur 12th Brian Fraser

Hotel New York

The Royal Oak

JULY

Wed 11th Live Music in the Bar

The Royal Oak

The Royal Oak

15

Bolters Bar

Brian Cadd and Russell Morris 8pm

The Royal Oak

Sunday

Set Sail in the bar

27

Country Club Show Room

Irish Murphy’s

14

The Royal Oak Friday

Comedy Night 7pm

9

Saturday

C. Williams & The Nobodys

Tonic Bar

Monday

13

Irish Murphy’s

Jude saint Jude + The rocky and Nancy’s in the bar

Irish Murphy’s

Friday

Acts / Start Time

26

The Royal Oak

8

12

Venue

Thursday Usual Suspects

Sunday

Thursday

Date

Sunday

29

Sun 15th Open Folk Group in the Bar Wed 18th Live Music in the Bar Thur 19th Live Music Fri 20th The Titz Sat 21st Buried in Verona + Save the Clocktower (The Boatshed) Sun 22nd Open Folk Session in the Bar Wed 25th Open Mic / $12 Boags Jugs in the Bar Thur 26th Set Sail Fri 27th Embra + Inertia + Catch Benny (the Boatshed) Sat 28th Jed Rowe (The Boatshed)

~ Live Music ~ ~ Great Food ~ ~ Open 7 Days ~ ~ Open Mic Night the Last Wednesday of the Month ~

14 Brisbane St Launceston 7250 (03) 6331 5346

Trouble’s Door album Tour Thu 5 July Spurs, Devonport tickets at oztix.com Doors open 8pm

Fri 6 July Hotel New York, Launceston tickets at oztix.com Doors open 8pm

Sat 7 July Republic Bar, Nth Hobart

tickets at www.moshtix.com.au Doors open 8pm

Sun 8 July Republic Bar, Nth Hobart tickets at www.moshtix.com.au Doors open 3pm www.ashgrunwald.com

New album, Trouble’s Door out NOW