Noise, Etc. || A Hobart music blog

Charles Du Cane: an overview, a review, a eulogy

2012-01-18T12:19:00.001+11:00

At the end of last year, It was pretty saddening to learn that Charles Du Cane -- the psyudenom of Launceston-based musician/creator Fred Showell -- would be finishing up. Ceasing to exist, hanging up the boots, &c. It's all for a good reason, mind you. Let's celebrate.

He was one of a few early artists who defined local music for me while I still in those teenage years. I started listening to Charles Du Cane in high school. I can't remember how, but I used to trawl through a combination of MySpace and this new Triple J Unearthed website thing, searching for TASMANIAN acts. From memory, MySpace was easier to navigate (yes, queue laughter), but you could download the songs for free from Unearthed! What a revelation. I nabbed the available tunes and threw them onto my Lexar 256MB MP3 player, and listened to those three 128kbps badboys on the walk to school.

The three tracks, of course, were lifted from Charles Du Cane's debut. Tomahawk was the quirky electro-indie-pop thing that sat distanced from any other local 'indie-pop' I had encountered. The sample-based makeup of the album was a personal point of interest after having gone through a dance/electronic music phase the year before, but it was all tidy and structured and just nice, which wasn't something I found in most of my music collection at this time (it was probably filled with indie-rock, Sonic Youth/Joy Division stylee, that's how the end of high school goes right?).

I came back to Tomahawk after high-school, when in college I broke the same MP3 player and ended up defaulting to the trusted Discman. It forced me to choose a CD and stick with it - carrying extra discs was inconvenient and changing albums was clumsy. So it was, Tomahawk spun through my College days, studying/procrastinating in the library. It wasn't as twee as indie-pop could get (although definitely the most twee of all Du Cane records) but still mighty accessible in its approach to electronic pop music. It was fun ('Don't Sit The Woofer Near Your Wham! Tapes, Sweetheart'), light-hearted ('We'll All Be Together') and varied; a subtle antidote to that Year 11 boredom. Crayfish Legs came for dinner and we got to know each other.

Of the three Du Cane albums, 2009's Poets is both my personal favourite and, if I've surveyed critical reception correctly, his most popular release. (By "critical reception" I should really say 'judging from my friend's reactions', really.) Poets starts off incredibly strong with 'Granny Smith' before shifting into a few guitar-lead rock numbers, then landing on 'Judgement Day', an engaging, memorable song that shows off a darker and more lyrical Du Cane.

"I'm a nationalist, I'm a patriot / I'm a believer, I'm a believer," rang out opening number 'Granny Smith'. Poets, I think, has a lot to do with identity, and the identity of history. With my limited historical knowledge, much of the content could be all mock and I wouldn't know. His third record, Port & Rail, is heavily entrenched in true history, a retrospective world where war tempers the usual topics of art, love, life, et cetera. I never managed to grasp much of the historicalities of Port & Rail, but where I found Poets succeeded for me is that it didn't dwell in the details. It created this painted pastiche of a setting (inspired by a creatively rich jaunt in India) that strayed far from the positively electro-pop juts of Tomahawk, and perhaps further than any Australian pop artist of the time.

In about April-March 2011, I wrote 700 or so words for a review for Port & Rail that never found publication. The review felt unfairly finished, neglecting any appraisal of the lyrical content. The lyrics, full of their historical nuances and World War references, appeared delicately sweated-over; and passing over such a central part of the album irked me. Around the same time I got an email from Fred asking if I wanted a CD copy of the album, and I enquired about a possible lyrics sheet. He responded:

"The CD doesn't come with lyrics, but they're all up at http://charlesducane.net/port-and-rail-lyrics if you're interested. I actually considered adding footnotes & a bibliography at one point, as it's pretty dense with references that may not be apparent, but want to leave at least a touch of mystique to the whole thing."

The URL is now dead and the lyrics can now only be found in the songs (where they should be, really) and not in a booklet or webpage for me to obsessively/compulsively align some abstract review with; but looking back this exchange lead to the clarification of my criticisms. Whereas Poets' referential delicacy in its construction allowed for an unspoken mystique, Port & Rail was too concrete, too indebted to history to ever craft this same touch. If it helps, though, you can now tackle Port & Rail with new linear notes, which act as a kind of guide for those who want to dig a little deeper into the record. It's probably worth it.

Charles Du Cane - Call You My Own

It seems that Port & Rail is the point where Fred Showell, kingpin of Project Charles Du Cane, had learnt all he could in the realm of sample-based, beat-inspired pop oddity. It feels a deliberate step away from the inventiveness of earlier work and towards a more naturally instrument-based construction. It's his guitar album, you could say. In a way, it was dually ambitious and laconically accessible: ambitious in its attempts to converge the Du Cane pop universe with heritage rock; yet laconic in its championing of the latter's tropes and conduct. This could be an exaggeration on the whole, as several songs from the record are propelled by those trademark sample-heavy beats, but sometimes even the sampling feels especially fitted for the occasion, with lively 1930s carnival brass filling out 'Best Bent Wire'. As an album that leaned towards this heritage rock, the album material was far more viable to perform live than earlier tracks. Although I think I've only ever seen Charles Du Cane in solo karaoke mode once, the Port & Rail band outshines the funny phoenix singing along to his own backing track via laptop.

I remember the first time I met Fred - a week after our email back-and-forth - in which he gave me a copy of Port & Rail on CD and excitedly remarked on how the recycled digipak stock smelled like wood. In this old-time record set with the task of summoning an era far before digital - a time of port and rail - it was genuinely delighting to its creator to have this physical analogue. This authenticity that Charles Du Cane had worked towards in the writing, conceptualising and recording of the album was evident in the music, and this little wooden aroma of the packaging was a validation of it all.

Listening to the newly released Rarities collection, the contrast between demo tracks and finished album arrangements is staggering. These early takes aren't simply skeletons, but that doesn't make them mere stepping stones in a grander scheme. They're vague shapes of eventual pop beauties and though these demoes It's exciting to imagine the work gone in to reconstructing these malleable walls, framework piano/guitar mixed down (or out) and replaced by plasters of considered sampling. The clear, sometimes gaping gap between early and final version is indicative of the talent at work here. Fingers crossed we hear something from Camp Showell in the future.

On Rarities, one of the unheard covers is "Make Your Own Kind Of Music". It kind of epitomises the reason Charles Du Cane ever existed in the first place; a manifesto of sorts. I don't think you could ever slight Charles Du Cane for having tread in unoriginal art – this was wholly unique, enjoyable pop music. Stylistically, it stands up on two feet as its own kind of music. It faltered at times, sure, but the three solid, individual albums are all something to be proud of; all something to sing along to.

"You've gotta make your own kind of music,
Sing your own special song,
Make your own kind of music,
Even if nobody else sings along."

---

Join the final Du Cane bows at the MONA FOMA Festival Club @ the Grand Poobah tonight. $10 entry / free if you have a ticket to Girl Talk. Capacity will be tight so get in early, doors at 10:30pm.

You can now download the entire Charles Du Cane discography for free on his website.

Long live Charles Du Cane.

Unsolicitied MOFO Mixtape 2012

2012-01-13T09:00:00.000+11:00

A sampler of a few artists appearing at this years' MONA FOMA - the Museum of Old & New Art Festival Of Music & Art. You can find all the details here (it kicks off tonight if you didn't already know) but I'm just going to leave you with this totally hot MOFO mixtape. This doesn't represent even a third of the lineup but hey, take it as it is. Mediafire for authenticity. RIP Death Grips.

1. Donny Benét - Sophisticatd Lover
2. PJ Harvey - Let England Shake
3. Amiina - Over and Again
4. Julianna Barwick - Sunlight, Heaven
5. Pierre Henry - Sacrifice
6. The Dresden Dolls - Shores of California
7. Prince Rama - Golden Silence
8. tUnE-YaRdS - Gangsta
9. Paint Your Golden Face - Caroline Cuts Hair For Cider
10. Girl Talk - Tragedy
11. Lawrence English - Droplet
12. Ryoji Ikeda - Headphonics 0/1
13. Senyawa - Tenah

Photos by T. Randall, design by A. Bennetts.

Download here.

Full MONA FOMA program (.pdf) here. Ticket info is over here.

Oceans / Native Cats (VIDEOS)

2012-01-02T21:28:00.000+11:00

Just a small new year treat for you, a video of a full 14 minute set from noise artist Oceans at The Brisbane Hotel, utilising a contact-mic'd steel bowl; plus a live rendition of "Wearing The Killer" by The Native Cats in the Grand Poobah's side-room. Fun stuff.

Noise, Etc. Live #2 with Gutter Parties, Transcription Of Organ Music, Oceans

2011-12-28T10:30:00.000+11:00

The second Noise, Etc. Live show in what should be the start of a few more monthly/bi-monthly gigs. But for now, the difficult "follow-up" ~~album~~ effort features the talents of...

Gutter Parties
Transcription Of Organ Music
Oceans

Noise, Etc. Live #2 is on Wednesday 11th January from 8:30pm, the last Wednesday before those MONA FOMA bastards chew yr brain off. $5 entry. Facebook event page right over here.

It's the answer to all your problems. Three quality acts, yet all completely different. That's the beauty of the Hobart music "scene". Diversity. Regardless of personal taste, you're bound to adoringly love at least one of these bands. Or maybe two! You'll love all three, even, if you’re a total legend. You’re a total legend, right? Anyway, you know what they say, variety is the spice of all the top MasterChef finalists. Variety. Sprinkle it all over your body. It's Noise, Etc. Live #2.

GUTTER PARTIES will set you into a tropical trance (not the malaria kind), before whipping you straight out and onto the dancefloor with some killer-python pop melodies. Equatorial grooves make way for snaking synth lines. Psychedelic instances with innumerable ethnic influences that you’d probably just call me racist if I tried to pinpoint any. See him before he saunters off to blow minds at Camp A Low Hum in New Zealand.

The irreplaceable TRANSCRIPTION OF ORGAN MUSIC is a thing of honest beauty. I don’t really know anyone who thinks even slightly ill of this music, and for a good reason. Damon Bird crafts humbling, nature-filled folk songs that are outstandingly good; etcetera. A voice from heaven. Close your eyes and just listen for forty five minutes.

And just to scare off anyone interested in traditionally structured ‘music’, the night’ll open with experimental luminary OCEANS. Often noisy, but sometimes equally subtle, Oceans is the art-fag-noise-art guise of local dickwaver Jordy Marson (Paint Your Golden Face, Naked). I can’t tell you what it’ll sound like because its different each time, but expect something ‘challenging’. The front bar’s just over there, y’know. As a good friend once said, “it made my head want to explode”.

The Brisbane Hotel
Wednesday 11th January
$5 entry
8:30 start

---

Noise, Etc. Live is the extension of asmall-time blog dedicated to presenting and promoting undergroundHobart music. Because words and videos can only do so much, actuallyhosting live music shows is the obvious next step in supportingniche local music. Noise, Etc. Live aims to push the unseen talent ofHobart and surrounds; those artists who don't share their wares asoften as they should, or any totally new and untested musical ventures.

VIDEOS: Hey Mook @ the Grand Poobah

2011-12-19T23:09:00.000+11:00

Just two short videos of Hey Mook performing at the Grand Poobah last Saturday, in support of Sand Pebbles from Melbourne. Didn't take any video of Sand Pebbles because they were a wee bit shit and the bass player told totally boring self-indulgent stories between songs.

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I'm sure I'll have another post on Hey Mook when I buy a CD, I'm so behind on these guys. Great band.

Hobart mirror talk: A response to Brian Ritchie

2011-12-12T12:40:00.000+11:00

In a recent Q&A with MONA FOMA curator Brian Ritchie over on The Thousands, published on the 17th of October, the topic of the perception of Hobart arose. In this discussion, 'events like MONA FOMA' are held up as the shining light which will help Hobart avoid the stereotype of being little more than a cultural ghetto. Therein, Brian Ritchie makes a few claims about Hobart that I'd like to disagree with. Here’s the final question and answer from that piece (read the full thing here), copied wholesale for some necessary context:

Do you think that events like MONA FOMA are changing the wider mentality of people in Hobart?

Tasmania has an endemic inferiority complex, which I think is being dispelled because of the stuff that we are doing. We're also not by any means the only thing happening. There are great places here. There are a lot of excellent art galleries and music, and a few night clubs with original music. I think it's maybe changing the attitude of the Hobartians. They are actually really proud of Tasmania, but kind of afraid to say so. People ask me: "Why did you move to Tasmania?" and I say, "Well, you know why. It's beautiful, the food is great, the people are really friendly." Maybe there's a certain amount of affirmation going on as a result of the museum being open and a result of people like me and other foreigners and mainlanders coming down and saying: "Wow, this place is great!" It's also giving some of the young people a reason to hang around. Tasmania uses the young population at a greater rate. I've talked to booking agents about this; you can book acts for really young people, and for older people, but you can't for 25-40 year olds because they've all left. There's a whole, like, lost generation in Tasmania. I think that maybe having a little bit of critical mass on the creative side of things is providing different possibilities for young people. Maybe they can stay here and even have an art practice here. It's not a pre-requisite for them to think that they have to leave. We've actually had some people moving here because of what's going on. It's changing.

Firstly, I feel this response is quite condescending. The idea that the Hobart arts scene can only appreciate itself or realise how good it might be after the validation of outsiders is a little offensive. That only through the affirmation of 'foreigners' and 'mainlanders' taking an interest in our city's culture, we can then ourselves know its worth a dime? I don't buy it.

I've probably blown his comment way out of proportion, but I think its an interesting issue nonetheless.

Ritchie refers to Hobart as having an “endemic inferiority complex”, but I don't think that's a fair judgement of Hobart's self-perception. Hobart is small. We're a city of 215,000 people, and we don't have the critical mass to support a glut of music venues or a huge arts scene. Hobart is small. Is it an inferiority complex if we accept that we're small or 'inferior'? In terms of critical mass, infrastructure, diversity of arts community etc, we are – purely in quantitative terms – inferior. We are small. A little isolated, even. But... so what? I see Hobart as more a city of realists than one with an endemic inferiority complex. People create art for themselves and for anyone who gives a damn, and hey – sometimes those people who give a damn live in Melbourne or Chicago.

I don't think Everett True's stamp of approval on Hobart group Naked made much of a difference in the band's profile or perception in their home town. People already appreciated the band and if anything, this tiny little piece of blog buzz just made those same people turn their heads, nod and say “yeah, we know”, and then go on with their lives. If you're invested in it, its exciting when it happens; any kind of recognition is welcome and makes you feel good about your band/the local scene. I'd debate that it's more “hey, other people like what we [Hobart] is producing, that is nice and makes me feel good”; rather than “hey, other people like what we're doing in Hobart, I didn't realise we were good!”

Bad Luck Charms - I Need to Get Out by Noise, Etc.

Side-stepping for a second, one thing I don't understand is this quote from Ritchie, in which he talks about these bastions of great local culture as a reason to live in Hobart:

There are a lot of excellent art galleries and music, and a few night clubs with original music. I think it's maybe changing the attitude of the Hobartians. They are actually really proud of Tasmania, but kind of afraid to say so.

Who is honestly afraid to say they're proud of Tasmania? Tasmania is positioned as an underdog for many reasons – it's size, mostly – but I don't have any explicit memories of any Hobart artists who would be embarrassed of their home city. I'm fucking proud of Hobart and that's why I started this dumb blog, so people both in- and out-side of the local arts community could read about and listen to Hobart music. I'm curious who these people are and why they're afraid to be proud of Tasmania.

The Hobart scene is notorious for falling into, at times, little more than an incestuous circle jerk. Circle jerks are fun, mind you, but they are also exclusive cliquey things that reject outside (i.e., the mainland) influence. We already realise we have something great going on here and maybe that's what Ritchie wanted to express. Hobart can be indignantly alone in a kind of fuck-you-'mainland'-I-can-do-this-on-my-own way; the isolate State proving it can make it on its own terms. Its what happened in the past few years when many reviews from Melbourne and Sydney outlets would cite 'isolation' as a thematic constant in many Hobart music releases. “How dare they! We can fly across Bass Strait whenever we want! We have the internet!” we'd beckon in a kind of self-assured unison. While isolation is, I think, a reoccurring element in Hobart music circa late 2000s (Ivy St., hey), the local scene didn't want to be boxed in this way. You can't tell us what we are; we aren't small! It was a shrug at outsider labelling, whether misinformed or not. This attitude is kind of in opposition to the one Ritchie discusses; and while I could just be viewing everything from my seat in the alternative music arena (the outsiders of the outsiders) rather than just a general 'Hobartian' stance (the outsiders), I don't think its completely off.

In my short experience, Hobart arts isn't as concerned with outside validation as much as Ritchie implies. As far as I can tell, while reaching for a wider, national audience is something many artists and musicians desire (and sometimes achieve), Hobart is not tied up in some bizarre notion of “we're only valuable if someone outside our city tells us so.” That's backwards.

I don't think I can speak on behalf of anyone in the arts / music community because, for the most part, I act as little more than an observer, a promoter, a documenter. I'm just a youthful little shit with an internet connection and an(other fucking) opinion to throw into the wind, but I think its a discussion worth igniting again. What do you honestly think about yourself, Hobart?

Criticism encouraged.

alexanderbennetts@gmail.com

On the radio - Return To Oz

2011-12-05T02:41:00.001+11:00

Starting 7pm this Wednesday, I'll be hosting Return To Oz, the weekly Australian music program on Edge Radio 99.3 FM in Hobart. The music profile will be similar to what I feature here, but from all over Australia (and maybe even New Zealand). New, underground pop/rock/experimental/electronic music from around the traps. Each week there'll be a featured album, label, band, city, blog, whatever; I'll try not to make it so rote or predictable.

Expectedly - and relevant to this blog - I'll be playing a couple Tasmanian songs each week, in the least. New recordings, retrospective tracks, whatever fits. I'll still only play what I find interesting or enjoyable, but if you want to send yr CDs in, station info is available here, or as below:

Edge Radio, Music Department, Private Bag 44, Hobart 7001.
Make sure you include a bio and contact details, all the usual stuff really.
Mark it ATT: name of presenter or program.

I'll probably maintain playlists/show information on a page here, along with on the Edge Program hub etcetera. Social network information below...

Here's a Facebook page you can admire and all that: www.facebook.com/returntooz

Join the conversation / request tracks on my personal Twitter: @NoiseEtc

& bookmark the digital stream for future use, hey: www.edgeradio.org.au/listen-popup.php

Return To Oz on Edge Radio 99.3, Wednesdays 7-8. Feel free to listen in.

Interview: Wormwood Grashopper Records

2011-11-18T18:59:00.001+11:00

Wormwood Grasshopper Records is the baby of Hobart musician Ben Mason (Drunk Elk / Que / The Breeze). So far, it has proven itself to be a small boutique label releasing underground pop music from Tasmania and beyond. That kind of pop music that gets called 'demented' in PR, with an apparent heavy influence from New Zealand pop. Wormwood Grasshopper looks to be focusing on recordings of both the past and present, with previously unreleased material from defunct Hobart bands like Que, Wendy In The Mountains And The Caves With The Salves and Hammering The Cramps either already released or in the works.

I recently briefly spoke to Ben Mason about his new label, and where he plans to take it:

What have you released so far on Wormwood Grasshopper?
So far it's been predominantly the Drunk Elk LP [Under Neon Lights] and Mad Nanna 7", although I did put a Wormwood Grasshopper logo on a few CDRs for Julian Teakle's music stall a while back (The Que's Fern Tree Recordings and Drunk Elk's "Pieces Of People...").

What are the future plans for Wormwood Grasshopper?
Just around the corner would be the Hammering The Cramps LP, which has been in the works for some time now and it looks like it's nearly there. I can't wait to release this one. They were an incredible Hobart band that, I think, are totally underrated. There's vibes of Roky Erickson, Xpressway bands and - the best song in the world - Brian Eno's 'Here Come The Warm Jets'. After that would be some tapes from Wendy In The Mountains And The Caves With The Slaves (first one was sent off to be duplicated today!). I wouldn't mind doing another Drunk Elk 7" soon, and hopefully we'll get our act together and record a Breeze EP. There's also a couple of projects I'm toying with that aren't Hobart bands, but I need to figure those out a little more still.

Hammering the Cramps - Jesse's Vampires by Wormwood grasshopper

What connects the bands on Wormwood Grasshopper? Are they musical, social, aesthetic...
I guess mainly aesthetic connection's because it's music/sounds/feelings I like. There's bound to be some personal connections too; I think Simon Krause is the best musician in Hobart, so he'll pop up a bit.

What labels did you look at for inspiration?
Xpressway, Siltbreeze and early Flying Nun have been pretty inspiring. I get a nerdy thrill out of reading interviews with Bruce Russell on running Xpressway. Some labels that are currently active and inspiring me would be Breakdance The Dawn, KYE and Negative Guest List. Breakdance The Dawn has heaps of interesting releases, and is ran in a way that still has a degree of mystery about it in the internet world. It's also not 'flashy', which I like. KYE (ran by Graham Lambkin of The Shadow Ring) and is another label that holds some mystery. Pretty much all the releases are of a high quality and to me they all follow on from each other in a really nice way, each being a chapter. That's something that I hope to apply to Wormwood Grasshopper. Negative Guest List just keeps churning out releases, which I get a bit of a buzz out of the rate Brendon works and seeing what's going on next (The Lost Domain's "Blondes Chew More Gum" double LP is an amazing thing!). Oh, and there's Albert's Basement and Quemada Records, who feel like comrades, they inspire me too.

Drunk Elk - Bones of A Blackbird by Wormwood grasshopper

Is vinyl the main idea for Wormwood Grasshopper?
It is the predominant medium of the label and that's partially because I've always wanted to release music on vinyl and it was more achievable with the dollar doing good. It's also because I thought some music might stand a better chance of being noticed in that form.

What's the hardest thing about running a label in Tasmania?
My biggest challenge has been keeping the price in check for overseas stores and not losing too much money each time. It costs a lot to have records sent from the pressing plant to Australia, and then it costs a lot to send them back to stores overseas. I've now got a few connections in the states which will hopefully take a portion of the pressing direct from the plant, so that'll keep the price in a good area I hope.

Anything else you wanted to tell us?
Keep on rocking in the free world! Keep music bad.

-&-

You can grab Wormwood Grasshopper releases from Tommy Gun Records in Hobart, or through the post via the Wormwood Grasshopper blog. Follow them on Twitter at @wwgrasshopper.

Beautiful punk - Bears, SDS, Treehouse (VIDEOS)

2011-11-15T23:10:00.001+11:00

Three totally different punk bands played on the top of the reservoir tanks at the Domain in Hobart last Sunday; almost in celebration of the free Hobart punk compilation that launched last week (it was actually a triple tape launch, but you know, horses). Best gig location or best gig location?

All video by Chris Valentine.

Bears

Social Death Squad

Treehouse

Sound Summit 2011 - VIDEOS

2011-10-20T23:03:00.001+11:00

A few weeks ago I went to Newcastle for a few days as part of This Is Not Art / National Young Writer's Festival. If you want to know how the Writing festival went, go and read the numerous blogs other cool people posted or just ask me. I found some time while wearing my Writer's wig to head across to Sound Summit festival on the other side of town and I filmed a few of the bands. Now separate from the rest of the This Is Not Art festival umbrella, Sound Summit has grown into its own dedicated entity. Sound Summit 2011 is a little bigger than last year, but its distance from the rest of the long-weekend Newcastle art community (among other reasons) meant the attendance was a little underwhelming. I only made it tow three gigs and no panels/other events, mind you. The venues were all well-organised and within walking distance of each other, etc, etc.

Here's some footage of Australian bands. I saw and filmed a few other bands but most of that footage sucks even worse. Guerre was beautiful and Kitchen's Floor were awesome (if a little detached from the audience) and Iowa's Wet Hair lived up to my expectations. For what its worth I adore this Fabulous Diamonds song below.

Fabulous Diamonds

Horse Macgyver

Superstar

Dead Farmers

Scattered Order

Bandcamp Wrap-up #2

2011-09-15T00:05:00.001+10:00

A mix of free, pay-what-you-want and fixed price releases this time. They're all good, so have a listen to what grabs your fancy. Click through on the respective album art to see the full Bandcamp page with a nicer tracklisting.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://thatjordysound.bandcamp.com/album/tjs4"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;TJS4 by Jordy&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;Jordan Marson from Paint Your Golden Face / oceans, in his experimental indie pop guise. $5.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://moegrizzly.bandcamp.com/album/fingering-dixie"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Fingering Dixie by Moe Grizzly&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;Moe Grizzly, noisy blues/rock trio. Really good. Fuzzy & Drones-eqsue. FREE.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://nakedblackteeth.bandcamp.com/album/black-teeth"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Black Teeth by Naked&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;Fantastic debut album from Naked. Lo-fi pop. Everett True wrote a few words about it. FREE.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://transcriptionoforganmusic.bandcamp.com/album/a-prey-to-griff"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;A Prey to Griff by transcription of organ music&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;A beautiful release from Transcription Of Organ Music. Pay what you want.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://shop.sonoptik.org/album/05-assumption"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;0.5 Assumption by MACH1NES 0F 1NDETERM1NATE&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;Ambient doom metal EP from M.0.1.0. on American label Sonoptik. $5.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://anthonyrochester.bandcamp.com/album/hot-hits-96"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Hot Hits '96 by Anthony Rochester&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;Latest lounge-pop album from Anthony Rochester. Twee as anything. $5.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://strangebunny.bandcamp.com/album/future-past-the-sea"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;future, past, the sea by bunny&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;Slow, alternative-folk. 7-track debut album from bunny on digital and CD. $6 / $12.

Fan gushing on "Process Praise" by The Native Cats

2011-09-07T15:06:00.000+10:00

Rememberthe Liverpool Street Bomb scare from last year? On that day I was walking through Elizabeth Street,earphones playing The Native Cats' AlwaysOn.There was this small moment where, approaching the corner ofLiverpool, I was half-way through absent-mindedly singing 'Game OfNumbers' to myself. In particular, en route to Liverpool Street, Isung aloud: “have you ever seen an unexploded bomb before / how doyou know / this isn't what it looks like?” I hope nobody heard me.

Ifyou've followed this blog from its beginnings (and all itsencompassing words and things and shit), or know me personally, thenyou've probably come to the conclusion that TheNative Catsare one of my favourite bands. Call me a fan. The Native Cats is madeup of two of my favourite Hobart artists, Julian Teakle (of Bad Luck Charms, The Frustrations) and Peter Escott (of... Peter Escott), but thatisn't the reason they hold such an esteemed place in mymind/heart/ears. I don't think I even explored either theFrustrations or Peter Escott's solo guise until after discovering the Cats.

Ithink there is a definable reason for it, though. It's more than thehypnotic bass lines and propelling drum machine, or the lo-fi DS-10squeals or whatever other musicals components. My admiration for theCats can largely be attributed to front-man Peter Escott's lyrics anddelivery. Escott's lyrics have always appeared as vague monuments;unsolved mysteries with these various clues hinting at somethingmore. You can always feel the intention – in specific words andthose sharp emphasises – but you can never unravel the full story. It's like there's venom pulsating below the surface, but the fangsare too short to reach whatever its reaching for. Probably for yourthroat. Ride the snake, baby.

The Native Cats - Dani Dani by Noise, Etc.

ProcessPraiseis a step abovethe duo's debut. If AlwaysOn wasthe short-statured/high-reaching schizophrenic First child, thenProcess Praiseis the moody art-school Second, dripping blood onto a canvas beforehiding their wrists in a royal blue cotton jumper.

Some/mostof the songs on ProcessPraisecould be autobiographical, but you'd be darned to unpack it withoutall the little Escott-branded puzzle pieces, none of which you'llfind in the package. Everything is so purposely cryptic. So obscuredas to allow Escott to tell you his life stories, minus all thedetails, minus all the things that makes it hislife story. It's what every private writer aspires to, isn't it? Togive you the mood, the theme, the idea; without forfeiting a sense ofsafety? Interpretation can be more powerful than direct statement.Words guide, the music narrows the possible interpretations.

Allthroughout are scattered allusions to a past love; a terrible love.This is best seen in 'Dani Dani', a sequel of sorts to 7" single 'Catspaw'. On the knife's edge between brutal revenge andreserved spite, its the tale of a soured, oppressive romance. In parallel to these references to a past lover, this track couldalso been seen as a sketch of Escott's growth as both a person and aperformer. At first he appears the sheepish victim of a tumultuousrelationship, but the song traces his development into the confident,competent, vengeful character. Not a wrecking-ball of a man, but anintelligent and matured one. “No leathers,” Escott sings, “no colours / no tatts / no quiffs / just checked shirts and neat jeans / with wornknees / old time / 1993 / Australian suburban exoticness.”

The Liverpool Street bomb turned out tobe a hoax. Unexploded because it never could explode. TheNative Cats are always edging at something unexploded; poking anabstract mass of shrapnel. They're smart enough not to set it off.The Liverpool Street hoax turned out to be just a small orange andyellow box holding dud wiring and AA batteries, probably a cheapplastic nothing. Parts of Always Onwere this cheap Casiotone plastic – the extended indie-pop of “TheImage Of Annie & Ivan” never did a whole lot for me. ButProcess Praise?There's a live, ticking bomb at its heart, thumping away in the drumpatterns.

Conclusion: Sharp lyrical witticisms set to realminimalist/moodist electronic beauty. Treasure it. It sounds reallygood on vinyl.

---

The Native Cats are launching Process Praise at the Grand Poobah in Hobart this Friday September 9, and at Skinny Geans #11 in Launceston this Saturday September 10. Both shows are a dual LP launch with the fantastic Adelaide via NZ trio Batrider, who launch Piles Of Lies. Listen to the title track below.

Process Praise is available from Tommy Gun Records in Hobart, select record stores around Australia and direct from Ride The Snake.

Batrider - Piles of Lies by Mess+Noise

Videos: Peter Escott / Carl Higgs / Splash Mountain

2011-08-31T16:54:00.000+10:00

A fortnight ago was the 'first' Noise Etc Live show. I was pretty nervous but excessively excited at the same time. I'd never organised a group of musicians to play at a venue before. Turns out its pretty easy, so I'll probably organise more in the future if I can find suitable performers to prod and pester. The vague idea of a Noise Etc Live series was to promote and feature musicians who might not play live as often as I'd hope. So, for August 17, I asked Peter Escott to debut his electronic experiments; Carl Higgs to make his once-a-year solo appearance (though, he did play a few days later as a duo with Charles Du Cane); and Splash Mountain to try and make a proper debut.

Most of the night went according to plan (Splash Mountain were still a little unprepared, but they did clear the 10-minute mark as I awkwardly claimed in promo), and the turnout was decent enough for a Wednesday night local show. It was fun and I fully plan on organising more every few months if I can find performers willing to participate. If anyone has any hidden solo/side/bedroom-projects that they want to present to little Hobart town, do get in touch.

Below are three videos from the night, click through at the bottom to watch a few more, including Peter cover Morrissey and Carl cover Chris Isaak. Covers.

Peter wrote this song on the night, about the night. The first minute or so didn't get filmed but I'll spoil it for you - it's about his work shirt that he didn't get the chance to change out of.

Carl's upbeat Italo Disco track. Fun, fun, fun.

Splash Mountain's first song of their 12 minute set.

Peter Escott - Seasick, Yet Still Docked (cover)

Carl Higgs - Wicked Game (cover)

Splash Mountain

Thanks to Sam Upton for the footage.

Moe Grizzly & Drunk Elk in a house

2011-08-24T20:16:00.001+10:00

Did everyone have a good past week? Hobart Music, right? Right!

Last Saturday afternoon, Moe Grizzly and Drunk Elk played a house show before the Broken Social Thylascene show that happened. Walking distance to both beers and the next show made it pretty ideal, it sounded decent and the house was full of good people/conversation. Moe Grizzly are sounding really good with the addition of Phoebe on trombone, it kind of highlights the melody a little more, particularly in older songs. Drunk Elk made a few mistakes at the end of a couple of songs - nerves - but they otherwise played a good set. They might have played a few newer songs, which sounded similar in vein to the songs they've been playing for the past year, maybe a touch heavier.

Drunk Elk

Moe Grizzly

Two more Elk videos and another Moe Grizzly song (with trombone) through the break. If anyone knows the names of these songs, feel free to leave a comment. I have a couple more Drunk Elk songs on tape if anyone is interested.

Drunk Elk

Moe Grizzly

Videos from last week: No Action / Treehouse / Driftwood

2011-08-14T17:45:00.003+10:00

Crappy videos from an all ages show last weekend with No Action, Bears, Treehouse and Driftwood at the Brisbane Hotel. My video of Bears stuffed up sorry.

Driftwood

These guys were alright, they're a young Rosny College band. The singer has a nice New Zealand-ish voice which gives them a bit of identity already (this was only their second show). The drummer shouldn't sing though; it doesn't compliment the lead vocals at all, nor contrast with it in any interesting way. More annoying than anything.

Treehouse

Treehouse played some new songs, this one is called "Drunk Elk". They've recorded this plus a bunch of others for an upcoming cassette/release which should be fun. Their set was mostly new songs - less lo-fi punkish and more like the song above. They still played "Party", though.

No Action

No Action are from Adelaide and they make emo music, I think? I don't know these genres very well. They went down pretty well with the small crowd and sold a few 7"s.

The Lucky Dips - Obsession / Assistance

2011-08-12T02:43:00.003+10:00

Here's two tracks from Hobart power pop trio The Lucky Dips, who are launching their debut 7" this Saturday at the Grand Poobah. Brief, guitar-based Buzzcockian punk. "Obsession" is the A-side, while "Assistance" is their inclusion to the upcoming Community 2 compilation.

Obsession by The Lucky Dips

Assistance by The Lucky Dips

~~The Lucky Dips launch their 7" at the Grand Poobah tomorrow (Saturday 13th August), with support from Mess O' Reds and The Crunch. $5 entry, doors at 9:30pm, Facebook event here~~.

Edit: This was good. The Crunch were pretty boring but had lots of 30somethings dancing; Mess O' Reds played some really good songs; and The Lucky Dips played a good set with an added rhythm guitarist. Fun time. You can now buy their 7" at Tommy Gun Records for $10.

A certain vintage: Sea Scouts / Hammering The Cramps

2011-08-07T02:16:00.000+10:00

Sea Scouts were a Tasmanian noise-rock band in the 90s. If you've every hung around Hobart music circles, you've probably heard their name referenced a few times, usually reverently. While the legend of the Sea Scouts does get played up a lot (Melbourne thirty-somethings seem to be particularly fond of the group), its not without reason. They're good. Here's 'War As A Weapon', a song they released on Zum Records when they toured America in 1999. You can even still buy that same 7" from the label directly - $3 US plus shipping. It comes with B-side 'Burn Down Your Local McDonalds'.

Sea Scouts - Word as a Weapon by Noise, Etc.

-&-

Hammering The Cramps were a Hobart band circa 2006. Their unreleased debut recording will be released through Wormwood Grasshopper Records on vinyl next year, if all goes according to plan. It features musicians who went on to play in bands like Drunk Elk, Wendy In The Mountains, etc.

Bandcamp Wrap-up #1 - Free Hobart music

2011-07-30T14:15:00.003+10:00

Because everyone loves free stuff.

I figure with Bandcamp being pretty popular with Hobart bands/musicians, it'd be nice to collect a bunch of this newly released digitalia and present it in a blog post every now and again. There is already a whole slew of Hobart releases on Bandcamp - it's pretty easy to track with their tagging system (just explore Hobart -> new releases) - so here is 10 local releases you can download for free. Click on the band name to get to their page and find more releases/information:

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://treetheband.bandcamp.com/album/bears-treehouse"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Bears/Treehouse by treehouse&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://myblackson.bandcamp.com/album/this-is-going-to-be-a-disaster"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;This Is Going To Be A Disaster by myblackson&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://samupton.bandcamp.com/album/sixteen-seventeen-eighteen-demos"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Sixteen/Seventeen/Eighteen (Demos) by Sam Upton &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp; the Pollywaffles&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://oceanpeople.bandcamp.com/album/oceans-ii"&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;oceans II by oceans&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://montecarloscenestealers.bandcamp.com/album/for-girls-only-ep"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;For Girls Only EP by Monte Carlo Scene Stealers&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://kingcarousel.bandcamp.com/album/king-carousel"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;King Carousel by King Carousel&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://phatmeegz.bandcamp.com/album/twelve-dubs"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Twelve Dubs by Phat Meegz&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://paintyourgoldenface.bandcamp.com/album/he-was-run-off-the-road-by-his-amazing-face"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;He Was Run Off The Road By His Amazing Face by Paint Your Golden Face&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://stoics.bandcamp.com/album/death-machine"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Death Machine by The Stoics&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://crytearia.bandcamp.com/album/landscrape"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Landscrape by Crytearia&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Moe Grizzly - Eye Sore / myblackson - Jam

2011-07-23T02:28:00.004+10:00

Moe Grizzly are so fucking good.

I mean, they're better live, but whatever, isn't that always the case? Here's a great track found on last year's Clones And Clones: Hobart + Melbourne compilation. It's called 'Eye Sore'. It was probably meant for some completed-but-never-released album that's still sitting around in some Hobart house.

Edit: "Eyesore was recorded exclusively for the C&C comp - no other material exists from this session. The other, older, lying-around-a-house session is being worked on constantly and will see a release well before the end of 2011." More details in comment section below.

If you haven't heard Moe Grizzly before, think a fuzzier, less intelligible Drones. But really, just listen to the song already:

Moe Grizzly - Eye Sore by Noise, Etc.

Being myblackson's 'final' show - which was one of their best ever, let the record be known - it feels fitting to feature something from them here. You can already listen to most of their back catalogue on Bandcamp (and download the majority of that for free), but here's a song from the limited single they released at their final gig on 22 July 2011. It's titled 'Jam', which is the same name as one of their old songs, but whatever. Punk.

They'll be back, just you watch 'em. And they'll play Pop Song, too.

In the meantime, while we all pretend they're dead forever - R.I.P. myblackson. You were good to us. Really, really good. To my favourite Tasmanian punk band: thank you.

myblackson - Jam by Noise, Etc.

Noise, Etc. Live #1 with Peter Escott, Carl Higgs, Splash Mountain

2011-07-20T21:30:00.006+10:00

I'm happy to present the inaugural Noise, Etc. Live show, featuring the talents of...

Peter Escott
Carl Higgs
Splash Mountain

Noise, Etc. Live #1 is on Wednesday August 17th at the Brisbane Hotel from 8pm. $5 entry. Be there. Facebook event here. Poster, wanky bios and mission statement below:

Poster by Steven Throup.

Peter Escott: Youknow him. Part quoll, part laugh-monger; part-time zine contributor,full-time Dad. He's played the traps, but he's played them justquaintly enough to not set themoff. For this show, Mr. Escott will be playing 1P mode in his debutelectronic beat-em-up set. “Insular,” he promises.

All Fires The Fires member CarlHiggs lovingly plays with synthesisers, making somewhat ambientelectronic noise. Although he's often known to feature visualprojections, this set will be totally aural: perhaps a little disco,maybe a touch improvised. Glitchy beats with stolen voiceovers anddowncast singing.

Changing up the pace, SplashMountain are a friendship bracelet toting foursome, featuringcurrent members of Treehouse and Bears and a former member of Mess O'Reds. It's young white male guitar music, brash collegepop/indie/rock/punk/emo/whatever. This is Splash Mountain's secondever show, and (hopefully) their first show to clock over 10 minuteslong. Music! Youth!

---

"Underground pop hits from Hobart" mixtape via K Mason

2011-07-05T15:17:00.006+10:00

Hobart-born musician Keith Mason (White Woods / K Mason) has put together a little mixtape of Hobart music, ranging from 1996 to ~2005. It features a few bands who have played live shows in the past few years (The Frustrations, Kind Winds, Rentboy), but otherwise is made up of many Consumer Productions associated bands such as The Gentlemen, hMAS, Avoidable Droid, End Show, Karaoke For My Shadow, et al.

Most of these tracks date back to late 90s/early 00s (forgive me for my vagueness) and as it is with Hobart/Australian/whatever music cultures, many of these groups feature members from current bands. Dave from Drunk Elk sang for The Gentlemen; Ben from Moe Grizzly played in hMAS; Julian from The Native Cats in The Frustrations; etc.

Tracklist with links below. Big thanks to Keith Mason for compiling this and letting me sharing it:

Your Face - Avoidable Droid
Your Eyes and the Sea – The Gentlemen
Toothless Thursday - Kind Winds
Japanese House – 33 Speed Version - Karaoke For My Shadow
Alex Pope - hMAS
The Force (Live) - End Show
May I - S onic Emotion Explosion
Moonah Rumble - The Frustrations
Happy Guy - Marpy Mlpy
Parking Meter - Rentboy

Interview: Manchester Mourning

2011-06-22T19:18:00.003+10:00

Hobart's Manchester Mourning are a young Courier New Wave four-piece who have been making their post-punk racket for a few years, releasing one EP (which you can download for pay-what-you-want) and a few limited CD-R singles. A year after finishing recording, they have finally gotten around to launching their debut album Immediacy, firstly at the Grand Poobah in Hobart this Friday night and then at Skinny Geans #8 in Launceston on this Saturday night.

I spoke to Steve Wright (keys, vocals) and Sam Upton (bass, vocals, synth) from the band about Immediacy, Rosny College 'rock culture', and their place in Hobart music scene. While you're reading, have a listen to Wedding Cake from Immediacy below:

Manchester Mourning - Wedding Cake by Noise, Etc.

What was the recording process of Immediacy?

Steve Wright: Sam bought a lot of recording gear in the early parts of last year. So basically we just used a lot of cheap microphones he'd got hold of, and a borrowed SM57 too. We only had a stereo input into [audio recording program] Audacity, so we had to record every instrument separately.

Did you go into the recordings with an album in mind?

Sam Upton: When we made the decision to record, we thought it was going to be an EP. But when we actually did a bit more rehearsal and writing, it turned out there was more material than we thought. Although we didn't use all the material we recorded, we thought we had enough that we were happy with for an album.

Which songs got cut?

Steve Wright: The only really major cut was a song we used to play fairly often called Katy's Shotgun. We had other things that we we wanted to develop a bit more, and some of that ended up on the 'Cassette' release (a limited edition CD-R that we sold really cheaply at the end of last year). There was also some crap on there, but you know...

You've got to have a place to experiment a little bit.

Steve Wright: I think we take a few cues from The Fall in that respect. They definitely had a philosophy of releasing everything they did in some form, and I think this is what we've done too.

I think that this relates to the concept of 'immediacy' in some way. An immediacy between the artist and the audience.

Oh yeah, I was going to ask you. "Immediacy" as a title - and a package, the visual design and the lyric sheet - feels all pretty considered.

Steve Wright: Yeah, the whole lot was designed to fit in with a very particular aesthetic. A lot of time was spent considering song titles for example, and the font choices were very deliberate (and go beyond the album's packaging, to posters and the like). I think the title itself has the connotations of connectivity, integrity, purity, and reality. These are concepts I am really interested in. I think that recording the album ourselves and doing all the art ourselves relates to this too

Sam Upton: I think there is some sort of ideology to the band that we've developed. We have an idea about how we are, and how we got about things.

And the lyrics booklet - a rare find in local products - is that a way to find some kind of interaction with the audience?

Sam Upton: As you say, generally you don't find lyrics a lot in local products. I think that this a lot because of a general trend of local bands who seem to push themselves musically, but not lyrically. There are obvious exceptions to this, like Drunk Elk. And Peter Escott of course. By including lyrics I think we are attempting to highlight that they are as important as any other part of the song. Some of these lyrics were poetry first - rather than being lyrics that are just something to hang a melody on.

I noticed in the linear notes that you all share writing, both for the music and the lyrics. Is this important to the idea of 'immediacy'?

Steve Wright: I think this is just the nature of the band, really. We all enjoy being part of the songwriting process, and everything that goes along with it. We deliberately don't publish the individual 'writer' of songs beyond the lyrics, and this is mostly because it is far too hard to separate who does what. Everyone is contributing in different ways, including on other people's instruments. There is no real protective frame of mind like "I play the keyboard, I write the keyboard parts'. If someone has an idea, we'll try it, and if it works it stays.

You sound pretty tight-knit as a band.

Sam Upton: We started out as being friends before we even formed the band. As friends there was some common similarity across the music we liked. When we formed we weren't particularly proficient on our instruments. I started playing bass after we decided to form the band, for example. Woody [guitarist/vocalist James Woodberry] had really only just been a vocalist in the past.

Did you find the "Rosny College rock culture" helped incubate the band?

Sam Upton: [Laughs]

Well actually, when we were there the culture was fairly different. I mean, sure there were a lot of bands, but they were almost all hard-rock based.

Steve Wright: In saying that, the recording facilities and the staff really helped us out early on.

Haha, maybe I have the wrong impression about that Rosny culture - I should have said "for lack of a better term" there.

Sam Upton: We were nicknamed 'Manchester Boring' by some people. It was a kind of hostile environment in some ways

You weren't even really an out-there or experimental band at all.

Steve Wright: No, not at all. Just no loud enough, and we didn't listen to the 'right' music. I like to think the fact that we just did what we did anyway has had some sort of influence on the young bands that have started to gig in the last 2 years. But maybe I'm flattering myself!

Yeah, that's kind of where I got my idea of what the Rosny culture was like - Treehouse, Bears, Mess O Reds, etc.

Sam Upton: I remember seeing Callum from Treehouse playing guitar for the first time at Rosny. Steve and I got really excited, and asked his old band then to play a show.

Oh I remember hearing about that, wasn't it a bit sucky? [Laughs]

Sam Upton: They had good songs! But when they played with us they just did a heap of covers!

Steve Wright: But that night Julian Teakle gave them a copy of Community. I think hearing that there actually is plenty of good original music in Hobart is the biggest thing for young bands. I remember seeing the Native Cats and myblackson for the first time was something of a revelation for me.

I wasn't going to ask you about the local scene since it seemed kind of obvious, but... Has the Hobart scene changed how you approach Manchester Mourning at all?

Steve Wright: I think for me the fact that there is world-class music happening regularly for me to see was and is really important. My view on music has definitely changed a lot because of this. Drunk Elk to me are one of the best bands in Australia, and their audiences are limited here. I think having my view that playing to big crowds and selling lots of products isn't the be all and end all of music confirmed weekly is quite liberating artistically in many ways.

&c.

Manchester Mourning release "Immediacy" this Friday 24th June at the Grand Poobah in Hobart, alongside Drunk Elk and Treehouse. Launceston launch is this Saturday 25th at Skinny Geans #8, alongside Linc Le Fevre, Karva, Jack Storay and Yyan. Entry for both is $5 and you can buy the album for the special price of $10 on each night.

Gutter Parties - Glow Slowli

2011-06-21T19:21:00.002+10:00

Gutter Parties - Glow Slowli by Noise, Etc.

Glow Slowli is a new track from Hobart world-pop practitioner Gutter Parties, taken from his upcoming debut cassette released on Wonder Beard Tapes. Its one of his most melodic songs yet, a track he explains as "about being haunted and about wanting lobotomy or something." Glow Slowli's optimistic keyboard probably comes from the fact the song was originally written (with different lyrics) for two friends who were hating on each other at the time. Trivia!

The self-titled cassette is available to order now for $5 plus postage, or otherwise will be available to buy in Hobart in a few weeks time. Keep an eye out for a possible vinyl version of the album in the future, too.

Drunk Elk - Seneca's Last Breath / Dark Blue Almost Black

2011-05-31T21:06:00.003+10:00

Two videos of great Drunk Elk songs - Seneca's Last Breath from their newly released 7" and Dark Blue Almost Black from their 2010 album on CD.

Seneca's Last Breath (studio version here) is the A-side to a self-titled 7" released by Quemada Records this month. The 7" sounds much better than last year's Pieces Of People We Have Known CD, which I gave a bit of a gutting for its sound quality in a review. It's pretty damn close to live Drunk Elk, which is a great thing. The B-side, I Want To Be Your Pet replaces an Elk staple, the bass guitar, with a basic toy keyboard, offsetting the melancholic nature of the song. It's good.

You can buy the self-titled 7" online via Quemada, or in store at Tommy Gun Records (Hobart), Missing Link (Melbourne), Sunshine & Grease (Melbourne), Repressed Records (Sydney), Vox Clyclops (Newcastle) and Rocking Horse Records (Brisbane).

Splash Mountain / St. Bernard / Mess O' Reds / Manchester Mourning live footage @ Brisbane Hotel

2011-05-21T16:45:00.001+10:00

This is some live footage of an all ages show at The Brisbane Hotel on the 27th April 2011. The show featured the debut performances of Splash Mountain and St. Bernard, plus sets from Mess O' Reds and Manchester Mourning. Huge thanks to Sam Upton who filmed these sets.

Splash Mountain

St. Bernard

Mess O' Reds

Manchester Mourning

Nerves / Treehouse @ The Grand Poobah, 14th May 2011

2011-05-15T12:35:00.001+10:00

Videos of Nerves and Treehouse from last night, who played at The Grand Poobah with Naked and myblackson. I didn't manage to get any video of Naked or myblackson this time, but I know somebody else in the audience with a better video camera did, so some more might surface later.

This was Nerves' debut show. I didn't film their best song but this is still pretty representative of their style. Guitar-driven punk with group vocals.

Treehouse are a pretty popular young band, but until now there has only been one decent video of them performing live available online. So I took two videos. The above video is a song they've been playing around for a few months with a cool-ass bass part, pretty wicked. The below video is a new song, without vocals (for now?).

Que - Sunglare

2011-05-08T19:49:00.001+10:00

Que - Sunglare by Noise, Etc.

They don't exist any more. Back in 2009, my pre-18 year old self was pretty bummed when Que decided to part ways. The members of Que have gone on to feature in some pretty fantastic stuff since (Drunk Elk, The Breeze, Wendy In The Mountains, The Love In), but there is still a little more to the Que story that has until now been left unheard.

New Hobart DIY label Wormwood Grasshopper have released their first CD-R, a two song single/EP/thing from Que. These tracks were recorded back in November 2008 at the Fern Tree Community Hall, a recording session for their planned second album. A second Que album doesn't exist.

Sunglare is a melodic shoegaze piece that swells for nearly eight minutes before coming to a halt. Just listen to it. The CD-R is backed with Simple Fun, a 16-minute jam similar in composition to the band's Community compilation inclusion.

Sunglare/Simple Fun is available from Tommygun Records in Hobart for $5.

Tiger Choir - Ghosties

2011-04-27T12:58:00.001+10:00

Tiger Choir - Ghosties by Noise Etc

Here's a track from Tiger Choir, who launched their debut album Unicycles on Sunday night in Hobart. "Ghosties" is the second song on the album, which features some electro indie-pop vibes held down by some summery/strummy guitar. (Is that cliché enough? I'm new to this style of blogging.) I think its fun.

You can stream the entire album over at Bandcamp, or buy a digital/physical copy from the site. Physical copies are also available from Tommygun Records in Hobart, the Co-Op Bookshop in Sandy Bay, or from the band at shows.

Tiger Choir are touring Australia in support of The Drums, starting from tomorrow. There is no Hobart show.

Mirror Talk

2011-04-11T18:27:00.004+10:00

This space is changing.

This blog was originally called Noise & Words & Things & Shit, and at first mostly featured live reviews and CD reviews. This was all local content, focusing on musicians and bands from Hobart, Australia. This was a pretty easy task to do because I knew nobody in the Hobart music scene. I knew of them, of course, but nobody knew me. I was the shy kid in the corner with a camera or a phone.

Today, I'm still that same shy kid, but I'm no longer (or, as much of) an outsider. (I even had a nearly completed Hobart music overview/opinion article, tentatively titled 'The Perennial Outsider'.) And while this can be satisfying on a personal level, it means that this space must change. In the interest of integrity, you'll probably see less CD reviews here, simply because I won't be reviewing anything from friends. If I feel like I can't write an honest review of a band due to a conflict of interest, there won't be one (unless I can find an impartial guest writer to contribute a review). No nepotism, thanks.

If I feel like I have something genuine to offer/criticise through a live review, I have no qualms of writing these thoughts down and publishing them. But, if I skip over your band completely in a live review, its probably because I like you enough already and don't want to feel guilty for writing about my friends in the public eye. Sorry for being overly cautious. I might end up reverting this back to another informal, transparently biased blog, but we'll see how it goes.

This doesn't mean I'm giving up my boner for local music and/or certain bands. I am not adverse to featuring music, videos, previews, etc here from bands I feel conflicted about otherwise reviewing.

The plan for Noise, Etc. in 2011 is to feature much more video content (starting with buying a video camera ~~in the next two weeks...~~ soon), so it can serve as a space to both document and comment on the contemporary Hobart music scene. Plus, promoting local music is a given, starting with a free digital compilation in ~~the coming months~~ probably November or December.

I'll endeavour to publish more interviews and articles this year, too. If you're in a band and are releasing an album, touring, or just plain wanna shoot the breeze, get in touch: alexanderbennetts@gmail.com

For up to date news and gig info, you can now follow Noise, Etc. on both Facebook and Twitter.

Oh, and if you hadn't already noticed, yeah, I've shortened the name and given it a proper URL. The old URL will still link back here, so all is good.

Thanks.

Angel Eyes / Drunk Elk / Poor People @ Alley Cat, 5th March

2011-03-06T17:50:00.005+11:00

Videos of a show last night (5th March 2011) at the Alley Cat Bar with Angel Eyes, Drunk Elk and Poor People:

Apologies for the poor quality sound/video. The show was good, my highlight was Angel Eyes' set [edit: the Angel Eyes cassette was sold out at the show, but is now available to purchase digitally. Wonderful]. I think in a few months time I might actually invest in a proper video camera to film bands, a la Eternal Soundcheck. If anyone has any knowledge about video cameras / buying video cameras, please get in touch.

I filmed one other Drunk Elk song (the already filmed The Red River) and one other Poor People song. If anyone wants these uploaded, please ask.

&c.

(As a side note, I do realise I never finished documenting the Hobart releases of 2010. It'll still happen, I've been busy. Hoping to pick things up with this blog soon...)

Hobart Mixtape #1

2011-02-01T18:08:00.007+11:00

NoiseEtc Hobart Mix #1 by Noise Etc

Here, for you and your friends, is the first ever Noise, Etc. Hobart mixtape, a collection of songs from 11 Hobart bands and artists for your listening pleasure. The intention of this online mix is to promote both Hobart music in general, and secondly promote bands who have particular gigs already lined up. Try-before-you-go-out-to-see-live, if you will.

1) Tree - 80s Star
2) myblackson - Sorewar (Live)
3) Tiger Choir - Young Loving
4) Paint Your Golden Face – Poppies
5) Transcription of Organ Music – Eye for an Eye
6) Mess O Reds – Death Proof
7) Drunk Elk – Some Grace
8) Bears – Blind Me (In Colours)
9) Manchester Mourning – Token
10) Ivy St. – Talk To Strangers
11) oceans – 03

The mix is currently unavailable for download, but available for streaming. Feel free to ask for a CD burn of this mix w/ artwork, with the clause being that I'll only give it to you at a live music show in Hobart. (What a trickster.) Each song has been marked on the player if you want to skip to any particular track.

If you enjoy any of the music, I encourage you to take it upon yourself to either watch some of these bands perform live or buy a CD/record from them (either by contacting the band themselves, in store at TommyGun Records in Hobart (102 Elizabeth Street), or online where available. If you’re unsure, feel free to ask me).

Hobart music releases of 2010 - Part One

2011-01-10T13:32:00.004+11:00

It's a new year, or so I've been told, and that can only mean one thing: lists. So many fucking lists. Adding another one to the pile, here's mine.

But rather than attempting to tier my favourite Hobart music of the past year, I've decided to just make an easy reference list of Hobart music that was released in 2010. No subjectivity, no balls, whatever. This'll do.

Part One will cover January until the end of June, and will be presented in a hopefully correct chronological order. Every attempt has been made to include album art and internet links. If I'm missing any Hobart releases (and I have, since I don't follow everything), please leave a comment and I'll fix it up.

---

Compiled by Julian Teakle

Community: A Compilation of Hobart Music
(External review)

The Native Cats

Catspaw / Lemon Juice 7"
(External review)

The Trolls
Little Boy Steven
(Available for free download)

Bad Luck Charms
Live at the Brisbane Hotel

(External review)

The Wizar'd

Pathways Into Darkness

Rentboy
Nocturnal Emissions

Drunk Elk
Pieces Of People We Have Known
(Review)

Paint Your Golden Face

Paint Your Golden Face
(Review)

Bears
Boardwalk Sampler
(Available for free download)

Powerchild
Dirge (EP)

Ivy St.
Oh Their Faces / Talk To Strangers 7"

Ride The Tiger
Ambush

Gutter Parties
Mixtape Volume 1
(Available for listening)

Complied by Jordan Marson / 6_a
Three Minutes In A Car Park
(Review)

Sam Upton & The Pollywaffles
We Make No Apology

---

Many of these records are available from Tommygun Records in Hobart, which is located at 102 Elizabeth Street. Some of the releases are obtainable directly from the bands or artists.

Please tell me anything I've missed from the first half of the year, or link to images for the album covers I'm missing. Part Two will appear sooner or later.

Words with: Kisses Buh-Byeee

2010-11-23T20:01:00.002+11:00

Kisses Buh-Byeee was a low-key duo made of Samuel Acres and Tony Reade, existing in Melbourne half a decade ago. Made from cold synthesisers, minimal drum machines and Tony's downcast lyrics/vocals, Samuel has recently decided to let loose the sole Kisses Buh-Byeee album as a free digital download on the internet. Violence is that album - a four year old lost treasure, now finally finding its place on scattered Australian iPods.

I recently had a small chat with Samuel Acres, who most probably know as the synth third of the original Drunk Elk line-up/album.

What an who was Kisses Buh-Byeee?

Sam Acres: Kisses Buh-Byee was 2 jerks in a slump. I'd met Tony through a mutual friend and we just got on real well. We both liked synths and drum machines, Prince, Madonna, Rap Music etc. We both also liked weed quite a bit, so we'd get just a little bit high and turn on some gear and improvise songs about BMX's, having a Lego girlfriend/boyfriend, Nightrider, stealing Sunkist from the local Chicken Shop, Pizza and KFC--just stupid shit.

That's what it was to start with, but after we'd kinda of got over that we thought about making a proper Album. We figured we knew enough about Pop music... and we both really dig that strange overt quality that synth sounds have. There's just something about really simple synth sounds that I dunno, seems almost sexual. And if you play certain melodies with those sounds, it kind of rubs you a weird way. Or something.

This dude, Digital Primate, dug my earlier Hip-Hop stuff--I did a remix for this track of his, "My Bush"--and was interested in peeping anything else I made, so we ended up signing a deal with his label maybe 2007 sometime. I think it was Turntable Spoilsports. Nothing happened, and I think there was--but don't quote me on this--some kind of 2 year rights thing. I Dunno. Little foggy. So jack happened.

When & where did you record "Violence"?

SA: Hmmn... The first song we started was Danger, and we did that in a dive-arse flat I was kind of scamming in North Fitzroy around early 2006. Then all the production stuff was done later at ForePaw in Northcote when I moved there sometime.

We also worked on It's No Use, and Reciprocate there, and a couple others that we junked. This was all in MIDI, so we'd write a song, then later once the writing part was finished I'd do what I always used to call "sound" the song. [There were] two different processes. The writing of the song, and later the "sounding" of the song. So I/we really had to have some idea of what the final sound was going to be like, because most of it was recorded by playing back the basic MIDI tracks though speakers or guitar amps in either the stair-well, or the front room at ForePaw; or by recording stuff onto cassette and then back and forth a heap of times to it really degraded. A whole bunch of other ways too.

So basically all the production stuff was done there (ForePaw). When I moved I'm not entirely sure. The whole thing took just under a year to make. Start to finish.

Was the original plan to physically release "Violence" as a tape? (I only ask this due to the cassette-shaped artwork included with the digital release...)

SA: Not really - we just wanted to make a whole album, one that you listen to start to finish. Not just 10 songs, but 10 related songs. Sum of the parts, etc. We never really thought about a format for it, I don't think we could think that far ahead. Maybe burn a few CD-R's for friends, but after the deal-thing collapsed...

We knew that this was basically going to be a total studio album, not able to be played live. We did play live at St. Jeromes once and that was a fucking nightmare, technically - also, a cab driver almost jacked all our gear.

Actually, the image that comes with the album is just something that Tony drew on a whim. I still had it laying about so I scanned it and hey presto.

Was this a break-up record? It feels cold, both lyrically and musically.

SA: Tony never told me what any of the lyrics were about, and I don't think he ever will. Probably, though. I asked [him] a whole bunch.

What other projects have you been associated with?

SA: I produced a weird hip-hop project called Dead Electric, the Drunk Elk album, The Vivids album, and in the pipes is the Moe Grizzly album, which is like 96% done. At the start of this year I did the sound design for Superfad's entry for some design festival. Plus, a couple other SoundArt jags in Melbourne, [and I] also worked with Sean from Chrome Dome on a thing called "Like Totally Cosmic"

Extra note: Tony has been involved with Double Rape Fantasy, a project which deliberately limits the beat-making to 5 minutes, and then a further 5 for the arrangement of the track.

VIOLENCE by Kisses Buh-Byeee

You can listen to the album in the Soundcloud player above, or download the entire record for free here.

&c.

Review: Clones and Clones - Hobart+Melbourne (Compilation)

2010-11-08T19:06:00.001+11:00

Over the past year, there has been a surge in the documentation of Hobart music.

Whether it is with the intention of exposing local artists or the making of an archival

artefact, recent compilations such as Community, Melodica, Three Minutes In A Carpark and the annual (but still mostly irrelevant) Amplified have all more or less focused on particular genres or aspects of the Hobart music scene. Community featured the cusp of an indie-rock/pop underground, Melodica had folk, Three Minutes In A Carpark with noise music, and Amplified with 'commercially viable/commercially produced' songs.

The first release from local blog/label Clones and Clones bucks this trend, not through an attempt at covering different genres (as all of these tracks could easily slip into another Community), but through its pairing of Hobart artists with Melbourne artists. It's a cross-city compilation that mixes tracks from five Hobart bands alongside songs from five Melbourne groups. While Hobart + Melbourne puts the two cities shoulder-to-shoulder, it is less of a statement on the relationship between two music scenes and more a group of bands who share either social ties or live bills.

Hobart + Melbourne kicks off strongly with a high-quality triplet of songs, beginning with East Brunswick All Girls Choir’s wonderfully structured “Serralves”. Taken from their debut EP, it begins as a folk croon before dropping the vocals and stretching into a noisy phase of increasing tension, inundated with guitar feedback. Finally it explodes, as a powerful rock version the first section merely outlined.

Following the same folk thread that traced “Serralves”, Transcription of Organ Music contribute “A Farmer’s Work Is Never Done”, a new song in the same vein as their Community-endnote “Eye For An Eye”. Starting small with soft guitar strumming and a minor percussive background, it slowly bellows into the full Transcription band (featuring piano highlights), revealing a track that is neither pushy nor immediately gratifying. Damon Bird’s vocals are (still) something to be marvelled at.

The triple-treat ends with the compilation-exclusive “Eye Sore”, one of the most melodic Moe Grizzly tracks to date. I’ve probably bored you already with excessive adjectives, so I’ll keep this one simple - it’s pretty brilliant. Moe Grizzly are normally great, but this is song is fucking great. Scuzz/fuzz/anti-buzz blues rock, at its park, with the super hazy electric guitar playing off against a high-end bass hook.

After this sublime folk/fuzz/folk/fuzz threesome, the Native Cats throw in “I’ve Been Replaced”, a largely uninteresting pop offcut from either their debut Always On or their as-yet unreleased second offering. The bass line is repeated, the chorus is repeated, the drum machine is repeated ad nauseum – it’s a repetitive song, incessantly so. While many of their album tracks feature repetition, it was never so bluntly tedious. If it catches you off guard, you might get away with calling it ‘memorable’, but even then it’s too simple for its own good. While some of this boredom could be glazed over if the lyrics – a core part of the bands appeal – were up to scratch, even those are throwaway leftovers, and just used to propel the repetition. And then it’s back to Melbourne’s [via Hobart] Witch Hats for some more noisy rock music.

The rest of the music that follows is enjoyable, with Teeth and Tongue’s “Sad Sun” and The Stabs’ “Slow Down” being two later highlights.

While normally I wouldn’t feel so compelled to write about an album in track order - since it feels too list-y and smacks of cookie-cutter reviewing – I have done just that here [what, writing in track-order, or a cookie-cut review?]. Here, where both differing localities and differing genre attempts to sit beside each other, analysing the sequencing seems vaguely appropriate. While the compilation features three less abrasive pop tracks (the Native Cats, Pikelet, Paint Your Golden Face), it’s only the previously mentioned Native Cats song that sticks out like a sore thumb. Whereas Paint Your Golden Face’s inclusion (taken from their self-titled album) sounds out-of-context and tacked-on at the closing of the compilation, it isn’t a great detriment to the overarching feel of the collection; nor is Pikelet’s exclusive “Man Hat” as a mid-sequence breather. Everything else flows freely.

As a physical document of time and place(s), Hobart + Melbourne comes packaged with two pieces of commissioned work to represent each city. One, an essay, the other, a drawing. “Hobart” by Andrew Harper is the essay half, and is more of a retrospective of the previous twenty years in Hobart music, rather than a tell-all of contemporary Hobart music culture. Presented on a nice semi-translucent stock, I can imagine it’ll be reread every once in a while down the line. I mean, it’s available to read via the Clones website already, but who wants to read music scribblings on the internet?

I don’t know how accurate Steph Hughes’ hand-drawn map of Melbourne is, which happens to be the second included work, but I’d still take it with me on my next journey to Melbourne. If it actually took me where I wanted to go – great! Failing that, it could be useful for both its entertainment value and the mini cultural tidbits it offers.

Hobart + Melbourne, a collective representation of two neighbouring scenes, favours accessibility over attempting to make any particular statements on the relationship between two cities. It notes that the CD is only ‘the briefest of introductions to each city,’ and prompts you to delve further into the respective scenes. As such, it could be seen as a point of initiation for many people – and yes, if that all it intends to do, it does it well. Apart from the Native Cats’ track being a blight on their own (usually good) work, Hobart + Melbourne is an enjoyable compilation. It is not, however, particularly reflective of any aesthetic or creative bridge between Bass Strait, merely a social one. It doesn’t address the mythical ‘exodus’ of Hobart youth to Melbourne, nor any particular kind of point-of-shared-interest for the two cities; and instead relies on two pieces of commissioned work to delve into these ideas of Hobart/Melbourne culture. It’s a shame, then, that both the essay and the drawing are created from the mindset of each respective city – it’s Andrew Harper’s Hobart and Steph Hughes’ Melbourne, but never Clones and Clones’ Hobart and Melbourne.

At least the music’s pretty great.

&c.

Review: Three Minutes In A Carpark (Compilation)

2010-10-11T16:10:00.002+11:00

Curated by Jordan Marson (Paint Your Golden Face / Hobart + Music = Yeah! / oceans), Three Minutes In A Carpark is as much a personal project as it is a celebration of music being at ease as ‘art’. Or, a celebration of art being at ease as ‘music’. Either way you slice it, Three Minutes In A Carpark is the result of one’s acceptance of the music/art paradigm as little more than an imaginary line of thought.

Presented by/in association with Hobart artist run initiative Six_a, Three Minutes In A Carpark is an exploration of mostly Australian sound art and noise music. Tbe compilation is made up of mostly unreleased and live tracks, which is an important element in a compilation in maintaining both identity and relevancy. Particularly in a tight-knit music community such as Hobart, new and exclusive material from existing artists is vital. Three Minutes In A Carpark is a consistent listen, even as it spans rock music (Moe Grizzly – Stark Shake); beautiful noise (Tom Hall – We Stand Between Roots Below); improvised music (Soundtracks Will Dissolve – Excerpt); and almost non-existent ambiance (mumblespeak – Points of Light).
The CD begins with the aforementioned Tom Hall track, which is an entry into an electronic sound journal of someone who’s come to peace with his surroundings. It’s a subtle entrance to the compilation, at first pronouncing the possible beauty of noise before revealing the crunching sound of The Love In or Moe Grizzly.

‘Dirge’, the only currently recorded & released document from The Breeze, is easily one of the CDs highlights. Though it follows a far more traditional use of instruments compared to most of the compilation, it is undeniably an aural delight. A pop song, a rock song, a noise song, it doesn’t really matter; it’s one of the best.

Hobart local Michael Valentine contributes ‘Bleh’ under his The Love In moniker, and it could very well be his best solo work as of yet. Another unreleased song, it is much harsher than any of Valentine’s recent output, and similarly straddles the line between noise and conventional song writing, due to its abstract and loose nature.

Marson’s own oceans outfit contributes ‘untitled 6’, which here is a symbol of his own personal gain from Six_a and its hosted works. An attempt to understand (and evoke) the art of dissonance, ‘untitled 6’ is a whitewash of premeditated feedback, scribbled over the top of a repeating, but almost soothing, wail.

The linear notes reveal us the story of why this compilation exists. Marson explains his previous ignorance of the art world, and his evolution of this ignorance into exciting acceptance, which has come about mainly through his association with Six_a. Back-story is an important aspect of a successful compilation, and with that in mind, here is a collection of songs that represent one’s engagement with the idea that music is art, and vice versa. The only catch is, these songs aren’t necessarily for the compiler himself, and are as much for the audience.

The intention of Three Minutes In A Carpark, I suspect then, is to bring others into a similar realisation of this music/art paradigm. It exists as much to provoke thought and encourage exploration as it does to satisfy existing fans of the included worlds. On the whole it isn’t a mind-blowing CD, but it never claims to be. Saying that, if you’ve yet to dip your toe into these murky noise/art waters, you may just have your foot blown off.

&c.

N&W&T&S, now in shortform / New design

2010-10-11T14:32:00.001+11:00

Noise & Words & Things & Shit has recently joined Twitter, under the guise of NoiseEtc, allowing for short and punctual impressions, updates, notices, announcements and 140-character reviews of Hobart music live shows and records.

If you're a Twit yourself, follow @NosieEtc for all the up-to-date meanderings you could (not) want. If you've never used Twitter in your life, feel free to watch the updates stroll by on the sidelines of this very blog in the new Micro Updates section in the top-left of the side panel.

In addition to N&W&T&S catching up with the online realm, it has received a humble design makeover. Criss-crossy, you can see it for yourself. If the orange is too glare-y, e-mail me some apples in disgust.

I have a few more impressions about This Is Not Art 2010 hiding away across various hard drives, so please feel free to ask here/twitter/in person if you still want those. It was ace, some of my favourite live shows were put on by 10,000 Free Men & Their Families, Songs, Bare Grillz, Horse Macgyver and Scattered Order. Hopefully I'll return in 2011 with more substantial offerings.

THIS IS NOT ART - Friday 1st October

2010-10-03T17:46:00.003+11:00

THIS IS NOT ART - Friday / NYWF Panels:-

Waking from my slumber as the sun rose at half past five, freezing in the chill and subsequently putting on more clothes and falling back asleep, until finally waking once more a few hours later coated in my own sweat - oh, the luxuries of sleeping in a tent! Rise, change, clean, eat, prepare, move out, buy sunglasses, make way to event one; and TINA Day 2 was ready for a proper start. You know, the kind of start that values intelligent discussion over sweaty situations. Unless we can create a sweaty/intelligent 2-hit combo for early morning TINA 2011, that is. Library Athletics, anyone?

Critical Animals, the self-criticising (yet not-quite-self-loathing) arm of TINA held a housewarming party to give Friday a jovial start, but I decided to be fashionably late, hence buying those sunglasses. I arrived in time for the majority of the first panel of the day, “Critiquing Criticism: I Can’t Believe It’s Not Better”. The topic of criticism and the critic came up a few times across several panels throughout days 2 and 3 of TINA (I’m actually from the future, don’t tell anyone), so as the introduction to all panels to come, it was quite relevant. The panel discussion focused around various mediums of criticism, but I mainly picked up on that of music criticism, particularly the idea that reviews and music criticism can be viewed as two separate entities. Are they? Of course, a review can (and should) encompass criticism and under that thought they might be considered one in the same, but if a review is designed for a particular audience in mind (fans of the artist, people who have never heard of the artist, musicians, other writers), does it lack an integral element of criticism which occurs from writing without constraint of ‘audience’ or the demographic of your publication?

I quickly contemplated these questions before doing a runner (a fashionable runner in my Dunlop Volleys) to dig into the second half of “Ethical Magazine Making“. This panel discussed a variety of ethical issues surrounding writers and publishers, one of these topics asking the panel members (who were mostly magazine editors) about pay parity across different forms of writing. In this case, the panel members spoke of instances where poetry was paid at about half the rate of longform article writing (both fiction and non-fiction). Does this devalue poetry in comparison to article writing? Loaded questions are my favourite kind of questions.

These topics segued into the next panel “What are you Worth?”, discussing what freelance writers should charge for their work, alongside the topics of internships and contracts. While no consensus was reached upon what amount freelancers should charge for their work (though, ‘as much as you can get away with’ was popular), the subject that an increasing number of (young) writers are writing for free became a hot topic. The idea that if too many writers are writing for free, this can indicate to publications that writers don’t need to be valued or paid well if there are younger writers who are willing to write for free, simply to get published. The main trouble with this is that young, and particularly unexperienced, writers still require a way to gain this experience and build a portfolio, so resorting to writing for free is usually a necessity.

At the town hall, the satisfying “Whats Published?” seemingly tried to legitimise blogging as a relevant form of writing, and to a lesser extent, publishing. The topic swayed between the differences of a publisher/company-created ‘authority’ and a (perhaps undetermined) authority of bloggers. The issue was of trust - how can readers trust a blogger to be honest, and clear of agenda? It made me think of an editorial question raised on the international music website Tiny Mix Tapes, which tried to ignite discussion around the topic of ‘are music labels established by music-blogs ethical’; and their validity if conflict of interest issues hover over both their work as a blog and a music label.

So what‘s with this URL hotlinking? Essentially, an in-joke: it‘s a subtle and satirical swipe at a particular discussion that occurred at this panel. This heated debate between audience member(s) and panel member(s) was centered around the idea of monetising blogs, but particularly around the subject of utilising paid weblinks to link back to brand websites. Personally, I feel it cheapens both the blog and its content, and liken it to paid product placement in films. If we’re trying to take our art seriously, then it is counterproductive to present our output as merely fodder for marketing and innocuous advertising - especially advertising that isn’t disclosed. It can damage the trust of both the blogger and the outlet, and hence I can’t see N&W&T&S ever utilising such a model, even if it were to bring in some financial help. If bloggers are trying to legitimise their format, undisclosed advertising littered throughout their work can only be harmful to the medium as a whole. It was certainly the most interesting debate of the day.

Lunch, networking, writing, relaxing; it was time for the Friday TINA Showcase gig at the Cambridge Hotel. It was pretty good, leaning towards experimental and electronic music, and finishing with some absolute party music with breakcore artist Jason Forrest. Look out for some proper coverage of the show on N&W&T&S later in the week.

&c.

THIS IS NOT ART - Thursday 30th September

2010-10-02T10:51:00.003+10:00

THIS IS NOT ART: Thursday / 8bitpeoples Chiptune Showcase:-

This Is Not Art is an annual Newcastle arts festival umbrella, encapsulating five separate festivals in National Young Writers Festival, Sound Summit, Electrofringe, Crack Theatre Festival and Critical Animals. This year, I’ve been lucky enough to be able to attend and for the next half-week, N&W&T&S is transforming into a cult(ural) journal surmising each day and night. (Disclaimer: One of the co-directors of NYWF paid for me to come up out of her own pocket, after losing my zine in Launceston/wanting more Tasmanians to attend the festival.)

After a plane to Sydney and a train to Newcastle, I found my way to Staple Manor for the National Young Writers Festival Artist Meet and Greet, which involved (attempting) to meet and greet some creative folk. Surprise surprise! Staple Manor, a central hideout for NYWF activities, was both spacious and welcoming with literary quips claiming the wall space. Greeted and meeted, I then found my way to Tent City (taking a short/longcut through a more suburban area), setting up camp and setting off again to the Gentlemen’s Leagues Club for the Electrofringe-aligned 8bitpeoples Showcase.

8bitpeoples is a chiptune netlabel which organises an annual chip-extravaganza in the Blip Festival, with the first festival having been filmed for the documentary Reformat the Planet. For the uninitiated, chiptune is a style of electronic music created from modified [early] video game consoles, like Nintendo Game Boys and other systems; or otherwise attempts to emulate the sounds and tones of these video gaming antiques. This showcase event pitched some of Australia's finest chiptune artists alongside two founders of the 8bitpeoples label, plus a UK duo who have been released under the 8bitpeoples label.

Kicking off with Brisbane artist Dot.AY (Alex Yabsley), the night was an energetic affair but lacked in crowd numbers. Dot.AY played with a Game Boy and mixers/laptops, swinging between ‘classic’ techno chip music and darker vocal numbers - and while I enjoyed these latter songs, I’m not sure if Yabsley’s vocals/lyrics are quite fitting. He broke out a Guitar Hero Wiitar for some physical activity in the lsat few numbers, manipulating his songs in a similar fashion to Zeal. Melbourne’s Derris-Kharlan took it up a notch with a real electric guitar, playing along to his laptop backing. Chiprock, really. It felt like playing the arcade shooter Lords of Thunder all over again, with its amazing 90’s-butt-rock sound tracking blasting away.

10,000 Freemen and Their Families was easily a highlight of the night. Over the top of his short/sharp/loud Game Boy songs, Tom Gilmore shouted into his microphone. It was the most intense and exciting chiptune performance I have ever experienced, but not just because of the pure volume. Gilmore is more than just a musician, he’s a damn good performer, handling the stage far better than most artists ever could hope to. Equally though, he’s unexpectedly funny, extending from his natural charisma and on-stage antics, which for this show included performing at the top of a PA stack, dousing himself in beer, and inviting a crowd member to rap over his music. Yep, all was good in the world.

Victorian C-trix made himself known with more excellent Game Boy tunes, excelling in creating a diverse setlist of both optimistic and edgier electronic music. Popular New York artist Bit.Shifter followed up with his immaculately planned techno-pop, mixing between two Game Boys to create a perfectly flowing, non-stop dance party. The technicality of his compositions felt more clinical and perhaps almost mechanical (‘that’s the joke‘) in song writing - it was almost as if you could predict the movement of each track. Fellow 8bitperson Nullsleep flipped the switch on the poptimism, and wound out his signature dark chiptune instead. Hard hitting, fast, and just slightly evil GB beats, it made for a great example as to the breadth of instrumental (and traditional) chip music. Saying that, I thought he overused the start/stop/start breaks technique to edge on the small audience to dance.

Finishing off the night was Henry Homesweet, a British duo who subverted the low-bit Game Boy norm and instead wielded two Game Boy Advance consoles. The choice of instrument was almost indicative of the desired style, which in this case was upbeat, light and high-pitched pop music. It could have almost sat next to any other club music in a DJ set and not have particularly stood out as ‘chiptune’ track - rather, minimal electronic dance songs. I purchased a few CDs and a DVD from the event, which outside of a slightly disappointing turnout, was an enthusiastic and enjoyable commemoration of chiptune in Australia.

Finding my way back to Tent City, that was the end of the night/early morning. All the chiptune performers were extremely friendly and welcoming, dispelling the notion that elitism and clique could be part of this scene; elitism and clique being two elements that can constrict niche music scenes from ever growing or expanding.

&c

(Images added.)

Hobart + Music = Yeah! #3 -- Band by band

2010-09-27T18:18:00.002+10:00

Spoiler: This whole day was pretty fucking fantastic.

Sunday 5th of September – a day usually reserved for hangovers, sleeping in, and church-going (perhaps all of the above, if you’re so inclined) – was one big party, thanks to the third Hobart + Music = Yeah! festival. Although the two previous events were both day long jaunts at a single venue (firstly, the Fern Tree Community Hall and secondly, The Venue in Salamanca), H+M=Y! version three was scattered across three house venues, plus a fourth finale show at the Brisbane Hotel concluding with touring US imports Xiu Xiu.

Catching a hired 12-seater, which invariably became known as “The Party Bus”, the little-van-that-could stopped outside the first house; an inviting Sandy Bay residency that sported cute/deadly cardboard artwork by Tom O’Hern and Rob O’Connor.

Firstly, The Breeze rocked some socks. They rarely play live, so this was a definite treat and a nice way to kick off the day. The Breeze are a guitar/guitar/guitar (bass) trio, who layer each instrument to create naturally-moving songs/soundscapes. Blink (of A Low Hum) said they sounded exactly like Dunedin bands from the 1980’s (i.e. the ‘jangly guitar’ sound), but here, now, live, Hobart circa 2010, they’re one of a kind.

Matt Niedra, sound-artist/synth-maker played a short and singular performance in the laundry next. I managed to squeeze inside the tiny room beside a few others and watched his set for a good five minutes. It was full of noise, drone, subtle movement – a set mostly of sound on the harsher end of the spectrum. Afterwards he said he felt so ‘out of control’ that he had to stop; but as a listener every tweak, squeal, buzz and spike sounded purposed and pre-thought. [Photo of his home made music box here.]

From the laundry to the hallway, the magnificent The Anorexic Olsen Twin played goon-bag tales about violins + acoustic guitars + pianos. It was suitably messy for the content, and is some of the most original Tasmanian music this side of the Tasman/Strait (see: The Breeze/Ivy St.). The Chris Burrows Show is always a pleasure to be in attendance of, and this set was no exception.

Melbourne three-piece Tantrums were an electronics-based unit, augmented by a single electric guitar. Kicking off with the New Weird Australia-featured ‘Beat The Happy Pavement’, their music is the kind of stuff that might (abnormally) excite you as a 15 year old, coming off of Kid A/Amnesiac and seeking to pop your electronic music cherry. I don’t think anyone in the audience would have identified themselves with such a demographic, unfortunately. One of their newer tracks, currently named after some consumer store cola, was arguably their best and most interesting (what a useless sentence this is.)

Venue Two was a smaller house in South Hobart, and although the lounge area was a little too small for the whole audience, it provided a nice physical playground for the second act. Adding some beers to the communal fridge (or at least, it became communal), I followed the text-art of Ben Walter/Thomas Hyland that had been pasted around the walls until we were called to the lounge for act one.

One man band Zeal restarted proceedings with some Guitar Hero bleep boop. His modified plastic video-game instrument acted as his sample pad, allowing for a strangely physical performance for the mostly electronic music. Every deliberate flick of the toy guitar resulted in real-time shifts of pitch, tempo, delay, etc. Although presented well, the music itself sounded a little too shallow for its own good - sometimes fun, sometimes boring. He finished with a song on an actual electric guitar, probably for effect.

Spheres could be best described as looped, delayed, altered, pulled, and shifted guitar art. It was slow and drawn out, layered to hell/heaven and back. With equipment scattered across different rooms, Mr Spheres slowly made his piece and wandered around the house, adjusting separate pedals and returning to his guitar. It was one the few performances of the day that could have been easily placed in any contemporary arts space. This art space just happened to be a small South Hobart home.

Next, we were siphoned off outside to a poorly-lit and slightly dusty garage to find North American (and H+M=Y! #1 performer in Land What Land) A. Parks filling in for the scheduled (but M.I.A.) Gutter Parties. The space – and set – was both eerily silent and silently crowded; mostly soft, deft and crawling, but eventually becoming scarily prominent and almost shrill. Either way, everyone was attentive, just as it should be for such a set.

Tiger Choir rounded out Venue Two with their electronic indie-pop a la cart. The cramped room made it difficult for most to dance along, and one of the two video cameras that had been following each set through the day was situated in a corner behind the band. Although it might be due to my familiarity, the band’s earlier EP material (‘Dancer’, ‘Shotgun’, ‘Young Living’) seemed more interesting than their newer and unreleased work. It was a longer set compared to the previous few, but a few of the songs seemed a little rusty. Zeal joined for one song on keys.

Back on board the party bus, direct to West Hobart, we arrived at an open and comfortable mini-mansion – sometimes known as The House On The Hill, other times as Birdtree Manor, and on this particularly Sunday, mostly just ‘the fucking cool huge house’. A projector splashed green/blue/grey graphics onto an opposing wall in the band room (lounge room?) and all was well in the world. An adjoining sunroom gave way to a spill-over audience. The only criticism that could be swayed Venue Three’s way is the sole performance space, which gave way to delayed sets between bands and a slightly late evening show. No huge issue, though.

Photo by Duncan Marshall

The Native Cats sowed the first seed for Venue Three. Though vocalist Peter Escott was sick, leading to this showing being a bit off (sometimes, literally), a set-list of mostly fresh songs from their unreleased second album gave it some necessary interest. Julian Teakle kept the minimal-pop steady on bass. It’s the weakest I’ve seen the Cats, but that isn’t to say that they were weak by any means.

Damon Bird played a solo set as Transcription of Organ Music, and while he too was somewhat sickly, he hid it well. It was his fourth show in as many days and was well received. I saw Transcriptions of Organ Music as a four piece two days earlier, which was both a) noisier, and b) fuller in sound. Solo, though, the songs were somewhat fragile and even subtle; proving to be a calm before the storm of the next act. The crooning hit ‘Eye For An Eye’ (‘the hit’ I explained to Blink on the day, as constituted by a compilation appearance an D-grade celebrity cover) finished off the set to well deserved applause.

Aktion Unit provided some much needed guitar abuse. The Melbourne noisemakers were almost cathartic after Transcription of Organ Music. It was never ear-cleansingly-loud, though. Unintelligible vocals, and subsequently some minimal percussion, added some structure to the atonal guitar/bass noise. It wasn’t short and sharp, nor was it overextended and laboured. Enveloped by the Aktion Unit Experience™, nothing else mattered for those ten or twenty minutes. It wasn’t a mind-blowing show, but it was definitely a little more than enjoyable.

Another Melbourne group (seeing a trend?) by the name of Parking Lot Experiments tied up Venue Three. And they wanted to party. Party party party party partypartypartyyyyyyyyy. They all seemed so happy, maybe even too happy. There was play-fighting on stage; the drummer couldn‘t sit still (so instead he stood); and the shared vocals/instrument swapping alluded to a democratic process of inclusiveness. Whether the Parking Lot Experiments overbearing happiness is seen as their charm or shtick, I can’t deny I had fun with their performance. And danced.

After more party bus antics, it was onwards to The Brisbane!

Due to momentary weariness, I didn’t really engage with either The Stabs or Drunk Elk, but if I had to make a statement about either, it’d be this: The Stabs didn’t play for nearly long enough (a result of the small audience, half of whom were probably still making their way from Venue Three), but what they did play was swampy, rocky and rolly music. The final song ended in some more guitar torture. Drunk Elk were Drunk Elk and played cover versions of Drunk Elk songs. What a cop out, I know.

Kind Winds immersed the front bar in some noisy, floppy-haired rock music. Or that’s what I took it as, regardless of its intentions. Apologies KW. Saying that, it was great noisy/floppy-haired rock music. ‘Invisible Brave’, the only Kind Winds song that I’d listened to prior (and in that case, it was a solo recording), came alive here in the five piece band setting.

For Xiu Xiu, H+M=Y! seemed like a phoned-in pit-stop show. Ultimately, the previous four bands could have capped it off at a fourth house show (too much?) and the day would have been just as good, if not better. They were more danceable than anticipated, but most of the interested audience sat on their bums for more than half the set (me included). Hobart, never change. A quick survey of the audience might have lead to some divided opinion: puzzled, dissatisfied faces, those who got exactly what they expected, and others who knew what they were in for and just weren’t impressed. I thought it was a decent, if a little sterile, performance. The rock star stylings of ‘hello city x’ / play each track without saying a word / ‘goodbye city x’ was a little out of place at the Brisbane Hotel.

---

Such a day as this is equally measured by the parts between each performance - meeting new people, the sober conversations, the beers, the drunken conversations, the musings, the unplanned fun - and personally, this day ranked pretty highly for all of these things. Props to the organisers (Jonathon McCarthy, Jordan Marson, Thom Hyland) for the great day: the use of private housing as music venues was successful in spite of any scepticisms that emerged before the event.

A wonderful musical day. Come next year if you missed this one.

Launceston + The White Box / N&W&T&S Zine

2010-09-02T23:24:00.001+10:00

Noise & Words & Things & Shit has been a little inactive recently. Apologies to the two and a half people that checked the site since the previous post. In the meanwhile, I travelled to Launceston for a pretty cool arts festival in Junction 2010, while at the same time exploring the Streets Alive urban art infestation (AKA, the 'let's cover the city in knitted cotton' festival.)

For the former, I mostly just chilled at a parish hall for a few days, taking part in the Make Space interactive event. Here, beside some wonderful comic artists, I set created a collaged (horrible) poster for tomorrow's Melodica show, drew a few (horrible) pictures and attempted to make a (horrible) tiny zine for this here drivel space. Unfortunately, I ended up creating a 12 page zine that has very little to do with the N&W&T&S blog. Not much in the way of news/reviews of Tasmanian music, mostly just those badly sketched drawings recreated to fit into a zine and a few unfunny one-liners/oddities scattered throughout. It does feature an interview, though, but it might be a bit too conceptual and follow the same daft humour. Either way, a few copies of Issue (n)One of the zine should arrive back in my hands sooner or later - the Launceston outer-suburbs bus timetable made sure I missed more than I'd have liked, so I didn't have the time to photocopy the zine myself. D.I.Y.? Uh...

As part of the Streets Alive art invasion, free performances by several local/interstate acts were staged in an (unused?) warehouse/shopfront space. Titled 'The White Box', the area featured a tiny square box in which solo acts could perform inside of, while video of the performance was projected on the outside of the box for spectators. I only managed to catch two performances though, and neither were cramped inside the little cube. Launceston locals Invisible Boy were the first of the two acts, who played that type of pop/rock/folk music you expect to hear from a band who cut its teeth/ears at Irish Murphy's. It's safe soft-rock with good intentions, and while the band brim with confidence, the song writing never reached for anything more interesting. The lyrics were cliche at best ('Grey Blue') and the lead guitar sounded like it belonged in a ten-piece band called Funkin' Awesome, who only play Wednesday nights at the local RSL - no disrespect to the local RSL intended. If you don't trust me, you can judge for yourself at this Saturday's One Fine Day festival of music/boredom at the Republic Bar.

Hobart indie-pop doo-wop rocket-box Billy Whims arrived (fashionably?) late to the white-coloured warehouse. Strumming/singing/slaying her way through the solo set, Bridget changed between wistfully playing the guitar and plink-plonking the tiny keyboard that could have been mistaken for (and might actually be) a toy. The pre-programmed backing tracks of said keyboard made for a new version of an old favourite, with the Community-endorsed 'So It Goes' featuring a tempo-altering hip-hop backing track. If you had never heard the song before, it might have sounded a little odd, but it transformed the tune into some of the most gleeful (and almost comic) three minutes I've had in the past few months. Bridget's voice conjures up such phrases as 'sugary sweet' and 'a melodic delight', but in her case, it is never sickly so. On record it is simple, soft and sweet; but when Bridget performs live and solo, it is one of only two instruments that occupy the same space at once. Consequently, the vocals take a bigger role in such a setting, and are treasured as much. The content of the songs (indie-pop meanderings about wilderness, nature, animals and so forth) work because of the voice.

Although the live mixing wasn't particularly good, the use of an alternative space as a venue was welcomed, and perhaps even commended. I have no clue regarding the number, variety and state of music venues in Launceston, but regardless of outside venues, I have my fingers crossed we'll see more art/music shows hosted at this particular space.

September happenings: H+M=Y & Amplified

2010-07-26T17:04:00.003+10:00

A few interesting events on the horizon.

On Sunday September 5th, happy go-lucky sunshine band Xiu Xiu are headlining the third annual Hobart + Music = Yeah festival, which this year is being held across four venues, from midday to midnight. The Stabs, Drunk Elk, Kind Winds and Chrysalis will be joining Xiu Xiu at the Brisbane Hotel for the finale of H+M=Y. It'll cost $20.

The other three pieces to H+M=Y #3 are at undisclosed venues, so you'll have to email hobartmusicyeah@hotmail.com to find out what they are. Cumbersome? A little; but it's assumingly necessary. The Breeze, The Anorexic Olsen Twin, Tantrums and Matt Niedra start off the day at the mystery-soaked Venue One, while locals Gutter Parties, Tiger Choir and Spheres join Zeal at Venue Two. Native Cats, Parking Lot Experiments, Transcription Of Organ Music and Aktion Unit will make you smile/dance/cry/bleed at Venue Three. Each of these shows is $5 donation. I'm secretly hoping for a drunken conga line to grow between each venue, from 'Chris Burrows' to 'everyone on their way to the Brisbane'.

Another annual Hobart occurrence, the Arts Tasmania sanctioned Amplified 2010 program features a bunch of shows, workshops and conferences to attend from 1st to 5th of September. Highlights seemingly include...

The performance/installation Sound to Light, which is an "exploration in collaboration and process through the combination of sonic and temporal practice," featuring Charles du Cane, Scot Cotterell, Matt Neidra, King of the Morning, PilotError, 313RGB, Joe Hamilton, Jason James, Andrew Harper and Pip Stafford. Sound to Light will be found at the Salamanca Arts Centre on Friday 3rd September, and cost $10.
Melodica at St Georges Hall in Battery Point, showing off Hobart indie-pop/folk music, with Transcription Of Organ Music, Alligator Creek, Alex Gouldthorpe, Billy Whims, The Steadfast Shepard and The Love In. It's also on Friday 3rd September for $5 at the door, which earns you a copy of a limited Melodica compilation. It is an all ages show.
A free album launch from garage-pop outfit Sole Stickers on the 1st at ~~your pop's garage~~ Irish Murphys.
Damage at the Brisbane Hotel, featuring a mix of metal, punk and hardcore bands, with DJs spinning said genres in-between acts. Machines of Indeterminate Origins, Taberah, Meticulous Despoilment, Resilient and MSI will be playing on Friday 3rd September for $12.
Let's Tear This Fucking State Apart at the Brisbane Hotel, which boasts 15 bands over several stages on the evening of Saturday 4th September. Bands playing are Woof Woof, Snert, The Anorexic Olsen Twin, Mess O' Reds, Phat Meegz, Gutter Parties, Tiger Choir, Acumen, Once Upon A Time In The West, Ride the Tiger, Transcription of Organ Music and Ham. There will also be some films playing, on the roof as far as I can tell. $20.

The full program can be found online at the Arts Tas website.

Live Review: Cloud Exchange @ Brisbane Hotel 11/07/10

2010-07-23T19:01:00.005+10:00

If you are searching for hotels in Brisbane, Queensland, please try Brisbane Hotels.

On the Sunday of 11th July 2010, Hobart's Brisbane Hotel fell into a hushed state as the first ever Cloud Exchange 'mini-festival' took place. Starting at 3 in the afternoon, this first instalment in what appears to be a recurring event adds a little extra touch to the Brisbane's line-up. Branded as a 'alt/softcore' event, candles littered the tables and cushions/pillows/rugs made up some seating in front of the stage. It was all awfully quaint, if you pardoned the greater pub environment.

Arriving after Ally Mok and The Steadfast Shepard had finished their sets, the next scheduled performance was set to be the unpolished guitar-folk of Alligator Creek. But for whatever reason, he simply never showed, creating the first hole in the Cloud Exchange line-up. This left me a little disappointed, since I enjoyed Alligator Creek the previous time I had seen him, and was looking forward to seeing how his music went down in a quiet setting. Instead, the organiser pushed forward the next musician and Anthony Rochester came in early to fill the gap.

Seeming a touch flustered with the inconvenience, Anthony had decided upon a set without a backing track, and played simply with his guitar. If a little too stripped back, these songs squarely focused on Anthony's lyrics, which often caused a smile or laugh (?!) due to their honest and dead-pan nature. I don't know if they were intended to be funny, but they ended up creating more than a few wry smiles. Anthony's personality certainly added to this; he played (and spoke) as if he was playing to a group of close friends in a backyard. He played honest, no bullshit pop music - very likeable. The majority of the audience were attentive, outside of a few bar dwelling conversations, which is to be expected at the Brisbane. A video of one of Anthony's songs is available to watch.

bunny filled out the stage, and played a meandering style of down-tempo acoustica. Although not particularly delicate music - the four piece made full use of each instrument - it never commanded attention, and simply sat there. 'Softcore' music, I suppose. Although many of the guests enjoyed this set quite a lot, it never hooked me, doubly so as the set extended to nearly an hour in length to make up for the missing performance earlier. To be fair, this could be partially due to the fact that a number of the references and historical characters went over my head (living up to my adolescence, I suppose), but the music never excited me as much as I had hoped. Judge for yourself by watching a video from the set.

The recently born LD Ansolom played a short and sweet set, which sounded like shoegaze-influenced alternative pop music. While similarly laidback as bunny, LD Ansolom were simply my cup of tea. Arguably, they are just more interesting, even in their primitive incarnation. A few months ago, as part of a mixtape trading club, I received a cassette from Andy Brazendale, the singer/guitarist (and whom I suspect is the creative lead) of LD Ansolom. This cassette is filled with bands that seem to be the obvious inception point for LD Ansolom - Bowery Electric, Yo La Tengo, Bedhead, Flying Saucer Attack, et al. While the international analogs are their, as far as I can tell, there is little similar to LD Ansolom in Tasmania. Whether this is representative of the sample size of Tasmanian music or the band in question, that's something else entirely. Either way, consider me intrigued.

The band finished with a cover of Billy Whims' Don't Go Down That Road, but only after inviting Bridget from Billy Whims to sing on stage for the song. It was pleasant.

With the next act, Transcription of Organ Music, having to pull out because of laryngitis, a second blank spot unfortunately appeared on the line-up. Billy Whims graciously played a short guitar-only set to fill in for the missing performance. I've been eager to see Billy Whims for a while, so this little addition was a personal pleasure. Her set was made up of half covers (including Grand Salvo, Postal Service) and half original pop songs. The impromptu set was greatly appreciated from both the crowd and the organiser, who filmed a few minutes.

Finally, the adequate Home Band ended the night. I had to leave halfway through their set, but I wasn't too fussed as they didn't illicit much at all in my mind. The band seemed energetic, and almost convinced me that they just wanted to have some fun, but I didn't particularly enjoy it. Parts of the instrumentation and song writing felt rather cheesy, which might be why I viewed the band as one that played simply for their own/their friends enjoyment.

The event as a whole, though, was enjoyable and succeeded in creating a relaxed atmosphere. It reminded me of last year's Melodica gigs, which were held in alternative venues such as a church hall, usually resulting in music sets where nothing but the performer could be heard. I only managed to attend one of these Melodica shows in 2009, but it was a highly relaxed experience; something that the Cloud Exchange was somewhat reminiscent of - the audience is there primarily for the music. Unlike Melodica, though, the Cloud Exchange was held at the Brisbane Hotel, which means the financial risk for the organisers involved is much less. While both approaches have their pros and cons (Melodica - all ages, ultra relaxed, soup & home made food, etc; Cloud Exchange - financial security, bar/alcohol, cooked meals from the Brisbane), the first Cloud Exchange was pretty successful in reaching its goals.

Cloud Exchange is set to continue, with another show planned for August 29th.

Manchester Mourning - Token

2010-07-15T14:26:00.016+10:00

Here is a song. It's by Hobart youngsters Manchester Mourning, and I do believe it is a fantastic pop track. They call it Token.

Manchester Mourning - Token by Noise, Etc.

Their first EP Duty Free and CD-R single David Jones can be picked up from live shows, from Tommygun Records in Hobart, or by contacting the band.

Manchester Mourning's debut album, Immediacy, will be released ~~this September through Rough Skies Records~~ on June 24 2011 at the Grand Poobah.

Alps of the World for $1 & Alps in Hobart for $0

2010-06-27T23:26:00.000+10:00

Globe-trotting New South Welshman Chris Hearn, better known as Alps, recently launched a new blog alongside an online store. To celebrate, Hearn is offering his second album, Alps of the World, for just $1 (with $2 postage, there is always a catch) until this Thursday.

Alps is visiting Hobart on the 28th of July to play at the Alley Cat alongside Zack Kouns and Drunk Elk. To celebreate, you are buying his second album, Alps of the World, for just $1 (still with $2 postage).

What a coincidence!

Details of the Hobart show can be found here. Just like the poster says, it starts at 8:00PM. Best part, it is totally free. $0! You don't even have to pay for postage this time.

Words with: Wendy in the Mountains and the Caves with the Slaves

2010-06-23T22:13:00.003+10:00

Wendy in the Mountains and the Caves with the Slaves were set to play their final gig at the Brisbane tomorrow night beside Kindwinds and Rentboy, but things happen, plans change, and Wendy won't be playing their final show tomorrow night (Thursday 24th June). Instead, they seem to be disappearing - from the live scene, at least. No farewell, no fireworks, just fade away.

Still, Wendy in the Mountains and the Caves with the Slaves have plans to record their music, sooner or later. Artefacts to bookmark their existence, beyond (unreliable?) memories and a few personal bootlegged tapes. (I shouldn't get too romantic - a fairly good quality live recording of the band is available for listening on Tassie Is Live.)

I spoke to Jesse Clank from the band last week, at a time that they were still on the bill for the Brisbane show:

NWTS: What was the impulse for the four of you to create Wendy? (Why these people? Just simply your friends or do they all share similar ideas?)

JC: Yeh, we are all friends and that certainly makes making music a lot easier. Especially as far as organization goes. But also as far as being able to communicate ideas goes - it's easier to do so with people that you tend to talk to anyway. The concept behind Wendy - which was always pretty nebulous - was one that I felt that Ben + Simon + Lisa shared. That I probably don't share with too many other people. I guess, you become friends with people for many reasons, but the main one is that you have some connection with them. And you make music with people for the same reason. So, the people that you can successfully make music with, are generally going to be people you are already friends with (or perhaps, people you would have been friends with regardless of making music with them). Of course this isn't always the case.

NWTS: What are your feelings/thoughts about this process [of recording an album], prior to preparing for it?

JC: Excitement, joy, etc. To be honest, it'll be nice just to work on something at our own (ridiculously slow) pace.

NWTS: Will the show on the 24th of June be the last live show for Wendy In The Mountains? Or do you plan to play live in the future for record launches etc?

JC: Well, I'm going to say that it's probably our last show ever. I'm not going to swear it, because it might not be and then I'd be a liar. I don't feel like playing with Wendy in front of an audience at all anymore, mainly because as I said above we work at a really slow pace, and playing gigs tends to mess with that. For example I had originally envisaged playing a completely new set every show we did. Things didn't turn out like that, and that's pretty disappointing, for me. But that's the kind of compromise you make when you set yourself arbitrary guidelines (like, for example, being ready to play a show in two weeks). Making music is one of the very few human endeavours where compromise is not only unnecessary, it is actually counterproductive. So anything that leads to compromise is a bad idea.

NWTS: The aesthetic/visual style for all Wendy related posters/paraphernalia is quite interesting - are these all found images?

JC: Anything I've had a hand in would have included found images, because I can't draw. I'm pretty sure there are some posters designed by Simon and Dave [from Drunk Elk] for gigs that we've played at that they would have illustrated, however.

NWTS: You recently participated in the first live show of the Hobart Improvisation Collective - how did this turn out, from your perspective?

JC: I thought it was pretty rubbish, to be honest. Too many strings.

---

The upcoming show features Kindwinds and Rentboy, and will be the second sighting for the aforementioned Hobart Improvisation Collective who are replacing Wendy. It's at the Brisbane Hotel, on the 24th of June - that's this Thursday. Tomorrow. By the time you've read this, it's probably already passed. It's only $5.

Live Review: 6_a Compilation Launch @ Brisbane Hotel 4/6/10

2010-06-08T23:02:00.004+10:00

To celebrate the launch of Three Minutes In A Carpark, a compilation collated by Jordan Marson featuring artists who have played at 6_a over the years, four different acts took to the stage (and floor) of the Brisbane Hotel. Noise artists Cycle and Chrysalis, both from the 6_a CD, started off the evening, followed by the first sighting of the Hobart Improvisation Collective and concluding with Melbourne's New Estate. Spoiler: it was great.

The set up for James Baker's set as Cycle was very modest: a laptop on a desk, with maybe an external controller. With this (versatile) equipment, Baker created slow-moving noise, where layers of contrasting frequencies seemingly sat beside each other so pleasantly. The set felt very gentle and never abrasive, even though it still felt very physical. Each sitting beer glass rattled alongside the extreme frequencies, becoming part of the performance as they shook. At times, there were subtle hints of melody, as if possible tangents sprouted from the core hum - yet, the sound never gave in. It continued along as the drawn out, beautiful noise. I'm glad I gave this piece my full attention.

Filmed a short (2 minute) video of Cycle's set. Might upload soon...

After the ethereal exercise of Cycle's set, Chrysalis took to the stage and seemingly continued on a similar ambient route, albeit with a touch more rhythm and industrial undercurrents. Chris Groves - another solo electronic/experimental artist - stood tall with his keyboard and various mixers/electronic gadgets, in what would be quite a visual performance. After initialising this wailing drone (droning wail?), Groves stepped down from the stage and handed out a piece of paper to each audience member. The double-sided A6 paper featured excerpts from two historical stories (one side lead to franklincase.org, the other johnnygosch.com), stories which are surrounded by 'controversial' topics such as human trafficking, child abuse and paedophilia. It is from these ideas that Groves formed this piece, titled Complicit - a track influenced from the fear, paranoia and shock that stems from the aforementioned storied subjects.

As the audience was lulled into a false sense of security by the ambient backing, the music felt non-invasive, looping as Groves stood fiddling at his desk. Then, unexpectedly, the keyboard received a thrashing tantamount to abuse, and the room was struck by a harsh stab of noise. This grabbed the attention of the inattentive in the room. The piece moved between shouted phrases and the abrasive keyboard slams, sometimes overlapping - it almost felt confronting, due in part to the visual nature of the shouting/slaming performance. This material stuck with me beyond the evening, thanks to the insight of the back story provided on the night. In a way, it evolved into after-the-fact art, spurred on by the 'further reading material' which helped the consumer piece the set together beyond the instance of the performance.

(Alternatively, maybe that is just a result of my inability to understand the music, as it occurred. Totally plausible, since I was so drawn into it and let my ears wander...)

As Chrysalis wound up, the third act began to scatter themselves all over the stage/floor of the Brisbane. This smattering of 'men with guitars' was the debut performance for the newly-established Hobart Improvisational Collective, a gang that comprised of Ben Crothers, Michael Valentine, Joshua Santospirito, Julian Teakle, Ben Mason, Matt Warren, Reggie Norris, Jesse Clark and Tim Panaretos. Whew - and that line-up was only for this one event!

In my absolute inexpert opinion, the musical experiment started out a little messy, perhaps even somewhat directionless. The introduction to the nearly half-hour Mickey and Trish sounded clumsy, with no sense of leadership. Guitars attempted to find their own space but ended up just drifting aimlessly, as if a separate entity entirely. Thankfully this didn't last long at all, and minutes later everything began to mesh - the piece gained traction and it all sounded far more coherent as a result. As it progressed, the bass and percussion played an increasingly centralised role (as you would expect...), and both excelled at keeping the piece firmly planted. As far as improvisation goes, this was successful, and enjoyable to boot.

For a final change of pace, Melbourne group New Estate played relaxed guitar pop songs, which was quite delightful. I'll cut to the chase and say that they were good - a band that fully lived up to my expectations. A few of the songs, particularly No Hedgehogs and Recovery were oh so melodic, and simply fun. The latter wound up with a swirling, almost cyclical guitar, which oozed hazy stoner rock. The final song Mary Jane took its spot as my favourite song (and as the best hazy-stoner rock song) quite easily. Such laid back pop/rock music is rather lacking in Hobart, especially combined with such fitting song writing. The EP became mine and I shuffled out the door...

&c.

Review: Repairs - Cassette EP and further tracks

2010-05-22T12:09:00.007+10:00

Released in 2009 by Captured Tracks, the debut release from Repairs follows a monotonal sound through a brief-but-enjoyable experience.

Launched as a cassette, and later put online for download (with an extra track, mind), this eponymous EP documents the foundation of Repairs. Droning keyboards, murmured vocals and repeated percussion is the order of the day on Repairs. Opening with ‘Lottery’, we hear a persistent drum pattern pave way for a fuzzy, unrefined organ; the almost caveman-like vocals eventually sitting on top, muted and disaffected. A similar vocal delivery is continued through the other tracks, regardless of the fact that Repairs operate with three singers – the vocals are treated on the same level, sonically, as the drums and the keyboards are. It makes me wonder differently this EP could have been if mixed with a general rock/pop mindset. No where near as interesting or mood-inducing, one would imagine.

Each track hovers around the 3 minute mark, making for a relatively short listen, but this fits the music of Repairs well. Nothing overstays its welcome. The bonus track from the downloadable form of the EP, ‘Glass Eyes’, is a repetitive and firmly structured song with almost hypnotic qualities.

Repairs leaves a far greater impression on the listener at increased volumes than a cursory listen would suggest. These are sonically-intriguing minimalist pop songs, which benefit from your complete attention and consumption. Repairs have created a great debut, which only suggests growth and bigger things to come.

***

More recently, a few videos have surfaced online courtesy of Fuck Your Scene, showing off new live tracks. ‘Down In The Well’ creeps into noise territory, with squalls of intermittent feedback puncturing the track, first surprisingly, and then surprisingly rhythmically. Vocally, this is more aggressive than anything from the cassette, but it is never too harsh and ill-fitting. In the standout of these live tracks, ‘Grey Skies’, the singer’s voice attempts to mirror the doom-conjuring synth stabs. This track especially feels far more expanded and immediate then the earlier recorded songs. These tracks, alongside 'Dead Joe', reveal a steady forward movement for Repairs. The core drone and consistent percussion is still there, but these new tracks feel more accessible and hold a longer lasting appeal - and they are all the better for it.

Interview: Repairs

2010-05-21T22:43:00.005+10:00

REPAIRS

Emerging from a long summer of boredom and growing into one of the most interesting new additions to the Melbourne underground music scene, Repairs is the collective fruit of friends Jon Koop, Alex Lee, Ben Hepworth and Andrew Brocchi. With one cassette to their name, and a 7” forthcoming, I had the chance to speak with Jon and Alex via e-mail.

Why did Repairs form, as a band?

Jon Koop: Boredom. A long summer with nothing better to do and no one fun to hang out with.

Alex Lee: Previously we'd been working on some other projects together, but we were struggling to produce anything we actually liked. We went through several transformations as a group, regarding sound and overall style and Repairs just happened to be one of those transformations.

How has your sound evolved, in your mind, since the first cassette? Do you approach composition any differently now, compared to when you first started?

JK: Looking back, the cassette feels quite cohesive as whole to me, but that sound has been hard to replicate, mainly because of the way the songs were written and recorded. We recorded the songs as we wrote them, using a faulty reel-to-reel and a cheap microphone, overdubbing each track, guessing levels every time. Since then, the instruments we were using have all been replaced, so our sound has been changed by that as well.

AL: In terms of composition I'd say that we all had a lot more time back when we were recording the cassette and were able to work together in a more communal fashion when writing and recording each track on a song. These days our compositions would usually come from a live jam.

How are your lyrics shaped? (according to how they sound, vocally and musically; or more literately, according to theme or narrative?)

JK: My lyrics tend to be vague and fragmentary. I never really want them to be the primary focus, I prefer them to sit in the mix with all the other instrumentation, so hopefully they are complementary. Thematically, I try not to go beyond what I know or what I've experienced. I've realised that I write about place a fair bit too, about my surroundings and my relation to them.

Are you supporters of analogue formats (cassette, vinyl); or have your previous cassette and forthcoming 7" simply just been grabbed opportunities rather than planned?

JK: I think there's something very fetishistic about cassette and vinyl, but in a nice way - they are actually nice objects to have these days, especially when compared to a stack of CDs.

AL: I'd agree with Jon; analogue formats definitely have more charm. I'd think all of us would prefer to release our music on vinyl or cassette as opposed to a CD. I don't think the cassette and 7" simply represent "grabbed opportunities" as we don't take advantage of all our opportunities anyway.

As someone who hasn't seen you live, I have to ask... Is the live show an important aspect of your work, or is it just an extension of your recorded output?

JK: Since we recorded our tape, Repairs has virtually been nothing but a live band. The band really has a split personality in that sense, so if people haven't seen us live before it might not be what you expect. We don't really rehearse very much, so shows can be quite varied from one to the next.

AL: Yeah, our shows can vary quite a lot. I tend to think of our recorded output to be quite separate from our live shows too.

JK: However, whether it's live or recorded, it's still the same people writing and performing together, so to me it's coming from the same place.

&c.

Photo by Ben Butcher.

Review: Bedroom Philosopher - Songs From The 86 Tram

2010-05-21T22:27:00.004+10:00

"Cultural diversity is warmly celebrated here, in the Bedroom Philosopher's most successful work to date."

Opinions on...

The Bedroom Philosopher is the stage name for Justin Heazlewood, a Burnie born musical-comedian who found some attention with this "I'm So Postmodern" single back in 2005. His first album, In Bed With My Doona was a personal favourite of mine, and his 2009 follow-up Brown & Orange was a fairly decent endeavour. Last year for the Melbourne International Comedy Festival, Heazelwood created a show called Songs From the 86 Tram, presented from the point of view of a variety of fictional (yet totally recognisable) characters who all share the public transport system.

The show was a hit, and Heazlewood collected most of the songs from the show into what would become his third album. Songs From The 86 Tram is a wonderful celebration of our social and cultural diversity. Employing the use of a range of believe characters, many whom are immediately identifiable yet barely covered by other comedians, Heazlewood follows the tram journey from Bundoora to Docklands with these characters. Of particular note is the migrant on "Sudanese" learning Australian culture via suburban Melbourne; the unlucky Irish Catholic girl; the fame-seeking, trend-following Northcote hipster; and the 'new media' artist, who delivers the superb line 'Have you ever heard of sound art? I sincerely doubt you have,' in the most elitist tone you could imagine. Classic.

These characters are the stars of the show, but Heazlewood writes wonderful songs to back them up. Each track spans genre, style and tempo to give a musical collection as diverse as the characters presented within. His use of words is as witty here as it has ever been, and there are many genuinely hilarious lines to these songs. The way he has crafted each song to present the character at the centre of each piece is a fine skill indeed and the sign of a very intelligent comedian. For the characters that are based on clichés that are frequently used for comedic value in other comedy outfits (such as the bogan, the elderly), here they are treated with a third-dimension and Heazlewood tries to shine a different light on these stereotypes. This is warmly welcomed.

"Man On A Tram" is the roll-off-your-tongue, Dr. Seuss lyrical delight which is little over one minute, and surprisingly entertaining. The entire record is packed with intelligent references through the tracks, and thankfully it isn't too Melbourne-centric at all. The characters aren't strictly 'tram travellers' only, and little more than a general knowledge of Melbourne is needed for the majority of the record. Really, there should only be a few jokes that those uninitiated with Melbourne culture don't understand. This isn't to say this is a particularly 'global' album, as it makes use of many aspects of Australian culture and humour. But it isn't confined to a single State, either.

Production from Chris Scallan is clean and works great, bar the vocals on the opening track being a touch too soft underneath the piano. Musically, it is interesting enough to keep you listening, although the lyrics are clearly the most important part of the Bedroom Philosopher's show. To be fair, though, music is used on several occasions as the joke rather than just to support the jokes. These occasions are particularly enjoyable.

"Middle Aged Mum" just isn't as funny as an opening track should be. It is a good track for reasons other than comedy; character, content, and concept. but it ultimately falls short of the humour found on the rest of the album. The jokes are a little sparse, yet it paints a fair image of the depressed, middle-aged mother. "In My Day (Nan)", while an enjoyable track, also falls short. Half of this track is similar to "I'm So Postmodern", in that it follows a formula of 'song title... joke!' for each line, but the actual jokes here are hit and miss. It uses the expectations of what the 'grandma' character and twists these for further comedic exposition, but some of these twists are just inane and don't create any more than a chuckle.

The music of Prince gets a nod on "Tram Inspector", featuring the overtly-sultry titular character; but it's comedic value is quite shallow in comparison to the rest of Songs From The 86 Tram. The artist-spoofing "New Media" is the highlight of the album, concerning a character who clearly believes he is bigger then he really is. The accent of this character is spot on and adds a great deal of believability. Heazlewood's accents on this record are superb for each song, and makes each track really stick.

The final track "Old Man At End" is almost poignant in nature, and is a fine summation to the tram ride that is the 86. Cultural diversity is ultimately prevalent through Songs From The 86 Tram, and this song, which poses the character at his end, just wanting to sit down with the rest of the 86 cast for a beer. 'We are tramily' , as Heazlewood would say.

(This was originally posted on the 18th of April 2010, elsewhere.)

Review: Paint Your Golden Face - self-titled

2010-05-21T22:21:00.003+10:00

"I think this band is the one, I think the front man will shoot himself into his face."
Opinions on...

Paint Your Golden Face - Paint Your Golden Face

In the wake of Viva Computer's demise in 2008, Jordan Marson and Jonathon McCarthy recollected their passion as Paint Your Golden Face and put together "He Was Run Off The Road By His Amazing Face", a three track single propelled by the sublime Torrents Of Water Subsumed Their Village. It cemented a basis for Paint Your Golden Face's ideas - minimalist, percussion-focussed rhythms overlaid with choir voices and any samples that fit into the mould. But at only 7 minutes, it was barely but a tease.

Roughly a year and a half later, their debut self-titled album has been released by Sydney label Tenzenmen, finally appeasing any desire for more PYGF. Television Is About Pictures begins the record, setting up the thematic nature of the band. It features a build-up and layering of contents - from drums, to rhythmic vocals, to choir vocals, to hand claps, to a new drum pattern, and just as it reaches its crowded peak it all starts to peel back, until all we can hear is the choir singing about bath water. Although I personally find it one of the less interesting tracks both musically and lyrically, it is an exemplar of the duo's intentions and experiments. Construct from next-to-nothing, evolve it, then deconstruct it all again.

Pedalling backwards to when only the first single was available, I remained curious how far Marson and McCarthy could stretch their drum/vocal experiments. "Paint Your Golden Face" destroyed any fears of stagnation I previously held, succeeding in both variety and maintaining interest. The album is well paced and sequenced, and the rerecorded songs sit well in their new context. Individually, Torrents Of Water Subsumed Their Villages feels more distilled than the previous incarnation, and is lacking that loveable glockenspiel, but these changes feel more natural inside the album. The guest choir (who could possibly make up half of the album's ownership) is diverse and appropriately used; the dominant female vocal on Poppies is a welcome change to the lighter female vocals used in earlier tracks, for example. Despite this, McCarthy's singing voice is both individual and compelling enough to make songs like Submarine and Sick Kids With Swords work.

Their cover of Submarine, originally from local Native Cat and piano-fiddler Peter Escott's solo album, is like a counter-point to the original, in the best possible way. It is markedly different yet still focuses on Escott's brilliant lyrics, which in my opinion is his greatest skill, and one that makes his own solo and duo recordings so interesting. Here, McCarthy's vocals sit front-and-centre, with the choir pushed to the back, giving Escott's lyrics room for both emotion and consumption. It's a wonderful song in its own right, and this cover only exemplifies that fact.

Lions Love Lions, the centrepiece of the album, can be seen as the culmination of PYGF's current output. It makes the greatest use of their construction/deconstruction methodology, which then slides into a beautiful organ outro. Punctuated vocals turn even the acapella affairs into rhythmic treats, and their brief staying time make these tracks highly listenable.

In the end, "Paint Your Golden Face" appears wholly original. The band has succeeded at creating a varied and cohesive record. Maybe one day it'll get its own 'intelligent reissue with Melbourne appeal'. If so, go forth and investigate, 2030's Victorian music snobs: we have presents from the past.

(Originally written 31st of March 2010 elsewhere.)

Review: Drunk Elk - Pieces Of People We Have Known

2010-05-21T22:11:00.008+10:00

“I like their old stuff better than their new stuff.”
Opinions on…

Drunk Elk – Pieces Of People We Have Known

Drunk Elk’s debut, “A Rainy Day Is The Soundtrack To Somebody Else’s Nightmare” (sic) was a superb record. The synth/bass/vocals trio made for startlingly creative results backed by a continual motif of darkness and isolation. For all intents and purposes, it was a lo-fi effort, with minimal production and packaging. Second time around these qualities remain largely intact, bar for the fact it comes in a jewel case instead of a zip-lock bag, but the focus of each song has slightly drifted. Gone is Samuel Acres and his beautiful synth tones, those which casted a backdrop for each song in an effort to highlight the dread of Dave Askew’s lyrics. Instead, electric guitar takes its place with Ben Mason – previously of the defunct but ever wonderful Que – who noodles and strums his place in the trio. It works, on some songs better then others, but it isn’t necessarily better or worse than the previous incarnation of Drunk Elk.

Three songs from the previous album have been rerecorded here with the new formation: the misspelled Quintesence, Shooting Star and Drunk Elk Theme (which is now titled Venison). The opening track, Quintesence, is far more subtle and downplayed than the original electronic-pop ‘ballad’. Both instruments are pushed to the back, Dave’s vocals taking central stage but instead of the crooning found on the original version, the vocals here – or at least in the first two-thirds of the track - sound almost flat in comparison. They are far less torn and damaged then in the original, a quality that made the music of Drunk Elk so compelling. Maybe it lacks the same pull without the synthesised backdrop to play against, but the lowly-mixed instruments and lacklustre vocal performance places it as an inferior version to the original.

In Take Me To The River Nymph, a song which sees Dave operate a louder vocal performance, does so to the extent that the low production value takes a hit for the worse. Sounding like the vocals were recorded one night through a Skype call, I’m still unsure if the sound is deliberate. I am sure, though, that the song appears compromised because of this element. The lo-fi production is purposely a part of the Drunk Elk aesthetic, and it works in many of the tracks. Amp hum is fine in the context of individual songs, but is distracting as it cuts and starts up again between song transitions, making the album feel almost disjointed in some parts. This isn’t to say the record isn’t cohesive – it is – but the stop/start nature of the extraneous amp hum reduces this vision. Simon Krause’s bass playing is as affective as ever – this is one man who knows how to craft a strong bass line. He still plays melody maker on this album and he does it well – the electric guitar is used as much to accent the bass as the synthesiser was used to accent the vocals in the old Elk format.

The songs themselves are what we’ve come to expect from the Elk. The addition of guitar in many of the new tracks is welcomed, leading to an overall heavier album in comparison to the first. In this same vein, the songs that feature the most melodic components are the revisited tracks. Amongst such a strident record, We Dance Late In Smiley Town is a veritable pop icon as the closing track, and is perhaps the highlight of this new bass/guitar combination. Dave’s lyrics still look at twisted dreams and dreary (in the greatest possible way) characters, which is ultimately reflective of the Drunk Elk sound. It is minimal, dark pop music; now there is just a guitar substituting the synthesiser. They are as much Hobart’s cult band now as they ever have been before.

Oh, and all the songs end the same.

(Originally written on March 24th 2010 elsewhere.)

Live Review: Tiger Choir & Friends @ Alley Cat

2010-05-21T21:55:00.003+10:00

(Live review of Anorexic Olsen Twin, Alligator Creek, The Lucky Dips and Tiger Choir at the Alley Cat, 5th February 2010)

After finding my place in a decisively hot Alley Cat Bar last Friday, I sat down to watch Chris Burrows - the leader of his Anorexic Olsen Twin outfit - begin his set; his friends making up a good portion of the audience. Singing about goon, how shitty his life is, time travel and, well, his friends, The Anorexic Olsen Twin is a very likeable entity. It is simple stuff, acoustic cabaret pop-punk music with identifiable themes: music for a small town, really. Burrows is more concerned with lyrics and simply having fun than any form of professionalism, and it definitely shows live.

The Anorexic Olsen Twin

Alligator Creek, the pseudonym for Townsville-come-Hobart resident Cahill Kelly, trotted his timid self to the stage for his first ever show in Hobart. Guitar in hand, Cahill played his lo-fi folk-pop, his music carried on the strength of his voice. It isn't a particularly strong voice, more-so a whispery Phil Elvrum-like voice, but it is certainly the core component of the Alligator Creek sound. Sensitive to the point of almost appearing shy, his songs almost floundered in the overbearing pub environment due to their intimacy and gentleness. Any intricacies, intended or not, seemed lost amongst the layers of conversation, which ultimately hampered the potential of Alligator Creek. As a result, it is clear Cahill's music would fit superbly well at a Melodica show - that being one of quietness, audience silence and interest. Similarly, but not suprisingly, locally his music could be pegged between Billy Whims and Transcription of Organ Music. Suprise, suprise.

I found his Myspace recordings worthy of listening, and he even has a three-song EP avaliable for download. For free, of course. Beware of the phone ringing in the background of the final track. Lo-fi at its peak?

Cahill Kelly - Alligator Creek

As the captured heat intensified, The Lucky Dips branded their accessible punk rock for a diminshed but receptive crowd. If you will excuse the comparison, their brief songs reminded myself of early early Joy Division - think Warsaw, The Drawback or Ice Age. This probably has something to do with Adam's voice, but it suits the music. Simple, catchy; my favourite song "Did It Really Happen" can be heard on their Myspace. Nothing mind blowing, some will like it, others won't. The end.

The Lucky Dips

Tiger Choir brought with them a rebuilt audience, chairs pushed to the side and everyone standing in the boiler room that the Alley Cat had become. Okay, 'boiler room' might sound a tad strong, but once you combine dancing with the already hot room, it certainly felt like it. To be honest, at this stage I was too busy having fun to be analysing the band fully. This is the first time I've heard Tiger Choir
live, though I did appreciate their self-titled EP released last year, and I will mention the songs sound good live in comparison to the record. The sampler was used effectively to create a 'unique' or singular experience - sorry, bad explanation. Too often I find bands who work with electronic components in their music to be guilty of simply cueing the electronic samples or pieces with little effort. Maybe I just didn't pay enough attention and was too busy sweating to determine exactly, but Tiger Choir seemed to avoid this easily. The music sounded natural.

Sam Nicholson - Tiger Choir

Although they don't stray too far from their typical sound, particularly noticeable in the repetition of echoed vocals through the songs, the tracks have enough variety between each other to maintain interest and even excitement. The drums were used well, sometimes highlighting the vocals, other times to create a recognisable path. (well derr) The band played a couple of new songs, but for the life of me I couldn't remember them if I tried. Alas.

Oh, and Sam threw out a bunch of balloons which entertained the crowd for at least three songs. Bravo. Dancing, sweating, playing with balloons, taking photos and listening to the band is about the limit of my multitasking. They finished with 'Young Living', an optimistic indie-electronic-hipster-anthem-song. Phew.

I should just get a flickr and put all the photos there...

Live Review: Bad Luck Charms @ The Brisbane Hotel

2010-05-21T21:29:00.004+10:00

(Live review of the Bad Luck Charms one-off reunion gig at the Brisbane Hotel, on the 12th of February 2010. Originally posted elsewhere.)

Arriving somewhere in the midst of Hey Mook's set, I was both eager and excited for what was coming up. This marked the first (and last !?) time I would see the Bad Luck Charms perform live. Unless I've misjudged things, BLC have achieved somewhat of a 'legendary' status locally, and the crowd both inside and outside the Brisbane certainly confirmed as such. Hey Mook did their alt-folk-rock thing, and they did it well; their live act sounding both confident and well-rehearsed. As a newcomer to Hey Mook, I found them very warm and inviting: rock music my Dad would like. Sharing vocal duties three ways, Hey Mook's portfolio sounded varied, and the Community compilation track 'Southerly Buster', the only one I'd heard before the night, sounded great live. Thoroughly impressed, I moved forwards to take a good spot for BLC.

Positioned in the left-most corner beside the PA (and subsequently Lisa and her bass, lucky me!), the Bad Luck Charms took to the stage and jumped right into 'Frank Daft/The McDonald Sisters'. The crowd grew as Lisa Rime, Matt Moller and Julian Teakle ran through each song, and its pretty difficult to fault such a set when every song is as listenable as a Bad Luck Charms song. Dancing ensured; the audience sung along to the bands' tales of suburban poetry. 'The Eastern Shore' proved to be a crowd favourite: every indie kid and his pal seemed to be reciting Julian's words. The band played superbly and sounded like a fine-tuned unit, which was impressive for their first gig in two and a bit years. I should probably mention that this one-off show was in recognition of their brand new Live at the Brisbane Hotel album, which itself is a recording of their 'farewell' show back in September of 2007. The CD is a wonderful recording in itself, and represents BLC at their peak, but live in the flesh was just such a high-energy event, for me personally. I couldn't stop moving, to the point in which a video I recorded looks ADHD as a result:

Bad Luck Charms - I Need To Get Out (Live)

Their whole set was impressive, each member putting everything they had into the show. Thirteen songs later - my personal favourites including 'Rice & Poetry', 'The Eastern Shore' and 'Rut' - it was finished. Filled with songs about Hobartian social life, simple stories of personal circumstance and the gulf between the Melbourne and Hobart music scenes, the Bad Luck Charms leave behind a legacy of success, potential and a celebration of local music. They are (or inevitably will be) an important figure in 21st century Hobart rock history, but lets not keep looking back too much. The future looks just as bright.

I grabbed Lisa's setlist (I'm such a fangirl) and a live CD as a memento of the evening, which I'm happy to say is the greatest night I've experienced at the Brisbane Hotel. A fine night indeed.

I'd recommend buying the live album if you haven't already picked it up, its a good quality recording and I was happy to see the inclusion of 'Fever' and the Peter Escott-cameo 'Twenty Steps To Paradise' on the disc. Lovely Simon James artwork too. If you want me to upload a video of their final song, 'Chigwell Is Burning' (a lovely tune!), just leave us a comment. Thanks for reading! I'll leave you with a few more photos from Elizabeth Clark. Enjoy!

Live Review: Wendy in the Mountains, Drunk Elk, Native Cats @ Alley Cat

2010-05-21T17:26:00.005+10:00

(Live review of a show at the Alley Cat Bar in North Hobart, on the 5th of February 2010. Originally posted elsewhere.)

Taking to the undersized stage at the corner of the Alley Cat, Wendy in the Mountains and the Caves with the Slaves launched into song first. Playing the titular 'Wendy Theme', swirling guitar danced with optimistic synth drones and sparred alongside naturally progressive drum beats. Or something hyperbolic like that. Coming into Wendy in the Mountains for the first time, I enjoyed their created sound-world more than I had anticipated. The simple drumming, from Simon Krause of Drunk Elk and The Vivids, was notable and carried a feeling of movement which allowed it to become its own vehicle to follow, carving its own route through the song. The girl beside myself found the ‘beer on guitar’ noodling worthy of a photo, if anything. Lasting somewhere between ten and twenty minutes, Wendy departed after this song, making for a very succinct set. Ultimately I wanted more (being the greedy bastard I am), so it was a success.

Drunk Elk wandered to the stage next. I had not seen these guys play since January last year when they still had Samuel Acres toying with the synthesiser, which yielded great results on the eventual A Rainy Day Is The Soundtrack To Someone Else’s Nightmare album. They recollected mid-2009 with Ben Mason on guitar in place of Acres, and this was the first chance I had to hear them since. Mason’s guitar work was different to how I imagined it to be inside the Drunk Elk canon – my brain imagined lavish Que guitar exploration. For the most part I found the ‘new’ Elk sound worked great, though I missed the off key melody of the synth on the old songs. Some of the new Elk songs sounded very (even more?) Joy Division-esque with some higher bass note thrown in. 'Psychosis', 'Soar' and 'We Dance Late In Smiley Town' proved to be my favourites; the former with terse lyrics and Curtis-crooning, while the guitar/bass combination sounded most effective on 'Smiley Town'. Krause was great, again, on the bass. I overheard that their new album is ready for mixing, which makes me almost kiddy excited.

Finally, one of my favourite musical acts, duo the Native Cats, kicked off with their 7 inch single 'Catspaw'. It sounds awesome live, better then on record I say. But my previous favourite N. Cats song quickly fell a rung when they whipped out the newish track 'Self Rep'. I’ve heard it before at the Brisbane but they proverbially nailed it here. It sounds like a long lost 80’s movie theme from a high-school drama called SELF REP! (capitals and exclamation mark definitely included), and damn if it wasn’t the catchiest song I’ve heard all week. Peter even made a Final Fantasy XII joke. I smiled.

On stage, The Native Cats attest to be a very confident, even witty duo; perhaps it’s why I enjoy them so much. But I like to think their music has something to do with that, too. They played songs and more songs, although the drum machine was a touch quiet for a few of their earlier songs. Peter bounded his way to the piano but it was nearly completely swamped by the volume of both Julian’s bass and the drum machine, which was a shame. Peter does seem to be accumulating more bravado as a front-man though, which is wonderful to see. Just like his totally retarded dancing is wonderful to see. Perhaps the best I’ve seen the N. Cats play, their new material sounds strong if their live show is anything to go by (and well, it is).

I almost bought a 7 inch even though I don’t have a working record player. My oh my.

--

All photos by Elizabeth Clark. See more here!

New blog location, move from orble.com, greater aspirations, &c.

2010-05-21T15:32:00.001+10:00

Noise & Words & Things & Shit has been running for a few months now, over at Orble (www.orble.com/noise-words-things-shit/b3/). For various reasons (a far better designed blog page, more customisable, better URL, more popular) I've decided to jump ship over to Blogspot, so all old posts made over at Orble will be imported to here.

Noise & Words & Things & Shit covers underground music, mostly from Hobart, Tasmania (where I am situated). It tries to talk about things that haven't already been covered by other blogs. It is operated by just me (Alex Bennetts), but I am happy to expand with outside content if I like the work.

If you want your music featured/reivewed here, send an email to alexanderbennetts AT gmail DOT com. Same applies if you want an interview. If I like your band (I like a lot of bands), I'll probably write about it. If I don't, then make better music.

Bookmark N&W&T&S if you like the contents, and feel free to criticise everything here. Shit is in the title for a reason, after all.