Words with: Kisses Buh-Byeee

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.

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

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.

Review: Three Minutes In A Carpark (Compilation)

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.

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

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

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?

THIS IS NOT ART - Thursday 30th September

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.

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

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.

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

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.)

September happenings: H+M=Y & Amplified

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.

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

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.

Manchester Mourning - Token

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

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

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:

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

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.

Review: Repairs - Cassette EP and further tracks

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.

Interview: Repairs

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.

Review: Bedroom Philosopher - Songs From The 86 Tram

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

Opinions on...

Review: Paint Your Golden Face - self-titled

"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

Review: Drunk Elk - Pieces Of People We Have Known

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

Drunk Elk – Pieces Of People We Have Known

Live Review: Tiger Choir & Friends @ Alley Cat

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

Live Review: Bad Luck Charms @ The Brisbane Hotel

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

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

(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.

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

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.