Polyfox And The Union Of The Most Ghosts – Enchanted Broccoli Forest

Yep, It’s been pretty quiet here at Monstera Deliciosa DIY music label and blatant self promotion empire, chalk it up to the sorry state of the music business perhaps? Anyway, we’re back with good reason! We are very happy to finally announce the release of the long awaited new EP by Polyfox And The Union Of The Most Ghosts which is adorably titled Enchanted Broccoli Forest. Consisting of 5 classic Polyfox tracks, this marks the first officially released recordings of Polyfox as a live band with Nicholas French packing away the casio MT-40 and loop station, instead joined by Nathan Martin on bass and guitar, and Grant Hunter on drums. Only a blithering fool would turn their noses up at this good time fun music that will surely enrich your miserable lives!

One day we went to Arthive and recorded drums with Grant’s laptop, we saved the wav files and probably put them on a flash drive. Some time afterwards we took it to Nathan’s garage which is converted into a rehearsal room. The reheasal room had 2 doors, one of which is a roller door.
When we were all in the garage/rehearsal room we put the drum tracks onto nathans laptop by dragging and dropping them into a folder that we created specifically for the songs. We then proceeded to utilise a program called ‘pro tools’ to record the other parts of the songs all of which i had pre ‘written’ in my bedroom in Umina/Ettalong beach where I live with my parents. My mum is a hairdresser and my dad is a painter/decorater, I don’t know what Grant’s mum does and I’m not really sure what his stepdad does either. They live in Gatton QLD which Grant informs me is a town of people that are mostly part of a cult that worship deities and ostracise any woman that remains unmarried in her 20s. I dont know what Grant’s biological dad does. I dont know what Nathan’s dad’s job is but I know he is an extrememly nice man that surfs and that once made me spaghetti on toast among other things I can’t remember him making for me.
After we recorded the songs they sat on all of our hard drives and various cdrs for a long time. Evan from ‘Bare Grillz’ was interested in hearing the songs so I uploaded them to mediafire and he downloaded them and thanked me.
For a while we entertained the notion of putting out a 7 inch record with these songs, but then we decided that probably no one would want it besides 10 or 20 people at the most and those 10 or 20 were likely to not buy it because 7 inches can cost up to and above 10 dollars, which is more than I could anticipate people wanting to pay.
Thankyou to Matt from Lesstalk Records who was going to put out the 7 inch and im sure deep down he is thanking us for not weighing down his record label with unsold stock.
I’m not sure if nathans copy of the software ‘pro tools’ is legitimate or not but it sure did have a lot of pop up messages which Nathan declined to read before ok-ing them away. Sometimes there were so many of these pop up messages the program would refuse to load up.
The day we recorded the vocals was a good day, everyone was in a really good mood.
At some point when Matt was mixing the tracks on his copy of the software ‘pro tools’ he used two small brown speakers as monitors which Grant thought was outrageous. One day i went over to Matt’s place in Sydney because Grant was unhappy with the mixes of some of the songs and i thought the drums were too quiet so we turned the drums and the vocals right up and settled on that for the mixes.
The song ‘marriage’ is not really about actual marriage I didnt really have anything insightful to say about marriage.
The song ‘creature comforts’ is about how comfortable a lion must feel about the fact that it is a lion, although i dont really think the lyrics reflect this.
The song ‘wood birds’ is an assortment of words that may seem to have been written and added to the song for a reason but this isn’t the case, I couldn’t think of anything else. I took some advice that i should put lyrics in my songs.
I have often claimed that the song ‘coal’ is about my brothers, but this isn’t true, it could be interpreted as though that it is because one of my brothers works in the mines.
‘Hawaii’ though really is about a holiday that my brother and his wife went on to celebrate their honeymoon.

-Nick French

Available now from Monstera Deliciosa in a limited edition of 50 cassettes for $5 each plus shipping. Order HERE. All cassettes come with free digital download in 320k MP3, FLAC, OGG VORBIS, AAC, ALAC formats redeemable through bandcamp. A CDR version will be available through Lesstalk Records soon.

Polyfox And The Union Of The Most Ghosts – The Garden Of Cracking Stockwhips

The latest Polyfox And The Union Of The Most Ghosts CDR which is called The Garden Of Cracking Stockwhips and consists of unreleased material from the shelved split 12″ originally scheduled for release on Bedroom Suck. Thankfully it has finally been made available from another fantastic Brisbane label which is called Unique Beautiful Flowers and is run by Adam Rogers, who went to great lengths to save these lost songs from complete doom. You can also download or stream a digital copy from the Polyfox bandcamp site.
Here is what Nick French has to say about it.

This (album) was going to be released at some point last year as a split with the Harpy Choir (QLD) though due to various circumstances never happened.
It was recorded on a broken 4 track that was essentially a 3 track when I was attempting to use it.
Most of the tracks were recorded at my house in Umina except for ’50 years of pens’ which was recorded on my cousin’s piano in Brisbane and ‘Digital sunbeam’ which was recorded in Newcastle. The latter was more of an experiment in recording levels than a song and was never really intended to be included on the split. The Weather was also never really intended to be on the split and an older version appears on the ‘Paintbat flies into carrot fields’ collection. These songs will both be included here as ‘flesher-out-erers’ or indispensable additions to the character and fullness of this album.
Also worth mentioning is that if you are at all familiar with what Polyfox is doing now, you might be astonished to find that this sounds like some dude recorded it alone in his bedroom with his clothes all in loose piles and his CDs all in their wrong cases and not like the ‘rock’ band you saw at the Croat. This is because these recordings pre date the band and pretty much serve to give the listener an idea of what happened in between the dreamier/stoneder Polyfox of 2008 and the what it seems to be now. If you are unfamiliar with what Polyfox are doing now then you may disregard this paragraph completely.
One last thing: A label called ‘Unique Beautiful Flowers’ has put this out and have physical copies available for those interested in tangible items. It is ‘UBF007’

Spring Break in March @ The Croatian Club

Wednesday nights at The Croatian Wickham Sports Club in Newcastle have got even better, look at this awesome lineup of bands playing free Spring Break! shows this month at the best venue in Newcastle. All shows start from 9m, are free entry, and will also feature rubbish DJs.

Starting tonight March 2nd we have The Nugs, and Sweet Teeth. I haven’t seen The Nugs but think Sweet Teeth are really rad. Here’s the official word on the subject.

The Nugs are a bunch of stoners that make the best 60’s garage/70’s punk influenced rock around, and Sweet Teeth are a pop band made up of members of the temperamental pocket, crab smasher, origami girls, etc.

Next week Bat Yoghurt and Troopin’ Kerry Alpacas will have you dancing. I saw Bat Yoghurt live at ARThive for the first time the other night. They’re really awesome.

Join ex Athol math-genius A. Browning’s solo project for the best part of a decade and now full fleshed out three-piece band playing tunes reminiscent of Arab on Radar, Lightning Bolt, Get Hustle and Bad Brains, along with Robert from Bare Grillz’ drums, looping and guitar fucked-pop solo efforts as Troopin’ Kerry Alpacas. Can I borrow a feeling?

The Following Week March 16 is Mere Women and Lenin Lennon. Mere Women are really good eh?

Sydney’s Mere Women are a three piece made up of members of Ohana, The Thaw and Little A… and sound pretty much exactly what you’d expect from a pairing like that. Brooding, slicing guitar riffs, ambient synth interludes and emphatic vocals, bits of math and tribal rhythms… joined by Lenin Lennon, (members of Bare Grillz, Joe Pesci, Honest Thieves), who do a rumbley version of 90’s ebullition/dischord style punk

Then on March 23 there is Unity Floors and Polyfox And The Union Of The Most Ghosts. What a cool show!

Total wet-dream of a show. When Unity Floors popped up out of Sydney everyone pretty much breathed a sigh of relief. There’s been a massive void there waiting to be filled by a good 90’s-ish Dinosaur Jr/Archers of Loaf/Sebadoh/Pavement/Flying Nun-esque band. We’re stoked to present their first show in Newcastle, and to be pairing them with Crab Smasher’s Nick French in his Polyfox mode, playing the best indie pop to come out of Newcastle (cough… umina), well, ever. For fans of The Go Betweens and Flying Nun bands, yeah?


Finally on March 30 we have Collarbones and Scalps. You’ve probably heard about Collarbones already on blogs that are much more cool and hip than this one will ever be, or even heard their sweet glitchy R&B jamz on Triple J if you can bring yourself to listen to the radio. Anyway they’re super neat. Scalps is always pretty good too. I think I have an extra copy of the long out-of-print Scalps NNUUMMBBEERR22 release if anybody wants it. It will have to go at a premium price mind you.

Collarbones started as an internet collab between Marcus Whale in Sydney and Travis Cook in Adelaide. Their dense, spacey, dancey, r+b influenced fuzzed out jams might be chillwave? Fuck. Anyway, people gave a shit, for instance folks like Pitchfork and Rose Quartz, which may or may not have played a part in influencing these two make the effort to fly halfway across the country to play shows together a few times a year. Yeah? They were here for Sound Summit/TINA last year, but don’t feel spoiled and skip this one, it’s a special treat probably not to be repeated soon. Also a treat, perhaps, Chris “Alps” Hearn’s minimal tech/improv fucked dance music side project “Scalps” will be giving a rare performance… Scalps has been around as long as Alps (six years?) but perhaps only played live about five times. The third Scalps release is out now on Jase Campbell’s Estapes label and if you ask him nicely he might hook you up with one of the last copies of the pressing.


Crab Smasher: Feature Article by Oliver Downes

Crab Smasher :: It Is What It Is

Its half past two on a Sunday morning in Alexandria and Marnie Vaughn’s birthday party has been a great success. The party theme was the humble Rubik’s Cube, guests being required to come dressed in blank primary coloured garb. Earlier in the evening a frenzied clothes swap ensued as people in various stages of inebriation attempted to become the first to assemble a complete outfit in a single colour. The young man who won is stalking around downstairs, dressed in a uniform yellow. His prize: a rainbow umbrella.

We sit on Marnie’s bed, attempting to talk about Crab Smasher, the experimental noise / cheese-slathered pop outfit in which she plays drums. This is difficult. Out the window, Will, a young gentleman dressed in Himalayan garb, souvenirs from a recent trip to Nepal, is attempting to negotiate with police in reference to a noise complaint, irate neighbours taking umbrage to the hardcore punk being cranked from the stereo in the backyard. Neither of us are tremendously impressed by the choice of music either, preferring the Pixies that are competing for attention from the lounge.

“I was in my brother’s band called Anal Discharge” says Marnie, an assured twenty-two year old with a ready laugh. “We had a show and my brother wanted to replace me with another drummer who was my boyfriend at the time… it was a touch awkward, [as] my brother chose the other drummer to play the show. Crab Smasher said ‘Hey, we need a drummer, come and play with us.’ I was seventeen – I didn’t even know what noise music was at the time.”

Will strides back into the room, stopping in front of Marnie. “Hey, can you help us get the music off? There’s like six cop cars.” He holds up his hand, one finger adorned with an over-sized ring, and starts laughing, relating his exchange with one of the officers. “I fuckin’ shook his hand and cut it open”. He wanders off to tell more people of this amusing encounter without waiting for a response. Someone is playing Fur Elise on the honky tonk downstairs, Beethoven adding a suitably civilised edge to proceedings.

“I like improvising because it’s always different and you always react to the audience” Marnie continues. “It’s also very dependent on everyone’s mood and how we respond to each other. It’s great to be able to react to the audience and not have a set that you always just play. It can be rather nerve-wracking, it can go well, it might not – it’s difficult just overcoming that. There’s always an element of uncertainty. Expectations I think are always difficult – I like that no one really expects us to amaze them.”

Drumming is only one of Marnie’s talents. Aside from undertaking a Masters in Gallery Administration, she is an accomplished photographer, the downstairs lounge area being heavily decorated with her work, although she seems to spend more time “working in a horrible world where photography is commercial and brides are my enemy.” Above her bed hangs one of her pieces, a surreal primordial swamp scene: a Hadrosaur stands in the foreground, its vivid golden shape drawing the eye away from a pair of demonic eyes that emerge from the drenching green murk. I later discover that she used a garden gnome as a model.

An endearing youth with big brown eyes comes up to us. “Oh, is this an interview?” We explain that we’re talking about Crab Smasher. It quickly emerges that he is an avowed fan, his favourite Crab Smasher moment being Grant Hunter, the band’s de facto leader, or possibly someone else (the details are hazy), playing a typewriter at an impromptu gig at Grant’s old house in Newcastle. We sit and introduce ourselves. “I’m really drunk” says Simo Soo, “but I’m still here.” The pianist seems to have given up, although noise still emanates from the backyard in a half-heard background scuzz. It’s getting late.

“Have you got enough material?” Marnie asks.

“Well… about fifteen minutes” I reply.

“Fifteen, oh that’s a lot of minutes. I’m surprised I could talk for fifteen minutes about Crab Smasher.”


“Usually I let Grant talk and if I talk he gets angry about what I talk about. ‘That’s not what it’s about!’ The whole time I’ve been in the band it’s been like, ‘So Grant, what’s it about? I’m an artist, I can understand these things!’ and he would never tell me. It’s a mystery. It is what it is.”


It’s a chilly, somewhat desultory day in Newcastle. Aside from a few window shoppers and the odd bored-looking white-collar worker, the Hunter St mall in the middle of the city is deserted. It’s certainly doubtful whether many of the clothing or record chain outlets lining the main drag are bringing in much in the way of custom.

It’s pleasant enough on the other side of the railway line however, sunshine occasionally trickling through the clouds where we sit outside the Brewery, the stately flat-screen adorned boozatorium that squats next to the grey expanse of Hunter River. A middle aged man stands fishing off the end of the wharf, while seagulls play noisy territorial games in the puddles next to our table.

Perhaps it’s just the reheated pumpkin risotto and gargantuan banana smoothie that served as breakfast sloshing around his system, but Grant Hunter, artist, stoic, electronic wizard and self-confessed “bossiest member” of Crab Smasher, is in a talkative mood, despite being here on sufferance. His distaste stems from the fact that the Brewery and nearby Fanny’s nightclub are apparently focal points for the kind of nightlife that finds the dispensation of random beatings to be the highlight of any given evening. “If you’re out at night by yourself, you’re just a target for being assaulted” he tells me.

Crumbling commercial infrastructure and seeming stagnation of the local economy notwithstanding, Newcastle has changed considerably for the better over the last year – it was “like a ghost town” says Hunter. Although much of the CBD’s business real estate stands dormant, bought up by property developers with an eye toward eventually constructing a Westfield-style megamall, a ballooning number of the empty shop-fronts and office spaces have been occupied by young creative sorts, shielded from the prohibitive horrors of commercial rents under the enveloping wing of the Renew Newcastle scheme.

Conceived by arts philanthropist Marcus Westbury (writer, broadcaster and founder of the Newcastle-based This Is Not Art festival) and modelled on a similar project of urban regeneration in Glasgow, the project is aimed at keeping the mall area of the CBD active by providing space for people to pursue creative or community focussed interests. Successful examples include a millinery (The Mad Hatter, its front window resembling a race day madam’s wet dream), an animation studio (with the delightful moniker of Specially Trained Monkeys) and zine shop (the Bird in the Hand, run by the formidable Susy Pow).

Before we crossed over into enemy territory, Hunter gave a brief tour of Art Hive, the small art gallery and catacomb of studio spaces that he co-directs and utilises along with a number of other local artists. “There’s a lot of good people doing stuff under the radar of the rest of the country” says Hunter of the project. “You’re able to create opportunities for yourself without having to rely too much on other people. You just put your head down and do what you like without really worrying about it.”

“Do what you like” along with “don’t take any of it too seriously” and “it’s all about having fun” may as well form the unofficial tripartite band motto for Crab Smasher, a group that take outright pleasure in conforming to no one’s expectations but their own. The band began life as a duo back in 2002 when Hunter and fellow crustacean demolition expert Nicholas French (guitar) started making “really bad, cheesy stuff” for their own amusement on Windows Sound Recorder, uploading their sonic doodlings online for whoever cared to look. “We didn’t know how to play any of the songs live” says Hunter “[so] we just improvised, [which then] influenced how we recorded. We did that for a while – then we started taking it all too seriously.”

Boredom with making “arty noise stuff” was accompanied by a sense of going through the motions, as well as a recognition of the very real danger of the group disappearing up their own collective fundament. Hunter certainly seems to prefer party cats to chin strokers: “We were playing with lots of dudes who were really pretentious” he reflects, “people chewing chips into a microphone and making really boring noise music. We realised that we were kind of going down that path, [so] we went back to where we started, recording and layering stuff, but trying to get as far away from that sort of serious art noise as possible. So we started recording pop songs – I don’t know whether it was just to confuse people or to amuse ourselves.”

Of course, there’s pop songs and then there’s pop songs, Crab Smasher’s take on the genre being not dissimilar to Hunter’s version of breakfast: uncontained exercises in improvisatory dementia, suggestions of melody emerging from all manner of droning ambience, grinding scuzz and electronic discordance, all within a friendly verse chorus structure.

“It became a question of improvising smarter” he explains. “We stopped playing the twenty minute noise pieces that we had been and [started] playing songs without writing them, writing them on the spot with the emphasis on melody, rhythm and all the kind of stuff that pop music’s all about and trying to do that live. We kind of sound like a weird sort of rock band now. In the last year or so we’ve improvised stuff that’s in a pop song structure that we’ve recorded and then memorised from the recordings and then tried to play live. It’s sort of a backwards way of doing it.”

It’s perhaps unsurprising that for a group that takes unalloyed delight in provoking a reaction from its audience, Crab Smasher have practically exhausted the limited possibilities provided by the watering holes of Newcastle. Given some of the absurdities they’ve put up with, this may well be for the best, archaic curfew laws and militant security guards on two occasions gifting the group with the joyous experience of being locked out of their own gig. “It was ridiculous!” says Hunter. “They didn’t pay us and then they wouldn’t let us take the rest of our gear home. That’s the kind of stuff you deal with when you play in pubs.”

Not that such challenges have stopped them from taking on drinking establishments up and down the Central Coast, one night at a “pretty rough” pub in Wyong providing a crystallising moment as to the band’s raison d’être. “We had some new gear and were totally harsh and chaotic and noisy and the sound guy pulled the plug after nine minutes and the house DJ wanted to beat us up. From that point on we convinced ourselves that we were serious improvisers and that became the point of doing the band, creating something in the moment – later our recordings became more about documenting that process.”

Although such fearlessness can only be marvelled at, no wonder that Hunter prefers the infinitely friendlier forums provided by house parties, warehouses, galleries or Vox Cyclops, the nearby underground record shop (another Renew Newcastle project) run by the folks from fellow noise-meisters Castings, the mutual encouragement provided by this tight knit community of culture manufacturers as well as the solid friendships that lie at the group’s core perhaps helping to explain Crab Smasher’s surprising longevity. “There’s a really supportive group of friends that’re doing similar stuff around town. It’s really low key” he says. “I think that that’s much more valuable.”

As well as generously streaming all of their material through their website (newer stuff for a small nominal fee), Crab Smasher put an exceptional amount of effort into producing small runs of aesthetically interesting physical products, adorning a steady flow of releases with the original artwork of band members as well as that of illustrator or cartoonist friends. Their new cassette Thick Mosquito Sky is a case in point, a total of sixty covers having been hand screened in a tri-coloured design. “It was a bit of a nightmare trying to get it all to line up” sighs Hunter, “I like that they’re all a bit different and uneven though. They’ve each got their own character.”

While recognition from initiatives such as New Weird Australia have undoubtedly provided satisfying ego-boosts, it’s clear that fundamentally the band gain most fulfilment making music by and for themselves while gleaning as much amusement from it as possible. “I try not to get too philosophical about DIY” Hunter muses. “it’s just a means to an end. None of us agree on anything, but we go into a room and something comes out. It’s not identifiable as being any set thing, it’s its own thing. It’s just us having fun together. That’s what it’s all about – we’d probably be doing it even if we didn’t invite people to listen to us. Just us in a room, doing it.”


It’s Friday night at the Hardware Gallery and a girl has just thrown up in the corridor. “I drank warm beer” she gasps weakly to the concerned lip-ringed woman who moves to assist her before she vanishes into the bathroom, mortified. A pair of gallery attendants nearby seem more interested in apportioning blame for allowing the girl entry than locating a bucket and mop. It’s a minor shemozzle. Ah well. Better out than in.

The front room of the gallery is elegantly lit, people standing around chatting and sipping wine. A young woman in what look to be second hand men’s clothes stands to one side, painting a pair of female figures on a large canvas. Her hands work quickly, her face a picture of absolute focus; it’s a moot point as to whether she’s working to a plan or making it up on the spot. Not that it seems to matter either way.

Vinyl twelve inch records, painted with an amazing array of designs line the walls – a pair of large mutated ears; a man in a suit with the head of a beagle smoking a pipe stands before a blackboard inscribed “A painter paints pictures on canvas. But musicians paint their pictures on silence”; one enterprising sculptor has created a glass duplicate of the vinyl single of 90s dance hit Groove is in the Heart by Deee-Lite, recording the resulting scratch-ridden cacophony and making it available for the public’s consideration through a pair of headphones next to the artefact. The original beat is almost perceptible within the resulting din, a half-remembered image emerging through fog.

In a shadowy corner in the back room, Grant is fussing over a small bank of sound equipment, adjusting levels on the keyboard, twiddling knobs, completely oblivious to the surprised squawks of people stepping over the splatter of vomit in the corridor. Marnie looks nervous sitting next to him, occasionally picking up her sticks before replacing them, while Nicholas French, his face obscured by a heavy mop of blonde hair, and bassist Nathan Martin fiddle with their instruments in the corner opposite.

Finally they begin, the music commencing without any clear signal to the sparse audience, the fading murmur of the listeners blurring into the growing soft distortion emanating from Nicholas’ guitar. People stream into the darkened space, standing in a thick clump at the back while others form a cross legged semi-circle a respectful metre or so around the band.

Alien sounds emerge from the noise, both harsh and strangely muted, Grant yelping into a microphone before twisting and contorting the sound around the ostinato of the guitar. Then Marnie kicks into action and suddenly the noise is transformed, Grant moving to the synthesizer, a twist of harmony curling out to twine around the bass line – lines of attention focus the band members on one another, cues being given and responded to.

The room is pulsing now with a jaunty beat – why isn’t anyone dancing? – Nicholas striding over to stand in front of the desk, ripping a new theme into the mix, the sound kicking up a further gear for a long minute before they allow the layered noise to dissipate back into the air. “That was fantastic” someone calls out as people start to clap. The girl with the lip ring is standing close by. “That was shit” she mouths into a friend’s ear. “C’mon, I want more wine.”

by Oliver Downes
Contains material originally published at Throw Shapes

Crab Smasher reviewed at Mess and Noise

Crab Smasher‘s latest release Thick Mosquito Sky has just been reviewed at Mess And Noise. Here is a taste.

Working within the parameters of a fairly standard band set-up, Crab Smasher use guitar, bass and drums alongside an array of synths and electronic effects. What they do with these elements falls somewhere between improvised noise rock and explorative soundscapes. Hunter, Nicholas French, Nathan Martin and Marnie Vaughn have developed the kind of rare musical synergy that comes from spending a lot of time living and making music together without the expectation of making it a career.

Read the whole article here.

Polyfox and The Union Of The Most Ghosts live in the Valley

The always wonderful Eternal Soundcheck blog from Brisbane have posted a couple of videos of the Polyfox And The Union Of The Most Ghosts performance from the Bedroom Suck Records showcase in the Fortitude Valley mall over the weekend. Here we see Polyfox AKA Nicholas French debut his new live band which consists of Monofrog AKA Nathan Martin and Blind Leopard AKA Grant Hunter, both of whom also play in French’s other popular music band Crab Smasher. The tracks are Inside The Lion (Creature Comforts) and Wood Birds, which are both fairly new and as yet haven’t appeared on a Polyfox release. Check out videos of Knee Chin and Blank Realm here.

Crab Smasher – Thick Mosquito Sky

Crab Smasher have a new cassette out NOW, their first since 2007’s DOOM+DOOM=OMG!!! release. It’s called Thick Mosquito Sky and it’s really really good and warm and fuzzy. This C46 masterwork consists of a diverse selection of  improvised tracks culled from two separate live recording sessions in 2009. As is pretty typical of the band, here the confident and experienced super-quartet of Grant Hunter, Nicholas French, Marnie Vaughn, and Nathan Martin cover a broad spectrum of bizarro audio territory, exploring  everything from synthy-grindcore mania, electro pop blippertrons, classic rock jams, ambient drone snoozesfests, and scummy noise clunkeramas.

Limited to just 60 cassette copies with hand screened inserts by artist Sarah Mould. Get one now because these will go fast. Also available in a range of high quality digital formats from bandcamp for all of you that have ipods instead of walkmans.

1. the dancing girl and the burning town
2. europa
3. deep water attack
4. digging a hole in a dried up lake
5. spaghetti helmet
6. the ice
7. separated by the distance of oceans
8. snakes in the grass
9. the science of running really fast
10. battle of the bands

The Night Of Love – Winter Tragic 2008

Just uncovered from the archives, a short excerpt of The Night Of Love performing at their only live appearance to date, at the Winter Tragic Festival back in 2008. The Night of Love is the sometimes recording project of geographically divided musicians Yusuke Akai, Grant Hunter, Daiji Igarashi, Nik Mayer-Miller, Nicholas French, Morgan Cabot, and Scott McConnachie. Their albums Now You’re Infected!!! and Burn Kids are still available on CDR from Monstera Deliciosa.

Tyrannosaurus Rex

Tyrannosaurus Rex is a fun new group exhibition of dinosaur themed artworks curated by Grant Hunter. There will be a wide variety of crazy art on display, including works in illustration, painting, printmaking, sculpture, photography, sound, and video. The artists involved with the show include a number of super musical celebrities, such as Eli Partridge from Heil Spirits, Kell Derrig-Hall from Moonmilk, Jen Tait from Go Genre Everything, Mike Foxall From Nancy Vandal, Sam Witek from Radiation Nation, Elizabeth Nagy of Young Lions, Kalindy Williams from Le Paper Dolls, Steph Cola from The Diamond Sea, and quite a bit more.

Opening Night music performances by Simo Soo and Cock Safari.

Opening 6pm Sept 12
ARThive Gallery
Level 1/111 Hunter St Newcastle