wreckery - The I-94 Bar
Multi-instrumentalist and hypnotic crooner, Hugo Race, returns home to Australia in June and July, fresh from an intense wave of European solo headline concerts in support of his latest EP "Ophans".
The five-city tour will include dates in Brisbane, Sydney, Melbourne, Adelaide and Tasmania.
Race delivers a unique take on experimental blues, folk and dark-edge, dragging inspiration from artists the likes of Neil Young, Velvet Underground and Wilco.
His EP is credcited to Hugo Race Fatalists, the collaboration between Race and Italian instrumental gurus, Sacri Cuori , and is said to create "ground-breaking, intense sonic soundscapes that merge folk, experimentalism, electronica and rock".
Wendy Morrisey photo
Having trouble keeping up with COVID stalled gigs? You’re not the only one. Ex-Wreckeryand Bad Seeds member and leader of The True Spirit, Hugo Race,is pushing on with his postponed shows to celebrate the Doors’ “LA Woman” album’s 50th anniversary. He’ll play shows with the True Spirit in Melbourne later this month to make up for past postponements.
From the first sentence in "Road Series", you’re in Hugo’s world, his past, present and by implication, future.
“Road Series” is one of the main reasons that a poor bloke like me can’t ever get history quite right: we have the dates, the events, the chronology lodged and squared away. But people like Hugo carry the emotive rationale, the anti-rationale, and the … moving finger writes inevitability of their lives locked inside them.
I suppose we could all say we have that, but few, very very few of us could write it out and get it right, express it right, show us who warn’t there just how it wuz.
We instantly inhabit Hugo’s world because, first and foremost when you’re reading a memoir, the writer is telling their story. Second, “Road Series” possesses a vividness, a real-in-colour sensation to it which so many memoirs of the punk and musical new wave period completely miss in their hurry to put down their rivals, tell juicy anecdotes and, basically, gossip.
And I’ll just say this, for an autobiographical account of a significant St Kildan musician from this rather bitchy, backstabbing period, there is an astonishing absence of tittle-tattle, knife-wielding and general spite. Hugo is remarkably matter-of-fact about things, and (again, from page one) the maelstrom continues like that whirling Tasmanian devil from the Warner Brothers cartoons.