Locals Only #1 - Tasmania

Our chats with Tasmanian musicians, emerging and established! Hear from emo psych-punk trio Sound Disorientation, dream-folk collective Raspberry Terrapin, hip-hop, soul and R&B artist Jazzy B, garage rock/jazz group Glass Media and psych-folk project Chamberwoman.

Words Aeron Clark

Sound Disorientation

What To Expect: Sound Disorientation is Chelsea, Cameron, and Felix (16), an alien emo psych punk trio from Hobart, playing whatever style they feel sounds good in the moment.

Tell us the story of how you started Sound Disorientation.

We started the band in late 2022, on our school orientation day for high school, so it’s kind of wild to think it all started there. It was our first time being at a school with instruments that we were actually allowed to play. Cam was getting into Nirvana, Mudhoney, and Black Flag at the time, and thought, “I wanna do that”. Throughout 2023, we went through so many different genres and band members until it ended up just being Cam and Chelsea, and then around November, we brought in Felix on bass. That’s when we really started writing, and everything began to click into place.

Congratulations on having already released your first album, Way Too Loud. How does it feel to have it out in the world?

It was a super good experience, and it definitely represents us in our DIY “I’ll just figure it out” fashion. We don’t see it as a super “official” album, but it’s amazing to have it out there. We’re also really excited to take our time with the next one and record it the way we actually want to.

What did you take away from making Way Too Loud?

Making Way Too Loud taught us how important it is to experiment and stay open to feedback, because those things can really improve the final result. Next time, we’ll probably spend more time planning at the start and be more selective about what to keep, so the finished piece feels tighter, clearer, and more polished.

Your album launch was held at Jimmy's Skate & Street. What was the energy like at this show? Did it feel like a significant occasion to you?

Jimmy’s was a dream come true; the energy was absolutely electric. The room was packed with friends, family, and people from the scene, and everyone was buzzing the whole night. People were singing along, moshing, and really feeding off what we were doing on stage, which made it feel like a proper celebration rather than just another gig.

Have you already started writing material for the next album?

We’ve written most of the songs for the next album, so now we’re just waiting to buy the equipment before we can really get into recording and putting everything together properly. We have a demo version that was recorded on a cassette recorder, coming out very soon!

What do you think are some of the strengths of the Tasmanian music scene?

One of the biggest strengths of the Tasmanian music scene is how close‑knit and supportive it feels. Everyone, from venues to bands to fans, really looks out for each other and shows up for local shows. Because the scene is smaller and more community‑driven, it’s easier to build real relationships with other bands and actually get chances to play even if you’re still figuring out your sound. It’s less competitive than big mainland cities.

Who are some Tasmanian artists that you're loving right now?

We’ve enjoyed Legal Noise ever since we entered the scene, and right now we’re all loving In Lieu and Who Threw That - they both tap into that emotional alt/indie/Midwest-emo style sound in a way that totally fits what’s happening in Hobart right now. Also BOFA, NoScope, Late Night Meat Thief - we love the way their lyrics are sung with so much passion.

What does your dream Sound Disorientation gig look like?

A packed room, completely filled to the brim with people having their best life, in the moment. The crowd would be so loud you could barely hear your own amp, but in the best possible way. A massive part of it would be playing alongside Legal Noise. Everyone in the band genuinely loves them and sharing a stage with them would feel like such a full-circle moment, and a real honour - like we’re right where we’ve always wanted to be.

Raspberry Terrapin

What To Expect: Raspberry Terrapin is Frankie (20), Anneke (19), Blake (19), Caleb (20) and Willow (16), an ever-changing dream-folk collective centred around love, connection, nature, and noticing.

Who are Raspberry Terrapin? Tell us the story of how this band started and how you have developed over time.

Raspberry Terrapin started in lots of places. Anneke and Blake started playing music together in high school. We would play covers of artists like Elliott Smith, Silverchair, Lush, and many others. A couple of years later in college, Blake and Frankie started writing songs together, and eventually Anneke joined them. 2024 was when we really started writing a lot of songs and gigging a lot more. We started to really find our sound, and we wrote and recorded Yawning + Song over the course of that year. We’ve since added two new members, Caleb and Willow, on bass and drums, which has really opened up our sound and given us a lot of options as to where to take the band. In the 8 months or so since releasing our debut album, we have been writing lots again, and we are all very excited to share these new songs in the near future.

Congratulations on your debut album Yawning + Song. How does it feel to have this beautiful document of the band out in the world?

It feels like such a relief to finally have a home for these songs. We played them for a very long time before releasing them, and we were all very excited to get them out into the world so we can start on the next batch! The reception to this album has been very heartwarming. To know it resonates with people in such an intimate way is very special.

What did you learn while making Yawning + Song, and is there anything that you would do differently next time?

We ended up recording the album 3 times across 5 different DIY studio setups, so we definitely learned to be patient with the process and not to rush ourselves. For the next record, we want to have more diversity in the instrumentation, and we will work with a lot more people in the production/recording sessions.

How does the band’s location and environment influence the music that Raspberry Terrapin makes?

Almost every song on Yawning + Song was written on Bruny Island at Blake’s grandma’s place. There is so much bush, and it’s very quiet and inspiring. We go down as often as we can and stay for up to a week. Getting out of the city is lovely and always so inspiring. Living on such beautiful land is definitely why the nature themes in our music are so present.

What do you think are some of the strengths of the Tasmanian music scene?

It’s such a tight community; very diverse and welcoming. It’s a real boiling pot of different influences and we all end up playing gigs or in bands with people who play way different stuff than you, which really opens up your creativity and ideas.

Hobart shows are known for being quite genre-diverse. Do you find this exciting? How does it feel to have your ethereal three-part harmonies on a bill alongside more abrasive and heavier sounds?

We love it so much! Our favourite shows are when all the bands on the bill are super different. It attracts such a broad and diverse audience, makes the night super exciting, and makes each band sound even better when contrasted against different sounds.

How were you feeling before playing your very first gig, and how did it turn out? And how does playing a gig now feel to you by comparison?

We were so nervous, but the only people that showed up were Frankie’s mum, Caleb, and his mum, so those nerves subsided pretty quickly, and it just felt like playing at home. We’re a lot more prepared for shows now. We’re very lucky to be playing as regularly as we have been - it’s made shows feel a lot more comfortable, and it’s always so lovely to see people come out and support us almost every week.

Is there a favourite gig you’ve played so far? What was so great about it?

Most recently was the ‘Soft Landings’ show at Altar, with Naomi Baltyn, Chamberwoman, Ally Oliver and Hannah Clare. We knew our drummer at the time was going to be away for the show, but we really wanted percussion, so we asked some friends to do miscellaneous percussion things like shakers, tambourine, some brushed snare and cymbals, rain sticks, and even a trumpet! We had seven of us in the band for that show, and we hope to do something like that again in the near future. Every set was incredibly ethereal and inspiring, and the crowd was so kind, which made the night really special.

What does your dream Raspberry Terrapin gig look like?

It would be in a big abandoned building with super high ceilings and lots of natural reverb and light coming in through the cracks of the building. Everyone who comes has to bring an instrument and join the band - it’s all a big raspberry jam! We’d have Ramleh, Gastr Del Sol, Freshly Wrapped Candies, and Tim Buckley all back from the dead as supports.

Who are some Tasmanian artists that you’re loving right now?

VANISH ACT’s super sweet ambient reminds us a lot of the Twin Peaks return season. The Gourds are the coolest country folk band in town. We love Pooka Impyaga’s melodic, abrasive, glassy trap, and the new 208L Containers album Soft Monstrous Masses is such a favourite, with so many memorable hooks!

Jazzy B

What To Expect: Jazzy B (18) turns pain into power and connection, with her impactful blend of hip-hop, soul and alternative R&B.

Introduce yourself! How did you get involved in songwriting and performing?

Music’s kind of always been part of my life. I grew up singing with my mum and studying it at about 6 years old. I properly got into songwriting during a pretty chaotic time in my life at about 14. I was dealing with a lot, and music became a way to process everything. Performing came a bit later, but once I started, it just clicked. Being on stage feels like the one place where everything makes sense, and I feel most like myself - like I can take all the messy, heavy stuff and turn it into something people can connect with. Especially in the Tassie scene, it’s been really powerful to find a community and feel like I have a place in it.

You released your first single, ‘Patience’, in June 2025. How did you know that this was the right song and moment for you to introduce your music to the world?

‘Patience’ felt like the right place to start because it captured where I was at the time, both musically and personally. Releasing it was more about taking that first step than waiting for everything to be perfect. Looking back, I see it as part of my growth as an artist.

Would you say it’s important to you to use your music to try to inspire positive change?

A lot of what I write comes from real struggles, and if that can make someone feel less alone or help them see their own strength, that’s where the positive change comes from. For me, it’s more about connection than influence. I think there’s power in telling the truth, especially about the messy or uncomfortable stuff. If people can hear that and feel understood, or start to see their pain differently, that’s enough for me.

How were you feeling before playing your very first gig, and how did it turn out?

Before my first gig, I was honestly terrified. It’s such a vulnerable thing, getting up and sharing music that’s so personal. I remember feeling really in my head, questioning everything, and wondering if I was actually ready. But as soon as I got on stage, something shifted. The nerves were still there, but it turned into adrenaline, and I just locked in. By the end of it, I didn’t want to get off stage. It confirmed for me that this is what I’m meant to be doing.

What’s the most valuable thing you’ve discovered since you started performing?

I think the most valuable thing I’ve discovered is that the audience responds to authenticity more than anything. If you’re real and present on stage, people feel that. That’s when it stops being just a performance and turns into something shared.

What’s your favourite gig you’ve played so far? What was so great about it?

My favourite gig so far was definitely my 18th birthday show, “Chapter 18”. It just felt really full circle - having all my friends, community, and other artists in the same space, and all there for something I’d built. The energy was insane from start to finish, like everything I’ve been working towards actually coming together in real time. The crowd was so engaged, and you could feel that connection in the room

What does your dream Jazzy B gig look like?

My dream Jazzy B gig would feel like a full story unfolding on stage, not just a set. I’d want it to be really cinematic. At the end of the day, I don’t want people to just hear the music - I want them to experience it and leave feeling like they were part of something bigger than just a show.

What do you think are some of the strengths of the Tasmanian music scene?

One of the biggest strengths of the Tasmanian music scene is how tight-knit it is. Because it’s smaller, there’s a real sense of community. people actually show up for each other, support each other’s gigs, and collaborate instead of competing.

What do you think about the all-ages gig landscape in Hobart right now?

The all‑ages gig scene in Hobart has definitely come a long way. There are spaces where young people can actually get out, see live music, and feel part of something, but they’re still quite limited. Smaller venues and community events open the door for people who are too young for pub shows to still experience live performance, which is so important for growing the next generation of musicians and fans.

Are there any local folks who you think are doing great things for the music scene in Tassie at the moment, or who you look up to?

Grace Chia has created Oracle Nights [monthly hip-hop events] for young emerging hip-hop artists, which are also all-ages gigs. I really look up to Grace - not just as an artist, but in who she is and how much she’s done for our scene, including making hip-hop in Tassie more inclusive of females and young people. And there’s also Ashley Smith, who founded ‘Breaking The Cycle Tassie’ - he curates hip-hop community events and youth events, often raising money and awareness for homelessness and young people all over Tasmania.

Who are some Tasmanian artists that you’re loving right now?

I’m really loving what Grace Chia and Dunn D are doing right now. Both of them have such a unique sound and energy. They’re pushing Tasmanian hip-hop forward while staying true to themselves.

Glass Media

What To Expect: Nipaluna/Hobart trio Glass Media are Max, Archer, and Anna, who blend garage rock with Jazz influences to create their own unique sound.

Introduce yourself! How did Glass Media come together?

Originally, Max (drummer) and Archer (guitarist) started playing together in high school as a Hockey Dad cover band. After playing together for about a year or so, they decided to branch out and work on some original pieces. Around this time, Anna (vocals/bass) had recently moved back from Melbourne to Hobart and was looking to join a band. Max and Archer needed a singer and bass player, so this worked out perfectly. Then it just went from there!

You released your debut EP Synthetic Outdoors in 2024, and most recently the single ‘Keys’. What’s the most valuable thing you’ve discovered since you started recording?

Practising to a metronome. The first time playing to a metronome definitely comes as a shock to everyone. This is where practice is important, so you're not having to learn your parts whilst in the studio, to allow maximum time for creativity.

Take us back to your first gigs. How different does the way you approach a gig now look compared to back then?

Our first gig together outside of school battle of the bands was down in Longley, opening a local music festival. We were so nervous that it’s all just a blur now. Nowadays, before gigs, we have a ritual where we all get dinner together and just have a chillout. We find getting to the venue early to get set up helps with nerves throughout the night, so there aren't any complications closer to the time you go on stage.

What’s your favourite show you’ve played so far?

Our favourite show we have played is definitely opening for The Preatures at the Odeon Theatre in Hobart. This was a dream come true for all of us as we had all grown up listening to The Preatures, as well as being able to play the Odeon Theatre, which is a Tasmanian legacy venue.

What does your dream Glass Media live show look like?

Our dream show would be selling out the Odeon Theatre, and everybody knows all the words to all our songs.

What do you think are some of the strengths of the Tasmanian music scene?

Being such a small and tight-knit scene, we’re all very close friends. This helps everyone to grow and become better musicians. There’s a big genre crossover between band members and lineups, which helps the scene produce fresh sounds.

Are there any folks in the scene who you think are doing a great job of driving things forward and lifting others up?

Tyler Richardson (Luca Brasi) has definitely been someone we’ve looked up to and has played a role in who we are today. Funnily enough, he also taught us wood and metal work in high school.

Who are some Tasmanian artists that you’re loving right now?

Maddy Jane is simply awesome. Spooky Eyes are seriously putting Tasmania on the map right now. Iluka Manor is the grooviest band in Hobart, and Sam McMeekin is setting a new standard for acoustic acts and songwriters in Tasmania.

Chamberwoman

What To Expect: Chamberwoman is the expansive psych-folk project of Natalie Cardoza (33), existing between worlds, both sonically and spiritually.

What inspired you to start songwriting, and what does the Chamberwoman project mean to you?

I was raised in Meanjin/Brisbane and moved to Naarm/Melbourne at 17. At 20 years old, I moved to Mparntwe/Alice Springs, where I remained for 9 years. I have always felt intrepid and unsettled, which is what led me to Lutruwita/Tasmania, which I have called home for 4.5 years. It was in Alice that I taught myself the life-altering ability of guitar at the age of 23, which swiftly led to singing and learning songs.

I had always been baffled by music. In primary school, I was told not to continue lessons as I didn’t have the aptitude, which is probably why it took me longer to veer into this world. But one thing I always had was a passion for finding weird and obscure music. I reserved the making of music to an unattainable achievement - an elusive process that I was never able to understand. Now I play piano, drums, guitar and sing?!

It wasn’t really until my first overseas solo adventure, where I spent some time on a Dodecanese island in Greece, that I began writing in earnest. A lot of downtime, and the beautiful island’s contrast to my feelings of homesickness and heartache, ushered in a way to process those feelings and write my first songs. When I got home, I honed my newfound skills, started performing and started a band called ‘Aphrodites Nightie’ with my partner/longtime collaborator Cornelius Cooper. It was scrappy and fun, a mixture of bluesy, energetic songs. I can see the beginnings of what Chamberwoman was to become in those first songs.

Sonically, the music exists between worlds, which is what I find myself writing about, too.

Dualities are fascinating; perspectives are thought-expanding. But the songs can always be stripped down to their fundamental parts with just me and my guitar or piano. It’s always first and foremost the crafting of a melody that inspires me to go on. The writing follows a constantly expanding and retracting ideology and explores themes ranging from existential quandaries to the spirit of love and all that it transforms.

You’re working on your debut album at the moment - how does it feel to be moving towards such an important milestone?

It’s imminent, and I have needed to practise a great deal of patience in getting it to where I wish it to be. You go through a phase of initial tracking, and everything is seemingly obvious. But towards the wrapping up and tying of old tethers, it has been very revealing. Together with Cornelius (engineer, guitar/bass & more), we are self-producing and (probably) self-releasing, so there is always something to do. But we are, as I say, closer than ever!

For both of us, I think it will be a massive, energetic release.

Chamberwoman’s music is moody and dramatic. How much is your sound shaped by your location amidst the striking Tasmanian environment?

When we first arrived on the island, we landed completely isolated, renting a sight-unseen place 20 minutes south of Cygnet. We didn’t know anyone, and this is where I started writing the album. For a whole year, I could look out our living room window to the backyard, which sloped down into the beautiful Huon River and across the Channel. Coming from the desert, this was a different kind of paradise. I’d visited a couple of times throughout my early 20s from Alice and became enthralled with thylacine tales. I knew I’d be back, and it’s due to this land. It is wild and untamed, so obviously feminine.

What are some strengths of the Tasmanian music scene, and what do you find inspiring about being involved in this community?

The generosity, the potential and the inclusivity come to mind. I wouldn’t have become this performer, this kind of musician if I weren’t here. This is where we found our band to perform our material, it is where we have become an accepted part of this musical community, and that is invaluable. I am inspired musically - I think there is a good range of diverse artists down here doing really interesting things. And how we are still able to see a stoner/sludge band on the same bill as a folk band will always be enticing to me.

Is there a favourite show you’ve played so far, and why?

I remember feeling anxious opening for Trentemøller on his tour because we hadn’t performed as a duo for some time. But I remember coming off stage and both Cornelius and I feeling really great. When you perform as a band so often, and the recordings are fully articulated versions of your songs, you can feel like a solo or duo gig won't do them ‘justice’. But I remember looking out at a full room and grounding myself by scanning the many human faces. It filled me with a higher sense of awareness, and it felt like I’d really tapped into something cosmic.

What does your dream Chamberwoman gig look like?

Hmm… Full band and full orchestra, probably somewhere like Red Rocks or The Greek or something. Some vaudevillian stage sets, a liquid light show, big marionettes, and all of my favourite bands and artists (alive and dead) singing in a choir with me.

Who are some Tasmanian artists that you’re loving right now?

There are many, but I have loved EWAH, solo or otherwise, since moving down here, and Slight Variations is a somewhat recent find, who we have had the pleasure of playing next to - they are all incredible musicians.

Do you have any shows lined up that you’re particularly looking forward to?

On June 12th at Albert Hall in Launceston, I’ll be supporting Folk Bitch Trio for Dark Mofo. This one definitely feels like a step in the right direction - supporting such acclaimed musicians in a beautiful venue and getting to share my music with people who have never heard of it is so exciting!

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