Posts Tagged ‘Camp Cope’

Image result

It’s a sad fact that whenever anyone goes to a gig, they run a very real risk of being assaulted, attacked, or harmed in some way. While it’s not a new trend, the modern age we live in allows for these heinous acts to receive greater attention, and thankfully allows for those responsible to be called out and brought to justice.

As we reported earlier this year, numerous artists, such as Melbourne’s Camp Cope, have joined the #ItTakesOne campaign, intended to make everyone more safe at gigs. Camp Cope’s end goal is obviously to see this behaviour stamped out completely, but the #ItTakesOne campaign’s first step is to ensure that environments exist in which this behaviour is not tolerated at all. With the rising popularity of the campaign, we’re becoming ever-closer to a point in which we will hopefully never have to hear about people being assaulted at gigs.


Let’s not pretend there is a more socially impactful band in Australia right now than Camp Cope are knocking down the interior walls of the Australian music industry and renovating it with sledgehammers, Australia’s most melodic bass player, and a brand-new blueprint. This is a band that refuses to settle for anything less than revolution, and you’re going to hear about it on their second album. Expect broadened subject matter – devastatingly smart songs about friendship and about coping with loss, in addition to a entire fistful of middle fingers raised at all those who stand against. Camp Cope

Camp Cope / Cayetana Split Single release

Alongside two sold-out performances as part of Vivid LIVE last year, Camp Cope filmed their new single ‘The Opener’ live in the stunning Utzon Room at the Sydney Opera House. The Melbourne punk trio are no strangers to confronting contemporary issues head on, and their latest single does just that. The alt-rockers are now preparing for a March tour in support of their forthcoming sophomore album, How To Socialise & Make Friends. The video shows Camp Cope playing against views of Sydney Harbour and the Royal Botanic Garden, the vibrant tapestry of Utzon’s own design which adorns the western wall, and the dramatic concrete beams of the sails across the ceiling.

Image result for camp cope

Camp Cope is an alternative rock band from Melbourne. Lead singer Georgia McDonald’s seasoned, resilient vocal tone relays stories of regret, shame and embarrassment with deadpan humor and acute self awareness. Her deep natural twang adds a tier of passion to the simplest lines making Camp Cope the perfect companion for self-expression on even your worst days.


Band Members
Georgia McDonald – Vocals and Guitar
Kelly-Dawn Hellmrich – Bass
Sarah Thompson – Drums


How can something so furious feel so life-affirming? There is so much love and passion in Camp Cope’s debut album that, even after a million listens, I still find myself stuck to the chair and gripping onto the table as those drums kick in. Singular and unrelenting, the fuzz drums, magic bass lines and Georgia Maq’s voice , these 8 short songs are everything. Not only was this an incredible debut, it also felt like the start of something. From the now, sadly, kinda legendary “girls to the front” incident, and the subsequent #ItTakesOne campaign, it felt like this year Camp Cope changed from being just a local band that released a great record, to a scene-changing force for good – breaking faces, and absolutely-no-doubt inspiring.

Their latest single The Opener, from the band’s forthcoming album, features lyrics that take on gender disparity over a swaggering bassline, insistent drums and urgent guitars: “You worked so hard, but we were just lucky/To ride those coattails into infinity/And all my success has got nothing to do with me/Yeah, tell me again how there just aren’t that many girls in the music scene.”

Image may contain: 2 people, people smiling, car

Taking some time out from recording last month, bass player Kelly-Dawn Hellmrich wrote a guest editorial piece for the monthly edition of The Music and discussed Camp Cope’s “overall experience being non-male in the music industry”. “In this music world we have all been made to feel less important, less listened to and deserving of space because of our gender,” Hellmrich writes. “This continues together as a band where we are constantly facing discrimination and sexism and then criticism when we are outspoken about it. There have been people asking us if we knew how to use our equipment or if we write our own songs,

And as the year draws to an end, the band were voted “This Year’s Girl Band” Camp Cope had already retaliated in the best way possible, dropping new songs “Keep Growing” and “The Opener” pounding and fully focussed, ready.

CAMP COPE ‘The Opener’. Taken from forthcoming 2018 album – via Run For Cover (EU/UK/USA) and Poison City Records


Image may contain: 3 people, people smiling, stripes

If you’re hoping to score some life tips from Camp Cope’s sophomore LP How To Socialise & Make Friends, you might want to look elsewhere.

“It’s not like an instructional album. Like I don’t know how to socialise or make friends,” frontwoman Georgia Maq admits . The Melbourne trio are about to follow their acclaimed, self-titled debut with a record that’s even more raw than the first, if that’s even possible.

“In the last one we had like a couple a harmonies and like a gang vocal and this one is just like fully stripped back, there’s nothing,” Georgia says. “Everything was done just really quickly, how we like it, and I think I don’t care as much for this album. I don’t care what people think.

“I care less because I’m happy with what we’ve done and so anyone else’s opinion doesn’t really matter.”

When she says “really quickly”, she means it. The album was written in a couple of months, and recorded in just two days (though half a day longer than the first). In fact, drummer Sarah ‘Thommo’ Thompson says she booked the tour for this album before a single word was written.

“[We] went ‘Uh oh, now we have to record it’ and we just went to the same place we did last time, just booked two days with nothing written knowing that if we didn’t have dates to aim for we wouldn’t do it,” Thomo says.

The album is totally done now, though we’ll have to wait until March to hear it.


Camp Cope the band:

gmaq – vocals/guitar
kelly- lead bass
thomo – drums

Pre Oreders for ‘HOW TO SOCIALISE & MAKE FRIENDS now if you’re in australia, hit up to check out the different colour options, along with this lovely tee designed by Celeste Potter, & the first ever camp cope stickers. friends throughout the rest of the world! run for cover have a different range of colours for you to choose from over at available to order now. thanks so much to everyone who’s helped make this possible, we are stoked for you to hear it



Image result for camp cope,

Camp Cope have made a fiery comeback with the first taste of their upcoming second album.

The empowering punk trio pretty much instantly found their musical voice – loud, fearless, sincere – on their self-titled debut album (which was nominated for a 2016 J Award).

Now we get ‘The Opener’, Camp Cope’s first new music since last year’s ‘Keep Growing’, which doesn’t mess much with the sound you’re used to but it does cement their status as a vital voice in the music scene as they simultaneously call out the hypocrisies within it. ‘The Opener’ bites back at the phoneys in a male-dominated industry who’ve told the band to do things every other which way but their own.

“It’s another all-male tour preaching equality,” bellows singer-guitarist Georgia Maq in a line dripping with acerbic determination; her cutting lyrics coiling around Kelly-Dawn Hellmrich’s mercurial bass melodies and Sarah Thompsons’ sturdy rhythmic backing.

The song is also the first taste of Camp Cope’s upcoming second full-length record. No title or release date yet but the LP is due sometime in 2018 (via Poison City Records)

CAMP COPE ‘The Opener’. Taken from forthcoming 2018 album – via Run For Cover (EU/UK/USA) and Poison City (Australia/ NZ/ Asia).


Camp Cope have inked a deal with Run For Cover Records.

The first move for the Aussies on their new home will be to co-release the band’s self-titled debut album with their domestic label Poison City Records in North America for the first time.

Live footage from Crowbar, Brisbane.

You’ll be able to get your hands on that stateside from 8th September.


CAMP COPE – ” Keep Growing “

Posted: March 28, 2017 in MUSIC

Image result for camp cope

Camp Cope had a big year last year with a superb album, and they’re wasting no time getting started on 2017, announcing this morning one very cool tour of the East Coast of Australia with the excellent Cable Ties – plus a secret show for good measure.

Calling it a “four and a half” date tour, with their post-punk supports,

Not only that, but they’ve got a split 7″ record with US outfit Cayetana now available through Poison City Records, featuring their new single ‘Keep Growing’ on one side, and a rework of frontwoman Georgia Maq’s solo effort ‘Footscray Station’ on the other. Footscray Station is a great song. Still great with this full band version.



Image result for camp cope

What’s most startling about this Melbourne, Australia trio Camp Cope’s self-titled debut is not its collection of tightly played and written indie rock songs. It’s the sneaking, sinking feeling you get from pouring through someone’s well-hidden diary while listening to the damn thing.

In the record’s eight tracks, singer Georgia Maq lets us in far past the point of oversharing; her frustration, fear and grief expressed in “Lost (Season One)” and “Song for Charlie,” delivered through her thick Aussie accent and complemented by her bandmates’ ragtag percussion, it all feels like the kind of things we learn to keep locked up in private. You could call that radical transparency, or tenderness, or both. But it makes for startlingly good singalong fodder. Particularly impressive is Maq’s pen. Her knack for reworking lengthy, unwieldy thoughts like “I’ve been desensitized to the human body / I could look at you naked and all I’d see would be anatomy” (“Flesh and Electricity”) into effortless hooks is demonstrated all across Camp Cope, through songs that tackle sexual harassment, personal tragedy. But through its heavy subject matter, Camp Cope’s inaugural statement of a debut album is, above the mud and murk, to persist and survive


In the same way Benji was about “death” and 69 Love Songs was about “love,” Camp Cope’s enthralling debut is an album about “shame.” There are dozens of times where Georgia Maq, leader of this Melbourne trio, recognizes the subtle way shame has goes viral in real time, tinting and tainting almost every one of her interactions: The discomfort and depression she feels after passing by a homeless man in the park, getting catcalled at a construction yard or busking in the streets. Each encounter is processed as a projection of her emotional state or payback for the original sin of having been born. Maq’s emotional intelligence is off the charts here, but in that aspect, she might admit she’s too smart for her own good.

On “Flesh & Electricity,” Maq exhales, “I’ve been desensitized to the human body/I could look at you naked and all I’d see would be anatomy,” like she just might sink so far into her couch that she disappears. When she modulates the chorus a few steps higher, she sounds even wearier; the effect is like watching someone force a smile in a crushingly repetitive job. It’s perhaps the saddest of Camp Cope’s eight songs because it was inspired by her actually trying to do good in the world; Maq worked as a nurse during the writing process of Camp Cope, but her altruism might have just been shame management: “My father says it’s atonement for my reckless years,” she says in “Flesh & Electricity.”

Camp Cope’s sound is, increasingly, the sound of indie rock today: a divergence from the too-cool VUthe FallPavement lineage that embraces the effusive, empathic and emphatic qualities of emo, with some pop-punk (Tigers Jaw and UV Race are namedropped in “Stove Lighter,” WHY? is paraphrased in “West Side Story”) and a social awareness that negates any of the aforementioned’s previously questionable politics. You can tell from the stock chord progressions and loudly projected vocals that Camp Cope used to be Maq’s solo project, but if it’s folky at all, it resembles the superlyrical the Front Bottoms or the Mountain Goats rather than any roots music.

It’s a testament to Camp Cope’s unique magnetism that they never cheat towards the catharsis typically expected to balance out such heavy subject matter. They often use deadpan humor instead: “Jet Fuel Can’t Melt Steel Beams” references nutball 9/11 conspiracy theories, but uses it as part of a pattern where any authority condescends to you, whether it comes from the NRA (“the only thing that can stop a bad man with a gun is a good man with a gun”) or the victim-blaming inherent in most sexual assault investigations.

The most powerful moments on Camp Cope come when Maq shows a willingness to take some kind of power back after being talked down to her entire life, by parents, by teachers, by partners (“Hey, I was looking for a reason to leave and it’s you”), friends and peers in the punk community. There are no revelatory epiphanies for Maq, just valuable growth spurts that feel like acceptance. In “West Side Story,” Maq gets closest to the “survive and advance” thesis statement of Camp Cope:  “It all comes down to the knowledge that we’re gonna die/find comfort in that or be scared for the rest of your life.”