Having time off isn’t something Tex Perkins can dig.

In a 30-year career, his exhaustive work ethic has been responsible for a prolific discography, a list of collaborators featuring the best in the Australian music biz, and a profile the subject of an award winning portrait. So he sees no reason to slow down now.

His latest record, 'Everyone's Alone', is set for release early next month, and although the vibe is slightly mellower than some of his past work he assures me he still feels the fire in his belly.

“I could do with more mellowing out,” he jokes. “The record really livens up about three quarters through. There are a few songs on there that are very spirited in fact; ‘A Real Job’ for instance is a nasty little groove. It’s pretty harsh for me, young fella!”

His gruff sense of humour is a trait present in both his music and conversation. And a trait his band, The Dark Horses, have undoubtably come to appreciate.

“Dark Horses have been the backing band for my solo project while I’ve done other things, but over the years the band has solidified and become a creature unto itself. It has its own sound and feel and identity and that’s what this record is more about — a full band feel and less of a singer-songwriter feel.”

The group started writing while touring the previous album and it took only six months to produce the finished record. But to Tex, that's not quick enough.

“I think we can get quicker,” he admits. “For me it’s about the making and doing, and the albums are evidence of that — evidence that we’ve been doing something. I plan to make a lot more music, because I feel the pressure more and more as I get older that this is what I’ve decided to do and I’d like to get good at it before I finish. I feel an urgency as I go on to not waste any time.”

Tex can be an unapologetic individualist; an artist prepared to roll the dice; a musical chameleon and comedian; but besides all of that stuff, he’s just a top bloke.

‘Everyone’s Alone’ is out November 2. Tex Perkins & The Dark Horses play The Zoo November 8.

When people say your life is an empty canvas, they seldom mean it physically. At the Australian Body Art Carnivale, however, you'll literally see works of art walking the streets.

Registrations are now open for the 2012 event – taking place in Eumundi May 12-13 — which attracts artists and spectators from across Australia and overseas.

The event is centred on competitions in full body art (temporary paint – not tattoo) and face painting, but also includes competitions and exhibitions in wearable art, vehicle art and photography.

“As the name suggests, the Australian Body Art Carnivale certainly has a strong focus on body art in its many and varied forms – from the more readily seen face painting right through to full body painting in the categories of brush and sponge, airbrush and special effects,” Event Manager Danielle Taylor says.

“There are opportunities for artists with backgrounds in visual art, make up and special effects, textile art, street art, graphic art and more,” she says.

Danielle encourages painters, illustrators and visual artists to consider the event – even if they have never embraced the competition categories before.

“It’s simply a matter of getting familiar with the paint or product and then adapting your designs to a different canvas – that of a body, a pavement or a car bonnet!” A bright and vibrant time is ensured for all, so if you're feeling a bit dull come on down for a splash of character.

For more information, click here.

Power, greed, madness and witches — no we’re not talking politics. We’re talking Verdi’s opera adaptation of ‘MacBeth’ starring baritone Michael Lewis.

Before I get too ahead of myself, I must warn you; I know nothing about opera — or at most, very little. Occasionally I’ll stop to hear the woman who busks on Queen Street with her young child in stroller and song book in hand, belting out very listenable — if not slightly out of place — operatic tunes. But that’s it.

The fact that opera’s not my forte doesn’t have to be a negative thing. Here’s just an example of my ignorance. When tasked with this interview with Michael Lewis on his upcoming role as ‘MacBeth’, one of my opening questions was, “So, do you ever sing any contemporary pop numbers? Maybe on your days off?” The answer was of course — in retrospect — a no. But the interview did considerably improve after that and in fact progressed to become most enlightening.

“I’m a middle strata baritone, a few high notes short of good money,” he jokes. Michael’s enthusiasm is infectious, and I’m immediately at ease. The subject is promotion for the up coming ‘MacBeth’ production which is opening in Brisbane in mid April, but after quickly selling it and even convincing me to come along, the interview takes some turns.

“It often happens in one’s career that you’re drawn to things, but you have to be asked to do them in the first place,” he says, mentioning that although he’s already played the title character on Verdi’s take on the Shakespeare epic, he’ll gladly take the role again and again if asked. “I have a handful of roles that are my favourites, and I must say that ‘MacBeth’ is easily among them.”

The difficulty of ‘MacBeth’, instead of being a deterrent, is part of the reward, Michael tells me. “yes, it’s hard to sing, but that gives you a chance to really show your artistry — it’s a gift of a role.” It is after all, a role that is always highly sought-after by opera’s best baritones, and has been for decades — nay, centuries.

“It’s one of Shakespeare’s great plays; it’s an absolute classic.” The topic of the opera’s relevance in our modern society is raised, but quickly put to rest. “It’s very relevant, the themes of greed and power in human beings are as relevant as ever, and those situations were never more starkly shown than in the story of ‘MacBeth’.

“It’s dark, very dark, and brooding. It evokes the thought of Scotland — even though the music is Italian — and it’s wonderfully written.” He feels so strongly about the piece that it’s impossible to disagree. His argument so persuasive that he could convert an opera-averse young person in minutes, and get them through the theatre doors half an hour early. I’m sure if you’re already a fan of ‘MacBeth’ or Shakespeare (or of course opera) though, this will be a performance not to be missed.

‘MacBeth’ runs for two nights only at the Concert Hall, QPAC — Friday April 13 to Saturday April 14.