Sauce - Issue 21, 07-12-05

On the street 1st Wed every month

#21 07/12/05

NEW YEAR’S EVE

@ F R I DAYS & S AT U R DAYS M I D N I G H T T I l 7 A M

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ROCK SALT

The Dandy Warhols

Warlords On Mars

We got pretty hard...

slammed

By Tom Wilson A lot can happen in just eleven years. Just ask the Dandy Warhols. In that time they’ve gone from modest beginnings in Portland, Oregon, to become one of the prominent rock bands in the American scene, even featuring in the rockumentary Dig! as well as the extremely controversial art film 9 Songs. Following the release of their new album, Odditorium or the

Warlords of Mars, The Warhols will make it down to our shores for the Falls Festival at Marion Bay. Having never done a phone interview before, SAUCE’s Tom Wilson was thrown in the deep end to interview the always lovely Zia.

Well we’re a little bit confused about the time. We just… we were at the Melbourne Cup yesterday. We slept. We got up at six in the morning, or five in the morning; we’re not sure. Just dealing with jetlag, and my baby’s here, so it’s pretty good.

What have you been up to today, Zia?

Did you win in the Cup? Yeah; I’ve never bet on anything before, and I won.

What’s been the reaction to “Odditorium or Warlords of Mars”?

Well, I don’t really read our reviews. But my Mom is really alert and she tells us when something’s come up. The reviews have been pretty mixed. We got slammed pretty hard by a couple of the big publications. But it’s come across as a more political kind of backlash, rather than any real opinions on it.

The Dandy Warhols shared a feature documentary called “Dig!” with the Brian Jonestown Massacre.

How has the band been affected by the release of the film? It must have been a buzz to see yourself on the silver screen…

For us, yeah it was great. But I think the Brian Jonestown Massacre was affected more than anybody. I mean, you can buy his records worldwide now, and you couldn’t do that before, and that’s a great thing because people should be able to get his music. It should be out there for people. That’s the impact that I’ve had.

Christmas New Year’s Show Featuring

FORMELDEHYDE + Locals (Melb)

In the band’s online bio, Courtney said he was sick of answering the same questions over and over again.

So should we take that to mean that you’re not enjoying this interview?

No, of course not. I don’t mind doing interviews. It’s just the whole cycle that it has. I mean, when [the record] comes out, it’s new questions, and you learn how to phrase your answers and it’s exciting and your discovering more things about...you know, what is this record about? What are these things like? What are these experiences? But when this goes on…I mean, we just got to Australia; this time we’ve already done the US and Europe so it’s going to be hard for you guys to come up with any questions that we haven’t already talked about.

Is that your kid I can hear in the background?

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So what has been your best experience in Australia, in the times that you’ve been here?

Best experience in Australia… The Big Day Out overall…to look back on for the best memories. That was the funnest thing, and we wanted to do that for so long, and we’d heard about it, and didn’t get on, and we finally got to do it.

Now you’re playing the Falls Festival at the end of this year…

The festival is going to be one of the best things to be involved in. It was so heartbreaking to have to turn it down last year, but Matilda was only six weeks old and we just couldn’t do it. So I’m really glad that we got the opportunity again this year, because to know that you missed out on something like that I don’t know if you ever really get over it. And playing on New Year’s, in the rainforest, I can’t even thing of a single cooler thing to do.

What is next for the Warhols?

I’m not sure. I don’t think any of us are sure. You know, there’re certain things about our business that we want to get. You know, I have a family now, so for the first time I’m really concerned about our success. Which is something that…before, as long as it perpetuated and we were asked to go on tour, that was enough for me.

And now I’m wanting us to record and tour and make enough money to not have to worry for my daughter. You just tend to look at the world differently when you have a kid, and I think everybody is getting to that point where it’s like “OK, this is a career”.

The Dandy Warhols will be playing the Falls Festival in Marion Bay on NYE. Odditorium or Warlords of Mars is available now.

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// Friday 30th December

That’s Matilda. She just woke up from her nap and she’s trying to do the interview for me.

Speaking of spokespeople – does Courtney do most of the talking for the band? Do you consider him the front-man?

Absolutely. There wouldn’t be a band if it wasn’t for him.

He’s the primary songwriter, and it’s his vision… *yawn* This is something that we’ve all been involved with together for a long time, and…it’s not a dictatorship, you know what I mean? But he definitely is the driving force though.

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ROCK SALT

The Living End D e f i n i t e l y

O n Yo u r R a d i o

By Tom Wilson A certain well-known Australian band once sang “it’s a long way to the top if you wanna rock & roll”. And The Living End would be the first to agree. Since gaining their current moniker in 1997 following a stint as cover band The Runaway Boys, they’ve gone through two drummers and belted out three full-length albums. And they’re about to make it four. Upright bass maestro Scott Owen spoke to Dave Williams, taking time out from phone interviews to…well, do another interview.

So what have you been up to today?

Doing interviews, pretty much! (Laughs) Just on the phone at home. It’s all good.

Well the new single came out yesterday, so that would be all you’d be doing I guess. Just promos?

No, not really. It’s pretty much just today. We’re heading up to Brisbane and then to New Zealand later on this week for a couple of gigs.

You’re playing in New Zealand?

Yeah. We’ve got a show up in…Christchurch, I think it is? On the weekend.

You’ve been their before?

This would be the fifth time over there, I suppose. But yeah, we’re playing some festival thing at Christchurch on the weekend and the Hoodoo Gurus are playing, so I’m excited.

Were you a big Hoodoo Gurus fan as a kid?

I wasn’t really a huge fan as a kid. I can see a few similarities between their music and our music and I’m getting into it the more I hear it.

How long ago was the last time you were down here?

About two years, I think.

You’d be about due for another trip back, wouldn’t you?

Yeah, well we’re going to release an album in about February, so when that comes out we’ll do a proper national tour, where we go everywhere.

Now the new song you’ve got coming out [is called] What’s On Your Radio? Do you reckon some people

Diesel Still Pumping…

might say that’s typically your kind of music? That’s what you’d expect to come from The Living End? Well that was one of the songs on the album that sounds most like the kind of Living End that everyone knows; we’ve been doing that fast punk rock, rock & roll kind of thing for a few years, you know? And that’s what we want to be the first thing that we put out. We haven’t put anything out for a while, so we wanted the first thing to come out to show that it’s still us. We haven’t done the Diorama thing where we’ve gone away and written this classical album or shifting-direction kind of album or anything.

at Byron Bay the day before we started recording at Splendour in the Grass, which was excellent. But we did a few gigs under a different name before we went up there to record, just so that we could try out all the songs that we were going to put on the album; try them out on an unsuspecting crowd, you know what I mean?

…We haven’t done the Diorama thing…

So what was the name of the band you played under?

We played under the name “The Checkout Chicks” once. And we called ourselves “Glenn Waverly and the Meltones” because there’s a suburb called Glenn Waverly and a suburb called Melton, so that shows you how sharp our sense of humour is.

You’ve been doing some touring in the States, too.

Yeah. We did a bit of touring over there earlier this year.

The last time we were over there was February, March or something… We did a tour with Jet and The Vines, and another Australian band called Neon. And we also did some gigs with Blink 182 and No Doubt; some stupidly big stadium kind of things with them. So yeah, that was great.

That must have been a bit of a rush; going out on a stage to that many people.

Yeah, yeah. It was brilliant. It was a bit hard for us because obviously everyone was there to see Blink 182 and No Doubt, so it was a bit of a challenge for us, to go out and play for a bunch of people who’d never heard of us, and we had half-an-hour to basically try and win them over. It’s good to get out of your comfort zone and go to the other side of the world and play to people who don’t give a shit about your singles, they give a shit about what they see on stage in the next half-an-hour.

So you’ve really got to fucking put your head down and give ‘em what they want.

So you came back and have just been working on the album?

We started recording the album in June. We played up

neath all the nice elements over the top of it, you can still hear that it’s a real three-piece band just banging it out underneath. I really wanted to keep that intact. And it’s more exciting for me to be working with that kind of material, because most of the time I’m just doing it myself. I just get way too familiar with it. It’s just me doing everything.

By Tom Wilson and Dave Williams

So what are your experiences of Tassie?

His name is one synonymous with Aussie rock and

I didn’t really set eyes on it till ’89 or ’90 when we went

Mack Truck fuel tanks. Appearing in four solo shows

down there on the first album. And I’ve had great experi-

around our state, Diesel’s new album, Coathanger

ences there ever since. Half my family now live there; my

Antenna, is set for release early next year, and those

mum and dad live there. My brother was the first to go,

who see him live will score a small taste of that al-

and he started dragging everyone with him. So I’ve got

bum in the form of the Postcards from the Moon EP,

a good portion of my family living down there. So it’s a

which he’s distributing free at his shows. He spoke to

great excuse for me to get down there now. I really like it

Dave Williams about playing solo and album number

down there; it’s so pristine and fresh. It reminds me of all

eight…or five…or six…

different parts of the world – parts look like the south of France, Denmark or something… It’s really diverse.

So what have you been up to today?

I’ve just been mastering the last few bits of my album, up at studio one. It’s a big mastering suite. Just tying up loose ends, so to speak. So hopefully by the end of today I’ll be able to say that I’ve finished the album.

Your new album is going to be called “Coathanger Antenna” How long has it been since you’ve had a coathanger antenna?

I used to have an old Holden that had a coat-hanger antenna, but that’s long gone…

Wow. That’ll be exciting for you.

Yeah, it will be.

Did you make a map of Australia out of the antenna?

What number album is that?

I think it’s number eight, but I don’t know…I could be wrong, but it’s either seven or eight.

No, it was a diamond. But it’s a very parochial thing and I didn’t realise it until I picked it…it’s actually a line out of one of the songs, and I thought it’s really cool. Because people automatically know what you’re talking about. It

I find that pretty funny, that you’re not sure…

really is parochial. And I asked a lot of people and they

I don’t really keep count of EPs and things like that. I

said “yeah, you’re right; you don’t see it overseas – only

think in reality it’s like my fifth

in Australia.” It’s just a really Australian thing. You snap somebody’s aerial off, and then you put a coathanger

Can you tell me a bit about the album? How does it

in there. It’s a bit of a tall poppy thing too – “you can’t

compare to your previous work?

have a nice car! Fuck you!” Snap the aerial off! Which is

I think the biggest difference is this sort of aria of the

kind of sad, but that’s the Australian way…it’s still funny

band which started from day one, with the people I’m

though. I love what people do [with them]. I’ve seen love

working on. They’re on the DVD which we recorded last

hearts. I’ve seen kangaroos. You name it. We need to

year. They’re pretty much my live band, in the studio.

have a competition at some stage.

That’s a big difference for me, because the last two albums that I’ve done, I’ve done as a real solo thing, where

I think it’s because we have no shame…

I’m pretty much doing everything myself. So I opted to

Absolutely. We like it that way.

really question my responsibilities. So we cut it all as a band; all the tracks were done as a band, then I put a

Diesel plays Devonport, Hobart, Launceston and

string section on there afterwards. But I think under-

Lewisham on the 15th, 16th, 17th and 18th of December. Check Gig Guide for venues.

You’ve got the album coming out in February.

Have you settled on a title yet?

No, we haven’t yet. Still in deliberations. We’re still kind of making jokes about it every day.

Okay. Thanks very much for talking with us. Enjoy the rest of your interviews.

Yes indeed. I will, I’m sure.

The Living End’s new single, What’s on your Radio? is out now

GIG Reviews Art School/Con Ball

The Detonators

@ Uni Bar (UTAS HOBART)

By Duncan Ewington

@ The Republic Bar

By Duncan Ewington

Falls Festival Showcase Launceston

Falls Festival Showcase Hobart

@ The Saloon

By Tom Wilson

@ The Republic Bar

By Duncan Ewington

The Embers Every year I always look forward to the Art School Ball, as there’s always some weird and interesting people in strange outfits to talk to, different bands to check out, and lots of alcohol to consume. This year it was no different, just a different venue, music con students too, and a huge lineup of local and interstate bands tied in with the Amplified festival.

I got there a little late, and the night was a bit of a blur, but I remember the Launie group The Embers were tight and original -I loved the Panpipes and the Charango Guitar, Violin and Stand-up-Bass - what a combo. SA group the new pollutants kicked out some fun and funky hip hop in boiler suits - no pretension, up tempo beats and humour = fun on the dance floor. The Scientists of Modern Mucic got down on some Devo styles on the keyboard.

The Ball wrapped up with Melbourne band Pablo Discobar - and what a good ender. This eight piece crossed a lot of genres, and produced some damn fine tunes that got my ass shakin’ and my beer spillin’. Hip Hop, funk, reggae, rock - they hit nails on heads, and I was definately nailed by this stage.

In typical form I staggered through the night via Mykanos for a grease intake and a slice of cheese pizza that I would regret the next day. Ah, the joy of shit food, random conversations, good times and great rock’n’roll music. Viva La Art School Ball!

The Rakes I sidled up to the ol’ Republic Bar for a night of ol’ fashion rock’n’roll and a few Wild Turkey’s. I’d heard the Detonators were playing, and having seen them last year I was keen to check ‘em out again.

I was greeted by a small, but dedicated crowd, who were kicking back enjoying the high energy rock’n’roll, and the welcoming and ever friendly bar staff. The Detonators are a hard working band, who travel extensively, and play every live gig like it’s their last. This makes for a good time, especially when you’re liquored up on the special hot sauce like I was.

“Rockbottom” James Maloney crooned out the vocals, worked the stage, and belted out the harmonica with passion. Paul swapped between guitars and rocked some mean solos, Big Dave on the double bass kept it bumpin’, while George on the drums gave the two drunk guys dancing a solid beat to sway to.

It was slighly disappointing to see the crowds lack-lustre participation on the dance floor, but from the applause, I could tell the band was still greatly appreciated and well recieved.

Pablo Discobar

John Fogerty @ The Derwent Entertainment Centre

By Tina Anderson

It was time for a road trip, so I headed off to Hobart to see the legendary John Fogerty, lead singer of Creedence Clearwater Revival. After getting there an hour or 2 early and it being freezing outside, I decided to stay in the car till the doors were well and truly open. I ended up just watching the crowd head on up to the doors.

There was a mixture of young and old fans some with long locks, a few skinheads and I couldn’t believe how many mullet haircuts still existed!, James Rayne, kicked off the show singing an acoustic best of set, including the song about Tassie’s own Errol Flynn. Mark Seymour was next onstage also singing a "best of" acoustic set.

Singing his classic hits I had forgotten about, but quickly remembered at the choruses. Mark then introduced James back onto the stage and they sang a few duets including “Psycho Killer”. They sounded awesome together! Finally the time had come and John appeared onstage and the crowd erupted with cheers and yelling. I didn’t know what to expect, I thought he’d be like an old slow moving man, but hell was I wrong! He was bouncing and running around all over the stage; he looked really fit and happy. He sang all of the old favorites. As the show went on the more amazed I was… I even got up and was dancing, which is a miracle, trust me! This was one of the best concerts I have been to; I’d definitely go again, given the opportunity. He made you apart of the experience. Bloody brilliant, is the best way to describe the night!

It was another enjoyable gig, so I had to celebrate with a lil’ bit more booze. The Detonators packed up, ready to travel to who knows where, and I firmly cemented myself to the bar stool. Check ‘em out next time they’re in town, you won’t be sorry if you love real rock’n’roll...

Mad Macca and Pan Handler & The Roobs @ Syrup

By Duncan Ewington

Well, isn’t the Falls Festival popular this year? With some people queuing up for over twelve hours to pick up some of the last 150 tickets – which went on sale that very morning – the bands involved in the play-offs knew that the pressure was on. And the resulting sets were definitely impressive.

First off was acoustic and drums duo The Rakes. For the uninitiated, imagine if Josh Homme from QOTSA was given acoustic guitar lessons from John Butler. Their brand of smoky blues-rock was played very well – featuring some stellar guitar work – and definitely inspired this reviewer to hit the Jack Daniels. However the crowd seemed reserved, and it became clear they were saving their energy for the next act, The Embers.

I had never actually heard these guys before, and so the sheer depth of their sound was both unexpected and surprising.

They’re by far one of the most original bands I’ve seen, and I still can’t believe they’re Tasmanian; their folk sound-scape was tightly played and very deep. However, towards the end of their set I was disappointed to find that their sound veered into Cat Empire territory, and while the crowd was very receptive of it, for me that lapse of originality was disheartening. Still, they were picked for Falls and rightly so.

Next up were second winners, Melbourne rappers 3to2. It must have been difficult to bring Aussie hip-hop to a crowd just after The Embers, but they nevertheless put out a lot of energy. However they failed to bring anyone back into a dance floor that was almost filled by The Embers. I’d like to think that after all the effort they put into their performance, the crowd was just being lazy, but then, maybe after a sound as deep as The Embers, their audience realised that two guys shouting about how good they are just isn’t that impressive.

I unfortunately had to leave after their show due to a personal emergency, so I wasn’t able to see the set of the other winner The Styles. But from what I was able to witness, it’s a pity though The Rakes didn’t make the cut.

The Benjafield Collective I got a call from HQ, and I was off to scope recon information. The mission was to find out which local Tas act would be strutting their stuff at Marion Bay this new year’s eve. I sneaked by the heavy security that was keeping the eager ticket seeking refugees at bay outside the pub. It was a literal refugee camp! So using my ninja like skills of subterfuge I crept in and began my research.

The Humans were in full force rocking their indie styles.

Being the 2nd band they had a hard act to make a strong impression on the judges. Waiter followed and made their presence known with some jumping around and harmonica twang, I thought their tunes would suit the Fall’s vibe - a tight performance with a variety of instruments. The Reactions stormed the stage with straight up rock’n’roll bravado. They were in it to win it, and they weren’t stopping for nobody! There guys had a good chance I thought, but if they keep “smashing” up their gear at the end all the time it might seem a bit contrived - though all fun & games!

The final act Benjafield Collective assembled on stage, and from the professional & mature appearance of it’s members they meant business. Horns, lots of rythym, and a style to bounce to, these guys stole the show.

Mixing it up with MC Mdsu they crossed genres and drew the crowd to the dance floor.

In the end The Benjafield Collective, Waiter & Jordan Miller won the golden tickets to fame & fortune and with my mission complete I slinked off into the night...

Nick Barker

Smackdown Open Mic

@ James Hotel

By Tina Anderson

@ Syrup

By Duncan Ewington

I rolled up to the James Hotel at about 9.30 to catch Nick Barker's gig. The doors had only just opened and I was the first there. By the time the first act, Damien Greenwood, started his set there was only 5 people in the room, including myself, and 8 by the end of his set.

He had an unusual voice and used a few different vocal styles during his songs. The main thing I thought about was actually how cold it was, with the industrial fans going all night. Nick appeared onstage and actually greeted me before he even started playing; you rarely see that these days. Nick started with a few acoustic numbers which drew in a few more people. He then got the rest of his band up onstage to join him. It was quite an intimate gig; he chatted to the crowd, made heaps of jokes, and actually got us all to yell out our names so everyone knew who each other was. It was a fun night. There was a bit of heckling at one stage from some drunken bitch, saying there was no crowd and no atmosphere, Nick quickly replied that everyone had left when she arrived.

This got a few cheers and applause from us appreciative bunch. He played all his hits from his previous records, including, “Imogen”, “Jump”, and a song written about Peter Andre, “Action Jackson”. I had a good night anyway. As the night wrapped up Nick thanked and pointed to about 6 of us that actually came to see him. It was a shame there wasn’t a bigger turnout for him, though.

After a warm spring day I was in the mood for some night life action. So I headed out on the town after a few refreshing home brews.

The Roobs I’m stoked Syrup's brought back the Arvo Sessions.

Many hours were spent there as a wee young lad playing music and jumping around like a pogo stick (before moshing). Nowadays not much dancing goes on, that is until all the $2 beers kick in. It’s great to see music in Hobart is finally getting a few outlets again...

This particular arvo Mad Macca and Pan Handler came down from Melbourne to give us a taste of raw blues rock. Just a two piece of guitar, vocals, and harmonica these guys made a big noise.

I loved their covers of Danzig’s “Mother”, The Cramps “She Said” and some Black Flag. Harmonica seems to be making a huge comeback (I’ve seen ‘em in 4 bands in recent weeks!). Ha, so hot right now.

The Roobs have been kicking around for a while, but I was still unaware of how hard they rocked! I’d have to say they’re one of my new local favourites.

They put on a show to remember, with some fun crowd participation, falling, flailing, crawling and wailing. Iggy Pop would be proud! Definately check ‘em out if you get the chance, and be sure to support the Syrup Arvo Sessions. Free entry, $2 beers, and live music - can it get any better?!

I meandered down through the city to Salamanca place where people were everywhere (on a wednesday?!).

It’s been a while since there was an open mic night/ mc battle night, so I was curious to see if things had changed much.

Walking into Syrup it seemed like the small crowd was quite drunk, but maybe not as drunk as the mc’s. All the usual heads were there and the beats were good c/o Grotesque.

There was a limited turn out of mc’s willing to step to the battle, so the newly formed group E.P.C debuted their first show. They’re a tight act who got the crowd bobbin’ and yellin’. Expect to see more good things from the E.P clan.

The mc battle was fierce, with a no holds barred approach when it came to personal insults, but that’s the nature of the game. Normally the ego trips can be a lil’ grating, but on this night it was damn funny, as it was all between friends.

Dundee (of Unleash the Nugget) won the show, and Obo from Snug won a t-shirt for the “funny call from the crowd” prize.

A new venue, some new faces, a new group, all that was missing was a bit more publicity to draw a bigger crowd.

However, I think things are lookin’ up for Hip Hop in Hobart, so bring all your friends to the next smackdown next month for some fresh local produce.

Mad Macca & Pan Handler

Peace.

GIG Reviews Thirsty Merc @ Saloon

By Tina Anderson

Sticky Carpet Preview Screening

good way of seeing what a lot of acquaintances of mine from my time living and playing music in Melbourne were up to but it went beyond that.

@ Syrup

By Julian Teakle

Although just a rough cut of the film, it kind of crystallized and gave body to a lot of conversations I’d heard or participated in with other likeminded people over the years.

Ever get those gigs where you get that same butterflies in the guts feeling that you did as a kid waiting for Christmas, raring to rip off the beautiful paper that your parents so lovingly wrapped around you megabot-transformer-barbie-ninja play set.

Sydney pop-rockers, Thirsty Merc, made their first Launceston visit with their “When the weather is fine” tour last night. They had previously only been to Hobart and Devonport back in May of this year.

Thirsty Merc were originally set to play at the Country Club Casino, but it was moved to the Saloon Bar a few days earlier.

This was a good decision as a large crowd had shown up to support them and the atmosphere is always good at the Saloon.

First up was Tassie’s finest, “The Dead Abigails”. They played their catchy tunes that made you want to dance.

They also included a few new tracks, they sounded great too. The hardest job for a support band is getting people on the dance floor, but to their credit they managed to get a few.

As Thirsty Merc graced the stage the crowd gathered in. They kicked off the show with one of their recent hit singles and the crowd got right into it; dancing away and singing out loud.

Rai was passed a lovely pink flower hair clip which he actually put in his hair and wore for an entire song before giving it back to the rightful owner.

They promoted their merchandise while onstage and after the show they stuck around to meet and greet the fans and sign their merchandise. Meanwhile the show continued with a few more of their hits.

After a short break they were back for their encore performance of the song that kick started their career “Emancipate Myself”, much to the crowds delight.

Oh the anticipation! The atmosphere at Syrup was such that punters and performers stomachs were doing the insect tango in expectation for the long talked about screening of the documentary about D.I.Y. underground Melbourne music “Sticky Carpet” and the first Hobart pub performances of Melbourne band Baseball (featuring members of 99, True Radical Miracle, Love Of Diagrams and Jihad Against America), Love The Bomb (ex-pat Tassie people living in Melbourne) and local noise-nik Idiot Lust.

Beginning the afternoon Idiot Lust flung at the audience gathering his well known glorious brutal sound evisceration that has offended hippies and metrosexuals (A Good Thing) for few years in Hobart now.

Reminded me of standing in the pits at Baskerville when several vehicles would start at once and it would shake all the soft muscle tissue throughout you.

The ‘Lust didn’t do so much the performance thing as witnessed at a scintillating Fringe Festival show (maybe his hair hasn’t grown back yet?), perhaps you could call this a “mellower” set but goddamn it hit me in the belly.

It probably killed those butterflies as well.

Although Love The Bomb have allegedly begun grappling with their instruments in the last few months they played with a sparky, unaffected passion that would put many a seasoned muso hack to shame.

Ghosts of certain post-punk influences shaded aspects of the sound but ultimately it was the pure visceral excitement of people just picking up instruments and (hopefully) playing from the heart, cutting though the jaded boredom and dogma of most “professional” popular music today. Hope.

If anything seeing the Sticky Carpet documentary was a

The

3 5

C A M E R O N

S T.

L A U N C E S T O N

6 3 3 1

7 2 2 2

DECEMBER GIGS: FRI 9TH :

AWAY FROM NOW

SAT 10TH : 10 BEARS SAT 17TH :

(MELB)

(MELB)

SPANKPADDLE

(MULTI BAND NIGHT)

FRI 30TH : SPANKPADDLE

(MULTI BAND NIGHT)

TASSIE’S ONLY LICENSED POOL HALL WITH 14 TABLES

NICK SKITZ 21ST JAN @ VOICE NITECLUB TIX ON SALE 12TH DEC FROM THE VENUE

Parkway Drive @ the Batty

By Ryan Cooke

Interviewees discussed how they created their music and operated outside of the mainstream music industry and how their actions/music was shaped by the cultural/ political environment of Australia.

The story was peppered with live performances of some pretty exciting bands playing in smaller venues around Melbourne and this, teamed the interviews cut through the JJJ-gloss of perception of what Australian music can actually be.

Still it was only a small section of the music being played in Melbourne but trust me I wouldn’t piss on a lot of that other stuff if it was on fire.

I was never quite sure about Baseball (I was more of a fan of Cameron’s other band 99) till last year when I heard their fantastic album “Gods and Stars, Priests and Kings” which quite frankly washed away any fucking doubt about this dervish of this man and his cronies.

Aspects of indie, punk, hip hop and middle-eastern music could be tagged to Baseball but this is perhaps lazy labeling and possibly detracts from the genius fury and excitement of Baseball as a live band.

You shouldn’t think about music pigeonholes when observing a band like this, you should (like a lot of punters at the gig) dance like crazy prawns and dig the beautiful noise coming from Cameron, Monika, Evelyn and Ben. This event was FUN, it’s nice to be reminded and inspired by the passion of others which the two bands and film ticked those boxes nicely.

Hey there were some delays with the film but shit happens with technology sometimes, it’s not personal and people who gripe about such uncontrollable things should go fuck themselves, please.

Respect to Gibbo, Andrew and Pip for putting together this event. A question remains: WHY THE FUCK ARE YOU STILL READING THIS WHEN YOU COULD BE FORMING A BAND!

After selling out their Hobart gig the night before, Parkway Drive arrived in Launceston for one of the most anticipated shows of 2005 – and they didn’t disappoint.

First on the bill were Something Kills, showcasing some of the tracks from their upcoming EP ‘Calling All Evils’.

SK were tight and sounded really great, revving the crowd up for what was to come. Next up were Disconnect Records finest, Stand Defiant.

Once again, Mischa showed why he is the best front man in the state, and why Stand Defiant is one of the tightest and most respected bands in the state.

The final support of the night, Hobart’s The Ghost and the Storm Outside, showed why they are at the top of their game and genre. Both Sams, one on guitar and one on vocals, went off and Jono provided the night’s highlight by trying to hit the idiots in the pit with his bass anytime he had the chance.

The set was topped off by vocalist Sam jumping into the pit and getting messed up. Last but not least, Parkway Drive came on stage, and from the opening note of ‘Gimme AD’, they were taking no prisoners.

Set highlights were ‘Dead Dreams’, ‘Romance is Dead’ - which featured the front of the pit fighting over who got to sing ‘Cry Me a….’ line, and set closer ‘Smoke Em if you Got Em’. Winston was great considering he was sick with some sort of throat virus. One of, if not the best shows of 2005.

ROCK SALT

Modus

Dead Abigails A

T e n - M i n u t e

I n t e r r o g a t i o n

T u r n

U p

T h e

What have you been up to today?

I’ve been trying to avoid your calls so I didn’t have to tell you about the reviews I haven’t written for you yet.

You’re gearing up to play Funktion NYE in the Albert Hall. What are you most looking forward to about the gig?

The after party... oh, and putting on a sick show. Actually, Glenn’s great grand dad (or something) was mayor of this town and had the hall built in the face of a recession, so it’s only fitting that he helps tear it down!

What can you tell us about your set list for Funktion?

It’s about 10 songs long, written in black marker pen and gaffed to my fold back.

You’re gearing up to play Funktion NYE in the Albert Hall. What are you most looking forward to about the gig?

Everything! It’s great to be playing a massive gig to a home crowd with an awesome sound system and lighting rig! And the New Year’s vibe can’t be beaten. We’re just keen to play our most wicked gig to date. Plus we’ll be filming for the DVD, so we’re gonna go off.

How did you get involved with Funktion?

You do sumfin for Mr Big, Mr Big does sumfin for you...

After Funktion, what then?

We’ve been compiling footage over the past year for our new DVD, which will hopefully be released just in time for Xmas!! Next year we’ll be touring from Hobart to Brisbane to promote it and I can’t wait.

What has been the best NYE you’ve had in your life so far?

Definitely last year when we were lucky enough to rock out at the Falls! We all had a great time, because it was our first New Year’s Eve where we got to hang out as a band.

The Dead Abigails play alongside Kid Kenobi, Muph & Plutonic and Modus in the Albert Hall for Funktion NYE.

And what has been the worst?

Nick: I had a NYE down at Bridport and I passed out in my car. I woke to what I thought was an earthquake, but it was two people shagging on the bonnet of my car.

I later had to get the indicator replaced because they were going that hard!

I’ve been trying to avoid your calls…

Who will you be hanging out with on the night?

We’re there to party! Everyone!

By Tom Wilson With a sound that has consistently denied any form of comparison or categorisation (which makes this reviewer’s job very hard indeed), local rockers Modus are gearing up to play Funktion NYE in what is by far Launceston’s most renown venue, the Albert Hall.

We sat them down on SAUCE’s comfy new couch for a pen & paper interrogation, and found out, among other things, that having sex on a car bonnet isn’t always appealing.

And what has been the worst?

Doing the conga line to Bon Jovi’s ‘Living On A Prayer’ at the Docks in ‘98...

Who will you be hanging out with on the night? Will you be bringing friends and family?

Keith, Annick, Von, Tulc, Tony and his wife, Carmen, Georgia, Sally, Shareen, Karl, Ahmad, Nick, Jacobs, Nan, Christy, Ange, Plummi, Beck Whyte, Jimmi, Steph, Luke, Jase, Jade, David, Pete DVD, Roora, Clint, Kimmy, Joycie, Mr Kenobe, Harro, Gav and Charlie.

What have you been up to today?

Ahmad and Nan have been at work, Nick’s been recording some guitar at home, and chances are Jake’s still in bed! Nah, I think [he’s at] a band practice of some sort.

You’re a rock band. How do you think you’re going to perform in a night that’s mostly dominated by electronic music?

You’re releasing a new album with a bonus DVD. What can we expect from that?

Who told you that? Vicious lies! We hope to release something in January. We have a bunch of songs nearing completion and we are wrapt with how it’s turning

BANGERS & MASH

SPECIAL FEATURE

DJ Quality

By Duncan Ewington like Premier and Babu.

So how’s it progressing for you playing in Hobart?

It’s starting to payoff, a year ago I would have been nervous to play a gig. I’ve supported Lyrical Commission, so I’m hoping to support a few more big acts and do some touring of the “mainland”, then back to Japan, and then visit some mates in LA. I’ve been playing regularly at Pool on Liverpoool, as well as the monthly BBoy jam which is starting to pump up with breaking, MCing, DJing and hopefully some Graf’ too - representing the 4 elements of Hip Hop.

I sat down with Rime, aka DJ Quality, over a cold homebrew honey porter at his pad in Hobart, and threw a few questions to the up and coming DJ.

What’s your opinion of Hip Hop in Tassie?

It’s really good to see Hip Hop is growing in Hobart with On Point and Smack Down happening. There’s not much BBoying though, so I want to promote it too. I’m keen to get more girls into Hip Hop, but it’s slowly happening. One day it’d be good to see some good girls into the 4 elements.

So how long have you been spinning the wheels of steel?

I’ve been collecting vinyl for 5 years, and after getting back from Japan, I’ve been seriously been going for it and practicing everyday for a year.

What do you get out of DJing?

Playing out is exciting. I want to take Hip Hop to a broader audience, do some original stuff, though tough, it’s but possible, and create my own style.

What got you interested in DJing?

My first vinyl I got was from the old Sanity dance arena, I was ordering a lot of music, and spending lots of dollars, so I thought I might as well get vinyl, as I like the big cover art and the records themselves. I got a belt drive and a crappy mixer, played it and discovered it was much better than a cd. Mates would come over for a scratch, but I didn’t have anyone to learn from, so it was a bit of an uninspiring setup. Then I moved to Japan and it was everywhere!

McDonalds, restaraunts, supermarkets, videostores! They have vinyl in video stores. I bought some rare old classics, and took it for granted, as vinyl was everywhere.

Name some of your inluences?

In high school I wanted to play the drums, but ended up playing the guitar. During this time I got into West Coast Hip Hop, like Dre, Snoop Dogg, Ice Cube, and NWA. Though now I love feeling of digging, funk is a big thing, so P-Funk, George Clinton, Bootsy Collins, Roy Ayers (who I saw earlier this year in Melbs) inspire me a lot.

But I still can’t resist revisiting my roots.

Then I got back and there was Ruffcut and limited sources. I had withdrawals, so I started digging and got into old school 70’s tunes at aeroplane records. Anything to get a break off. There’s jackshit to do down here, so it’s a good place to practice, and coming back sparked a deep interest.

What made you decide this is what you want to do?

I love the music, love anything with funkiness, and I broke up with my Japanese girlfriend, so I decided to focus on practicing. Many days inside on the turnies, while all my mates were outside having fun. I want to keep doing it so eventually I don’t have to work another job, as working in an office or restaraunt doesn’t interest me. I’d love to go to the big cities where hip hop is big & do shows, maybe do falls in a few years. Maybe eventually get into production making beats for MC’s, as DJ’s who start as DJ’s come up good

Where do you see the future of Hip Hop heading?

It’d be good to see turntabalism being taught in public schools getting more kids interested in making music. The current teaching style doesn’t motivate kids very well. If kids were learning about turntables in primary school imagine how good they’d get! If I have kids, I’m teaching them how to scratch, headspin, and paint from a young age. I’m planning on starting some workshops on Sundays, DJing lessons to teach basic scratching and mixing plus some breaking lessons. Then one night a week have an open deck night for the new DJs. So what are some of your other interests?

Skating’s still a big interest - it’s good to get out of the house and exercise. I’m keen to do some more travelling and meet new people.

Basically listen to new music and have fun.

Any words of advice?

Stick with what you like doing, never stop, and remember to have fun with it!

1 1

out! The DVD will include a film clip and tons of live footage as well; the main section coming from the Funktion gig on NYE

We’re gonna Rock, Drop and Roll! Actually, I’m a bit annoyed by this question. Bands and DJ’s have been playing together for decades. That’s how house parties started.

What has been the best NYE you’ve had in your life so far?

(Glenn, Coz and Randall) Doing the conga line to Bon Jovi’s ‘Living On A Prayer’ at the Docks in ‘98. Lead by Corey Blight of Big Wally and Dukes of Windsor fame.

T o

…It was two people shagging on the bonnet of my car!

By Tom Wilson In the lead-up to the massive Funktion NYE at the Albert Hall, SAUCE sat The Dead Abigails down in a dark room and poked them with sharp objects until they talked.

A m p s

You’re a rock band. How do you think you’re going to perform in a night that’s mostly dominated by electronic music?

You make it sound like a bad thing. Having bands and DJ’s just makes things more interesting. Spice it up, I say. We’re just going to be ourselves and do our thing.

And let everyone else do theirs.

How did you get involved with Funktion?

The guys putting it together approached us to play. [It was] Very kind of them, so we said “hell yeah!”

After Funktion, what then?

Hangover, coffee & tai chi in the sunshine Modus play alongside the Dead Abigails, Kid Kenobi & MC Shureshock and Muph & Plutonic at the Albert Hall for Funktion NYE

A Look At Funktion NYE M a k i n g

I t

H a p p e n

By Tom Wilson

Sound technology that will be rocking your ears.

At least 1km of cable …an imported sound system… eighteen speakers…almost a million dollars worth of gear… Are you excited yet? With these specs alone, Funktion is going to be something else.

The setup is being handled by Frontline Tas, who will need roughly a day to rig everything up. The Albert Hall is a place renown for the integrity of its acoustics…AC/ DC played there in the seventies, and they wouldn’t have had anywhere near the kind of advanced sound technology that will be rocking your ears this NYE. And of course, what would New Year’s be without a truckload of booze. Funktion’s crowd will be pampered by two, possibly three bars throughout the night, manned by hired hands alongside some familiar faces from the James Hotel.

Those with an almost romantic attachment to their ten-ounce glasses may be in for a shock as there will not be a shard of drinkingrelated glass in the whole venue, but you’ll be at one of Launceston’s classiest venues, so I’m sure you’ll get over it. Jim Beam tastes better coming from a can anyway.

The event will be overseen by the always-friendly people at Elite Protective Services, and when SAUCE

asked Mal Scott about his expectations of the night, he was very optimistic about the event. As you read this, he and others will be studying floor plans, evaluating fire exits and generally covering every conceivable aspect of taking care of you all.

So what’s left to say about Funktion NYE? Let me leave you with this interesting little figure. Have you ever noticed that when someone in your street throws a house party, the amount of empties in the recycling bin makes them look like alcoholics? When this event finally wraps up in the wee hours of 2006, there will be an estimated 5400 cans.

James Foster of Frontline

1 4 3 C H A R L E S S T L A U N C E S T O N P H : 6 3 3 1 6 8 4 6

64 WILMOT STREET BURNIE | 03 64313133

Thursday Dec 8th : Thursday Dec 8th : Friday Dec 9th : Saturday Dec 10th : Friday 16th Dec : Saturday17th Dec : Saturday 31st Dec :

On Credit: The Movie The Frankie Band (Byron Bay) Dj Cola Decks In The City - Dj Paul Voodoo Lounge Donut & Dj Paul The Rodgers vs Dj Paul

Coming Soon :

Wild Summer 06 Tour The Stafford Bros Saturday Jan 28th

BANGERS & MASH

Statler & Waldorf Virus” plays like Australia’s answer to The Crystal Method; diverse and elaborate. SAUCE spoke to Dennis Gascoigne about the sound, the biz and why he doesn’t give a shit about selling CDs. What are you up to?

I’m at work in a studio actually; just renovating a studio, plastering the walls and making sure all the cables are connected.

You guys have got a tour coming up…

We’ve got a few shows coming up in support of the album. “Tour” is probably a bit ambitious, but we’ve got a few big shows, yeah.

So you’re not calling it a tour yet.

No, not yet. But we’ll be doing a few dates after Christmas; we’re looking at after that, because we’ve got Statler & Waldorf and also Spook to worry about as well.

You’ve got two projects on the go; how do the other people in the group feel about you having two things on the go?

They’re pretty cool about it. I mean we put together Spook in the first place, so our work with Statler & Waldorf was one of the things that made Spook happen.

It appears that changes are afoot in the sound system of your local nightclub. In recent times, the basic sounds of the dance scene have mutated into something much harder to pigeonhole. Look no further than Brisbane’s Statler & Waldorf. Following the huge success of their first EP – its single “Bass Buffer” becoming dance sensation – their album “AndroNova-

pd

Can you give me a bit of a hint as to where the name Statler & Waldorf came from?

The two muppets – the two old guys. That Statler & Waldorf.

Now you EP last year, “Collusions”, got a lot of critical acclaim. Was that satisfying for you, or were you

T a s m a n i a ’ s

By Tom Wilson

It’s becoming steadily apparent to this writer that Launceston has some serious talent in the realm of electronic music. Just ask those involved in the Nokia Terminal Nine online comps this year. The man with skills that was judged 4th in the whole of Australia happens to be the same guy who sells you stuff behind the counter at Launceston’s Studio 19. Under the moniker “pd”, Pat Duke plays regularly at Lonnies niteclub, and will be taking to the decks at Funktion NYE at Launceston’s Albert Hall. SAUCE threw him some questions and found out how it is.

Why are you a DJ? Why am I a DJ? I enjoy DJing to work crowds and also introduce new tracks that have been released by international producers or even local producers like myself.

How long have you been a DJ, and what did you do beforehand?

I have been Djing for over a year and bit now and for what I did beforehand I produced music and also was a lead guitarist in a couple of bands back in the good ole days doing the cover band thing and also writing my own tunes on guitar.

What’s your main style?

House, breaks, electro, progressive So who does it for you in the local scene? And you’re not allowed to be a cop-out and say “everyone”. Be specific.

Honestly I haven’t watched everyone around the local scene. There are heaps of talented guys around. I have no favourite because everyone has their own sound and I enjoy the majority of styles they have to offer.

You came 4th nationally in the Nokia Terminal Nine online comps. How did that feel, and what does it mean to you as a DJ? It felt pretty dandy getting the red carpet treatment, flown over to Melbourne for an interview shacked up in a huge hotel and thrown into VIP of the tour in Melbourne.

To me it meant the tracks that I have been producing are of commercial quality. I got to hang out with some big names and had a ball!!!

Where do you prefer to play?

Lonnies definitely, the sound system in there rips it up!

Good crowds friendly environment.

M u p p e t s

You work for Studio 19. What does that entail?

S o u n d

By Dave Williams and Tom Wilson just out to sell shitloads of units?

No, no. Stuff selling CDs. You don’t make money out of selling CDs. You make money out of performing. And you just hope that people like what you do, and they’re inclined to listen to it and hunt for more shit and suss it all out, and that’s really all we could ever want from what we do musically.

Well it depends on how big your market is…

It does. And the dance music market in Australia isn’t that big. Live electronic music…if you sold ten thousand albums, you’d probably make enough to make it worth your while, so it’s not really the market to make money out of.

It seems like things have been going along quite quickly for you. Is that how it’s felt?

Well it’s been hard to draw breath because we did this Statler album and the Spook album at the same time. It seemed like forever when we were doing it, but I guess it wasn’t that long from the outsider’s perspective. A lot of the material that appeared on the album was actually written when “Collusions” was released, it just wasn’t in the kind of format that you could put on an album at that time; it took us a long time to develop it.

writing to find anything that would be suitable for both of them.

What’s happening with Brisbane, in terms of live electronic music and hip-hop. Who do you hang out with? Do you know other bands?

Yeah. It’s a very tight-knit scene; everybody knows everybody. The Soma Rasa guys, Teschnik, Whispa… there’s a fair few of us getting about and we all know each other.

How do you achieve the level of success that you’ve got? How did you get to where you are?

I’d say radio is probably the biggest thing. And some high-profile shows. When we played the Big Day Out that really helped us a lot, and Triple J was great for us as well.

Stuff selling CDs…

How does the music of Statler & Waldorf differ from the music of Spook?

It’s more like; I’m in a frame of mind for writing for Statler, so I write for Statler. Or I’m in a frame of mind for writing for Spook, because Spook’s really down-tempo. There’s a 40bpm difference between the two of them; it’s dark, moody stuff and it’s more vocally centred, and it’s sparser. That’s Spook. And then you look at the more banging club music and that’s Statler. It’s pretty hard when you’re

N o t - S o - S e c r e t

What do you consider to be the main differences between the scenes in Launceston and Hobart?

Launceston is a very house orientated city. Everybody loves their happy house but there are a fair few who love breaks and trance etc. Hobart definitely loves their breaks, every time I go down to Hobs there’s always some chunky breaks happening and Hobart definitely has the numbers to fill all the clubs with the particular genre whereas Launceston lacks the clientele. I’m looking forward to spinning it up down there sometime.

o f

And you got those from…?

Just releasing the EP. It got picked up because people liked the track and when Triple J picked it up the shows started to follow, so that worked really well for us.

Where do you draw you inspiration from; from Australia, or internationally?

There’s not really anyone doing what we do here in Australia, but it’s not to say that we haven’t had influences from Australia. We enjoy working with other Australian artists…remixing Sarah Blasko, that kind of thing. We like to keep it local. But when you’re talking about influences and developing your music you can’t just consider a local scene; you have to really listen to what’s happening in the world.

Statler & Waldorf’s album

W e a p o n

Yes I do, it entails retail therapy for those muso’s who need to splurge on new instruments or equipment. Great job, I enjoy it.

Do you have any original music at the moment?

Plenty, It entails lots of breaks, house ( originals and remix’s ). I have a few tunes sitting on http://mp3.com. au/pd Also the Party Safe Tasmania song produced for TV and the web http://www.partysafe.tas.org Any spare time I get I’m writing new tunes especially trying to finish a couple of tunes I have going for the NYE FUNKTION night. I’m not really sure how many tunes

I have now. They all vary dramatically from house to breaks to Drum and Bass to weird twisted experimental What do you want to do next?

My main goal is to get a few releases in the future on a nice label whilst have this holiday I desperately need in March. But to crack it down in a nutshell, basically, [to] keep entertaining Tom! , Keep producing, keep on partying and having fun. pd plays regularly at Lonnies, and is appearing at Funktion NYE at the Albert Hall this New Year’s Eve

Everybody loves their happy house

BANGERS & MASH

Kid Kenobi F u n k t i o n i n g

By Dave Williams and Tom Wilson When we last spoke to Kid Kenobi a few months ago, he was voted number one in the In The Mix Top 50…for the third time. Though humbled by his success, this DJ is nevertheless an extremely busy man.

Following a show on the first night of the Falls Festival in Lorne, he’ll be jumping on a plane with MC Shureshock to play Funktion NYE at the Albert Hall.

He spoke to SAUCE about the gig, his partnership with Shureshock, and a few New Year’s resolutions.

Thanks for agreeing to do this interview again after I missed it yesterday…

Thanks OK. What was the last big mistake you made?

I’ve been known for breaking stuff. I lose a lot of stuff. I lose my wallet. I lose my headphones.

What was the last DJ mistake you made?

I haven’t had any bad ones recently. I have stopped the wrong CD by mistake. But I work with Shureshock now, so if I make those mistakes he’s pretty good at covering them up.

It must be a lot of fun – you two getting together and doing this stuff, as opposed to your solo stuff…

Yeah. Totally different dynamic. It’s more of a show when we play together. He’s free to move around the stage, interact with the crowd; a lot more than I could when I’m there on my own, which is wicked. We have a lot of fun together; we feed off each other. Touring is a lot more fun than just being up there on your own. It’s a whole different experience.

You must be pretty close friends by now…

Yeah, we are good mates, definitely. When you’re spending that much time together it’s pretty hard not to.

I think we really connect musically as well. That definitely comes in handy.

Do you do other stuff together? Have barbies and stuff like that?

Yeah. Ken works during the week so we try and catch up as much as possible. We get to hang out as friends when we’re not working together.

Are you going to be bringing any family or friends down to Tassie?

Um…nah.

This is a mini-festival kind of thing. You’ve got rock, hip-hop and dance acts on the same bill. How do you see that?

I think it’s wicked. I’ve seen that happening a lot more over the years. I think it’s wicked, particularly in big events. I think it works. I think it keeps the night interesting. And it just makes you look at the whole thing as music. It doesn’t make you categorise music so much; it makes you open up to music in general. I think that concept of breaking down barriers is wicked.

Do you listen to much rock or hip-hop yourself?

I listened to hip-hop; it was one of my main inspirations when I was younger. To be honest I was never into rock at all growing up. I’ve gained an appreciation of it recently, in the last few years. There’s rocky stuff that I play that I guess I wouldn’t have been into when I was younger, but it’s something that’s become more a part of music now. Which is cool; I like it. But you know; I listen to bits and pieces, but I’m just so fucking busy! I tend to be hopeless at listening to other stuff.

In one of their press photos, the duo making up Soul of Man pose as astronauts in front of a space shuttle ready to launch. Seems appropriate given the trajectory of their career (and no, I’m not talking about the ones that blew up). The globetrotting duo that is Justin Rushmore and Jem Panufnik have been adding spice to the dance scene since they got started, creating the leading record label in the breakbeats scene, Finger Lickin’. Beginning with their debut “Breakthrough Volume 1” in 1998, they followed through into the new millennium with the mix albums “Finger Lickin’ Thang 1” and its sequel. Since then they’ve been involved in over ten albums, and have lent their remixing expertise to more than twenty artists, including the James Taylor Quartet, Fluke, Jacknife Lee and Dreadzone.

Paul Arnold B r i n g

Are you the sort of person who makes new year’s resolutions?

Yeah, but like a lot of people I’m not very good at keeping them. I definitely look at the new year as a way of creating a clean slate.

B a c k

t h e

B r e a k b e a t

By Tom Wilson

Kid Kenobi is playing Funktion NYE at the Albert Hall with MC Shureshock, Muph & Plutonic, The Dead Abigails and Modus

L i c k i n ’

By Tom Wilson

To be honest, I was never into rock

What did you do last NYE? Last new year’s eve… Where was I? Canberra, I think.

Yeah.

Soul Of Man

F i n g e r

P e r f e c t l y

B r e a k s

Between the two of them they like to keep things very in-house. Whilst Justin is responsible for overseeing the running of the label, Jem wields direct control over every aspect of the label’s distinctive artwork. Weekends for the duo include a soiree of DJing and more DJing, venturing from Poland to Holland, Spain to USA and on. Having a passion for the great outdoors they played festivals from Essential (Bristol), Sonar (Barcelona), Exit (Serbia), Glastonbury, Ashton Court (Bristol) to the Big Chill (Eastnor Castle). And they’re pretty popular down here too. Soul of Man’s frequent escapades into the Southern Hemisphere have also won them massive support from our great brown land, leading to a confirmed annual residency for every Australian New Year. To be blunt, see them. They’re good.

Londoner Paul Arnold is a man of many talents – in the last eight years he has found success wearing the hats of promoter, DJ and label promoter. He’s the man behind two of the most powerful labels in electronic music; the huge Fat! Records, and also the seminal Certificate 18. And it seems that we love him, as his stint headlining the Good Vibrations tour in 2004 had him play four sell-out shows around our great brown land. And 2005 has been a year of celebration, because his most well-known moniker, “Chew the Fat!”, is celebrating its eighth birthday,

travelling in style with sell-out shows around the UK. But let’s go back thirteen years, to 1992. Paul decides to try his luck in A & R by launching Certificate 18, his own record label. It is this label that then goes on to spawn over seventy singles and eighteen full-length artist albums. Originally harking from Ipswich, Paul played with some of dance’s biggest names, including Derrick May, Plaid, Fabio, Grooverider and James Lavelle. He then ran off to London, and made an even bigger impact shortly thereafter, establishing London’s first dedicated breakbeats night, “Breaking Point.” From this night came Chew the Fat, held at The Bug Bar, which Paul spent six years working on and which remains notorious in the scene. Residencies at London’s famed The End nightclub followed in 2002, and the momentum kept growing, building into Fat’s 5th birthday in 2003. The aptly named Fat is 5 followed, with Arnold mixing the finest tracks from the label’s impressive archives.

And that’s just what this man is – impressive. From then to now, Chew the Fat has gained notoriety as one of the best breakbeat parties in the world. And it seems that there’s no way anyone’s going to be forgetting the man behind it. Whether it be as a promoter, a DJ or as the controlling force behind his two labels, Paul Arnold is a man who has made his mark, and that mark will continue to grow.

Paul Arnold plays Halo, in Hobart, Saturday 17th of December.

Over seventy singles and eighteen full-length artist albums

Soul of Man play Hobart’s Halo this NYE.

18 KING ST DEVONPORT - 6424 7851

THURSDAY 15 DEC

DIESEL

December Sat 10 Thu 15 Sat 17 Sat 24 Sat 31

Donut Diesel Liquid Nails The Unit NYE Rage

BANGERS & MASH

Tiefshwarz D e e p e r

i n t o

By Tom Wilson Tiefschwarz was formed in 1996 by two brothers – Alexander and Sebastian Schwarz – who have been successful DJs for over a decade. Frequently collaborating with Peter Hoff, who runs the Benztown studios in Stuttgart, Tiefschwarz have spent the latter half of 2005 surfing from continent to continent on the back of their new album Eat Books. As an electronic act, they have been a brick through the window of conventional dance music, merging traditional house with a more vocally-based rock sound.

While some purists have back-lashed at the incorporation of these newer, more radical elements, they are definitely in the minority, as shown by the success of Eat Books!

The brothers Schwarz have been travelling together throughout Europe and overseas since 1995. They’ve played at countless major events and the most popular clubs in both Germany and Switzerland (Zürich, Geneva, Lausanne, Bern, Basle) as well as in major foreign cit-

t h e

b l a c k

1 0 1

Phil K has done the miles pissed secretaries just wasn’t where he wanted to be. It had been two years. He needed to get out.

And get out he did. Out, and down…into the smoky shadows of a nightclub scene brewing with discontent; a discontent that became the dance music boom of the early ‘90s. And as that musical movement gained momentum, so did Phil K. He has been the driving force behind the success of several high-fliers of the club scene; names like Inflation, Chasers and The Metro all stand on pedestals built by Phil K. As dance music slid towards the masses, Phil K strove forward on his own path, finding a home at Melbourne’s institution of the underground ‘Sunny’. Playing closing sets of breaks, techno, house and everything in between, Phil K consistently turned room upsidedown. Phil’s broad appeal has also seen him dutifully employed at a number of large festivals such as The Big Day Out, Vibes on a Summer’s Day, Gatecrasher and Two Tribes. These days, Melbourne’s ‘Godfather’ can be found playing any one of a number of international and interstate guest spots as well as devastating dancefloors across his hometown of Melbourne.

Their reputation as one of the best international house acts was built over six years of playing shows in almost every country imaginable. But the rigours of touring and constant press have done little to dampen their creativity. Six years after they started touring, the two brothers began producing their own tracks. They co-founded the “continuemusics” label in 1996, on which their first single, “24 seven,” with remixes by Boris Dlugosh and Michi Lange, was released along with four other tracks.

As far as number one hits, Tiefshwarz are probably best known for their take on Spektrum’s Kinda New – a track that cemented the brothers in the mainstream and, in the nightclub setting, is the musical equivalent of nitroglycerine. But this “mainstream” success isn’t exactly the first thing that the boys are after. While it might have something to do with the German heritage, or they might just be soft-spoken, they are very modest about the success, and view the release of an album like Eat Books with a fair amount of detachment.

Behind the decks, however, they mix with an enthusiasm that belies the nonchalance so boldly displayed in their interviews. Their selections of tracks and remixes are almost brazenly drastic, but somehow the Schwarz brothers pull it off. It’s easy to see why the house purists don’t take kindly to someone playing Bloc Party in the middle of a dance set. So was it intentional to merge these two genres together so deliberately? Alexander thinks so.

“Yeah why not? I mean the doors are open. You can mix anything that you want. Rock and techno, techno and rock, reggae and rock, classic and rock, classic rock, rock rock and techno. Everything is open.

“I think for example the Bloc Party mix we play is a techno mix. It has nothing to do with rock and roll anymore.”

You can almost hear the dance floors screaming “amen!”

D J i n g

By Tom Wilson

ies, such as Miami (W.M.C.), New York, Washington, Melbourne, Sydney, Prague, Sarajevo, Amsterdam, Brussels, Antwerp, Rimini, Stockholm, London, Leeds, Sheffield, Ibiza…

“If the album is good that’s fine but it is not the end of the world.”

You can mix anything that you want.

Phil K

For the punters and local DJs fronting up at Hobart’s Syrup and Launceston’s Reality in mid-December, prepare to be schooled. Because after playing sellout dates across the mainland in November, the DJ’s DJ, Phil K, will be carting his decks to Tasmania for two shows that are obviously not to be missed.

So why the fuss? Who is Phil K? And why will his shows be any different from the other DJs and dance acts that Tassie’s clubs have seen? Thankfully, the only people who will be asking those questions are the minority who clearly know dick about electronic music. If you think that’s you, pay attention.

As a DJ, Melbourne-born-and-based Phil K has done the miles; starting off as a mobile DJ in 1985, the same year this writer was born. Stuck in the monotony of playing party classics to drunken office parties and even a few Bah Mitzvahs (The Wedding Singer, anyone?), Phil soon realised that playing Billy Idol’s White Wedding to

Forging a name for himself through immaculate mixing and programming skills, he has become probably one of the most reliable – and certainly most experienced – DJs that Australia has to offer. When promoters approach him for a show, it is always a smart move. But what might seem surprising are his skills as a support act, rather than a headliner. He is a total professional, and everyone knows it. Phil K; the master of setting the room just right for a big name. No ego involved. No stealing the limelight. Just rock solid performances every time, utilising his talent for surprising and intricate mixing to both showcase his own skills and, more importantly, setting up and promoting the next act.

18 years on from spinning his first record, Melbourne’s knight in shining armour still find new ways to do things; ways to challenge himself and ways to challenge the audience. Tasmania, prepare to be challenged.

Phil K plays Hobart’s Syrup on the 16th and Launceston’s James Hotel on the 17th

HIP HOP

Plutonic Lab

T a s s i e

O v e r

A l l

By Tom Wilson

It’s been a rewarding year for artist/producer Leigh Ryan, better known to the Australian scene as Plutonic Lab. As the musical half of Muph & Plutonic, he’s seen the duo’s debut release “Hunger Pains” make serious waves in the hip-hop realm. On his own he’s also produced the album “Codes over Colours”, and will be pushing that into the spotlight all the way up to his show at the Albert Hall as part of Funktion NYE. SAUCE asked him to reflect on his accomplishments in the past year, and what playing Launceston this New Year’s Eve will be like for him.

on what he does?

I hear he’s the best house DJ in Australia so no doubt this will be a good night and I’m eager to check him out.

How do you feel about being part of the mix of an event with rock, hip hop and dance acts?

It’s great that we’ve got music lovers down under that are open to different genres. I love festivals that blend it all together – gives me more time to drink between hip hop shows. Just kidding.

What have you been up to today?

All the good things in life - Drinking coffee, rehearsing for a show in Brisbane, talking to press about “Codes Over Colours.”

What has the reaction been to “Hunger Pains”?

It was totally unexpected. At the time when we were making it, we never thought it would become so big. Stations like Triple J just loved it and “Heaps Good” is the kind of track that everyone sings and nods their head to when we play live. Of course we’re really happy about the reaction.

What about in the past month?

It’s been really busy because my solo album came out 2 weeks ago. I had my Melbourne album launch recently which went done really well – there was lot of people, drinks and good music.

And “Codes Over Colours”?

Well, it’s only been out 2 weeks but it’s been received really well. People whose opinions I respect have told me that they really like it so that means a lot to me.

You’re playing the Albert Hall in Launceston this New Year’s Eve. What are your plans for the event?

Everyone’s always got such high expectations of New Years Eve and it’s always such a big night. No need to worry, we’re going to rock the Tassie house!!!!

Work-wise, what other options did you have, and why did you choose to play Launceston?

How could we say no? We love Tassie, we’d go down there for no money! Maybe that’s pushing it……. but Tasmanians are always a good crowd to play to.

What’s your view on the whole New Year’s Eve cultural thing, and what are your resolutions for this year, if any?

In regards to the cultural (or not cultural) side of NYE, I try to avoid it but if I’m playing music it’s all good. No resolutions this year but you never know……

I’m going to be busy….. I’ll be doing a few solo shows for my album launch, I’ve got a solo 12” coming up in January with tracks off the album. ‘Milkbar Stars’ (Pegz, Muph, me and DJ Bonez) will be doing lots of shows and releasing a 12” in the near future with a full album maybe late 2006.

And who knows, maybe something from Muph and Plutonic…….. You’ll have to wait and see.

Muph & Plutonic play the Albert Hall with Kid Kenobi, The Dead Abigails and Modus as part of Funktion NYE.

What have been the highs and lows of the last few years?

Highs – Doing production for and seeing the success of “Axis” (Pegz) and “Hunger Pains” (Muph & Plutonic). Completing “Codes Over Colours,” working with some amazing MCs and professionals. It’s been a good couple of years and there have been lots of highs.

Lows – I’ve got no complaints. Life’s been good and things are all uphill.

You’ve been quoted as saying “I wanna do more with music than just entertain”. In what ways do you think your music achieves this?

I’d like to think that my music makes people think and instigates and creates thoughts that may not usually come out of listening to a hip hop track.

You’ll be playing with Tassie rock acts Modus and The Dead Abigails. What have you heard of these guys?

To be honest, not much, but I look forward to getting the chance to see more quality local acts of any genre.

In what ways have you seen the Aussie Hip Hop scene change over the past year?

There are definitely more quality releases. The bar has been raised by some recent oz hip hop releases and there’s no turning back. On the flip side, there’s more beef in the scene.

You’re also playing with Kid Kenobi. What’s your view

What are your plans for 2006?

We love Tassie, we’d go down there for no money!

HIP HOP

Blackalicous

sic, don’t just make it because you want a record deal, first and foremost. Because record labels can come and go, but artists and good music can last forever. So work on that first and foremost; everything else will follow.

Work on perfecting your craft; work on learning about the aspect of the business that affects you.

Tr u l y Ta s t y H i p - H o p

By Tom Wilson They’ve been bringing the rhymes and the beats for over ten years now, and now Tasmania will finally get a taste of Blackalicious. A duo from the US West Coast, Gift of Gab (Tim Parker) and Chief Xcel (Xavier Mosley) have managed to gain a lot of respect, not through the typical connotations of violence and misogyny so common in the rap scene, but through a positive outlook and old fashioned hard work. Starting off in the early nineties with their own label, SoleSide Records, Blackalicious released their debut album Nia in 2000, which succeeded in grabbing MCA Records by the balls. The rise continued two years later with Blazing Arrow, and now, Blackalicious are returning to our shores with the new album The Craft. Chief Xcel took some time out with SAUCE to tell it how it is.

In 2002 you released Blazing Arrow, and the critics loved it. To what extent do you think the critics’ reaction shaped The Craft?

It’s really positive. With press, you have to look at it from an arm’s length, because it can really warp your focus on what it is that you’re trying to do. You know, make music that is truly your style, and hopefully music that can be some kind of positive contribution to the lives of people who listen to your music.

reggae; there was always gospel; there was always rock; there was always funk. So when my father collected the records, it all just fell into place.

You’ve been doing this for a hell of a long time. Who or what do you most attribute your success to?

On a grand scale God, because from him anything is possible. On top of that, really just a very, very persistent dedication to music. And really just trying to travel – I’m always trying to cover new ground.

You got signed to MCA just before Blazing Arrow came out. What advice do you have for aspiring artists to get the attention of a major label?

Really…just make music because you wanna make mu-

Was it always a goal to get on a major label?

Well I mean we started out as our own label [Solesides Records]. So it’s always been a constant thing to continue.

A lot of people look up to you. Is there anyone that you’ve been tutoring in all this?

Well the whole thing behind Quannum [Projects] is to do just that; it’s a vehicle to where we can work as mentors to younger artists, who we see as having the potential and the desire to build careers for themselves. We try to do it with everybody that comes through us.

a lot since 1998, so we’re really excited to get there for the first time.

So what can your fans expect from your show at the Uni Bar? Just a lot of energy. We work really hard to make our shows a real life transference of energy, so that when people leave our shows they’re like…they didn’t just come and see a band on stage, they really experienced something.

So what’s next for you guys? What do you want to do?

In 2006 there’s going to be a lot of touring. For me, it’s going to be getting back into the studio and doing a lot more production in 2006 than I’ve done throughout my career. I’ve got a lot of projects that I’m overseeing, and things that I’m working towards completing.

Thanks so much for talking with me today.

You’re playing at the Uni Bar in Hobart on the 14th.

What have you heard about Tasmania so far?

Ah, not a lot. Every single time we get to Australia, we’ve been like, “what’s up with Tasmania? When do we get to Tasmania?” We’ve been coming to that part of the world

My pleasure. You’re welcome.

Blackalicious play Hobart’s Uni Bar on the 14th of December. The Craft is out now.

a?

What’s

up

ani m s a T h t wi

A lot of music mags have put you under the “alternative” banner. What do you think they’re talking about there?

People always need some sort of sense of categorisation for whatever music they’re listening to. We really avoid any kind of categorisation. We just make classic hip-hop. So if there was any category that you could put us under, and we could choose it, it would be that. You can’t really control how people wanna categorise us, you just keep on trying to do what you do.

Your music is really positive. Why did you choose to go in that direction?

In terms of us, we just try to write stuff that’s true to our experience. We never really start out saying “we’re gonna make a positive song.” We just make music that reflects who we are as people.

So you had a pretty good upbringing?

Well, it was normal. I grew up in a house full of music. My father would collect the records, so as a result, early on, I had a really solid musical foundation, you know? There was always jazz playing in the house; there was always

Ugly Duckling

By Tom Wilson

BLACKALICIOUS

Prettying Up for Falls

For a guy who’s played shows on five continents, Andy Cooper is a very humble man. As part of US hiphop trio Ugly Duckling, he’s been touring the world for six years and has even played in China – only the second rap group ever to do so, and no mean feat given the group’s capitalist heritage. Drawing influences from funk and hip-hop including A Tribe Called Quest and De La Soul, their sound could best be described as sun-baked party hip-hop. It’s all fun, and most importantly, it’s nothing to be taken seriously.

The same could be said for Andy. When asked about the China gig, he explained that “we were sent by the United States Government to spy on the Reds” As I said, he’s not one to be taken seriously. But he wouldn’t have it any other way. With the release of their third studio album, Bang for the Buck, Ugly Duckling have taken the unusual step of not only producing it themselves, but releasing it in Australia before Europe and even the US. Why? “Because we love Australians just so gosh-darn much,”

Andy explained. It seems that, as a country, we’re just the sort of audience that UD are looking for. “Australians are so much more relaxed and humorous, so if we took ourselves too seriously we’d have rocks thrown at us.”

He went on to explain that the motive behind self-production was that the group didn’t appreciate the level of control their record label had over the usage of their previous albums. They wanted to do it themselves.

While he – like most overseas artists prepping to play the Falls Festival this NYE – had almost no idea what Tasmania was like, it didn’t stop him from being excited about it. We’ll be lucky enough to have them for the second day of the festival, on New Year’s Eve, and judging by the sound of Bang for the Buck, they’re just the kind of band to do it. They were recently in Australia in September, playing to sizeable crowds in Sydney, Perth and Brisbane as part of the Parklife festival. Their shows in Melbourne sold out as well. But as already stated, Andy is a humble man. When told about the Falls Festival selling out in barely two days, he was quick to point out that “we weren’t on the bill then. So there’s probably going

to be no one there who’ll like us.”

Somehow, I think that’s unlikely. Bang for the Buck is a follow up to the almost cult hit Taste the Secret, which had made considerable waves since its release in 2003. Featuring a collaborative effort with underground rap duo People Under the Stairs (on Shoot Your Shot), the album is consistently energetic and doesn’t fail to match the integrity of the groups who founded its sound, such as Tribe Called Quest and De La Soul. When asked about the circumstances that bought People Under The Stairs into the fold, Andy was blunt.

UNI BAR HOBART WEDNESDAY 14TH DECEMBER presales $42 + b/f at usual outlets

“The song we’d written sucked. It was crap.”

We were sent by the United States Government to spy on the Reds

It seems that Ugly Duckling have no intention of fitting in to the current trends of US hip-hop. It’s not to say that they haven’t had chart successes. But they’ll wait for the charts to come to them. They’re not about to pretend to be who they’re not. Just check out the rhymes both he and fellow MC Dizzy spit on Smack! And that’s not a lonely example; almost the entire album carries a vibe of rebellion against the fashionable, materialistic tendencies of the commercial rap scene; a scene which markets ex-thugs and wannabe pimps to a demographic as young as eleven.

It’s a horrible cliché, and it’s not a term that Andy used

even once when I spoke to him, but it seems that Ugly Duckling are indeed “keeping it real”. Exactly what “real” is isn’t something they sweat over, though. Andy Cooper is probably the most down-to-earth and friendly artist I’ve interviewed – which isn’t bad considering his musical resume. While he said that he’d “never written music to start parties”, start parties it shall.

Ugly Duckling play the Falls Festival in Marion Bay this NYE. Bang for the Buck is out now.

HIP HOP

3to2 …It gets tough sometimes being the boss and an MC… We at SAUCE love Burnie. It’s where they print our magazine. It was also the starting point for a very, very promising new Aussie hip-hop act, whose skills at the Falls Festival playoffs got them through to play Marion Bay at the end of the year. They’re releasing a new EP, “Trading Blows” this month, and have spent quite a while holding workshops in Melbourne, grooming up and coming talent. SAUCE got in touch and traded some blows…

How long have you been around, and how did you get started?

3to2 have been performing since 2000.

(SeC) I wanted to make a difference in some way, for my opinion to be heard at a bigger level and hip hop was just a natural development. I’ve appreciated hip hop since a young age and it was clear rhyming was something I wanted to do.

(MiN) Hearing what could be done musically made me think ’Can I do that? Can I do it better?’ I was inspired growing up by the people around me, family and friends and the music they listed to.

When compared to overseas rappers, particularly in the states, Australian acts are far more down to earth. In what way do you think this is true and why?

We’re a little more laid back, that’s just Australian way.

It’s a multicultural society but there are lots of different points of view’s and rappers from all parts of the world performing in Australia. Aussie rappers have got a little bit of cheek to us, you know smart arses.

Your releasing your E.P. ’TRADING BLOWS’ this month, how did it come about and in what ways do you think it encapsulates 3to2?

We come from a varied musical background, we were happy to give our producers a certain amount of freedom. We gave them some of the early music and lyrics and wrote two new songs in the process. It shows our hard work over the years starting to payoff but only shows one side of our influences, our live set you see a few different sides to us. It started with a demo we recorded in Tassie, played it and pumped it around, some people took interest.

You host the ‘Expression Sessions’ @ Revolver in Melbourne, which are open mic and deck nights, as well as doing work shops. What kind of talents have you seen through there?

Workshops are generally aimed at a much younger age group, teaching the basics of rhyme writing, beat structure and hiphop culture! ‘Expression Sessions’ is for up and coming, raw talented crews, MCs and DJs at all levels.

In saying that some of the newest talent of Melbourne may just roll in to lay down a set you never really know who’s going to be up in there….

What’s next for 3to2?

We are planning to release a mixtape in 06 so were busy as and loving it. 2006 is going to be the biggest year for us yet, the sky’s the limit.

3to2 will be playing at the Falls Festival in Marion Bay this NYE

’S N O T S LAUNCE NIGHTCLUB T S E W E N T HE AR OF T E T CTS A E F F ST E G & N I T H G I ND, L

SOU

DJ

+ L R EA

S T S E GU

URDAY NIGHTS T A S & Y A ID R OPEN F PM- WHENEEVNECR 10 N E P O S E R O O D 24 HOUR LIC 39 CAMERON ST LAUNCESTON

GIG Guide 07/12/05 - 03/01/06

HOBART

HOBART

7:30pm-late

Dr Syntax

Dr Syntax

Republic Bar & Café

Fell To Erin & Late Nite

Ten Bears & Waiter

That 1 Guy (U.S.A)

Republic Bar & Café

Access (Adelaide)

9pm

$8/5conc.

The Mud Bar

Black Coffee

9pm

Chris Neobi

9pm

Chris Neobi

band Sergeant Green, live

Soak @ Kaos with house

9pm-12am

DJ playing commercial

DJs Chilli & Brent

music and upstairs DJ

10pm

Ursula’s

Loco with Karaoke.

Michael & Jason WEDNESDAY 7th

Saloon

8pm

Request Night; start partying for Christmas

Voice

with $3 Daiquiri’s for the

Dj Earl + Guests

Dr Syntax

Ladies and live DJ playing

Playin House, Breaks,

Edge Radio d.j.

requests.

HOBART

Progressive And Industrial

9pm FRIDAY 9th

SATURDAY 10th

9pm-12am Voice

Heat Syrup

Black Market

Margarit-A-Go-Go!

Midnight till 7

Dj Earl + Guests

Margarita mayhem with

Playin House, Breaks,

50’s, 60’s, 70’s retro with

Kaos

Progressive And Industrial

DJ Sven Gali.

Soak @ Kaos with house

Kaos BURNIE

BURNIE

SUNDAY 11th

Sirocco’s

Sirocco’s

HOBART

Dj Cola

Decks in the city - Dj Paul

‘Smooth’

Stage Door the Cafe

Stage Door the Cafe

Joe Pirere, the Fox and

Batman Fawkner Inn

9pm

Neil Gibson, folk-blues

Gaye Clarke & the Big

the Hound

Pulse in the bar

singer,

Band Sound,

7pm

7.00pm.

6.30pm.

HOBART

DEVONPORT

collection of short films by

Dr Syntax

Spurs/Warehouse

new Hobart directors and

Tasmusic showcase (The

Donut

actors. Free entry.

Styles, The Humans &

Soak @ Kaos with house DJs Chilli & Brent 10pm

Dr Syntax

Hobart Underground Films presented by Andrew Harper. A

The Vinyl Pilgrims)

now

Republic Bar & Café

Prince of Wales

Mick Attard

10pm

Simon Russel Guilty As

Shane Pullen

Late Night Access

9pm

(Melbourne original)

Syrup

10pm

Republic Bar & Café Joe Pirere

Republic Bar & Café

James Hotel

Resident DJ Mez “Laying

Syrup

Sundy Side up. Comedy,

Randall (James bar)

Down The Chunks

Upstairs: Saturday Arvo

8:30pm LAUNCESTON

free pool from 10pm

Irish Murphy’s

Karaoke in The Loft with

Even presents PHIL K

70’s, 80’s and ‘90’s retro

Heat

Glenn Moorehouse

DJ Loco.

(Melb) + residents Adam

with resident DJ’s THC

Irish Murphy’s

Black Market

Phil Picasso

Turner, Scott Woodhouse

& Rolly. Upstairs: 11pm

Carl Fidler

Midnight till 7

Tash and Ben

THURSDAY 15th

and Mez.

- Beez Neez present Dirty

BURNIE

LAUNCESTON

Music & Poetry 8:30pm $2 cover LAUNCESTON

Summer Melodies Kaos James Hotel

Prince of Wales

DJs Chilli & Brent

Open Decks (James Bar)

John Craig

10pm

9pm Prince of Wales

with live DJ playing

Republic Bar & Café

Velvet

commercial music and

Dr. fink

9pm

Karaoke in The Loft with

10pm

F*king Dancing - house,

James Hotel

electro and breaks with

HO Club (James bar)

resident DJ’s Gillie, Adam Stage Door the Cafe

Batman Fawkner Inn

Viktor Zappner Trio

Monsoon on the big stage

Turner, Timo, & Corney.

That 1 Guy LAUNCESTON

O’Keefe’s Hotel

featuring Gai Bryant from

Rob Richards

Sydney on soprano/alto

Café Centro

sax,

Party on in the upstairs

Batman Fawkner Inn

8.00pm.

bar.

Spankpaddle on the big

MONDAY 12th

O’Keefe’s Hotel

TUESDAY 20th HOBART

stage(multi band nite) Republic Bar & Café

Syrup

Lakoda

Downstairs 9pm - KO.

10pm

Resident DJ Mez “Laying

HOBART

DEVONPORT

Republic Bar & Café

Spurs/Warehouse

Quiz Night final for 2005

Diesel

Syrup

O’ Funk”. Downstairs

Upstairs: Saturday Arvo

Sirocco’s

10.30pm - Boogie - 70’s

Live Sessions - Live

On Credit The Movie

& ‘80’s funk with residents

Bands - The Scientists

The Frankie band - Byron

DJ Nick C and Duncan.

of Modern Music, Elvis

Bay

Upstairs 11pm - LaCasa - Vocal and funky House

Stage Door the Cafe

with residents DJG, Matt

10.30pm - Tackyland -

Viktor Zappner Trio

B + guests.

70’s, 80’s and ‘90’s retro

Irish Murphy’s

with resident DJ’s THC

Leigh Ratcliffe

Republic Bar & Café

Irish Murphy’s The Dead Kilkenny’s

Down The Chunks

Irish Murphy’s

Soulatude

Distro

9pm LAUNCESTON

James Hotel Jesse Pitcher (James bar)

James Hotel

HOBART

Mac D (reality)

DIESEL supported by Carl Fidler (dead Abigails)

Batman Fawkner Inn

Republic Bar & Café

Lonnies

(reality)

Mark Stinson in the bar

Batman Fawkner Inn

1 + 1 Breda Reggae Band

Groove

Dj Phil K with Randall

Christ - 3pm to 8pm.

Roundabout in the bar +

9pm

Free Entry. Downstairs:

free pool from 10pm

8:30pm LAUNCESTON

& Rolly. Upstairs: 11pm - Beez Neez present Dirty

James Hotel

F*king Dancing - house,

Ho Club (James Bar)

Away from now (Melb) on

electro and breaks with

the big stage

resident DJ’s Gillie, Adam

HOBART LAUNCESTON

bar.

Brett Boxall

Mesh

Irish Murphy’s Ben Castles

Lonnies Groove

James Hotel Toss the Boss

Royal Oak LAUNCESTON

Dave Adams and Friends

Batman Fawkner Inn

Saloon

Roundabout in the bar

Dance the Night Away

Royal Oak

Room

with live DJ playing

Ciaran Vandenberg

$5,000 to be Won -

O’Keefe’s Hotel DJ Tim

TUESDAY 13th

Turner, Modal & Kir.

(reality) from 1.00PM O’Keefe’s Hotel

Syrup

Batman Fawkner inn

Syrup

HOBART

Charged $2 Downstairs 9pm - KO.

Soak @ Kaos with house

Party on in the upstairs

MONDAY 19th

Diesel $20 tickets on sale

Roundabout in the bar +

DJs Chilli & Brent

3pm

Phil Picasso

9pm

10.30pm - Tackyland -

J.A.E.

Café Centro

Republic Bar & Café

Upstairs 11pm Break

Soak @ Kaos with house

120y’s

O’Keefe’s Hotel

Sambo

commercial music and

Jordan Miller

Republic Bar & Café

Prince of Wales

Batman Fawkner Inn

Kaos

HOBART

9pm

Free Entry. Downstairs:

Irish Murphy’s

8.00pm.

Open Decks (James bar)

Billy Whitton

+ Guests from 3-8pm.

Midnight till 7

LAUNCESTON

James Hotel

10pm

DJ Nick C and Duncan.

the bar

from Hobart on tenor sax,

DJs Chilli & Brent

& ‘80’s funk with residents

9pm

featuring James Maddock

Funkin Unbelieveable

with live DJ playing

Black Market

BURNIE

Soak @ Kaos with house

Legendary Uni Night

Pulse (duo covers) in

THURSDAY 8th

10pm

Bands - Hammerhead

The Kravats

DJ Loco.

Geale Brothers

Irish Murphy’s

Dr Syntax

Legendary Uni Night

Steve Moore

Live Sessions - Live

Heat

Saloon

Ahmad And Nick

Midnight till 7

10.30pm - Boogie - 70’s

Batman Fawkner inn

Luke Parry (James Bar)

Irish Murphy’s

Black Market

O’ Funk”. Downstairs

9pm

James Hotel

Heat

Saloon

HOBART

LAUNCESTON

10pm

LAUNCESTON

Kaos

Prince of Wales LAUNCESTON

Paul Arnold

DJs Chilli & Brent Blackalicious

Republic Bar & Café

Syrup

UTAS Uni Bar

8:30pm Halo

Trivia Night in the Main

Commences at 7pm.

Irish Murphy’s

commercial music and

The Fabulous Picasso

Karaoke in The Loft with

Saloon

Brothers

DJ Loco.

Super Saturday, the Party

Republic Bar & Café

Saloon

WEDNESDAY 21st

Continues with resident HOBART

Batman Fawkner Inn

Kings of Mars

James Hotel

The Mud Bar

band Sergeant Green, live

MESH - Hobart’s oldest

Irish Murphy’s

Pulse in the bar

9pm

3sum (reality)

Chris Neobi

DJ playing commercial

club night. Breaks/Drum

Distro

10 bears (melb) on the

9pm-12am

music and upstairs DJ

Kaos

LAUNCESTON

Royal Oak

Loco with Karaoke

Soak @ Kaos with house

+ Bass with resident DJ

big stage

Spinfx, Scott Woodhouse

James Hotel

and guests. Upstairs -

Carl Fidler (James Bar)

Irish Murphy’s

Batman Fawkner Inn

Live bands opening Week

Mac D (reality)

Funkin Unbelieveable

Mark Stinson in the bar

Lonnies

James Hotel

Irish Murphy’s

partying for Christmas

Voice

Groove

Jesse Pitcher (James Bar)

Carl Fidler

with $3 Daiquiri’s for the

Dj Earl + Guests

Voice

Ladies and live DJ playing

Playin House, Breaks,

Dj Earl + Guests

requests.

Progressive And Industrial

Playin House, Breaks,

Syrup

Progressive And Industrial

Syrup Smack Down

Damon Browne

- The Roobs and Midnight caller, 9pm - midnight.

Stiffy’s Birthday Mac D O’Keefe’s Hotel

(reality)

Voodoo Lounge

Pulse in the bar

James Hotel

The Mud Bar

8pm

Chris Neobi

Groove

Leo and Mick Josephson

Ben Castles Saloon

FRIDAY 16th

Room

DJ Tim

$5,000 to be Won -

Sirocco’s

Sirocco’s

Commences at 7pm.

Voodoo Lounge

Donut & Dj Paul

WEDNESDAY 14th

Stage Door the Cafe

DEVONPORT

Dance the Night Away

Sgt Green (Reality)

with live DJ playing

Royal Oak

commercial music and

Turry

Karaoke in The Loft with

Greenwood

DJ Loco.

HOBART

Super Saturday, the Party The Mud Bar

Continues with resident

Kaos

DJ Grotesque. Open Mic

HOBART

John Bartlett, folk singerSaloon

9pm

Night & DJ Battles.

BURNIE

O’Keefe’s Hotel

Republic Bar & Café

- Hosted By Mdusu & SUNDAY 18th

BURNIE

10pm

4 Letter Fish

SATURDAY 17th

Saloon Trivia Night in the Main

James Hotel

Royal Oak

9pm-12am

Toss the boss (James Bar) Lonnies

Royal Oak Irish Murphy’s

Ultimo Trem Request Night; start

LAUNCESTON Batman Fawkner inn

Saloon

DJs Chilli & Brent

Ursula’s

LAUNCESTON Dr Syntax Joe Pirere, The Fox & The

Batman Fawkner Inn

Hound

Pulse in the bar

5:30pm

songwriter,

Spurs/Warehouse

7.00pm.

Liquid Nails

Irish Murphy’s Prince of Wales

Robbie Elliot

Jeremy Matcham

Modus

GIG Guide

Turner, Corney & Kir. HOBART LAUNCESTON

07/12/05 - 03/01/06 Batman Fawkner Inn James Hotel

Saloon

Party on in the upstairs

Legendary Uni Night with

bar.

live DJ playing commercial

The Dead Abigails, Modus

9pm

+ local DJs in second 9pm

Soak @ Kaos with house

Republic Bar & Café

4play on the big stage

DJs Chilli & Brent

Pete Cornelius & The De-

10pm

villes $2 cover

Batman Fawkner Inn

10pm

4play on the big stage

LAUNCESTON

Irish Murphy’s

Distro

Republic Bar & Café Blue Healers

James Hotel

Irish Murphy’s

The Voyeurs, The Jane

Loft with DJ Loco.

Off the Cuff

Does. Massive Giveaways

THURSDAY 22nd

James Hotel

Lonnies

Glenn Moorehouse (James

Groove

Friction (Brisbane band)

9pm Batman Fawkner Inn

2nd Birthday Celebration

music and Karaoke in The

Spankpaddle on the big

James Hotel

stage(multi band nite)

NYE Mac D (reality)

Café Centro

Lonnies

Christmas/New Year’s show

Party all night on New

Irish Murphy’s

Formeldehyde (Melb) +

Year’s Eve with resident

O’Keefe’s Hotel

Nathan Weldon

locals

DJs G-Rox, Eskay,

DJ Tim

GRRR

Doors open 9pm. Shows at

Randall, Joyce + guests

LAUNCESTON Batman Fawkner Inn

BURNIE

bar)

Stage Door the Cafe

Lonnies

Jazz Action Society

Groove

Christmas Jam, 8.00pm.

O’Keefe’s Hotel Voodoo Lounge

HOBART

Pulse in the bar

10:30 and 12:30 Saloon

Saloon

Super Saturday, the Party

Legendary Uni Night with

O’Keefe’s Hotel NYE – DJ Tim

Continues with resident

live DJ playing commercial Irish Murphy’s music and Karaoke in The

Friction (Brisbane cover

Saloon

Loft with DJ Loco.

band)

Super Saturday, New

THURSDAY 29th

James Hotel

Blues Brothers Revival,

Mac D (reality)

live DJ playing commercial

Saloon

DJ playing commercial

Dance the Night Away with

music and upstairs DJ

Son Del Sur (salsa)

live DJ playing commercial

Loco with Karaoke

$3cover

music and Karaoke in The

9pm

Loft with DJ Loco.

Syrup

The Mud Bar

Mesh

Chris Neobi

The Mud Bar 9pm-12am

BURNIE

music and upstairs DJ Lonnies

Stage Door the Cafe

Loco with Karaoke

Groove

Viktor Zappner Trio

The Mud Bar

Voice

featuring Greg Harrison

O’Keefe’s Hotel

Chris Neobi

Dj Earl + Guests

from Deloraine on

Distro

9pm-12am

Ursula’s

Playin House, Breaks,

saxophones,

Batman Fawkner Inn

Carl Bulow

Progressive And Industrial

8.00pm.

Saloon

Ursula’s

Pulse in the bar

8pm

Dance the Night Away with

Straight No Chaser

live DJ playing commercial

9pm

LAUNCESTON

SUNDAY 25th Irish Murphy’s

Voice

Leigh Ratcliffe

Dj Earl + Guests

Saloon

Progressive And Industrial

Request Night; start partying for Christmas

SATURDAY 24th

with $3 Daiquiri’s for the Ladies and live DJ playing

HOBART

Republic Bar & Café

Voice Dj Earl + Guests

Dr Syntax

+ Scott Wilson Band

The Mud Bar

Playin House, Breaks,

Joe Pirere, The Fox And

9pm

Chris Neobi

Progressive And Industrial

9pm-12am

The Hound

JANUARY

LAUNCESTON

DEVONPORT LAUNCESTON

Batman Fawkner Inn

Dj Earl + Guests Playin

Roundabout in the bar

House, Breaks, Progressive

James Hotel Xmas Night Dj Mac D

Irish Murphy’s

SUNDAY 1st

And Industrial

HOBART Dr Syntax

BURNIE

HOBART

(reality)

Distro’s last ever gig

SATURDAY 31st

Stage Door the Cafe

Dr Syntax

O’Keefe’s Hotel

James Hotel

BURNIE

Hot Strings, 7.00pm.

Dr.Fink

Merry Christmas

Sum Unbelievable

New Year Hoe Down (Bar-

9pm HOBART

MONDAY 26th Heat

Dr Syntax

BUMP’n’GRIND with DJs

Full Tilt Boogie

Grotesque and Dameza:

9pm

In The Car Park Music Sirocco’s

From 1pm.

Unbelievable and Sgt

The Rodgers vs Dj Paul

Joe Pirere, The Fox And The Hound..

Green join forces for one HOBART

night only) (Reality)

DEVONPORT

Republic Bar & Café

Royal Oak

Spurs/Warehouse

G.B Balding

Pete Cornelius and The

NYE Rage

Heat

with a live performance by

5pm

Devilles (In the Boatshed)

Black Market

MDUSU.

Midnight till 7

10pm

LAUNCESTON Irish Murphy’s

partying for The New Year

Detour

Ben Castles

with $3 Daiquiri’s for the

9pm

10pm

Soak @ Kaos with house

James Hotel

DJs Chilli & Brent

Open Decks (James Bar)

10pm

Mac D (Reality)

requests.

FRIDAY 30th

Prince of Wales

BUMP’n’GRIND with DJs

The Mud Bar

Grotesque and Dameza:

Chris Neobi and Matt C

9pm

HOBART

Stage Door the Cafe

Soak @ Kaos with house

Jerome Hillier, acoustic

DJs Chilli & Brent

Republic Bar & Café

Republic Bar & Café

guitarist-vocalist from

10pm

Nellie & The Fat Band $2

Blue Flies

Launceston,

10pm

9pm

7.00pm.

Kaos

MONDAY 2nd LAUNCESTON James Hotel

Prince of Wales

HO Club (James bar)

Shane Pullen

Resident DJ Mez “Laying

Syrup

Down The Chunks

Upstairs: Saturday Arvo

O’ Funk”. Downstairs 10.30pm - Boogie - 70’s & ‘80’s funk with residents

The Ragard Annes + Phil

DJ Nick C and Duncan.

Collins band from 3-6pm.

Irish Murphy’s

Upstairs 11pm - Pickle

Free entry. Downstairs:

Carl Fidler

- hard dance, trance,

10.30pm - Tackyland -

techno. residents DSKO,

70’s, 80’s and ‘90’s retro

Saloon

Corney, Tristan and

with resident DJ’s Rolly &

Trivia Night in the Main

returning home from the

Naughty. Upstairs: 11pm

Room

Kaos

UK, Nigel Pilkinton.

- Beez Neez present Dirty

$5,000 to be Won -

Soak @ Kaos with house

F*king Dancing - house,

Commences at 7pm.

DJs Chilli & Brent

LAUNCESTON

HOBART

9pm

TUESDAY 3rd

Live Sessions - Live Bands

Batman Fawkner Inn

Dr Syntax

Republic Bar & Café

LAUNCESTON

- The bad Luck Charms,

Mark Stinson in the bar

Ray Martians

Epicure Supp. The Jane

9pm

Does $25 Cover

James Hotel

10pm

Toss the Boss

Black Market

Syrup

Saloon

Midnight till 7

German electro superstars,

Trivia Night in the Main

“Tiefschwarz”.

Room

electro and breaks with resident DJ’s Gillie, Adam

Spurs/Warehouse 18 Kings St Devonport 64247851

Hobart Halo 37a Elizabeth St Mall Hobart 6234 6669 Lewisham Taver n 46 Scenic Drive Lewisham 6265 8144 Republic Bar 299 Elizabeth St North Hobart 6234 6954 www.republicbar.com Soak @ Kaos 237 Elizabeth St Hobart 6231 5699 Syrup 1st Floor 39 Salamanca Place Hobart 6224 8249 syrupclub@bigpond.com Uni Bar - Hobart Campus 1 Churchill Ave Sandy Bay 6226 2495 www.tuu.com.au

Launceston Cafi Centro 76 St John St Launceston 6331 3605

James Hotel Reality Niteclub James Bar 122 York St Launceston 6334 7231 Lonnies Niteclub 107 Brisbane St Launceston 6334 7889 www.lonniesniteclub.com lonniesniteclub@yahoo.com Saloon Bar 191 Charles Street Launceston 63 317 355 The Batty The Batman Fawkner Inn 35 Cameron St Launceston 6331 7222

Heat

10pm WEDNESDAY 28th

Irish Murphy’s 211 Brisbane St Launceston 6331 4440

info@jameshotel.com.au

BURNIE

Downstairs 9pm - KO.

LAUNCESTON

Heat

TUESDAY 27th

Sugartrain $2

Syrup

O’Keefe’s Hotel

Hobart’s Hiphop night 10pm 3pm Shane Pullen

10pm

Open Decks (James bar)

Brett Boxall

Ladies and live DJ playing

Kate & Ado

Republic Bar & Café

James Hotel

Saloon Dr Syntax

Kaos

9pm

Prices..

LAUNCESTON

Request Night; start

DJs Chilli & Brent

Prince of Wales

Devonport

HOBART

Black Market 12-till-7

7pm Happy Hour…. Pub

Hobart’s new Hiphop night

Soak @ Kaos with house

B-Q)

Green (3sum, Funkin

kicks off on Christmas Eve

Kaos

Sirocco's Bar & Nightclub 64 Wilmot St Bur nie 6431 3133 Stage Door The Cafe 254 Mount St Upper Bur nie 64322600

Voice

Spurs/Warehouse The Unit

Loft with DJ Loco.

White Buffalo Dan Sultan

7pm

requests.

FRIDAY 23rd

HOBART

music and Karaoke in The

Playin House, Breaks,

Burnie

Years Eve Party with The

Chris Neobi

9pm-12am

Free entry

band Sergeant Green, live

Republic Bar & Café

@Venue Guide

room

Kaos

Irish Murphy’s Café Centro

Kenobi, Muph + Plutonic,

Billy Whitton

Batman Fawkner Inn Monsoon on the big stage

Luke Parry (James Bar)

Prince of Wales

Ursulas on Brisbane 63 Brisbane St Launceston 6334 7033

$5,000 to be Won LAUNCESTON Albert Hall FUNKTION NYE – Kid

Commences at 7pm.

To list your gig in the Gig Guide, email details to gigguide@sauceonline.net

HARD BOILED

I Killed The Prom Queen A n d

I

D i d

I t

I n

METAL / HARDCORE IN DECEMBER

By Ryan Cooke

S w e d e n

Boy, 2005 has been a huge year for metal and music in general. Tasmania has had some of the biggest shows it has ever seen - including Alice Cooper, Sonic Distortion 2, Irrelevant, Cog and many more. So it’s time to talk about the best of 2005, shows, albums, everything - so lets go. Here are my personal top 10 records of 2005: 1.Parkway Drive – Killing with a Smile 2.The Ghost and the Storm Outside – The Rains…

3.Caliban vs. Heaven Shall Burn - Split Program II 4.Every Time I Die - Gutter Phenomenon 5.Equal Minded – We Made Our Heroes Up 6.A Life Once Lost – Hunter 7.Innocent Cabbage - Innocent Cabbage 8.Norma Jean - O’ God the Aftermath 9.Shihad – Love is the New Hate 10. Johnny Truant - In The Library Of Horrific Events So many great releases this past year - I hope 2006 sets the bar even higher. Now onto the great shows of 2005, and this is the list of shows I have personally attended - some here in Tasmania, others on the mainland.

1.Slipknot – Palace Melbourne February 2.Up to Our Necks, Faux Defeated and Left Hand Cuts the Right – Irish Murphy’s July 3.Parkway Drive – Batman Fawkner Inn November 4.Alice Cooper – Silverdome July 5.Behind Crimson Eyes – Lonnies October It’s will be 1 year on the 13th of this month since Dimebag Darrell (of Pantera fame) was gunned down on stage performing with damageplan. Dimebag, we all miss you and your memory will always live on.

By Ryan Cooke 2005 has been a huge year for Adelaide’s I Killed the Prom Queen, after months of touring and releasing the EP ‘Your Past Comes Back to Haunt You’ the band traveled to Sweden to record their second album. I spoke to vocalist Crafter while he was on tour in the United States about Australian Hardcore, Touring and Parkway Drive.

What has been happening lately?

So much; we are all over the world... Touring, recording and hanging out... We just recorded a new full length with metal legend Fredrik Norstrum. We spent a month in Sweden doing it.

You’re currently on tour in America after just completing your UK tour, how are the audiences over there reacting to Prom Queen?

Yeah really good; it’s a good time... UK was fun... Our first headline UK tour and it was really amazing... Lots of really amazing bands in the UK. The USA is good as kids always dance hard as shit... It’s so good to be back here.

You have recently finished recording your second album in Sweden with Fredrik Nordstrom, what do you feel Fredrik bought to the band? And do you feel working in Sweden will bring a heavier feel to this album?

The dude rules... he knows his shit... The music on this CD is heavy... It’s the best shit we have done to date... The songs are a lot better than ‘When Goodbye Means Forever’...

When you recorded your debut album ‘When Goodbye Means Forever…’ did you ever imagine you would have the success and impact on the Australian metal scene?

Nah, not at all. We didn’t think anything would change... over night kids were psyched... We still love that release but we hope the new CD has more of an impact Which bands are you currently enjoying? And who has personally influenced you??

I’m really into All That Remains, Remembering Never and Darkest Hour at the moment... I heard the new Remembering Never CD and I can’t get it out of my head. The guy’s are finishing the record as we speak. It’s amazing...

How does it make you feel that IKTPQ are one of the last few bands who can successfully play an all ages show and draw a big crowd?

Umm it feels really good... Kids are the strength and future of this scene... All ages is cracking... Kids come out and are always loads of fun.

With bands like yourself, ‘Parkway Drive’ and ‘The

Hot Lies’ setting the standard for Australian metalcore/emo, where do you personally see the scene heading?

Yeah only bigger both those bands rule and are doing lots of tours. I’m happy the scene is still on a rise.

How do you feel about narrow minded people who believe IKTPQ have put the final nails in the coffin of Australian hardcore?

They can fuck off... seriously we haven’t fucked up hardcore... Hardcore is about what’s in your heart...

It’s about going to shows and having fun with your friends... Singing along to bands and having a good time... To me it’s about having faith in the scene...

Most the people who say all this shit are old and jaded.

Fuck ‘em!!

When should we expect to see IKTPQ hitting Tasmania for some shows?

We hope to hit Tasmania next year for sure.

What is next for Prom Queen?

New release, parties, Jenkins and lots of touring both home and overseas.

I Killed The Prom Queen’s album “When Goodbye Means Forever” is out now.

Just lightly touching on local news, Devonport bands Something Kills and Victory Avenue have both just released their brand new EPs, so check them out. Hobart’s Up to Our Neck’s will have played their farewell show by the time you read this, but you will be able to get their 7” vinyl ‘In Blood’ if you’re quick –only 50 were pressed, so hurry. Last but not least AFI have officially pulled out of the Big Day Out 2005, with a replacement soon to be announced. Added to the bill were nu-metallers Mudvayne earlier in November on the 2nd announcement.

Thanks for reading my column for the past year, see you all in 2006.

Ryans Recommended Albums Something Kills – Calling All Evils – Independent Killswitch Engage – The End of Heartache – Roadrunner Records Equal Minded - We Made Our Heros Up - Two Bucks Entertainment Remembering Never - Woman and Children Die First – Ferret Music Shotpointblank - Kill Breath Kill EP – Trail and Error Records Metallica – Live @ Monsters of Rock Donington, Monsters of

They can fuck off…

Rock 17-8-1985 – Bootleg Caliban vs. Heaven Shall Burn - Split Program II - Independent DragonForce - Inhuman Rampage – Roadrunner Records

HARD BOILED

Max Cavalera

E m e r g i n g

f r o m

t h e

D a r k

A g e s

By Dave Williams & Tom Wilson Many musicians write about the concepts of life and death. But none are more qualified than the dreadlocked helmsman of modern metal, Max Cavalera. As the voice of Soulfly and formerly Sepultura, his new album, Dark Ages, is a recording literally formed in blood, sweat and tears. In the last year alone, Max lost both his grandson Moses and his close friend, ex-Pantera axeman Dimebag Darrell, who was shot to death on stage. But as SAUCE’s Dave Williams discovered, Max is a man not crippled by grief, but inspired by it. For maybe the first time in this magazine’s history, a musician has been so engaging that all pre-determined questions were forgotten. So without further ado, ladies and gentlemen, Max Cavalera.

Hello, Max. Hello, Man. How you doing?

I’m alright, mate. How are you?

I’m alright, thank you.

So what have you been up to today?

I just got back from touring. It’s my first week back, and I’ve been on a US tour for a month-and-a-half. So just being able to enjoy Sunday off here; just hanging out with my kids, then do an interview from Australia.

So whereabouts did you tour?

We did a US tour…it was all across America, from Florida to New York, then the West Coast; California. It was only a month and a half, now we’re on holidays. We’re going to start touring again in January in Europe.

And is going on tour still a bit of an adventure for you?

Ah, yeah; for me it is because I try to keep live shows unpredictable…a different set list every night. Just try not to make it feel like a job. Plus I’m attracted to chaos – I’m a magnet for accidents and shit like that. You never know what’s going to happen, whether you’re being kidnapped in Jamaica or trod on by Mafia people in Russia.

We’re always on the lookout for what’s going to happen next, you know?

be bad things along the way, but you kind of live in the moment, that’s what life is. It took me a while to figure it out, but whether you’re on stage or getting kidnapped or whatever, it’s all part of it. You’ve got to enjoy it; the big moments and the small moments, they’re both really special. Nothing’s forever – one day all this shit’s gonna end. Live life to the fullest.

This is actually a philosophy that I’m trying to live by at the moment, Max. And it’s funny that you should say that, because a lot of that stuff has been happening to me. Not being kidnapped, but just embracing everything that comes along.

Yeah. I think we all spend so much time envying what other people have or arguing, and that’s all such a waste of time. It doesn’t go anyway. I’m just really trying to follow what really matters to me. Music is a big part of my life, then my friends and my family. There’s probably a lot more to learn.

happened, you’ve got to change your life.

It’s pretty freaky, really.

Yeah. I mean, it could have happened to all of us. It could have been me. It could have been the guys in Slayer. All of us grew up the same. It just happened to Dimebag.

Who knows why? He was just the nicest guy. But we’re never going to know. But one thing I do know is that he was really a star. He died and he lived life to the fullest, so that’s what we try and do.

belong to each other, and they were at the right time for each other. So I’m going to do that, you know? It doesn’t bother me. But I’m looking forward to the next one; I’m thinking, “what can I do next?”

That would be a while away, wouldn’t it?

Well I’m going to go out again and surprise everyone again. Next year we’re going to tour again. Hopefully we can make it to Australia again. I’d love to come back.

You’d do sell-out shows, I’m sure.

I hope so. I have great memories from the Big Day Out which was Soulfly’s first time in Australia, and that was a great tour. And Australia’s always been a great place for me, all the way back to Sepultura. But I think that in a way, Soulfly is even more special in Australia than Sepultura. There’s a more special feeling. And I think that coming back now with Dark Ages is going to be brutal. It’s going to be awesome.

If someone’s going to [shoot me], then let them do it, if that’s God’s wish.

Have you ever thought that people’s names mould their character, or do you think that people’s names are incidental, or are people named when they’re children because of their personality?

That’s a good question. I think that when we are born we are preordained… I think there’s a whole lot of that which is set up for you, which you follow, but there’s a lot that you change, too. You actually change your path, and you change the path of others as you go along, you know? It was hard for me when I left Sepultura; I kept telling myself, “man, I shouldn’t have done that; we could have stayed together and been the biggest band in the world”. But now, this makes me more happy than when I was with Sepultura; I’m happy on a different level.

This means more to me than being the biggest rock star around.

Does it affect you when you go on stage? Do you think about him when you’re about to go on stage?

I do, in a more positive way. All the musicians that I talk to are more freaked-out security-wise. They’re more scared of going on tour. I’m not really scared. I’ve never been scared. If someone’s going to do that to me, then let them do it, if that’s God’s wish. So be it. I look at it in more of a positive way. I just enjoy the show, and what’s happening in the moment. Because tomorrow that might not be there. I try to make every show special, like tonight is your last one.

Talking about music, how do you view your new record? You were saying that you made some really intense music, some really uplifting music after Sepultura. How do you view Dark Ages?

To me, it’s actually a more normal Max. I think it’s more

Do you think it’ll have a similar sort of feel, with Australia being a relatively new country and Soulfly being a fresh go for you?

Yeah. I think, one thing that Soulfly…it was the first place it went gold, in Australia. Now it’s gold in a lot of countries; it’s gold in America and in Europe. But the very first place was Australia; it was years ago. So Australia’s always going to have a special place in my heart, and for Soulfly. A lot of people gave their respect to me at first; to Soulfly, when a lot of people were still in the shadow of Sepultura. And Australia was like, “here’s a gold album of Soulfly, because we love what you’re doing right now”. Yeah, I’ll always respect that. I’ve got it on my wall.

It’s a beautiful little record; I’ve always loved that.

Do you have good memories of partying and living it large in Australia?

You’re being serious, right? You were kidnapped in Jamaica?

Yeah. I was kidnapped in Jamaica once. No, it’s a true story. It really happened. We almost got killed. Serious shit. But I’m glad it all turned out pretty good, and I can laugh about it afterwards.

Big Rasta boys with machetes and things?

It was actually like con artists, you know? I was there with my wife, actually, with Gloria. Because a friend of ours who was going to come and pick us up, he had an accident, so he was in a hospital. And so they were like, “we’ll take you instead”. And they wanted to take the car so they could steal the car. And we found out before them, you know? But they had guns and knives and shit like that. It was pretty crazy. It was pretty hairy.

With your wife as well?

Yeah, she was with us. And it was crazy, man. It was like shit out of a movie, you know? We walked into the room, and there was a guy there with a gun by his hand, and I’d start thinking, when the phone rings, we were there like “call security; there are people here who are con artists”, you know? They probably plan on ripping you off or killing you. But we called security and the police came and everything turned out okay. But it could have been worse, man.

Were you kids there as well?

No, no; just my wife. It was like my honeymoon, man!

(Laughs) So what happened in Russia?

That was recently, actually. Soulfly were on a big tour in Russia, and we were on our way to Vladivostok, which is about ten hours’ flight from Moscow. I had my daughter with me, plus the whole band – like, twenty of us. And the Mafia guys just started making moves on her, and he wanted to take her to Vladivostok, and he wanted to go out with her, and make her his girl. We were like, “screw you!” “Fuck you!”

Next thing you know, he’s like “you go to Vladivostok and I’ll kill you – I don’t care if you’re in a band”. So we called the embassy, and they told us to not go, because they couldn’t afford our security. He was like, real Mafia; he was involved with all kinds of shit like that. So we cancelled the show unfortunately in Vladivostok; hopefully we can do it again, without the Mafia guy. And there were like 2000 tickets sold…but this guy was serious Mafia shit. Like I said, it’s never boring on tour. It’s always exciting.

You seem to live a pretty full-on sort of life…

Yeah, man. I do it because, bad or good, it’s all part of it.

Things should always be good; there’s always going to

Soulfly , with Max out front I find that what you did with Sepultura is that you made your mark, and now, having left that and gone on to something more, I admire that.

Thank you. And like a lot of people have said, things took a different shape after Sepultura. I think that the music would have never been the same with Sepultura, maybe it would have gone into a Metallica kind of thing, and start repeating yourself and your music, and be writing music for no reason. Whereas Soulfly music came out of depression, and trying to re-establish myself, I wrote some really intense music, but also some really spiritual music; kind of uplifting music. I don’t think that ever would have happened with Sepultura. I really think now that I made the right choice. Starting something new was the best thing that ever happened to me, even though I didn’t know it at the time.

It’s good to come to a bit of acceptance about it.

Well there’s nothing you can really do, you know? And other things, like Dana dying, and Dimebag passing on last year. It’s all really seriously dramatic things. It’s beyond music. That’s life man. But I’m still here making music, so I’m looking at things differently. After what

of an extreme Max. Especially when I’m going off on reggae songs and world music. So for me, Dark Ages is a more conservative album. I mean, it’s heavy as fuck. But if you get where I was coming from; I was created with heavy music. So to me it’s a very conservative album.

But those old albums, like Primitive – that is a crazy fucking album. The music’s pretty mental as fuck, and it’s probably my favourite Soulfly album. But that’s cool; I’m glad we did Dark Ages, because it’s heavy, you know?

It’s more of a normal Max kind of album.

“Normal Max?” Yeah; that’s the typical Max that people expect, [the one] that’s on Dark Ages.

It’s good to do things differently. Then they shine individually.

Yeah. Especially with Soulfly. I think the order of the albums, and the vibes, Dark Ages has the perfect vibe, coming out of Prophecy. It makes sense – I don’t know how to explain. But when you put all the Soulfly albums together, to me it falls into a cool order, like movies. They

Oh, Australia was great. Big Day Out was unbelievable.

I remember going on earlier and watching the Korn guys. I’ve never seen a crowd of people react like that.

I couldn’t understand that at two o’clock in the afternoon there’s thousands of people going completely fucking mad for a new band. They knew I was the guy from Sepultura; that’s all they knew. They didn’t know about Soulfly, and their faces were like, “holy shit! What was that?” It was like a Tasmanian Devil. It was great.

From that point on, Soulfly just took off. So Australia was like the first place. It was brutal. It was awesome. It was great man. It was a very, very cool memory.

Thank you very much for talking with me today. It’s been very beautiful talking with you.

Awesome. I hope to see you at a show in Australia.

That’d be cool. When you come down, I wouldn’t mind hanging around with you.

I’ll be around for sure.

Soulfly’s 5th album, Dark Ages, is available now.

Albums - Reviews Necro Circle Of Tyrants

Atramal Self Titled

Sevendust Next

Japunga Souls Conflicting

By Tom Wilson

By Tom Wilson

By Tom Wilson

By Tom Wilson

What do you get when some very nasty New York battle rappers listen to Exhumed and Sepultura in their spare time? “Death Rap”, apparently. While rap-metal seems mercifully forgotten, this combines the polar opposites of the individual genres; throwing homicidal battle rap over guitar solos, death roars and slamming drums. And strangely enough, it works really well on a few tracks.

I’m not familiar with Necro’s previous work, though the fact that he’s done photoshoots holding a twelvegauge to the head of a naked woman will probably fill you in on his style as a rapper. The attitude is cold, the lyrics graphically violent, and when combined with the efforts of Igor Cavalera from Sepultura, Alex Skolnick from Testament and Vinny Appice from Black Sabbath, it’s profoundly evil. While the tracks done by the aforementioned artists - “Necrotura” and “The Ultimate Revenge” – are the highlights, the albums fails in its consistency, or rather the lack of. The two metal works are sandwiched bang in the middle of a straight rap album, and as a result it will probably polarise fans of either. I can’t see “Circle of Tyrants” making much of a dent outside the rap community, as most fans of the guests artists probably won’t be willing to fork out for only two songs. But hey, maybe I’m just the wrong guy to review this.

2/5

Imagine what it would sound like if you were listening to a radio metal show with a crap, de-tuned radio, then recorded it with a microphone from across the room, and finally played it back. With a bean bag on your head. It would probably sound better than this CD. Atramal are a three-piece grind act out of Launceston and Rowella, and while I’d love to review them, I don’t even know if this classifies as a recording.

The entire album is just a hissing, over-modulating warble; something akin to a sound-check done by retarded monkeys. It is damn near impossible to tell the difference between songs. Still, from what I could make out of “300,000 Miles Per Second Speed of Light”, they can definitely shred, and drummer Mal does his best to play grind with a one-kick, which I’m sure isn’t easy. But this release just isn’t good enough.

Boys, seriously – get some money together and get some time in a proper studio, because with this sound quality it’s not worth the CD it’s burnt to. That said though, it’s good to see that Mojo Music is making the effort to put out local metal. If you’re a die-hard fan of grind (particularly berserk-comedy-metallers Anal C**t), or a fan of de-tuned static, then you might get something out of it, but I think you’d be better off saving your money to see them live. I’ll see you there.

0/5

What is with this insistence of thanking God in the linear notes? Since the awesome Home, this band devolved into a heavier version of Creed; trading their trademark pummelling riffs for radio-friendly rock melodies only two steps shy of 7LA territory. Bah bloody humbug. But while their fashionably religious tendencies have remained in this release, Next will be a relief for fans of the Dust. New logo aside, this band is well and truly back. Singer Lajon’s choruses are still a bit sing-song-y for my liking, but the spitting energy of many of these songs is a welcome relief after their abysmal acoustic release. The Last Song is a musical black eye, and their heavier, angrier side is explored further in Never and Desertion. The one-two punch of Lajon’s soulful melodies and drummer Morgan Rose’s backing screams hasn’t lost its touch, and neither has the band’s ability to craft brooding, pounding intros.

Sevendust clearly don’t feel they need to join this new wave of metalcore in order to shift units; they’re still proudly part of the nu-metal genre. But unlike other bands of that genre – Ill Nino, Spineshank et al – they are actually good.

While it lacks the longevity of Home – something tells me that having album guests really help this band along – Next will still have contemporary metal fans slamming around their stereos.

3.5/5

I am so fucking sick of bands who are content with sounding like everyone else. Case in point: Japunga.

These lads have a very strong similarity to The Butterfly Effect. In fact, next to TBE, Japunga sound about as original as a three-dollar Rolex. I’ll admit, I’d never heard of these guys, and when I was given the CD I thought it was some kind of Japanese anime band. Now thaat I’ve listened to “Souls Conflicting”, I’m actually wishing I’d never heard it at all.

While TBE’s lyrics are powerfully melodic, at least they had some kind of integrity. The same cannot be said for Japunga’s singer/guitarist Jef Carter. His lyrics are annoyingly cliched, particularly on tracks like “A Hundred Years”, and for the most part his guitar work isn’t much better. How this band got to support Slipknot and Hatebreed, I have no idea. The title track is the musical equivalent of light beer: you can drink it, but it won’t have any effect on you in ten minutes. Songs like “This is Real” could vaguely be considered tough, but with a new Butterfly Effect album coming out, TBE fans would be idiots to throw cash away on a second-rate imitation.

If we didn't need it, I would have thrown this album out the window. To sum it up, on “Just Say Goodbye”, we hear Jef Carter wail “take me back to where I’m from”. Jef, don’t wait for someone to take you; just go. And get the hell out of my stereo.

1/5

Hell is for Heroes Transmit Disrupt

Taste of Christmas Various

The White Room Enemies Closer (EP)

Wolfmother Wolfmother

By Ryan Cooke

By Ryan Cooke

By Ryan Cooke

By Ryan Cooke

‘Taste of Christmas’ – where would you like me to start… how about… FUCKING RUBBISH!!! Who honestly wants to hear Bert McCracken (of ‘The Used’ fame) singing ‘Happy Christmas (war is over)’?

Melbourne’s The White Room (formally Plunja) is back and better than ever with their brand new EP, ‘Enemies Closer’. ‘Enemies Closer’ is a step in a different direction from their previous work - shaking the ‘nu-metal’ tag and really coming into their own as a band.

After the success of their self titled EP last year, and huge slot on the 2005 Big Day Out bill – Wolfmother, the most talked about band of 2005, have finally dropped their debut self titled album on the world. The opening track ‘Colossal’ picks right up where their EP left off, the quick and different timing patterns of drummer Myles Heskett are a real highlight.

‘Transmit Disrupt’ is a make or break album from HIFH, as they attempt to regain their position as one of Britain’s finest rock bands. After deciding to release on vocalist Justin Schlosberg’s ‘Captains of Industry’ label, Hell is for Heroes have really broken new ground with ‘Transmit Disrupt’ - the follow up to the critically acclaimed debut album ‘the neon handshake’.

Starting with the killer opener ‘Kamichi’, HIFH take no prisoners with their take on emo rock. ‘Models for the Programme’, ‘Silent as the grave’ and ‘One of us’ also showcase their unique style, while ’Folded Paper Figures’ and the thunderously epic ‘Silent as the Grave’ are also standouts. One of the must see live bands of the year.

Ballpoint Blood, Sweat & Beers

By Ryan Cooke

Hobart finest pop punker’s Ballpoint is back and better than ever with their new EP entitled ‘Blood, Sweat and Beers’ - the follow up to 2003’s ‘Well Oiled Machine’.

‘Blood, Sweat and Beers’ kicks off with the huge opener, ‘Bruised and Broken’, a track about the band’s favourite pastime - jumping into bushes.

Tracks like ‘Himself Time’, ‘I used to be a girl’ and I don’t remember eating carrots’ show the band’s ability to capture the energetic silliness of their live show – and their ability to write lyrics about virtually anything.

If there is one problem with this EP, it would be that Craig’s vocals don’t come over as well as they do live, which is a little disappointing.

Apart from that, ‘Blood, Sweat and Beers’ is another great release from the Hobart boys – and I recommend this to anyone who is a fan of their previous work or pop punk in general.

This is one of the most stupid commercial cash-ins I have ever seen, or had the displeasure of listening too.

I understand this tour that the album lends its name to has been hugely successful, and toured the world, but surely the bands involved have made enough money already?

I used to respect bands like ‘The Used’, ‘Funeral for a Friend’, ‘From First to Last’ and ‘Roses are Red’, but that’s all gone out the window after this. A message to anyone who looks at this record in a store - don’t even bother picking it up off the shelf… you have been warned!!!

The title track is another great example of how the record labels are only trying to market ‘Stadium Rock’ these days, and ‘Let Me Go’ and ‘Collide the Stars’ both follow the same formula - which is a real disappointment. The only real highlight of the EP is ‘Set aside a time’, which features the drummer Steph on vocals. This EP is nothing special, and doesn’t set a good precedent for their new album (due in early 2006). I honestly wouldn’t recommend it to anyone, but then again I’m not really into soft cock rock.

The thing that disappointed me the most about the album was the rerecording of the whole EP - don’t get me wrong, the new versions of tracks like ‘Woman’ and ‘Dimension’ add something new to the songs, but nothing was really gained by putting them on the album. The album at times seems to have been rushed - containing a few songs that seem like fillers. That said, this album is sure to feature in the top 10 albums of 2005 -recommended for any fans of Black Sabbath and Led Zeppelin.

DJ Zinc Drum&Bass Arena

Ministry Of Sound Chillout Sessions 8

By Randall Stafford

By Randall Stafford

By Randall Stafford

Dylan Rhymes is one of the biggest names in breakbeat all over the world yet only now releases his debut album.

He has remixed and written some massive tracks in the last ten years including one of this years biggest club hit’s “Salty.” Dead Famous was co-written by Anthony Gorry who has worked with artists such as Mansun and Victoria Beckham, he certainly brings the pop aesthetic to this release. The album doesn’t break any boundaries but takes some different paths unlike your standard breakbeat album, it’s a mish mash of styles within the genre. “You got the Money” is phat medium tempo rock inspired breaks with distorted vocals, and a smashing bass line. “Don’t Want You Anyway” has a real singalong vocal line and is radio friendly but still tough with that Dooms night style beat crossing synth. And the already released title track “Dead Famous” is a party rocker in the electro 80’s vein. Overall musically there are touches of new romantic style vocals, 80’s inspired synths, dub styling and some well crafted deeper instrumental tracks towards the latter half of the album. The finisher “New Sun”is an epic atmosphere driven break sound scape.

What stands out on the record is the many and varied moods covered. The production is virtually faultless, it’s modern breaks at it’s best and although some tracks become a little one dimensional and dynamically flat Dylan Rhymes has created a more balanced album than many other breaks releases. It’s not funky, really nasty or developed on a more stringent musical level but is certainly interesting and made to rock a dance floor.

3.5 Turntables out of 5

DJ Zinc from England is a stalwart on the U.K Drum&Bass and jungle scene having played a part in the dance music radio revolution of the early to mid nineties. He started producing music around the same time with first his releases getting out on the Progression label.

He is certainly a flourishing producer with an awsome library of tunes created to date. The Drum&Bass Arena is a mix CD released on Resist Music featuring experts in the genre such as D Bridge, Leviticus, Friction, DJ Zinc himself and his tag teaming efforts with co-producer Krust.

The opener “Dezires”(Marky and Bungle Remix) is straight in to the beats at a 140 + bpm rate and then builds with lush layered organs and keyboards that offset the beats perfectly. Following that is J Majik & Wickerman with”Now It’s Over” which has a blistering vocal from house diva Kathy Brown and driving rhythms. “Dolls” by D Bridge is darker D&B yet still easy to listen to with top class production. And Zinc’s “The Star of Polaris” is fantastic, it has a deep walking double bass line with the obligatory cleared for take off sample. Other features are “Waxed”, D Kay and Lee, “Chase+Status”, Druids and “Feelings” by Shy FX & T Power has the highlight vocal on the album, a sweet soaring scat. The mixing is super tight and track selection is really well thought out. The standard of D&B production has improved immensely and this disc is a great example of that. The record certainly gets harder as it progresses yet Zinc moves freely between more Jungle orientated selections and Drum&Bass. With 26 tracks there is no shortage of different music and DJ Zinc’s prowess as a super smooth and quick DJ makes this a excellent mix album.

The Ministry Juggernaut continues with the eighth release in the chillout series. Disc one is comparably different to many of the other Ministry releases and totally unmixed. It has an almost acoustic pop aspect at times tinged with some pure electronic tracks, some really cheesy house vocals and a hybrid R&B sound. Perhaps this is where cafe music is going? The first disc includes “Climbing the walls” by Radio Head (the Zero 7 Mix), “Lovin’ you more” by Steve Mac and the beautiful Emiliana Torrini track “Sunnyroad”.

Alex kid’s “Turn it Round Again” is the highlight, it’s breezy yet strong with a seductive Seal style vocal.

The soul packed “When She Smiles She Lights the Sky” by Plantlife is a raw band sound scape, funky 70”s guitars and gorgeous vocals mixed smooth as possible. The second disc delves into rich deep house, chilled soulful house and a few more funk laden tracks which are real quality. Unfortunately the CD is opened by the abysmal remix of the Pink Floyd classic “Comfortably Numb” by Scissor Sisters, this is absolute butchery and should prove to any producer that Pink Floyd song’s are to be left alone as remix material. Top shelf house artists Fred Everything, Kings of Tomorrow and Copyright then come to the fore and provide the beach and summer sound to this compilation. Killer tracks include “Hot Toddy” by Mindtrip, “ Swimming Places” from Julian Jabre and the Steve Mac Classic mix of Jamiroquai’s “Seven Days in Sunny June”. This is one of the better disc’s from Ministry this year, It offers up a more open cross section of styles than previously in the chillout series. Several listens and the class of many of the tracks is evident. It’s still chilled out sounds but moves at a sublime pace and is very impressive.

4 turntables out of 5.

Dylan Ryhmes Dead Famous

DVD - Reviews

Albums - Reviews The Knife Deep Cuts

Adeaze Always For Real

Beastie Boys Solid Gold Hits

Three Colours - RED

By Randall Stafford

By Elona Bonnici

By Elona Bonnici

Valentine (Irène Jacob), a young model, lives in Geneva in a state of limbo, hanging on the phone calls of a possessive boyfriend somewhere abroad.

One day, she injures a dog while driving, and in tracking down its owner meets a reclusive former judge (Jean-Louis Trintignant).

She discovers, to her disgust, that he spends his days spying on his neighbours; cynically observing illicit affairs. But her initial repulsion soon turns to fascination, and a strange bond soon develops between them.

The Knife are brother and Sister Duo Olaf and Karin Dreijer from Stockholm in Sweden, the duo do not play live and have personally stated that rock and roll is outdated. The whole album was recorded in the Duo’s home basement and released on rabid records, the result is astounding. It’s evocative melodic electro pop.

The first single “Heartbeats” is awsome, swirling synths, overly reverberated hand claps and clever hooks are only outshone by a beautiful and haunting vocal that almost cry’s to you, simply brilliant. Karin’s vocals at times are reminiscent of bjork but the true pop overtones in the lyrics are classic and relateable. “Pass this on” features a steel drum melody that actually works, this sound is continually used throughout the album. There are also some strange vocal melodies. “Rock Classics” is a down beat musical satire in the vain of spoken opera with blatant lyrics detailing another boring day where a local cafe gets exceedingly more packed and in turn plays techno louder. An atmospheric string and flute tribute to the end riff from Pearl Jam’s “Black” makes up “Behind the Bushes”.

Uh huh… OK right… Well it’s all nice and cozy and the R&B is swooning. Yeah, they’re crooning. But it’s just too dam nice. I don’t know about you, but sometimes too nice is like boring sex; it will do but you get over it very quickly. That’s how I’m finding this; it’s all too careful, too rehearsed, so it lacks a little emotional quality that comes from the gut! On the plus side their are some syrupy sweet harmonies, and “Memory Lane” will have you shimmying from side to side – yes, this is true. “Change your ways” is like the R&B version of Kumbaya, with some acoustic melodies. Stretching their vocal range into some gymnastic exercise sort of got a little bit annoying.

As the first white rap group of any importance, the Beastie Boys received the wrath of critics and hip-hop musicians, who accused them of cultural hijacking, seeing as they began as a hardcore punk group in 1981. But the Beasties weren’t biting anyone’s style, they manhandled rap as part of a post-punk musical underground.

Of course, the exaggerated b-boy and frat-boy parodies of their unexpected hit debut album, Licensed to Ill, didn’t help their cause, yet they came through, and now here we are 24 years later, celebrating their solid gold hits album.

“Whatcha whatcha whatcha want, whatcha want?” more beastie, any time of the day. Celebrating their 24th birthday and making me cringe cos right now I’m feeling my age, they come at us after the 5 Borough’s compilation with this classic set. Unleashing the beast as only the boys can, this album has the best of hits so whatcha want?

There are some techno sounding aspects to this record within the sound production with a heavy lathering of new school electro. The fact that the only organic or analog sound present is vocals makes this album tiring eventually on the ears. It’s the minimalism within the timbre overall that becomes overdone. But in all this is a breakthrough album it’s fresh, smart, seductive and not too left field for the masses but remaining eccentric in its own right.

4.5 turntables out of 5.

The vocals are good, but the songs just don’t beckon you to hear it again. Actually I am finding myself in more of a rush to skip to the next song. They do the world famous Bee Gee song “How deep is your love”, hitting that ball-clutching register, and although it is a much more subdued version, it’s dull man. I’m sorry.

It’s lackluster; nothing stands out, Adeaze is the two man R&B duo of brothers Nainz and Viiz Tupa’I; a new movement in the sound of contemporary R&B music in New Zealand. Well this movement may be new, but goddammit, I can’t lie. I am a Sagittarius and it bored the shit out of me, and I mean that in the nicest possible way......Is that enough? Can I turn it off now?

Ween Shinola

Danger Doom The Mouse & The Mask

EAZY E ETERNAL E

By Carl Fidler

By Elona Bonnici

By Elona Bonnici

Getting funky with the Brass monkey and reliving the insomniac throb of “No sleep till Brooklyn. It’s all here including “the open letter to NYC”, “hey Ladies” and “shake that rump” will have you “body moving with fatboy slim, giving you the right to fight for your right to PARTYYYYYYYYYYYYYYYY”. Hell yeah, for lovers of Beastie Boys who may have been too young to have all their albums, and yes eighties children Imma talking to you, this set will educate you on the solid gold classics that made Beastie Boys immortal.

By Tom Wilson

The last film of Polish director Krzysztof Kieslowski, Red is a richly metaphorical work, questioning our motives for interacting with those around us. Why is it that we do things for other people? Is it because we genuinely care for them, or are we ultimately just doing it for our own gain?

Kieslowski died shortly after this film, but Red is clearly a swansong to a body of work I am only beginning to explore. The film is stunning; the use of visual motifs and symbolism is at once powerful and subtle. Kieslowski does not patronise his audience. The long, strained conversations between the two vastly different people are what make this film memorable, as is Kieslowski’s habit of using chance events in the background to highlight a scene’s impact.

Red was the first of the Three Colours trilogy that I watched, and as a keen (but largely unsuccessful) filmmaker myself, I remain in constant awe of this director’s gift long after seeing it. I’ve got to start rating the crappier films harder, because I can’t rate this high enough. 5/5

Three Colours - WHITE

Two of this generations most respected hip hop artists combine a crazy concept to produce Danger Doom, the most talked about underground album, and yes I have been waiting for this one, it delivers with a cryptic twist, ciphered allusions, roller-skating pianos, funky bass lines and a serious uniqueness that you wont find anywhere else.

Dean and Gene Ween have been up to their armpits in spring cleaning and from under the ashtrays and post-it notes of their home studio comes ‘Shinola Vol. 1’, a collection of freshly remixed odds and ends and leftovers.

The name ‘Shinola’ comes from a brand of shoe polish and an old saying “You wouldn’t know the difference between shit and Shinola” and that might just be the challenge with this recording! Stand out tracks are ‘Tastes Good On Th’ Bun’, ‘Big Fat Fuck’ and the strangely beautiful ‘Someday’, a love song with cheesy porn backing and a chorus sung by moppets!

Ween don’t seem to care too much about playing well or good production, a point that may irritate those who prefer the slicker shinier variety, but the artistry is in the fun they have making their music. ‘Shinola’ will give you plenty of smiles and a few chuckles, but will probably only have value to loyal Ween fans.

Eternia It's Called Life

By Elona Bonnici Another E! We had EazyE now Eternia. I think I’ll drop the next one, pass me the water, (joking). Now this Canadian urban chick is mixing some wicked new sounds into her deep voice, and she pulls it off. The depth of her vocals gives her domination on the mic, and doesn’t fade out when the beats gets heavy. She rides it, holding her shit tight.

For her debut album, this girl is deadly serious, taking every track seriously, and it comes through. Some people are just born to do it and she is one of them.

Her style is extremely languid; it’s fluid, and she flows.

I will be definitely looking out for her next album, and already I’m hooked.

With some humorous skits, this album has it all. You can tell from her song titles that she breaks it down and cuts out the shit. “Truth”, “Evidence”, “Hate”, “Beef”, “Time”, “Love”, “Death” she is the quintessential rising star; look out for her strong voice, her confidence is evident and I don’t think nothing will stop this girl. As she spits: “You can hate me on the block- do you think I care? You can hate me cos I’m hot- do I really care?

You can hate me cos I’m female cos I’m white cos I’m dope, you can hate me- Ask me if I care?”

NOPE!!!!!

Are you bewildered maybe I should explain the hype, ok clear your mind, take a deep breath, you ready? Here we go, Their partners for The Mouse and the Mask are the characters of Cartoon Network’s Adult Swim programming block, a cast whose creators share with Danger Mouse and MF Doom the same influences (obscure ‘70s superheroes, some making a come back on Adult Swim) and motivations (a parade of surrealist fantasies blending with real life, like the crusading happy meal that airs on Cartoon Network as Aqua Teen Hunger Force).Including vibraphones, and cavernous drum loops that anyone of a certain age will recall from Fat Albert.

It is schizophrenically clever, animated and dangerously addictive. Danger Mouse recently produced Gorillaz Demon Days album which has sold more than 500,000 copies worldwide in it’s initial first weeks, and Danger Mouse’s Grey Album was in fact the most downloaded album of 2004.

So believe the hype. Why are you still reading this? go and get the album dammit!!

By Tom Wilson

Bring out the bad boy and here he is, in all his bad ass glory, just how I like my boys here’s a taste for the uniniated. “From around the way, born in ‘73 Hardcore Bboy named Eazy-E It’s ‘88 now, ‘73’s obsolete A nigga wit a serious ass attitude and 100% street And if you all wanna hear some more In one way or the other, I’m a bad brother Word to the muthafuka” Eazy-E is back yet again, Eazy-E enjoyed only a short recording career, but the few albums and EPs he did release as a solo artist as well as with his group, N.W.A were hugely influential, setting the stage for the rise of West Coast gangsta rap in the early ‘90s. Showcasing some of the pioneering gangsta’s most important recordings. Eternal E reloads a summary of Eazy’s solo highlights, including a couple N.W.A songs but only ones that were solo showcases.

As we expect from .N.W.A’s baby boy still blasting police brutality and challenging the system, with crude lyrics that just make you want to squeeze his cheeks cos he’s so nasty. He’s just so damn cute; got to love a gangsta! It does feature Eazy’s key songs, namely his earliest ones, which is smoothed out by the magical production work of Dr. Dre. So this best-of will impress you no doubt, and might be the only Eazy album you’ll need. Then again, I am a woman with the right to change my mind. If it’s one and only one Eazy album you want, you’d be better off with Priority’s EazyDuzIt reissue from 2002, which includes that entire album plus the entire 5150 EP appended as bonus tracks giving you mostly everything here and much more including the DVD which will keep you entertained and take you back to the day... whoot whoot!

A down-on-his-luck Polish hairdresser, Karol (Zbigniew Zamachowski – a truly jaw-breaking name), arrives in France only to be humiliated by his glamorous ex-wife Dominique at a divorce hearing…on the grounds of his inability to…ahem… “perform”. Penniless and destitute, he takes refuge in the subway, where he meets a fellow Pole who helps him make a harrowing trip back to Poland, to either win back or take revenge on his wife.

The second in the Three Colours trilogy, White is probably the closest Kieslowski has come to making a feel-good movie. He has a knack for characterisation, evident in the fact that we care for the clumsy loser that is Karol, and he manages to do this without saccharine sentimentality. Put bluntly, the Americans would have ruined a film like this. The colour motifs are present once again in the stark white of the Polish snow, but – like many aspects of this film – it lacks the power of Red and Blue. While there are many satisfying moments, the film slows down significantly in spots. It’s not to say that the other two films were roller-coasters, but they were paced to meditate on the points Kieslowski wanted to portray, and it’s these points that I found White to be lacking. The vague, uncertain ending is hardly satisfying, but then, I guess getting closure in relationships never really is. Still, in the lead role, Zbigniew Zamachowski is superb.

3.5/5

Three Colours - BLUE

By Tom Wilson

Joss Stone Mind, Body & Soul

Nuff Said Now You Know

By Elona Bonnci

By Elona Bonnci Joss Stone was only sixteen when the girl with the sound of raw soul broke through and surprised not only her audience but some big names. Working with The Roots and establishing herself as an emerging entertainer, she brings back to mainstream music an ability to tell her story through her

soulful musical endeavors.

Mind Body and Soul comes with three bonus tracks and a bonus DVD and Stone’s unique sound. Starting off with “Right to be Wrong” the star single of this compilation following through with the catchy “You had me” and “Torn and Tattered”. Her earthy voice gives power to what would normally be boring ballads, but her natural affinity with music allows her to make each song on this album something special. There was only one that was not much chop but one out of seventeen isn’t bad.

I actually heard this while dining at the Metz last week and asked the new restaurateur who it was, and so it impressed me then and it impresses me now.

Stone is one artist who will be on our airwaves for a long time to come, with a entourage of talented musician’s and back up singers behind her, such as my boy from New York City Gregory Jackson, and producers Steve Greenberg and Betty Wright she is sure to go from strength to strength as not only she matures, as does her craft.

It’s a big surprise, I had my claws out, and yet again, nothing to scratch, but that’s a good thing.

Australian production is coming through with a quality loaded with clarity, dropping beats at precisely the right time and blending local and international various artists.

It works, it grooves, it moves and it bites in all the right places. “U like it” …Well I think you will, with “STAHHR” up on the mic, her lyrics sexily vengeful, and her tone in tune with the beats; a balanced track. “Cloak and Dagger” follows with Bob Balans. The Aussie returns with a bass-laced beat, scratches that seduce and definitely a song to play when you want to get your revenge. Nuffsaid has been representing Aussie hip hop for over 10 years and you can tell they have paid their dues, rectified their past mistakes and here we have the polished compilation that comes with the experience of celebrated legends while embracing the up and coming talent. Including Tumi (Republic of South Africa), New Jersey vey “Shawn Lov” and Stahhr the F.E.M.C.E.E., Melbourne’s “Prowla” and “Ciecmate” ( Hospice Crew, Derm and many more), if you want an Aussie hip Hop album for your wigga this Christmas this is a definite winner. After all, even I liked it! Ha AUSSIE AUSSIE AUSSIE OI OI OI!

Julie, (Juliette Binoche) has her peaceful family life shattered by a car accident that claims both her husband and their young daughter. Waking in hospital, she attempts to commit suicide but fails, and instead withdraws into solitude in an inner-city apartment.

But both her friends and her husband’s associates begin to seek her out with agendas of their own, centred on the unfinished symphony that her husband had been composing when he died. Blue is the first of the three films, and the second of the trilogy that I watched. And it is predictably superb. Director Krzysztof Kieslowski has carved a portrait of grief out of the base elements of cinema; using cinematography and sound with intelligent restraint. One of the most startling techniques he employs is the use of the halfwritten symphony – which Julie completes through the second act – as both the film’s score and as part of the storyline. As the audience, we feel that we are watching the score being written throughout the film, leading to its overture in the final, haunting montage.

And really, we are. Kieslowski’s trademark colour motifs – the common trait of these three films – are once again superbly used. The brilliant blue of the swimming pool where Julie finds respite is hauntingly surreal, and the stark hue of the opening sequence is powerfully metaphoric. The fact that this film was used as a teaching tool in film classes will come as no surprise to anyone who has seen it. While yes, it does take its time in some places, the intelligence of its composition and Juliette Binoche’s powerhouse performance makes it a must-see. A masterpiece. 5/5

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SPOTLIGHT

AMPLFIED I n a u g u r a l

F e s t i v a l

A watershed for the local scene.

By Martin Blackwell The inaugural Amplified Festival held in Hobart Tasmania over November 24-27 2005 was an event laden with performance shows and events and a gathering of industry, professionals, musicians and punters alike, with the express intent of education, discussion, awareness and enlightenment into the Tasmanian music industry.

The event, on all accounts, was a tremendous success, and in its inaugural year a watershed for the local scene to establish connections and enable better networking ties with many beneficiaries. The festival pumped like successful CPR. Sponsored by Arts Tasmania, the event consisted of many forums for local, interstate performers, identities and laymen to answer questions give advice and share stories. Forums were established to address such topics as understanding your audience, recording the process and the purpose, APRA songwriting sessions, local stories, industry information sessions, and featured topics and awards.

Some of the guest speakers included the man whom brought Madonna to Australia, Mr Michael Chugg, Michael McMartin of the International Music Managers Forum, Paul Bodlovich from West Australian Music Industry Association and Sebastian Chase of MGM distribution. Various other patrons from APRA, AIR records, Ausmusic and our local state government – making for a fantastic coverage of informational relay and dynamicism between identities. People attended and sought advice and the Hobart scene became enlightened. With the event to be repeated again next year, we can look forward to much more in the way of token events and showcases, and festivals as well. Just brillo.

The Australian Songwriters Association Showcase was held at the Republic bar on Saturday the 26th of November as part of a significant number of showcases, as well as a Punkrock night by the crew at Disconnect records featuring the brilliant band ‘My Disco’ also Metal at the Polish by Southern Extremity Productions, Tasmusic showcases, Folk Federation, Loud Music and various other organizations. The ‘Best of the ASA’ was a fistastic afternoon of unplugged performances and enthusiasm, featuring the talents of local Tasmanian artists Lana Chilcott, Della the Red, Martin Blackwell (me), Deb Manskey our ASA CEO, Matt Sertori and Matt Fraser with the debut of ‘The English Prices’ Jordan Miller’s debut gig with complete band was a brilliant set, (fresh from winning best contemporary upcoming act) Ian Murtagh, Surrender Dorothy, the irrepressible Spondooli Brothers and also a guest appearance from Eric McClusker from APRA and Mondo Rock renown. Our usual expose of originality, expression & creative appropriation is a definitive formula for excellence, the many people amongst the throng now are doing wicked things like touring and recording regularly and its just brillo to see, to say the least.

The ASA contributors all performed strongly and stand testament of being definite local highlights at the end of 12 months for the ASA national body having relocated to Tasmania. With many such performers having moved on to many good things, The event was a great service to all performers, and the ASA extends its appreciation to what was a ground-breaking inaugural series of events, and we can surely look forward to next year!

M a k e s

S o m e

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Most Supportive Venue

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Peoples Choice Award

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Beggars can't be choosers.

By Tom Wilson In the realm of Australian surfing his work is almost legendary. Tim Bonython started out in the late ‘70s, aiming his super-8 at surfer’s tackling some of Hawaii’s biggest waves. Having now settled in Sydney’s Avalon Beach, he has continued his passion for surf photography as part of the Samsung Australian Surf Movie Festival, a travelling roadshow making its way around the country. He spoke to SAUCE about a life of capturing the waves.

What have you been up to today?

I went surfing this morning, and we’ve had a pretty good north-east swell the last two weeks. I snapped a fin; I was using an old board, so I wasn’t as good as if I’d used my good board. And I’m just doing interviews for the film festival. We did a preview last week at Bondi beach, and the full-blown tour starts on Saturday, then it’s just non-stop till next year.

You worked with Gorilla Grip’s Bill McCausland…

That’s right. I was actually filming surf movies on super8 back in ’78, but that was a long time ago, and over a period of time I got to know Bill and Gorilla Grip, and I had an idea that…to go to Hawaii all the time, it takes a lot of money, so I thought it was an opportunity to join forces. And Bill had this marketing idea of putting the films together with his company. So we just came together and started making films promoting the company.

And obviously, when I go to Hawaii I shoot everything that moves. That’s pretty much where we went. We were down in Hawaii…it was just a constant run of shooting footage all over the planet, mainly Hawaii. And Bill had

an eye for surfing – he used to do photography. So that’s our relationship.

But you went your separate ways, didn’t you?

Well, you know, like everything. Especially when you’re working for a company like Gorilla Grip. You can only do so much. And as you get older you try to do your own thing. At the end of the day, if you do a lot of work, it’s good to get your foot in the door with a company.

Then as you progress, you get more comfortable, and it’s easier to do your own thing.

I know what you mean about wanting to do your own thing. I work in film myself, and I know what it’s like to not want anyone else interfering…

I still do that a lot. I’m consistently working for someone myself. Having said that, a lot of the companies that I have relationships with, if I want to access the footage, it’s not a problem. Really at the end of the day, it’s about putting food on the table and supporting the family and paying the mortgage. Beggars can’t be choosers.

Yeah, you’ve got kids, haven’t you?

A couple of boys. I turned 47 two days ago. Life goes on, you know? I’m trying to keep fit and happy. It’s been a long time in what I’ve been doing, and you just try to keep up with what’s going on, and keep producing. I’ve stopped producing kids, but I’m still producing films.

Raimana Van Bastolae

The Samsung Australian Surf Movie Festival appears at Hobart’s State Cinema on the 17th and 18th of December.

From The Film: May Dayz

From The Film: Horrorscope

Space Trucking Yours Sincerely Southern Exposure Mass Funghoul and The Bungstead Muscles Annex Theatre, Thurs 10 NOV 2005

By Sam Eddy

Well, what an exciting month; too many things to review, too many drunken nights and lost memories… So, I’ll backtrack. You might be wondering why the Mass Funghoul and the Bungstead Muscles (a band) are being reviewed in the art section? I was reading an article by a fellow writer who raised the question about art and music. Some musicians and visual artists believe the two are, ultimately, different forms of expression and therefore should stay that way. But, I say “bugger them! Let’s have some fun!” The line’s been criss-crossed too long to even care anymore. There is craft and there is art. Ruttman, Cale, Schaeffer, the German kraut rock movement, Merzbow (look them up) and a host of others have, and still are pushing the boundaries of what is sound, art, and music; exploring the possibilities of a future that few could possibly imagine. Bungstead, although not in the same steam as the above, offered me one of those tingling sensations down the back of my spine; the Wednesday night tingle, the one that comes after a hard weekend.

Psychedelics in nurse suits, bleeps and blips, built up and lost in space, the intoxicating breath of fresh air for a Thursday night. Somewhere between Tangerine Dream, Pink Floyd and Hawkwind, a broken lead hissing (unintentional), strange keyboards and electronic instruments all melded together into one cosmic jam. OK. That’s the music part. Where does the art fit in?

Well, I’m not exactly sure. It really depends on your definition of what art is, which is entirely subjective, and is another article altogether. Bungstead’s art comes in blips and bleeps, creating a strange surreal soundscape that both builds and falls apart; the musicians bent over guitar effect boxes, delaying, projections of real time art and visually enticing. Despite the unfortunate lack in the bottom end, they came through as competent and willing to explore their craft and push it to another level, which created an exciting atmosphere for this writer. A small black and white flyer was my only knowledge of this show, so I was happy to find a few people turning up at the Annex Theatre; all a bit unsure of what to expect. After so many stale and over-practiced live music gigs, (I feel) it’s great to see music away from the pubs and DJs that seem to make me yawn (maybe I’m getting old). Mass Funghoul and the Bungstead Muscles, a band I know absolutely noththing about, became an anomaly in the Launceston music scene. If this was just done for university or if they will play again I guess is up to them – I have no idea. Through this show they have become one of very few Launceston groups to explore their music together with art and sound, becoming a definite plus for people who prefer a well-crafted sound, looseness and originality, to image and tightness.

Art Exhibition @ Sabotage

By Duncan Ewington

By Duncan Ewington

The Hellavate crew have been busy boys this year. With quite a few collabarative exhibitions under their belts, they’re starting to get a good grasp on presentation. And, of course, the art itself keeps evolving.

“Yours Sincerely” is exhibiting in uber-stylish Hobart store Sabotage, and with their graphic based work, Joe Hamilton, Rob Cordiner and Seb Godfrey’s art compliments the exhibition space very well.

Featuring new works by the crew, “Yours Sincerely” is an exhibition of letters. However, they’re definitely not your average fonts. Instead, they have managed to create and mutate the common forms of our English language into a new hybrid species of tongue in cheek art, slang, and subversion.

It’s great to see graphic design represented as an art form, as it has become such an overused and abused daily stable of our lives, that we have become desensitised to how good some of the creative expression is that lurks within the minds of original designers.

The bonus with this exhibition is that all the works are at a very affordable price, making the art easily accessable, and very nice to look at in your lounge room.

With more exhibitions in the works, Hellavate is on the up-and-up. Exciting and fresh, keep an eye peeled for their writing on the wall, and if they have their way they’ll be writing the world over. Get ya peeps down to Sabotage for a geez and a gander.

A new hybrid species of tongue in cheek art, slang, and subversion

Exhibition @ Cygnet Town Hall There’s a lot of art these days that to many punters is hard to understand or appreciate. But this was not the case for a great exhibition that happened down in the little humble southern country town of Cygnet.

This event was open to contributions from the greater public, and anything was considered if it was “art”. This meant there was a very diverse range of mediums on display, ranging from sculpture, paintings, and photography, through to furniture design, paper mache and ceramics.

All walks of life were represented; weekend artists, primary school kids, mothers, professional artists, art students, hobbyists and grandmas were all in it. The exhibition was based on the general theme of living in southern Tasmania, and from the amount of work on show, it seems just about everyone is an artist nowadays. There was over 200 pieces to feast your eyes upon!

There was something for practically everyone, and even the most jaded critic would have found something they liked. The general standard of the work was very high, and from the professional way in which it was displayed, it was very easy to decipher and digest, considering there was so much to check out.

On the opening night, there was even a very old school jazz band playing, washboard included, along with a good dose of cheap vino, lots of delicious food, and an interesting assortment of country folk mixed in with a few city slickers.

Hopefully, this is the first of many more annual exhibits in the Huon to come.

Hats off to the Huon Arts Exhibitions group, Regional Arts Tasmania, the beautiful town of Cygnet, and all the artists and volunteers who put on a wonderful exhibition. See you there next year...

The Fashion, Fun and Flair days of the AAMI Tasmanian Summer Racing Carnival

Guineas Day Elwick Racecourse, Hobart 29th January

Hobart Cup Day Elwick Racecourse, Hobart 13th February

Skyy Blue Fashions for Fillies Tasman Park, Launceston 19th February

Launceston Cup Day Tasman Park, Launceston 22nd February

T P 8

Horrorscopes

Dear Aunty Dilemma

The pyscho psychic screws witih your life

TOP 8 SINGLES

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Especially the way you microwave.

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Dear Jessica, I’m sorry darling, but your type will always attract pricks.

Condolences, Aunty Dilemma

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Cancer You may have a good day today. If you don’t run into any bad luck.

Dear Aunty Dilemma, I picked up a spunk rat last night at the club but when things started to get really hot I noticed an odd shaped bulge in his pants. I think it may be a colostomy bag. What should I do?

Jean, Kings Meadows.

Dear Jean, Water sports are all the rage at the moment. However you have to ask yourself, do you want a partner with that extra baggage?

It could be fun…

Aunty Dilemma Dear Aunty Dilemma, Why so precious?

Gibbo, Hobart.

Dear Gibbo, Because I am made of diamonds.

Take care, Aunty Dilemma

Leo

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Someone will interfere with your thoughts and morph you into a bitch. Or slut. Open your mind and enjoy the dark side of the force.

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Libra

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Don’t worry, you’re not pregnant… But you will have far too much fun with your other hole this month and experience unfamiliar leakage.

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COLLEGE AIR

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Sagittarius Make the best of a bad situation by learning to figure skate on a pool of vomit

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Follow your dreams. And get up the duff to a prat like Lleyton Hewitt. Or win Dancing with the stars.

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Are you mundane and repetitive? Well.

Maybe that’s because you’re mundane and repetitive.

And mundane.

And repetitive.

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You Have To Dig Deep To Bury Daddy

The Magic Numbers Playing The Angel The Party Aint Over Yet Floorshow Lookaftering

Kanye West Freak Radicals Jeff Lang The Magic Numbers Depeche Mode Status Quo Baxter Dury Vashti Bunyan

Friction (Brisbane)

Live Music Every Night

2005 AHA Award

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Late Registration Guerrillas In The Mix

Sat 31st

New Year’s Day Recovery 4 Live Acts

Scorpio

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Modus

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Don’t take drugs before dinner. It does not work.

Edge Radio Recommended

Wed 21st Robbie Elliot

Piesces The best way to get revenge is to spit in his/her mouth.

Best Entertainment Venue Northern Tasmania

XTREME SPORT

Naomi Daly

T h e

S u r f i n g

Q u e e n

o f

F a l l s

By Sarah Glover

I’m definitely out of my league out there… out of my league out there but it’s not like I’m about to stop trying.

Who is your favourite surfer and why?

If I thought about that in terms of who would I most prefer to share an awesome surf with, it would be my friends. Most of the people I surf with inspire me to try harder and go for it. There is nothing I love more than a great vibe in the water with everyone really going for it and hooting at each other. Otherwise, I take my hat off to Kelly Slater. I’m not interested in pro surfing at all. I don’t relate to much about it or to the people involved. But I’ve got to say, I was totally impressed by his 7th world title win – that’s a champion effort.

Where do you live?

I wish I knew! I spend a lot of time in Marion Bay; we rent a farm house there all year. Other than that, when I am in Vic, I’m usually in Lorne and sometimes in Elwood near the city.

So tell us a bit about yourself. Who are you and what do you do?

I’m the co-organiser of The Falls Festival in Vic and Tas and the event manager here in Marion Bay. How long have you been surfing for?

I started in 2002, so nearly four years. Although I was really inconsistent for the first two years – pleased to say that I’m much more hooked now!

Who got you hooked on surfing?

My brother Simon. He and Mella were heading to Mexico in May that year and suggested I come. Not one to sit on the beach and keep a towel warm, I had about 2 months for a crash course before hitting the Mexican coast for a long road trip and what could only be described as the

deep end for a beginner surfer. He was great, he took me surfing all the time and was really patient and taught me heaps. Fortunately I was keen for the challenge. When I think back, it was really the best way to learn –an intense period of time to break through the hard part of getting started.

Biggest wave ridden or hardest drop? (It doesn’t matter if you didn’t make it) When I surf in Vic it is often a solid 4-6 ft. I’ve been out in bigger surf a few times in Vic and overseas but not really much bigger than 6ft. I’ve got a pretty slow takeoff at times so I’ve definitely come to grief. I’m working on it…. I’ve probably made the hardest drops I’ve been faced with and inexplicably stuffed up easier ones. I’ve got my share of trophies carved into me…! I’m definitely

If you could wish for anything what would it be? (And no wishing for more wishes) More time in the day…. Actually I don’t really wish for much. Wishing seems like giving up and asking for a handout. I think you may as well just get out there and make it happen for yourself.

Favourite surfing spot?

Can’t say……

Tasmania or Victoria?

I don’t have to choose! I spend time in great parts of both and with great people. Every time I land in one, I am always stoked on it. I guess they are pretty different in many ways, it mainly gets down to the people and their approach to life.

S E I V A D Y L I EM S e c r e t s A n O r a l

d : O f T h e I s l a n a n i a n m s a T f O y r o H i s t

boo ks wri tten on the The re are nev er eno ugh , esp ecia lly abo ut fing sur of pop ular spo rt the hist ory tha t has this ama zing sta te and ure tha t Tas man ian cult sha ped the rus hing sur fing is tod ay. dev oted surf rat, Emi ly A you ng, tale nted and ed her first boo k SeDav ey has just com plet l Hist ory of Tas maOra cret s of the Isla nd: An nian Sur fing . sou ght afte r som e of Emi ly has rese arch ed and d and adm ired surf ecte resp t mos the stat e’s e bee n carv ing up Tas ers, som e of who m hav

Do you surf in comps, or are you a free spirit? Why? Never have. I’m not good enough for a start! I’m not sure I would want to anyway. I can get pretty competitive and I prefer to be a free spirit in the water. For me it is a place to escape tension, not introduce it. Friends of mine have been in comps and had a ball so I guess it doesn’t have to be like that. Who knows, maybe I’d go in one if it was a fun one and not all serious.

Can you tell us a bit about what it was like to be down at Marion Bay and being involved with the whale rescue?

[It was] really draining. I’d never been involved in anything like that. I’ve always felt a really strong passion for animals and of course the ocean so it was pretty full on.

About 130 died and we didn’t have a chance to save many at all. It was actually really tiring too. Most of the whales were beached really shallow so we just stayed with them, keeping them the right way up while they regained strength. But there was one that was out deeper and there were only three of us with it. It was exhausting treading water and trying to keep a whale under control!

I’m glad I did it though, I think you always need to do whatever you can whenever you can in this world.

Last but not least, any words of wisdom you would like to leave us with?

That’s a hard one – I think most people find their own wisdom eventually. The best thing you can do is be honest and lead a true life. It isn’t really sustainable to be anything else – not for yourself or the world that is the complex fabric around you. Have an open mind that allows you to learn from the negative but be influenced by the positive aspects of life.

By Sophie Burbury

S u r f i n g

my Dad s. I was luck y bec aus e ce of surf “I hop e it doe boo k, from bethis ause of the visu al prom inen do bec to me only d not age lar, our real ly enc l brea ks for the last 50 bec ause of the amo unt peo ple I told thou ght it sie’s now pop ular loca fash ion and its lifes tyle but ginn ing to end . 99% of and s che bea our Id real ly like to see othurin g to yea rs. wou ld nev er hap pen so of Tasm ania ns now vent r. stat e to colle ct and offe the to r enc our age men t and has ove e all the stlin get elled coa ue trav age Emi ly has er peo ple my ridin g the wav es our uniq pho ily for fam d ugh ose thro wha t they love .” exp ick do g to now bein con fide nce they nee d correlat e inte rvie ws and foss Tas sie wav e ride rs are colle ctio n hist ory as tive ing rma mak info are truly and this te love to albu ms to crea doin g wha t they surf mor e and mor e com p To real ly und erst and Tas man ians uniq ue ory. we spe ak (or read ) with of Tasm ania n surf ing hist ers ract cha and n re mai osu the exp w mor e cult ure and to get to kno and loca l surf ers enjo ying Sec rets of the of surf se love cha pur and nt ory ht tale hist e insig g surf ther s in Tas sie’ in this boo k givin cov erag e thro ugh The re are deta iled sect ions of Tas man ian Sur fing by Isla nd: an Ora l Hist ory ing. mak ers and pas t cha mpi to Tass ie’s boa rd shap ers, gibs on.n et, www .str anEmi ly Dav ey at www .stu and une dite d pho tos that lved , invo .cul lina ryho tel.c om ing www gett ons . Exc lusiv e inte rvie ws u, are m.a s.co girls gers urfb oard Mor e than eve r the of frien dsh ip, fam ily tyle lifes k bing bac com laid . ch a lers bea lain but in truly exp or any par ticip atin g dea not only by wav e ridi ng h of spir itua lity. tog rap hy, artw ork and and adv entu res with a touc and app reci atio n, pho and is a writ ing. Emi ly is hop ing The boo k is due out mid -De cem ber now info rma tive boo k ures t in pop inte e ht mor slig a ngly with increasi othe rs: mus t rea d for any one Surf ing cult ure is bec omi ng here effo rts will insp ire . ure cult f sur ia’s Tas man

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