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LIVE BANDS NOW EVERY SATURDAY NIGHT 1 9 1 C H A R L E S S T R E E T L A U N C E S T O N P H : 0 3 6 3 3 1 7 3 5 5 FA X : 0 3 6 3 3 1 2 4 1 4 : : H O T E L @ S A L O O N . C O M . A U Page 2





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Run and hide, kiddies; it’s the desert boogieman

Brant Bjork

Is the band – Brant Bjork and the Bros – I’ve heard that they’re also called “The Desert Boogeymen”. What do you think that means? Well I began in the desert; pretty much born and raised in the desert, and we boogie (laughs). How long has it been since you lived in the desert? Well I’ve lived in the desert on and off my whole life; in fact my residence is still in the desert right now. I just kind of float around quite a bit, so I’m not really at home, but I guess you could say that my home, where I have all my stuff, is out in the desert. I still live there. Do you think there’s a sound called “desert rock”? I don’t know if there’s a sound as much as there’s an approach to how you exercise your art. I think desert musicians – the musicians I grew up with in the desert – all kind of had a very unique and individual approach and style to being musicians. I think we all share that in common, and that’s something that I recognised amongst musicians.

How do you see that Kyuss differs from Brant Bjork and the Bros? Well it differs in many ways, you know? Ways that are very obvious. I mean, I’m a solo artist, controlling what I want to do musically; how I want to do it. Kyuss was a band of four guys collectively on a trip…and it was fifteen years ago. So actually they’re very different, you know? Very different. You were also involved in the development of what became the Queens of the Stone Age… Well I know that’s kind of what the people have been saying over the years, but really it was very short-lived. Josh decided he was going to start a new band, and he told me that he wanted me to play drums, and he was going to call us “Queens of the Stone Age”. And so we spent a handful of time back in ’96…we were just jamming around, working on some of the songs that ended up on the first record. But it was very short-lived; I quickly decided to not do it for various reasons, and mostly because I wanted to work with my friend Scott from Fu Manchu.

...He was going to call us Queens Of The Stone Age... But I don’t think there’s a specific sound.

For punters back in the early 90s, it was rock to get stoned to. Credited with being one of the only bands to ever upstage Metallica, desert rockers Kyuss were credited with beginning a musical movement, and now, founding member Brant Bjork is heading to our shores with his band the Bros. He spoke to SAUCE about what it means to be a desert boogieman. Whereabouts are you today? Today I am in Los Angeles California. What’s happening there at the moment? Just chilling out; we’re just working on artwork for a new record I just cut. We’re just kind of nursing our egos. So were you out celebrating last night because you finished the record? No, I wasn’t really out last night because…it was Sunday.

We just got a little carried away, and…just the usual. I cut a record about two months ago in New Jersey. And that was “Saved by Magic”? No, it’s actually a new record. When’s that one coming out? Or don’t you have a release date yet? No, we don’t have a release date yet, but I’m thinking probably the Fall. So I guess your focus now is the double CD “Saved by Magic”? The title, “Saved by Magic” – who was saved? Oh gosh; that’s an interesting question. I guess everyone and no-one, all simultaneously. I don’t know. So where did the title come from? Ah, it’s just a title I came up with. It just kind of popped into my head one night – I didn’t really give it too much thought, about the meaning. I guess it just kind of means… I don’t know, I don’t know. Except it makes sense to me, in a very strange way.

The Best in Show for MS Fest

Publisher / Editor David K Q Williams Graphic Design Simon Hancock

Editorial Tom Wilson

Contributing Writers Emma McIntosh, Sam Eddy, Duncan Ewington, Dane Hunnerup, Andrez Bergen,Jason Collins, Tina Anderson,Nita Walker, Ryan Cooke, Carl Fidler, Paul Woolcock, Tonchi Tosh, Jimmy McMacken. Deadlines Sauce #25 (April 06) Advertising Booking: 29/03/06 Advertising Artwork: 31/03/06 Gig Guide: 29/03/06 Editorial: 31/03/06 Address: Po Box 5094, Launceston, Tas, 7250 Phone: 03 6331 0701 Advertising: Editorial:

Contents 4-9

Rock Salt


Bangers & Mash


Gig Guide


Hard Boiled


Xtreme Sport






Hip Hop




Fashion / MSFEST Sitemap

Page 4


It seems like only yesterday that Grinspoon were playing “DCx3” on ABC’s “Recovery” – but as their best-of CD “Best in Show” reminds us, they really have been around for ten years. No strangers to Tassie, they’ll be headlining MS Fest on March 11th, and SAUCE harassed singer Phil Jamieson while he soaked up some rays…

What was it that you think was unique about their approach? I think there’s just a lot of improvisation in performance. In comparison…maybe the surfers. You’ve got soul surfers – who just want to surf – and then you’ve got surfers who are really competitive and want to take it to a new level. And I think desert musicians are like soul surfers; they just like to play music. They work really hard just playing music for the sake of playing music. I’ve heard that Kyuss served as a prototype for all desert stoner rock; that’s a pretty big statement for a band that people started in high school. How do you feel about that sort of statement? Well I don’t know. I guess, honestly, it might flatter my ego a little bit (laughs). With Kyuss, I’m very aware that we always had a very unique sound, and I always thought we were a great band, and we made some good records, and we were really the only band that ever got out of the desert where we’re from. And the rock world embraced that music and coined the term “desert rock”, “stoner rock” or whatever. So they [the rock world] just started this whole thing with Kyuss, I guess. But I have to take shit like that with a grain of salt, [but] it’s flattering on some levels.

So I can’t take any credit for what Josh has gone on to achieve with his band. I didn’t have anything to do with it. I was there, when he was starting. But I certainly wouldn’t want to take credit for it. So what’s the first thing that comes to mind when you think about Australia? Ah, sunshine and beer. (Laughs) What about the crowds, and their reactions? Well Australians are great, man; I’ve always loved Australia. It’s always been a pleasure to come down and rock n’ roll. With Australia I think it’s a very primal culture of people who really identify with American rock n’ roll, and rock n’ roll in general. It’s a real warm atmosphere down there that revolves around just cutting loose. What comes to your mind when you think about playing in Tasmania for the first time? In Tasmania? Oh gosh – I don’t even know what to expect. I don’t know. Thanks very much for your time. Good luck with your tour. Thanks a lot.

By Dave Williams & Tom Wilson

Yeah. It sounded like it was the lesser of two evils… Exactly. That’s exactly right. I mean, in retrospect, it’s a pretty cool package; it looks good, and I like the art and stuff on it. That side of things is cool. Some of the songs are a bit dodgy, but hey – you can’t have all the hits. Now, you’ve got married and had a baby, right? Yep. Well, I didn’t have a baby – my wife did. Nice. Has being married and having a child…is it harder to be in a band now? Um… I don’t think it’s harder, no. I think being in a band allows you a lot of time of the day to live with your child. It’s different at night, obviously. But because I don’t have a day job, I get to spend plenty of time during the day with her. So I really appreciate that. I guess it’s like anything; it’s a challenge. Having a child…I really love it. You’re coming down to headline the MS Fest… Yeah, we’re headlining the MS Fest. I believe it’s with

because they’re speaking a different language. But I do like the guys, and they do like the music. So it’ll be fun to play with them. MS Fest is raising funds for the Multiple Sclerosis Society – is playing a gig like that different, in your mind, then when you play your own shows? Do you approach it differently? No – I think what we do is probably just as entertainers, whether it be a charity event or not. The object is getting everyone to be there and have a good time. I just try to do the best job I can being an entertainer. Even at your own shows, it’s just trying to remember the words to the songs; try to do the dance moves. Stuff like that. Those kinds of things are pretty important. In saying that though, I’m glad to be playing for the benefit. As far as we go, we’re just going to try and do the best show that we can. What was the last charity you gave to? Um…the last charity I gave to was…a cancer awareness group that knocked on my door about a month ago.

So are you just taking it easy, with Grinspoon? Are you doing any shows? Nah. I’ve been in the studio most nights. I’m writing all my stuff in the studio. I was just in the studio last night with Grinspoon; I’ll probably be in there tonight with them.

It makes you feel good for a while, I suppose. Well Joe, our bass player, he signed up for Amnesty, and I think he paid like a hundred bucks a month. So he’s the most charitable person out of the group. But then, I guess charity comes in a lot of different forms, you know. I give away a lot of stuff, but I don’t know if that’s officially charity. But Joe is the most…there’s a certain word for it that I can’t think of, but yeah, he’s that guy.

Is that for something specific, or are you just putting things together and jamming? It’s not for anything specific as far as a movie soundtrack or anything like that. We’re just putting songs together for a new album.

I know you’ve been doing it for about ten years, but do you have a routine for after a gig? What will you be doing after the gig in Launnie? Ah…I’m not exactly sure. The routine usually is just to have a bit of quiet time – not listening to music! But if the gig was good, and you think it went well, and no one’s been hit in the head with a bottle. There’s a number of factors, but just generally a nice cup of warm tea, then bed.

And are you looking at a certain time to release an album? Where are you down the timeline of things, in terms of getting that out? Well as far as a timeline is concerned, we’ll put it out when it’s ready. We’re not really in any rush to put anything out. We’ll wait until all the songs are out, then we’ll think about that. You released a best-of last year, after ten years. Does it feel a bit weird to acknowledge that you’ve been around for ten years? Well, personally… I mean, a best-of was a contractual obligation, in our contract for Universal. It was written in our contract when we signed with them in 1996. So there were two ways to play it; we could wait till our deal was up with Universal and they could put out a best-of when they didn’t have a deal with us anymore, or we could put it out and have some sort of control over it, which is the option we decided to do.

some other really crap bands, but hopefully people will still come.

So we had control of the album – “Best in Show” – and the artwork and the song selection. So yeah – I don’t really like best-of’s, but I guess if they work, they work.

It doesn’t really help them, I suppose… It makes it hard. You can’t understand what they’re singing about, and you can’t understand what they’re saying

Maybe a foot-massage, then bed. Well, something quite relaxed. I like some incense.

Would the other crap band be Shihad? I actually quite like them. They’re alright, I think. Yeah. I think they’re from New Zealand.

I sort of see you as quite a metrosexual type of guy… (Laughs) Thanks very much… Well, I’m out at Bondi, aren’t I? Grinspoon headline MS Fest in Launceston on March 11th

By Dave Williams & Tom Wilson


From Soapies to MS Fest with

Rogue Traders’ Natalie When James Ash and Steve Davis held auditions for a singer for their electro outfit Rogue Traders back in 2003, they got more than they bargained for. The audition song – “Voodoo Child” – was sent straight to number one with the efforts of renowned Aussie actress/singer Natalie Bassingthwaighte. Now their permanent singer, she spoke to Dave Williams about what punters can expect from the mighty MS FEST 2006. So what have the Rogue Traders been up to in the past month? Oh God – we haven’t really stopped! We’ve just been doing gigs left, right and center. We’ve been in Queensland, Adelaide… Just trying to do as many gigs as we can. We did “Rove” last Tuesday night. We’ve just been trying to do as much as we can – we’re all buggered but we’re having a good time! Is this the most number of gigs that you’ve done with a band? Definitely, I guess. I mean, I’ve done cover bands before, but nothing like this. I guess all this gigging is really honing the band’s live performance… Yeah. I’ve always loved performance; it’s something I’ve loved from being a little kid. I’ve done it for a long time. The best thing about touring at the moment is that we’re seeing a fan base that’s just continually growing. Everyone’s starting to know the music, so for us we get a chance to get out there and have a good time, see the reactions and make it a really great gig. It’s all good! You joined the Rogue Traders, and that turned an electronic act into a live band. How else do you think you’ve influenced the sound of the Rogue Traders since you arrived? It’s hard to say. I guess [the other band members] are better off being asked that question than me. I just go and have a good time. So were you friends with the guys before, and they

Those damn Belgians!


asked you to join? How did it all happen? I went along to an audition. Someone I knew told me about this audition, so I went along. I got there, and I think the first song I did was “Voodoo Child”. It kind of went from there. I think they saw about fifteen to twenty girls, and five days later said that they’d really like me to do it.

You’re playing the MS Fest down here in Launnie. I guess this applies to any gig, but how do you prepare immediately before going on stage? What goes on for you? I’m usually getting my hair and makeup done, but I definitely like to…at least half-an-hour before the gig, when that’s already done, and I’ve got half-an-hour’s downtime… I can kind of jump around a bit. I’ll have a can of beer and do some stretching, and a bit of warm-up, and we just hang out. There’s nothing too full-on about it. We might pig out a bit on some of the food that’s out the back! Do you look after your voice in any particular way? Drinking raw eggs or something like that? No – no special tricks. How I look after my voice is…just believing in it, I guess. Obviously if you go out drinking all night and trash your voice, then your voice is not going to last. But if I feel like something’s coming on, I’ll dose up on anything under the sun to try and get rid of it. What do you think you’ll be doing after the gig in Launnie? It depends what we’ve got on the next day. If we’ve got another gig the next day, we’ll probably just have a couple of bevvies backstage after the show and we’ll all go back to our hotel and crash out! But if we’ve got days off…we don’t usually go out, ‘cause it’s a bit full-on these days! We’re not huge party-party people. What comes to mind when you think about playing in Tasmania? I don’t know – I’m just really excited! I think I’ve been there when I was a little kid, but I don’t remember it. So I’m just really excited to see what the people are like there. The Rogue Traders play MS Fest in Launceston on March 11th

By Dave Williams & Tom Wilson act in the US pop radio charts for quite a long time. Is that correct? Yeah. It started… Well, actually, it was over a year ago when it started in the United States with “Listen to your Heart”. And because of the size of the country and all the different radio stations, it took a long time to climb and climb in the charts, until we really hit the number one spot in the mainstream Top 40. Have you had any comments or feedback from anyone in Roxette? Well, we had a couple of email exchanges with Per Gessle, telling us that he was actually very proud of the D.H.T cover, and he wishes us much luck, and he was actually very surprised at the success of “Listen to your Heart” for the second time. So what does D.H.T stand for? Well, it actually stands for different styles of house music that we started out to make. So it was “dance, house and trance”. But actually, right now, we do so much more than just those styles of music, so we prefer just to say the three letters [as] “D.H.T”, without a meaning, ‘cause once we explain it, it’s not up to date, anymore, anyway.

1 Thursdays Play 8-ball In Our New Games Room

A Different Theme Every Week

And you’re touring Australia in March… Oh, are we?

The duo of singer Edmee Daenen (who started in the band at only fifteen) and MC Flor Theeuwes, Belgian electro-pop act D.H.T are a star on the rise – thanks in no small part to a massively popular version of Roxette’s classic “Listen to your Heart”. So popular, in fact, that they didn’t even know they were booked to tour Australia… You’ve achieved the greatest success for a Belgian

I might have got you confused. Sorry. Maybe I’m wrong. I mean, there was talk about it. But I haven’t got real facts yet, so I was pushing the management and the record company to really plan something in Australia. How do you perform? Is it just the two of you? Normally we have different performances in different countries that we do. Most of the times when we go to the United States, it’s a performance where Edmee sings and I’m on stage doing backing vocals. But also, in the dance music, I try to hype the crowd. I do a little MCing and stuff. So it’s very high-energy. Everybody has to participate in the live act. It’s party time!

By Dave Williams & Tom Wilson

Variety Of Dj's 70's, 80's 90's Etc

Happy Hour All Night


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ROCK SALT Mad buggers…

Hi God People

Alchemy in New York

We are the Not Quite Right Shop of music

Dave Calandra The States have changed the ideologies of many an Australian musician, and independent folk/roots artist Dave Calandra knows that better than most. His new album “Alchemy” was born out of a four-year odyssey of struggle in New York – a struggle that destroyed, then ultimately rebuilt, his outlook on the music business. On the road yet again, he pulled over to have a word with SAUCE’s Tom Wilson.

it was a tried-and-true act that was just carrying on their contact… If they were signing on someone new, they would spend as little as possible on that band, and then say, “oh well, if this band actually makes money, it’s all profit. And if this band doesn’t make

What have you been up to today? On the road…I’m driving from Sydney down to Victoria. I’m in a rest spot at the moment; it’s a glamourous place to be.

Now normally I would begin this article with a brief description of what this band sounds like…but after taking one look at that photo, I realised it would be a futile task. Before their set at the Hobart Fringe Festival, I strapped on my body armour and grabbed my pepper spray to defend myself from the Hi God People.

you as "a performance group from a diseased dimension". Which dimension would that be, and why? The dimension thing reminds me of the Fall song "Just Step Sideways". Glenn from Volvox used to talk about Earth being a prison planet controlled by aliens from Planet X. Dave Graney talks about dimensions too. It's just a different way of looking at things. We are renters, but viewed from the right angle we are sound artists. It's like a horror movie – every now and again five or ten people scattered around the northern suburbs stop what they're doing and assemble to form HGP.

What have you been up to today? Julian visited me at work, probably scaring my co-workers. I told him he looks like a Centurion in that photo I sent you and accused him of having Roman ancestors, coming as he does from the north of England. He took my camera to photograph a drain in Moonee Ponds for the cover of his forthcoming solo album. Dylan contacted us. Dion is silent today.

You're performing at the Fringe Festival. Do you feel that you belong there? What would be the ultimate show for the Hi God People? I think if you're going to the Fringe you're expecting something a bit experimental that may or may not work and that's probably the right frame of mind in which to experience the HGP. We're aware of the Tasmanian music scene and know people there so it will be interesting for us too.

What about in the last month? We taped a half-hour show for Channel 2. The photo I sent you is from the taping. I hope we make it to air. One of the guys there thought we looked like Godspell – a strange, sick Godspell. We are the Not Quite Right Shop of music.

The Hi God People play the Hobart Fringe Festival on the 2nd to the 5th of March. God help us all.

Your bio – which was great by the way – describes

Tom Wilson

Page 6

What's next for you? Tea break then back to my filing.

The album, “Alchemy” – what’s the meaning behind the title? Well, “alchemy” is turning one thing into another, and for me…I had moved to New York at the time; I went over there with plans of getting a record deal in the States, and everything I did was leading up to that goal. It was basically flogging my arse off in New York, working six days a week so I could play five nights a week for free to build a following to get a bit of a buzz happening in the industry, so the industry can come and check me out. It was all a bit of a machine over there. I got quite close to getting the deal that I wanted, but what I had to become in order to get that deal was just the exact opposite of what I wanted from my music. So I basically came home four years later with one-hundred-and-eighty-degree ideas of [what I had] when I went to the States. I was reading your site earlier, and you said that one of your reasons for moving to New York was because the Australian music industry had become “too pessimistic”. Yeah, pretty much. What do you mean by that? Well in the late-nineties, no one was spending money, and they wouldn’t spend money on acts...unless

money, and we don’t expect them to, then it’s no great loss to us.” And that seemed like a trend for everyone I knew at the time, and I just had jack of it. You’re playing several shows in Tasmania – what are your impressions of this part of Australia? I think it’s the best kept secret in Australia! I love Tassie. With one exception, all your Tassie gigs are free entry. Was this your decision? Well they’re just guarantees really. It’s just easier for me to know exactly how much I’m getting paid for a gig, and I can budget around that. Basically, that was my decision. Dave Calandra plays the Republic Bar in Hobart on March 1st, the Launceston Uni Campus on March 2nd, the Royal Oak on March 3rd and the Lewisham Tavern on March 5th.

Tom Wilson


New Jersey Punk Maestros

The Bouncing Souls

Is there a working title for the album yet? It’s going to be called “The Gold Record”. What were your hopes and intentions when you formed the band back in 1987?

Spawned out of basements and parties, the no-frills sound of New Jersey punks Bouncing Souls has held the band together for almost twenty years. Having just completed recording a new album and heading to our shores, SAUCE’s Ryan Cooke endured one of the worst phone connections in history to have a word with them. What have you been up to today? Just been hanging out, you know? Just chilling

Where are you calling from?

know…be in a band, and have a good I’m calling from Tasmania, in Australia.

time, really. That was it really – just

Cool. We’re going over [there] for our first time, in

have a good time. No intentions, re-


ally. We just wanted to have fun. Just a couple of guys in high school, having

So what’s the band been doing for the past

How’s the recording going for it? Really great, man. Really good.

a good time.

month? Just writing songs, and working on the new record.

The band is going to be celebrating


its 20th birthday next year. With band breakups more common than water

When will the new record be coming out?

these days, what has kept the band

Ah, June 6th.


– just got home from California. We just got done recording a new record.

Oh, man… We just wanted to…you

Um, I don’t know – it’s a kind of hard question to That’s a pretty neat date – 6th of the 6th, 2006.

answer. I think maybe just lots of determination,

Any plans behind that at all?

you know?

[The band name] comes from the back of a Doc Marten boot…

We’re going to do some release shows in New York City. How secure is the future of Bouncing Souls these days? Um, it’s good. When the album comes out, we’re going to do a lot of tours. When you started out as a band and started releasing your own work, do you think this helped the band in the long run? Yeah, yeah, because back then, we put the record out because we had no choice, you know? And that just kind of got the ball rolling. Do you think that gave you more of a freedom to do what you wanted? Oh, yeah, yeah. Because then we could just do whatever the fuck we wanted, you know? It was really cool. Late last year, you guys recorded a two-disc live album. How have the fans reacted to it, and do you think it shows what a Bouncing Souls live show is all about? It’s good, ‘cause it gives the kids an education of what we are live. Do you think the CD captures the true essence of Bouncing Souls? I think it’s more of a live experience; the whole live experience on a record. You may get this a lot, but where does the name Bouncing Souls come from? It comes from the back of a Doc Marten boot – the tag of the boot says “with bouncing sole”. So you prefer to play in Doc Martens instead of the usual punk attire of Converse hi-tops? Ah, no – they’re kind of hard to play in! (Laughs) They get too restrictive. It’s no fun being in a gig and you get a Doc Marten in the face when you’re crowd-surfing… Yeah – it’s kind of hard to do. There’s so much going on in punk these days – who are you personally enjoying listening to, and who has personally influenced you? Um…I think lately…a punk band who I like is I’ll Stroke Anywhere – that’s a good band. The Loved Ones – have you heard of them? They’re a good band. When you heard that you were touring Australia, what did you think? Well we’ve been there a couple of times, and all those times have been really good. How do you think Australia will compare to touring other countries, like the UK and Canada? I think it’s like…I mean, it’s not the first time we’ve gone down there to play shows. But Australian crowds have always been…they’re really good to us, all the time. Bouncing Souls play an all-ages show at The Venue in Hobart on Saturday the 1st of April.

By Ryan Cooke & Tom Wilson Page 7

ROCK SALT Finally! When I thought punk had become totally swamped by bedwetting Emo dickheads (my opinion only), there are some bands out there who refuse to take themselves that seriously. Having recently supported Lagwagon, Hobart punks Ballpoint are set to officially launch their new EP “Blood, Sweat and Beers” with dates across the country. I spoke to bassist Jordan about the album, the tour, and jumping into bushes. So what’s the band been up to in the last month? Last month’s been pretty hectic, actually. Earlier on we had Lagwagon on the 10th, which we were madly rehearsing for up till then – jamming about three times a week to get nice and tight. Since Lagwagon, writing a few new songs, and trying to get tight for our upcoming mainland tour.

Blood, Sweat, Beers and Bushes

Ballpoint Where are you going on the mainland? This time we’re doing Melbourne and Adelaide. Is this for “Blood, Sweat and Beers”? Yeah. This is our launch tour, I guess you could say. So it hasn’t been released to the public yet? We

reviewed it about two issues ago. It is actually released now. We haven’t done a Tassie CD launch, so to speak. But we’ve done a few gigs where it’s been available. But when we get back from Melbourne and Adelaide – actually it might be between those two cities – we’re doing the Tassie launch tour.

Which bushes were best for this use? Well rose bushes are no good. And hedges kind of spring you back out. I guess you’ve just got to find some leafy soft ones that don’t have too many sharp branches. I’m surprised none of us got impaled, I really am. You get all these famous rock star deaths… (Laughs) Yeah. I can see it now! Last time we were in Launnie, we played at the Gunners Arms. We headlined that show, and after our set we got people inspired. Andy from the Belchers thought he’d give it a go. He was totaled, so he ran at the bush and tripped over a gutter before he even got to it. He landed on his head on the concrete and was concussed. (Laughs) If there was one kind of vibe that you wanted to create with your live shows, what would it be? Pretty much just fun, you know. These days, punk rock’s been swamped by all these Emo bands. When you go to their shows and they’re all serious, and they’ve all got their fringes over their eyes, and they all look like they’re gonna cry. I guess we just like to have fun. So what’s next for the band, after this tour?

I’m surprised none of us got impaled… The album – who funded it? We completely funded that ourselves. We got a grant from the Tassie government to record our “Well Oiled Machine” EP. But a year after we released that, the gigs that we did…The money that we make we don’t split up; we put it in the bank. So once we’d saved enough, we could afford to do the new EP. Who produced it? Ah, it was produced by us… But Stewie Long at Red Planet gave his ideas and whatnot. Our sources tell us that one of the band’s favourite pastimes is jumping into bushes… (Laughs) Yeah! We kind of went through a bit of a phase when, on a Wednesday evening, we’d get pretty blotto and…I don’t know why, but it seemed like a good idea to run up the street and launch ourselves into bushes.

Page 8

Next year we’re hoping to record a full-length. That’s what we’re aiming to do, after we’ve settled down from touring “Blood, Sweat and Beers”. Will you be jumping into any more bushes? I can’t say no. But I’m going to try and tone it down a bit. You’re a professional muso now… (Laughs) Yeah! These arms are precious; I can’t go breaking them! Ballpoint launch “Blood, Sweat and Beers” at Hobart’s Trout on March 29th and Launceston’s Commercial Hotel on the 31st

By Dave Williams & Tom Wilson


In front of MS Fest, but still

Behind Crimson Eyes Yet another cog in the machine of Launceston’s MS Fest, Melbourne’s Behind Crimson Eyes are certainly coming off a high – having got the thrill of their lives playing the Taste of Chaos tour last year. Currently conceiving a new album, Josh Stuart was visiting his mum and dad when we prank called him and made an interview out of the results. How’re you doing man? Good, how are you? Um, hot. Yeah, it’s pretty warm over here too. Are you in Melbourne? I’m actually a couple of hours out of Melbourne at the moment, staying with my parents. But yeah, it’s about thirty degrees… So you’re staying at your parents – you’re not doing much musically then? Well I only came down here on Friday, and we had a show close to the town on Saturday, but I head back this Saturday because we’re playing another show on Sunday, and then stay down in Melbourne for another week or so. Then tour, jam and write music. What’s the band been up to in the last month? Just started playing shows again – we had about a month off I guess over Christmas and New Years to see friends and family, because we’d been touring so much. And I just started writing for a full-length album that we’re probably releasing around July this year. How far down the production track is it? Just doing the writing stage. We wanted to get as much time as possible writing and getting the best songs we could. The last few releases we’ve had deadlines set by record companies that were best for us to release around, so this time we sort of set our own goals and deadlines that allow a lot more flexibility and a lot more time to develop the songs. We’re probably going into production in mid-April.

Will you guys fund the CD, or will the record company? Is it a split? The last two we funded ourselves, and this one I believe will be solely funded by the record company. Boomtown Records; an indie out of Melbourne. I think they’re looking at signing off to someone else; a major label. But it doesn’t really matter for us. Either way, we get the financial backing. In terms of a studio and a producer, are you going to choose? Or do you think that will come down to the record company? We still have pretty much total control over who we use and where we want to go and what the songs sound like etc. And that’s good; that’s what you want to maintain artistic credibility with. We’ve planned on using the same one who we used for the last two, and planning on going back to Melbourne to record again. We’re pretty comfortable with the studio now, and Richard’s a great producer, and [he] really bought out the best in us on our last one. You released the single “Prologue”; interesting format with that, in that you’ve divided it up into chapters. How did that come about? I guess back last year when we were thinking about doing another release, we wanted to do something bigger that encompassed the two releases at that time. We wanted a running theme through it all, and a story running through it. We wanted to do something bigger with more depth, that incorporated a few more media elements; that had some visual aspect, through the animation that we did, and also through the stories that we wrote. It wasn’t just music. When you’re at a party and someone asks “what do you do?” And you say “I’m in a band” – if they haven’t heard of you, how do you describe the band? I guess I sort of say it’s a rock band with screaming vocals… I could describe, early on, who we were, but now we’re moving further away, incorporating electronics and stuff. It’s harder to describe. So I usually go with the “rock with screaming vocals”. You’ve been given the punk tag previously… Yeah. I mean, every band doesn’t want to be categorised, but at the same time it’s in your nature to do

Acoustic Invasion

Have you ever been to a doctor’s surgery, sat down to pick up a copy of the “Reader’s Digest”, waited to go in and have that tetanus shot done and noticed the music softly drifting through the air? You know what I mean – the music that plays when you’re at the supermarket or some bistro. Lately I’ve been paying attention to whose making those gentle sounds. You know who it is?

that. We’re aiming for that rock tag, but still a bit different from every other rock band out there. Can you describe what it was like playing the Taste of Chaos gig? It was awesome. I was so nervous just when we were about to go on. And then the lights went out, and then we could hear everyone scream. All those kids were just psyched to be there; all those US bands coming out for the first time… When the lights went off…your heart was just beating really quickly. And as soon as you got out there, your mind just took over. It was cool; it was such a great experience. And watching the videos back now, we can’t believe it even happened. But it did. (laughs) It must have, unless someone did a CG version of you… Yeah. But it was weird, because we did that show, and then partied pretty late, and the next day we were flying over to Tasmania to play with Gyroscope, a couple of shows. So those next few days were a little weird, like “Did that really happen? What happened?” And this will be the second time in six months that

Melbourne Groove Champions

At Irish Murphy's Hobart

to jump on the roots acoustic bandwagon. “The whole popularity of that style of music seems to have come about in the last three of four years or so in a big way, but it’s been around; there’s always been artists playing acoustic music.” He says the nights not only allow artists to showcase their tunes, but it provides punters something more stimulating than Cold Chisel covers. “When it’s original music your taking something from that persons heart and they're pouring out to you and they're giving you ideas and thoughts. The fodder thing gets really boring after a very short space of time you know, you can be a couch potatoe you can be spoon fed for a while, but eventually your brain goes hey I want more than that, I want to think about things and that's what live music and I guess original music and that's really what these nights are about too.

The Trojan Horns

Funky Horns, Reggae Groves, Latin vocalist, ska-soul sessions to mash up the dance floor…The Trojan Horns bring the party vibe to every show with their unique blend of traditional Jamaican ska, Latino groves, rocksteady reggae and hip hop flavors. A ten-piece outfit featuring four horns, a scorching rhythm section, explosive percussion, souring vocals and fresh MCing, they guarantee to get your head boppin’, your feet tapping and probably more. Gracing the stages of Port Fairy, St Kilda, Fitzroy, Apollo Bay, Geelong, Queenscliff and many more, the Trojan Horns always get the crowd dancing.

It’s probably going to be more like a holiday than actually working you’ve been down to Tassie… Yeah, it’s awesome. I really enjoyed the last time; we were really well looked-after by the promoter, and the crowds’ responses were good, so I’m psyched to get back down there. Cool. And after the MS Fest gig, will you be hanging around and checking out some of the other bands? How do you think you’ll be winding down? I think we’re staying the night, so we’re probably going to hang out and watch the rest of the festival. I haven’t seen the running sheets or the running times or anything yet, but I’m assuming we’re on very early in the piece, so it’s going to be good. It’s probably going to be more like a holiday than actually working. Behind Crimson Eyes play MS Fest in Launceston on March 11th

By Dave Williams & Tom Wilson Over the past few years Trojan Horns have been busy carving out a reputation for highly energetic and dynamic shows. With many well received shows at some of Victoria's most prominent festivals – Queenscliff Music Festival (2001,2002), Apollo Bay Music Festival (2003), St Kilda Festival (2001,2005), High Vibes (20042005), Port Fairy Folk Festival (2004,2005), Folk Rhythm and Life (2004,2005) – as well as many Melbourne's most renowned venues (Espy, Evelyn, Corner, Night Cat, First Floor, Prince of Wales and many more) Trojan Horns are fast becoming hot property on the Melbourne music scene. Recently, the Trojans have been receiving a large amount of air play on community radio stations such as RRR and PBSFM as well as national air play on JJJ and ABC. Television has also taken a liking to the Trojan Horns featuring their music in the recent Australian series “Last Man Standing”. Trojan Horns are currently writing material for a new album due to be released nationally this year. The Trojan Horns play Hobart’s Republic Bar & Café on the 11th and the Lewisham Tavern on the 12th.

Hobart's Irish Murphy's may seem an odd place for such a night to be held, it's hardly been renowned for giving original artitst's a go. But Bester thinks this works in its favour. Jack Johnson. And he’s not alone. Donovan Frankenreiter, even Australia’s own Pete Murray has been getting in on the act. Yes, the popularity of acoustic roots music has spread so far that it’s even infiltrated our doctor’s surgeries and supermarkets. So much so that poor old Kenny G appears to have been made redundant! Even that cover-band stronghold, The Hobart Waterfront isn’t safe. Since the start of the year Irish Murphy’s have been holding Acoustic Original nights, giving Hobartions the chance to unplug their guitars and gently croon a few tunes. The AO nights held every Tuesday are the brainchild of Samuel Bester, himself a long time acoustic strummer. He rejects the notion that AO is just an attempt

It's fantastic to have it in an area that's frequented by people generally and people can come in off the street they don't expect to hear original music, but they're hearing it and loving it and that's a fantastic thing. And for those who find the thought of acoustic guitar playing artists pouring their hearts out on stage a tad nauseating, Bester says drum kits and distortion pedals still make an appearance. We've definitely got bands full bands playing and we still do soundchecks and get it all set up. AO is held every Tuesday at Irish Murphy's from 8:30 PM.

By Cade Lucas Page 9

BANGERS & MASH things that make up that sound? Hmm…difficult…to explain it in a few words… For some people, it’s that physical style. It’s a mixture out of everything, and of course sometimes it’s only one record which is the mirror for the whole sound.

Ze Germans are Coming!


How do you see dance music globally? Are we on the way back, or are we still sort of having a hiatus? Ah…I don’t think we’re on holiday, and I don’t think that we’re on the way back. In some countries, it’s like they had overkill, because they had too many people; too many parties; too many big lineups. And for them, it can be a holiday – it’s good to have a holiday. But I think it’s still on – it’s still going forward. And also, it depends on the production. If you have strong records, with strong club tracks…Do you think we’re going back?

Considering the heavy accent of German DJ Moguai, it’s a good thing that his music speaks for itself. Both a DJ and producer, he’s heading to our shores with fellow DJ Ben Morris on the back of “Kink”, their latest split compilation. He took some time out from packing his bags to chat with Dave Williams about the German sound. Whereabouts are you at the moment? I’m actually in my studio right now, in Germany, in a little area close to Dusseldorf. It’s a rainy Monday morning.

I think, to me, it seems to still be in a little bit of limbo. Why do you think?

What have you got planned for the rest of today, after you’ve finished these interviews? Ah, I’m going to prepare myself for my Australian tour; I will pack my records and my CDs; I don’t want too much cases with me, you know? ‘Cause when you’re on tour it’s not better to have too much overweight, or too much luggage with you.

Well I don’t really see any one strong movement dominating over everything else. It’s not really having the heyday of the early nineties… You’re right. And it’s not easy when you have seen not everything but a lot…to keep the spirit so strong, like it was.

What have you been doing in the last month? Have you been making music or playing music? Of course, of course; I did the new single which is called “Tonight”, and I did some remixes. I did a remix for Mylo; Mylo’s project of Flatpack – “Sweet Child of Mine”. And also still working and producing my album, which is coming out hopefully in summer, which is around September in Germany. So it’s summer. For you, I think it’s going in autumn, or when is it…? It sounds like you really haven’t had very much on. If you want to get a bit more work, I might be able to get you a bit more work, Moguai. What do you reckon? You want to give me more work? Yeah. It doesn’t sound like you’ve been busy enough.

This is the

Nubreed While NYE is always a coveted job opportunity for electronic artists, progressive breaks outfit Nubreed spent last December 31st away from the decks they've been working for so long, opting to spend it with family. But 2006 is, indeed, a new year, and they're back to work supporting the Y4K compilation. They spoke to SAUCE about Phil K, work, and weed. What have you been up to today? We have been working on a remix of Njoy “Anthem" for Alternative route in the UK. As well as a little something for DJ Mutiny. JASE: - I've been setting up my own Hip Hop record

I played only for one night, in Syrup. And it was an awesome night (Laughs) Because I’m calm in my voice? Why do you think? Nah, I’m just being a smartarse. (Laughs) I’m busy enough, you know. Too busy. And sometimes it’s like this… When you’re producing Monday to Friday in your studio, and then you go on tour every weekend it’s like…phew…too much, you know? There is no spare time; no free time. So I’m looking forward to going to Australia to have more time with myself, you know? Go on tour to have a holiday?

Well of course, there is some spare time between the gigs.

Now, what’s happening in Germany in terms of electronic music? Is Germany very segmented – like in one area they have one type of music, and in another area they have another type of music? A few years ago, Berlin was very well-known for its electro sound, and Frankfurt especially – it was named the Frankfurt Sound. It was like minimal trance…techno. Where I’m from, it’s more open minded for everything. Germany has, for me, a very unique style; a unique sound. Not everyone is playing the same. But it’s coming more together, especially when you go to the UK or other foreign countries and it’s very fashion and very hip and whatever to listen or to play the German sound.

You’ve played in Tasmania… You played last year. Yes. I played last year, 2005, in January, an also 2004. So this will be my third Australian tour.

What are the elements of that sound? What are the

By Dave Williams & Tom Wilson

From what you remember, how do you compare little Tassie clubs with the world? You know, the last times I was there, I played only for one night, in Syrup. And it was an awesome night; we had lots of fun. But my whole stay there was for about twelve hours, so I can’t compare Tasmania to the whole world. Moguai and Ben Morris play Hobart’s Syrup on Sunday the 12th of March.

label BEATHEDZ and working on a 20 track hip-hop compilation featuring Australian and Overseas acts .Due March 06 on BEATHEDZ/OBESE RECORDS. What about in the past month? Making new tracks for the Y4K tour commencing in Australia the end of Feb and enjoying the summer. We decided to spend NYE with family and friends this year, our first NYE off from gigging in about 7 years. We’re always making tunes though, that part of our lives doesn’t really understand the concept of holidays You worked with Phil K on a set called Titanium, which you played in Tasmania. What did you take away from working with Phil? Working with Phil was awesome. His sense of song arrangements and twisting the audio envelope is amazing. He has a great ear for music and knows how to manipulate sound at the right moments. Always makes for a nice night out. Melbourne, Perth, Cairns, and Tassie were the select few that caught that show, since then neither of us have been in the same city long enough to get it going again. But… In the time that you spent down here, what impressions did you get of our electronic music scene? Tasmania has always had a healthy scene. Most of the crowds get into many styles of music and are pretty

Mary Jane…She’s been great educated tune wise. You could have Trance, Breaks, House and DnB all at the same event. We’ve haven’t been to Tassie for a while, so I’m sure there should a bunch of new peeps that need to be Nubreedafied!! The three of you met while working in the Melbourne club scene. What/where did you work before then? Did you have menial jobs like everyone else? DB: Music has been my path since I was young and I have managed to keep myself busy with gigs over the years. MYK: I’ve lived out of home for a long time so I’ve had many jobs, all of the bad ones and some of the good ones. Working for me allows me the freedom to keep making tunes. It’s ironic that to gain the freedoms you want you have to give other freedoms away. Such is life! JASE: Nubreed has been a fulltime job since about 98 but before that i produced a lot of hip-hop under NUFFSAID for artists like Prowla, Trem, Muphin, Bias B, Pegz etc. with the odd part-time/casual job. In your bio it mentions you collaborating with Phil K “between spliffs”. Should we take that to mean that you smoke a bit? DB and Myke have been caught in the rapture that is Mary Jane. She’s been great but she’s one of those girls that everyone loves and it gets hard competing for her attention. Like loving a super star, you never really feel like she’s there for but you’re always there for her and when she is around, you just can’t turn her down. We only see each other occasionally now but when we do it’s like she never left....oh...JASE has no love for the Mary Jane!! Tell me about NuBreed’s recording process. Usually we start with drums and build music around the beats. We like making sections of music. We then play around with the arrangement always mixing at the same time. The process is always different, depending on where the idea came from. A Nubreed session usually consists of anyone of us on the main computer editing in parts or arranging while the other two sit on laptops sound shaping ideas and tinkering with synths etc for the track. What are you doing outside of NuBreed?

DB: I have been doing a bit of DJing on Ableton around the country and working on solo tracks and collaborations with people like Luke Chable, Dan Mangan, Andy Page. MYKE: I have just got back into design again with a studio on Chapel st. It’s only part-time at the moment but I can already see the positive run over affect for our Nubreed stuff … we are finally getting our site, T-shirts, and promo material branded properly with something Nubreed you can see and touch and even wear. Coming soon for ’06. JASE-Producing album tracks for artists like Solomon, Reason, A-Love, Patto, The Tongue to name a few and setting up my record label. Who is the one person you haven’t collaborated with yet, but want to? If you not meaning the ultimate wish-list then realistically it would be: MYKE: Infusion….. What do you mean? I think it’s long over due! DB: I’d like to make tracks with Tipper one day. He has his own style and I love the way he produces his tracks. JASE - A female vocalist over Nubreed beats would be great. Speaking of collaborations watch out for the Nubreed clash with Toksin from LA called “Greed” What’s next for NuBreed? This year we plan to really concentrate on releases. We have a 12” coming out on Hyper’s Kilowatt label called “Raw Shit” with a Koma and Bones remix. We also have new music released on the 12” singles for the Y4K feature. (“The Thing” and “Fester”) We have a bunch of new music that’s waiting there for us to finish for what could be a second album. Yes!! We may put another album out this year with a few collaborations on it; a mix of dance floor stuff and songs. Outside Nubreed though in our motto of ALL STYLES, ALL KINDS!!!.... Stay tuned for Jase's Hip Hop compilation out in March '06 featuring new material by the likes of Art of War, Eternia, A-Love, Equills, Layla, Daniel Merriweather, Phrase, Hyjack, Torcha etc. Nubreed play MS Fest in Launceston on March 11th.

By Tom Wilson

Page 11


House, breaks and Lego; it’s

Tim Pitman (Hobart) Word is, Hobart house/breaks DJ Tim “Timo” Pittman is on the way up. But clearly, life isn’t all fun and games. When not playing his residency at Syrup, he’s stuck doing the same crap that everyone else does – from checking his mail to…ahem…moving his Lego collection…

What originals do you have under your belt? I’m a big fan of bootleg or mashup tracks, collecting house or breaks versions of many well-known songs. The only truly original are a few I’ve made myself, though they’re not really club-quality.

What have you been up to today? I’ve been working in an office most of the day – such a shame when it’s a beautiful summer’s day outside. A bunch of new music turned up in the mail, so I’ve been listening to that while I work. Also getting ready to head to Melbourne this evening for [the] Two Tribes electronic music festival.

Lately I’ve been amassing a collection of freshened-up disco tracks – I’m trying to strengthen the revolt against electro house! Some have said that electronic music has less integrity and meaning that other forms of music. How do you feel about that? I’d argue that it has more integrity than most pop music! Music involves communicating what’s in your head (and heart) through sound and electronic music provides more ways to accomplish this than most other forms. Many kinds of music are produced on a computer these days anyway.

What about in the last month? Moving house has taken up a lot of my time lately, though I didn’t realise quite how big the job was until a few days ago. Transporting my Lego collection took a few car loads and I haven’t even started on the records! I’m currently living out of cardboard boxes. For the uninitiated, who are you and what do you do? I’m known by the alias Timo in the Hobart dance music scene. I play mainly house music (funky/vocal/ disco/progressive) and a bit of breaks too. DJing started from my short attention span – at parties I’d always want to change a song before it finished and clicking the ‘next track’ button just wasn’t cutting it.

You’re someone who obviously spends a lot of time in clubs. When was your last alcohol-induced spew? Fortunately there haven’t been any recent incidents, I’m proud to say! My last clubbing incident was several years ago and involved quietly resting my head down on a table and opening my mouth. Thankfully I have my friends to remember it for me…

Musically, what’s been blowing your hair back recently? A track called “One of These Days” by Kraak and Smaak on Jalapeno Records has grabbed my attention lately. It’s a funky track with beautiful vocals that sits somewhere between house, breaks and soul. Where do you play? I play at Syrup, usually on Saturdays (the club night know as ‘Dirty F*king Dancing’). You’ll find me at the occasional house party around Hobart too.

The Prize Fighter Returns…

Klaus “Heavyweight” Hill

When international DJs take pay-cuts to get to play down here, it’s obvious that the breaks scene in Tassie is on the rise. Just ask Klaus “Heavyweight” Hill; two year Tasmanian resident, hardcore gamer and breakbeat engineer. In London with a nomination for the Breaks Poll Awards, he had a word to Dave Williams before getting rolling drunk… So whereabouts are you at the moment? In sunny London at the moment, actually. What are you doing there? I’ve just arrived here from Eastern Europe – I’ve been playing in Russia and Latvia. And I’m here for the fifth annual Breaks Poll Awards, at Fabric tonight – I’m DJ’ing and doing a few radio shows in town. I’m up for an award as well, so it’s quite exciting. What award is that? We’re up for Best Breakthrough Label, and then one of the artists on my label – Dopamine – he’s up for Best Single of 2005, and Best Breakthrough Producer. So yeah, it’s exciting actually. We’re planning on getting very, very drunk when we get off the phone from you. This is even before you start celebrating… Yeah, well… I thought we’d get an early start before moving into town. Warm up a bit? Yeah, exactly. What was Russia like? And Latvia? I was in Latvia, and I was also in Belarus. Eastern Europe’s a great place. They love to party. It’s difficult for them to get the music out there still. Latvia’s part of the European Union, so it’s fine for them. But Belarus is still basically Russia, and it’s quite hard to get records through and all that kind of stuff. But they’re really into the music, it’s great. And I had fifteen-hundred, two thousand people at every gig,

Page 12

and pole dancers on the stage – every DJ’s dream, really. Sounds awesome! Every DJ’s dream, and every punter’s dream, I reckon… Exactly, yeah – plenty to keep you distracted. Whatever happened to go-go dancers and pole dancers? They should bring them back, I reckon. Yeah. I’m a big fan of them…especially if they’re going to be next to the DJ box. I reckon they have a real influence on building up the atmosphere and getting people right into it… Oh yeah. There’s a very funny story that I’ll just tell you quickly. A guy from Atomic Hooligan, Terry, was DJ’ing somewhere and the crowd wasn’t really moving. Then all of a sudden, out of the blue, they all started cheering and they were raising their hands… And he was thinking, “Oh, this is great!” And he’s carrying on, and he’s thinking it’s for him, and he’s playing more music… He’s a scratch DJ, so he’s getting scratching and doing more fancy tricks, and the crowd’s getting madder and madder… And then after about a half-hour, he turns around and notices that pole dancers had started behind him, and they started to strip basically, and the crowd was cheering for the dancers, not him. So I think that sums up a DJ’s attitude to pole dancers. I love ‘em! (Laughs) What’s [the breakbeat atmosphere] like in Australia? Australia’s healthy. There’s all the talk about Australia being the break-beat capital of the world and all that kind of stuff. It’s kind of a forced impression. Because as an international DJ, a lot of them come over during the summer. So from December to March you’ve got a festival once a month or twice a month; all the big festivals. As a DJ, you play to a few thousand people. And breaks takes a very prominent role at these festivals as well, so it gives you an impression that the scene is huge. But in reality, it’s still very young, and it’s a fledgling scene. It’s still developing. It still takes a definite backseat to house music in this country. There’s still not enough people making the music;

hopefully that’s something I can have a big influence on with the label, and hopefully influence people to get in the studio and make breakbeats.

Who do you look up to in the DJ scene? While international DJs have inspired me, it’s the locals who keep the scene alive, and they’re the ones who have helped and mentored me. Hobart is a great size – large enough to have good variety and diversity of DJs and music, but small enough to be friendly and close-knit. What’s next for you? I’d love to support some interstate / overseas DJs at events. I’m planning some travel soon, so an overseas gig or two would be fun. I might even have a go at producing some music if I can find the time. Tim “Timo” Pittman plays “Dirty F*cking Dancing” at Syrup every Saturday.

By Tom Wilson

…Pole dancers had started… and they started to strip…

You’ve been living in Australia for two years now. Has that affected your career, living in Australia? It’s actually helped it out immensely. It made me focus on my music and the direction I wanted to take it. Australia’s made me – as a DJ – develop. Because you can’t go out there and play these big tunes that they like in Europe; you’ve gotta work your way into it. Australia isn’t as forgiving and as accepting of those styles of music. So it’s developed me as a DJ. In the last interview SAUCE did with you, you said, in regard to playing in Hobart, “it’s the best gig in Australia by miles, and all the touring breaks internationals think that as well”. Do you still agree with that? Yeah, definitely. Why is that? I don’t know. It’s just ... great, great … I’ve been playing there regularly for a year-and-a-half now, and it just gets better. The crowd that comes in…it doesn’t matter if I’m there on a Thursday, a Saturday or a Sunday night, they still pack the club out. And they go mad, and they love it. New Year, this time around, Soul of Man were over from Fingerlickin’, and they requested their New Year gig was (there). They could have got a lot more money to play anywhere else in the country, but they took a massive paycut to play in (Hobart). Klaus play's Syrup on the 7th April.

By Dave Williams & Tom


Turntables and Jetlag


Jetlag is an affliction that can cripple the best of men, and the internationally inclined Tiga is no exception. But sleepiness, for all its hardships, pays dividends for this Canadian-born DJ. After all, his debut LP “Sexor” was largely formed in his dreams – bizarre concepts that translated well into infectious dance floor rhythms. He spoke to an equally groggy Tom Wilson about jet-setting, remixing and everything in between. What have you been up to today? I don’t feel so great today. I’m tired. I just got back from India and I’m jet-lagged, and I’ve got to go to Japan on Saturday, and I’m swamped with interviews. Feeling pretty shit, basically… It’s okay. I just have so much that I want to do, and I have a lot of interviews that I have to do. What about in the last month, man? You mentioned you were in India? That was just a vacation. I DJ’d New Year’s Eve in France.

was in Australia.

What personal life? (Laughs)

What do you reckon Australia offers you that you don’t get anywhere else? Well, there’s really nice weather, and there’s great food… There’s a certain kind of…there’s a very good spirit in Australia; they’re pretty up for it… I’m trying to think if there’s anything else that you don’t get anywhere else… The accent… Australia is extremely…they’re very energetic, but in a good way. Very enthusiastic. You don’t usually get a depressed crowd. They’re very up for it.

It’s that bad, is it? You’ve caught me at a bad moment, actually. I just took a nap, and I really wasn’t feeling very well, and I’m sounding much more down about it than I normally am. I think, most of the time, the traveling and the gigs is really a great experience. Most of the time, even if it’s difficult and even if you’re tired, usually…if it’s someone you meet or if it’s somewhere you play, or just something you see…it’s always worth it. It’s a great life and it’s really awesome. It definitely takes its toll. You give up a lot of things that you would otherwise be doing. I’ve got a pretty bizarre social life. I mean, I play parties every night of the year, but I never really go to a party on my own, and my friends at home have kind of given up on me. People start to assume that you’re never home…correctly. It’s a bit tricky to maintain any sense of normalcy. Me, now, it’s kind of an alternate reality. The world becomes a much smaller place.

The album title “Sexor”, according to your bio, comes from someone who visited you on a boat in a dream of love. What the hell does that me? (Laughs) What does that mean? It means that I have a hyperactive imagination… It doesn’t really mean anything. I mean, it came to me in a dream. A lot of my ideas come to me in dreams, actually. I like stuff that’s a bit absurd and a bit surreal, and sometimes you come up with some pretty strange things when you just kind of let your mind go. I find it interesting that if you take an absurd idea and then use it, it gradually becomes normal. The more people use it and the more people repeat it, the less absurd it gets. I don’t know, I find that kind of funny. So you can remember all your dreams? I’m pretty good about it. I’m not one of those weirdoes… I don’t swear by them or anything. But I’m pretty good about them. I seem to remember them more than most. I dream a lot. The other thing is that because of all the traveling and all the airplanes and all the maps…you have quite a screwed-up sleep schedule. There’s a lot of chance, a lot of opportunity for dreams. You’ve also done a lot of remixing. What do you reckon are some of the hallmarks of a good mix? I think that a good mix should be respectful to the original. I think it should draw attention to the best qualities of the original song. It should kind of become the remixer’s song as well. It should still stay pretty true to the original, so I think people should be interested in what the original was, and people should want to hear that. When I’m doing a mix…it should become my own; the way I always wanted the song to be. But it depends on who the remixer is. If someone’s hiring me, they probably want something that’s going to work on the dance floor. A lot of the time, people who I’ll remix…they want something that they, themselves, can’t do.

What was that like? Um, it was okay. It was a club I’ve played before. It was pretty good, but New Year’s Eve in general is pretty overrated, I find. But it was okay. Are you calling from Australia?

So do you ever remix off your own initiative? It’s happened a few times. I mean, there’s been a few times that I’ve loved the song so much… In the early days there were times when I’d just do something on my own, had it sent to the label, and hoped for the best.

Yes indeed. Oh, okay. The last… Two New Year’s Eves before that, I

As you know, jet-setting takes its toll. How do you think all this traveling affects your personal life?

Now you run Turbo Recordings. How’s that going? It’s going well, but it got pretty slow last year, because all my energy was being put into my album and my own productions and stuff. So it slowed down a little in 2005, but I’ve changed it up a lot. This year… I just moved offices. [I’ve got] a new manager who’s helping me out, and new staff. And I’m pretty excited for this upcoming year, because there’s so much focus on me, with all my music and my album and everything, but I’m kind of looking forward to putting some of that into other artists and friends of mine and people on my label. It’s one of the big joys – when your profile goes up, it’s fun to run a label because you can kind of spin it around and help other people and develop other artists. What direction do you think electronic music is heading

New Year’s Eve in general is pretty overrated…

in, and why? I don’t know, really. It’s a tricky question. I think it’s a bit of a transition period. There’s a lot of different styles that are merging lately. Dance music has gotten rockier, and rock music has gotten dancier (sic). There’s a lot of cross-breeding of styles and a lot of eclecticism. I mean, it’s definitely a good thing, and there’s a lot of good music being made. I don’t know if [there is] one particular dominant sound. I don’t feel that right now. But I think that’s around the corner. There’s something groundbreaking just around the corner. What’s next for you? Well…I have a tour coming up…six weeks; a DJ tour for the album. And there’s a lot of promoting for the album. Basically the first quarter of this year is the big push for “Sexor”. Then, I’ll probably take a few months off – halfrelaxation, half-studio time, just to get my bearings and get inspired and hopefully make some new tracks. Kind of lay down the foundations for the new album, and then the rest of the year will be split between touring and production, and I’m going to be doing anything I can to have a second album finished this year. So quite ambitious, but I think it can be done. Thank you for your time, mate. Sleep well. No problem. Thanks a lot.

Tom Wilson

Beating the drums w i t h

Bass Kleph Job satisfaction is a wonderful thing. For me, it’s seeing my work in print every month and scoring heaps of free shit. But as I found out, for DJ Bass Kleph, it’s being able to finally take to the decks in front of a club-full of people to unleash what he’s worked so hard on. What have you been up to today? Getting together the track listing for the new mix CD I am about to do for In The Mix, Finishing a remix of Amiel, negotiating more remixes, submitting ARIA charts, taking bookings, packing for a gig in Cairns tomorrow night, answering interview questions. What about in the past month? Remixed a Savage song called “They Don’t Know”, finishing tunes for my album, DJ’d on the Gold Coast, held down residency for Break Inn @ Chinese Laundry, moved house and nominated for best remix of 2005 at the Breaks Poll awards in the UK. What, for you, is most satisfying as a DJ? Being able to celebrate your music. The real work is making the music in the studio, and fine-tuning it until you’re happy. Going to the gig and playing it to everybody is celebration. Everyone has to start somewhere – and more importantly, everyone needs some motivation to start it. What was it that sent you on the path to being a DJ? Having played drums since I was 8, I’ve always had a big interest in music. It was initially the emphasis on drums in breaks/drum ‘n bass that drew me into it. It’s such a big part of the music. The old saying is still true. “If the beats are right, they’ll dance all night”.

A local DJ told me that the different trends of electronic music were directly relevant to what drugs were popular at the time. What are your thoughts on that? I guess it can work both ways. Some people are attracted to certain drugs because of the music they like/their environment, and vice versa. I definitely don’t think it’s “directly relevant”. For example, people on ecstasy tend to be pretty easy going and enjoy whatever is being played. People on cocaine usually don’t know what they really want, they just want to ask for something else, and people on speed are usually to busy having the best conversation of their lives. I like to believe in a crazy mystical world where people actually just listen to the music and decide for themselves if they like it. In all the stuff you’ve worked on, what stands out in your mind as being particularly satisfying? Whatever I’m currently working on. If I was to steal one of your records, which one would make you cry the most? They’re all backed up on my computer at home, so I don’t think any of them would. If you’re asking for some of my fave tunes right now I’d say….JDS – “Ridhum”, Soul of Man – “Sukdat (Rogue Element Remix)”, Bass Kleph – “Bass Pressure”, Dopamine – “System Error”, Nick Thayer – “Size Matters”. And if someone stole one of your releases, which one would you most prefer they steal? Some people steal all of them online every day. But at least they come to the show, and if they like the music enough, hopefully they’ll eventually go and actually buy it. What’s next for you? Lots of gigs in Sydney, and around Aus. “In the Mix” mix CD released in May with a country-wide tour, lots of new releases on Breaking Point including “Bass Pressure”, more remixes for other labels, finishing my album, touring overseas. Bass Kleph plays Hobart's Halo on Sat, 18th of March.

Tom Wilson Page 13


Open your mind with


busy. I actually turned down one or two gigs in March because I just don’t have the time. You’ve been involved in the Gay & Lesbian Mardi Gras before, playing the closing party… I’ve played at the Mardi Gras about fourteen times over the last…since 1997. I’ve got one of the highest amounts played. So I’m not playing this year, but I normally play in the Hordern Pavilion, which has about six or seven thousand people. I’ve played that dozens and dozens of times. But on top of that, I’ve also played a lot of fetish events – a lot of inquisition parties. I’m probably only one of about two DJs in Sydney that plays a lot of the gay and the straight and the underground and commercial events; crossover and play all of them. But it’s really great. I get to be a voyeur into a lot of people’s lives and loves; I find that really fascinating.

I’m more about creating a soundtrack to sex. A prominent figure in the Sydney nightclub scene, DJ Sveta really needs no introduction. Carrying enough clout to be a specialist judge at the ARIAs for four years running, she has carved a formidable reputation with polished sets of everything from electro-house to techno. Relentlessly driven and downright gorgeous, she’s set to play Hobart’s Halo this month…celebrating ten years of being a DJ. Whereabouts do you play regularly? I play regularly in Sydney at a nightclub called Arq, which is one of the two big nightclubs in Sydney. Home is one where I guest-spot, but Arq is where I have a residency. And I also play every Wednesday at a place called The Sly Fox, which is a pub. I have lots of residencies that are either fortnightly or monthly, but because I’ve been DJ’ing for a long time, I play interstate a lot. For example, next month, in March, three out of the four weekends I’m playing interstate. Next weekend I’m opening the Adelaide Arts Festival. The weekend after that, I’m playing in Hobart for you guys. Then I’ve got the 18th in Sydney and then on the 25th I’m in Brisbane. So I’m actually pretty

Is there any difference between your straight crowds and your gay or fetish audience? It’s more about what kind of music I play at those events. Sometimes I play to straight fetish audiences, and sometimes I play to gay-only. But if I’m playing at a fetish gig, the response I get tends to be the same, because I play very sexual music. I make the music a lot more sexual and a lot more rhythmic, and less vocal. I’m more about creating a soundtrack to sex. If I went to your gig at Syrup, that’s probably not the kind of music that you’re going to be playing, is it? To be honest with you, I’ve found that audiences in place like Hobart in general are some of the most open-minded audiences out there. So I actually get to play a lot of the music that I tailormake in Sydney. Somewhere like Syrup or Halo – any of the Tasmanian crowds – they’re so openminded that I actually get to play a lot of my different styles in the one gig. So Hobart audiences are getting a real cross-section – they’re getting a real representation of me; a lot more than they would in Sydney. Sveta plays Hobart’s Halo on Saturday the 11th of March.

By Dave Williams & Tom Wilson

Touring Artists


LTJ Bukem

John Carter

MC Conrad

Annie is what old fashioned pundits would call an entity…An artist not afraid to cross boundaries, but destined to push them down with a sweet smile and a electro-fuelled kiss. Annie’s highly anticipated debut album “Anniemal” is as commercial as a blockbuster, as smart as a whip and as irresistible as gravity.

When the man behind those wire rimmed glasses and that disarming smile writes his job description just what does he put? The man who took the drum-and-bass concept from a small venue off London's Charing Cross Road to the Nation's super-clubs and then onto the international stage? The geezer whose records launched breakbeat into a brand new galaxy of sound? Or maybe he just writes 'Renaissance man for a digital age'.

If the mascot of acid house is the smiley face then Jon Carter embodies its spirit, having spent the last ten years out-grinning even those on his dancefloors.

Few people can lay claim to being the definitive voice of their profession. It just so happens that MC Conrad is one of those few.

In truth LTJ Bukem is all of the above. Although he wouldn't like to admit it, LTJ Bukem is the living embodiment of the post-acid house entrepreneurial creative spirit. He is a mild mannered energy flash whose panoramic musical vision has found success in every area he has explored.

In 2005 Jon is still at the top of his game having remixed number one supergroup Gorillaz (“Dirty Harry”) as well as new dance finds Lumidee & Speedy and The Drill; he’s residing in the annex of Amnesia this summer – for the third Ibizan season in a row – at Cream playing alongside Jacques lu Cont and Mylo and continues to raise arms, pulses and roofs across the UK from Chibuku in Liverpool to Basics in Leeds, Shine in Belfast and Ministry and Fabric in London.

Since releasing 'Chewing Gum,' a 24-carat pop masterpiece in its own right already dubbed as one of the singles of the year, Annie has released her debut album in her native Scandinavia and has quickly been heralded as a superstar in the making. The album debuting at #1 in Norway with massive press, TV and radio support plus winner of two Alarm awards and a Norwegian Grammy nomination in February. ‘Anniemal’ was recorded and produced in Bergen, Helsinki & London with Royksopp, Richard X and Timothy Kaukolampi of cult Finnish electro marauders OPL Bastards and The Lefthanded. Together with Mr X she recorded both 'Chewing Gum', and the perilously addictive ‘Me Plus One’ in London earlier this year. The overall result is 'Anniemal', an album that has been embraced from the NME to the Sunday Times to the dancefloor at fabric and everywhere in between.

From running sound systems to cutting up breaks at raves, from relocating the heart of breakbeat culture to redefining the spirit of drum and bass, the man known to his friends as Danny Williamson has sat at the forefront of breakbeat evolution, lighting the way with little more than a zest for life and a love of music.

Her blend of spiky-pop and electro has quickly made Annie one of the most hotly tipped new artists across the globe. Annie has already been embraced by many as a new tour de force in electro-disco.

In 1990, LTJ Bukem got his first big break at Raindance. Booked to play between one and two AM in front of 10,000 people, it was the first true test of the fledgling DJ skills. It may have taken all his mates to push him onto the stage but it proved to be a set that he'll never forget. From the first track he ripped it up and LTJ Bukem, the world-class DJ was truly born.

Annie plays Syrup in Hobart on the Her debut album “Anniemal” comes out March 7th

LTJ Bukem plays Hobart’s Halo on the 9th of March alongside MC Conrad, DJ Friction and SP:MC

Page 14

Infused with the original ethos of acid house – to crosspollinate and embrace diversity – Jon has in the past decade: remixed U2 (twice) as well as seminal eighties electro; pulled off a Basement Jaxx/Underground Resistance nexus on one of his many compilations; played alongside both Fatboy Slim and DJ Marky in front of 300,000 on Rio beach, and twiddled a 303 in the legendary Gee Jam studios in Jamaica.

Jon is also a director of some of London’s most forward looking pubs including the Lock Tavern in Camden, which has featured Sunday roast rockin’ sets from the likes of Mylo, Tom Vek and Rob da Bank. It’s no surprise that Carter should get involved in pubs as he rose to prominence as part of the basement bar dwelling Heavenly Social gang in 1994 alongside the Chemical Brothers and Death In Vegas. Always the last man standing Carter brought a ragga, dancehall inflection to the emergent big beat sounds of that era and soon pulled together a motley selection of talent to produce the beats driven Monkey Mafia who released the album “Shoot the Boss”. Jon Carter plays Syrup on Friday the 17th of March.

From the early rave days and his partnership with LTJ Bukem, through Speed to Logical Progression II, Conrad has come to be a defining element in the drum 'n bass scene - a seal of approval and mark of quality. But there is more to Conrad than his voice. Music has always been an influence. A young Conrad grew up listening to the family record collection, absorbing a variety of vocal styles and musical genres. When developing his own tastes, the 2-tone and early electro scenes were well favoured. This involvement with urban street music moved Conrad toward the hip hop scene and the first inkling of his desire to make music himself. Picking up a microphone, Conrad began to rap for a local hip hop band and started to develop an individual style. Unfortunately, British hip hop was not developing its own individuality and Conrad took his vocal talents elsewhere. The early rave scene was the ideal opportunity for MC's to develop and Conrad wasted no time in hooking up with LTJ Bukem. Theirs was the definitive DJ / MC partnership - one which aspired to and achieved even greater heights in following years. Conrad's voice became the trademark of the Good Looking sound and vibe. With his voice now established, Conrad is applying his skill and knowledge to the production of music. His collaboration with PHD has provided an extra dimension to his abilities, but is just one small piece of the bigger picture that Conrad has envisioned. MC Conrad plays Hobart’s Halo on the 9th of March alongside LTJ Bukem, DJ Friction and SP:MC.


Club, Studio, Home

Satoshi Tomiie Veteran house producer Satochi Tomiee has kicked off 2006 with a thrilling 3disc “Renaissance Presents” mix compilation and a full-scale tour that has been a success across the globe thus far. The US-based artist was born in Tokyo in the 60’s and began his music career in the early 80’s by forming his own band and basing the sound around keyboards and electronic notes. His gradual move into the world of house music was a natural evolution as the genre opened up in the years following.

The DJ spent the decade of the 90’s releasing single under his own name as well as monikers Loop 7, Level 9 and Black Shells. A signing with the Sony label also eventuated in a long-overdue debut album in the lat-

“It all depends,” he muses. “I’ve been performing lately for around two to four hours. Sometimes I go longer, like when I play tonight in Tokyo. It depends on lots of different things – the crowd, the vibe of the place etc. There are other times when I just like making the point short and sweet and play for two hours and then finish.” Tomiee’s four-date Australian visit (taking in Melbourne, Perth and Sydney respectively) is only the tip of the touring iceberg in what seems to be shaping up as one of his busiest years on the road yet.“The touring will continue for a good while yet after Australia,” he confirms. “I’ll be covering lots of Asian regions and then I’ll be carrying things over to the United States. I think there are 14 or 15 dates booked for North America alone. After that it’ll be summer and the bookings will keep on coming from all different places. 2006 is pretty much over for me already!” The “3D” album, released locally through Stomp this coming week to coincide with the tour, is made up of three distinct sections, such as the title suggests. Disc one is titled “Club” and represents an up-to-date recording of what his current live sets are like, disc two is known simply as “Studio” and consists of seven allnew remixes as well as a few tracks that are new edits of his own tunes.

House had progressed from its American nest and made its way across the ocean to Japan, and Satochi found himself enraptured with the sound. He began DJ’ing and producing on his own and eventually had a meeting with a true house pioneer by the name of Frankie Knuckles. The pair took up DJ duties at a party thrown by a Japanese cosmetics company and shortly thereafter Satochi was enlisted and branded a member of New York’s well-revered Def Mix Productions collective. Knuckles, Tomiee and another superstar named David Morales led the house charge in the late 80’s and early 90’s and Satochi gained a reputation as being one of New York’s leading producers after collaborating on several dancefloor smashes – “I’ll Be Your Friend” by Robert Owens and “Tears” by Underground Solution. He also took up remix duties for many mainstream stars such as Michael Jackson, Madonna, Diana Ross, U2 and David Bowie.

He admits that his current set times depend on many variables, but he still continues to play for a good, long while.

ter half of the decade titled “Full Lick”. Today, Satochi continues to divide his time between constant touring and studio work and continues to create new tunes that take his trademark house sound to new levels. His current tour, in support of the aforementioned triple-disc opus titled “3D”, has already seen him skip across several continents, and he’s only been going since New Year’s! “For the last couple of weeks I’ve just started the main tour,” he begins. “I was in New York for a party and then traveled to Greece, France, Hungary and London. It’s been going great so far. The most memorable set was at The Croft in London, not only because it was the official album launch but because I love the venue itself – great sound, great crowd.”

The third and final disc, “Home”, finishes proceedings off on a gentle note as Satochi has compiled some of his favourite new chill-out recordings and mixed them into his own pastiche. Obviously, “3D” isn’t the sort of project that just any well-known DJ or fresh-faced producer could try to undertake – it’s a venture that only a select few could pull off convincingly, and Satochi is definitely in that elite group. One listed will confirm it as fact. While the release contains enough superb material to keep fans of producer happy for a decent length of time, Tomiee adds that he is still planning on getting newer material onto the shelves later on in the year. “My new single will be out in May sometime, it’s called “Glow”,” he says. “At the moment I’m just waiting for a remix for it from Spirit Catcher. Other than that I haven’t been able to focus as much time on new beats as normal, since there’s been lots of press stuff for this new CD and I’ve been trying to concentrate on all of that. I’m sure I’ll find a bit of time soon though!”

Green Power at

Earthcore In The Park

What happens when you take a big red London double decker bus, one of the world’s best and most efficient sound systems, a bunch of solar panels, wind generators, lots of batteries, an inverter and add a group of like minded individuals that include DJs, visual artists, alternative power specialist and sound engineers? Then get to this year's Electribe Green Stage at the Earthcore in the Park Festival, Monday 13th March at Sidney Myer Music Bowl. Under the guise of The Electribe Green Stage, the Eco-Events crew will be powering a 3000 watt sound system from sun and wind energy, where you can catch locals DJs and live acts Chunky, Jayson Holden, Mr Peculiar, Andycan, Krusty, Kundalini, Tony Loucas and Miss Maxo. The concept was created by Melbourne-born innovator Glen Doreian, 51. In 2002 he imported a revolutionary two-seater electric car (SAM), from Switzerland, which was charged from the powerpoint or solar and wind power, with the view to manufacturing them here. At the same time, with a dream of eco self-sufficiency, he had been seeking a diesel bus to tour Australia, to live in, and run a mobile electronic repair workshop. Two years ago, he bought the double-decker London bus, and wanting to make it making it self-sufficient, he installed a large bank of batteries, ran it on used cooking oil (Biodiesel), and attached solar panels, wind generators and inverters. Combing his love of renewable energy with electronic music, along with DJs, sound engineers and visual artists, he formed Eco Events with Funktion One sound systems with a view of bringing a powerful message through music to the masses. Using free energy, the bus can be used any location, as it is not tied to the grid for power. “I wanted to demonstrate renewable energy is possible and can be done by anyone,” explains Dorian. He also enjoys the effect the bus and its music has on others. “It brings people together and I like to see people happy smiling and having a good time.”

DMC WORLD DJ CHAMPIONSHIP 2006 New Rules After exhaustive discussions between the DMC international branches and plugging in to the opinions of DJs and turntablist supporters around the world, DMC have now decided the following rules of entry for the 2006 DMC WORLD DJ CHAMPIONSHIP. TURNTABLES: Technics turntables only. MIXERS: Any mixer - no effects. STYLUS - The Ortofon range. DMC gave great consideration to the concept of a totally ‘open’ event allowing use of virtually any analogue products. It was felt however that the staging, particularly in countries were dozens of DJs are eliminated in afternoon sessions, would be almost impossible with constantly changing equipment.

return to their homeland. They will also receive the Ortofon Gold stylus. Silver mixer and stylus for the Runners-up and Bronze for the 3rd placed DJ. The BATTLE FOR WORLD SUPREMACY will run to the same equipment rules. The Supreme Champion will win $10,000 plus prizes. THE DMC WORLD TEAM CHAMPIONSHIP will run to the same equipment rules. At all events any stylus from the Ortofon range may be used. Organisers will provide stylus at each event although DJs may bring their own Ortofons if they prefer to have ‘worn them in’. First prize $10.000 (shared between team players).

DMC also evaluated the fact that some DJs cannot afford the newer turntable products on the market and this would put some DJs at a great disadvantage. DMC feels that whilst creativity would be advanced in allowing different equipment, it would also create an unfair field of play.

Details of the event internationally will be posted regularly on

DMC has already responded to the turntablist society when agreeing with the huge majority vote, on line and at the 2005 World DJ Championship Finals, that the event would not allow digital products. This also is based on DMC’s belief that such technology, whilst potentially opening new creative possibilities, also gives advantage to the DJ who can afford such products.


The DMC Championship title must be won in a fair arena where economics do not dominate a DJs potential.

Dmcworld.Com is about to launch dmcdownload one of the greatest innovations ever for djs and music producers wishing to advance their production careers and win great prizes.

Wherever possible DMC will provide SL1210 Technics turntables and traditional Technics SH-EX1200 mixer. DJs wishing to use alternative mixers should take their own to the event having informed the organisers of the event in advance. No mixer featuring effects are to be allowed. DMC DJ CHAMPIONSHIP rules can be located on In all cases each DMC National Champions will receive an expenses paid trip to the two day DMC World Finals in Paris, France in September 2006. The 2006 DMC WORLD DJ CHAMPION will be awarded the traditional TECHNICS GOLDEN TURNTABLES & MIXER, the greatest prize in turntablism. They will also be presented with Ortofon’s cheque for $10,000 which can be banked safely when they

May the best man spin! DMC LTD. Is the latest development on dmcworld.Com where djs and dance music enthusiasts will find lots of great tracks to download including the dmc stress catalogue. The site intends to feature new entries in dmc’s update buzz chart, the premier weekly dance music chart dmc forecast the update charts will become the first source for new dance tracks as a listening review and a purchase device. Many other dance labels will now be invited to sell their product through dmcdownload. In 2005 dmcworld.Com and the site’s djpages.Com attracted over 107 million hits and almost 1 million unique visitors. Over 4000 international djs now use the free portal as a prime Marketing device for their careers.

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GIG Guide 01/03/06 - 04/04/06 st WEDNESDAY 1 DEVONPORT Spurs/Warehouse Bundy 8 Ball Calcutta

DEVONPORT King’s Bar “Zip Up Casual” live band Spurs/Warehouse Big Screen Videos

HOBART HOBART Kaos DJs Chilli & Brent Republic Bar & Café Dave Calandra (Syd) 9pm Syrup Kamikaze Karaoke Hosted by Little Miss Pink & Karaoke KowGirl The Metz Uni Night DJ Dave Webber 9pm till late Happy hour – 9-11pm Trout Billy Goats Gruff, Surrender Dorothy, Lakoda

Duke of Wellington MINT – breaks/electro/ house upstairs Dave Webber, Gnosis, Spinfx plus guests 10pm-5am

Irish Murphy’s Sabot (Touring Act) Modus James Hotel Cheap Ass Wednesday Saloon Legendary Uni Night with live DJ playing commercial music and Karaoke in the Loft with DJ Loco. nd THURSDAY 2 BURNIE Stage Door The Café Viktor Zappner Trio, featuring Bruce Haley from St Helens, on cornet, 8.00pm. DEVONPORT King’s Bar “The Groove Factory”

HOBART Kaos Acoustic duo The Sign 8:30 Republic Bar & Café Truck Stop Honeymoon (U.S.A) supp Damien Stevens $3 9pm Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with residents Scott Woodhouse, SpinFX and Guests Trout Luke Bryant

Heat Black Market Midnight till 7am


Kaos Tristan Republic Bar & Café Ed Keuper, Jeffrey Weggener & Peter Oxley (Laughing clowns) $27 10pm Syrup Downstairs 8pm: KO – Resident DJ’s MEZ, & Guests ‘Laying down the Khunks “O” Funk’ Downstairs 10.30pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: BreakEven- Fat Breaks & Beats with residents Adam Turner, Scott Woodhouse, Mez +guests The Metz DJ’s Scott Woodhouse & Jesse Breen 8pm – late Trout Trouser, The Scandal ($3) UTAS Sandy Bay TUU O Week WAITER With Faker + other acts to be announced 4pm

Batman Fawkner Inn CLUB 8 4PLAY Irish Murphy’s Sgt Green

Irish Murphy’s Phil Picasso James Hotel UniNight Sgt Green Royal Oak Damon Browne in the P/B Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. rd FRIDAY 3 BURNIE Sirocco’s Amber Savage and Archie Central Energy Tour Next Generation Stage Door The Café Damen Browne, alternative folk, 7.00pm.

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Irish Murphy’s Alphanumeric James Hotel James Bar Luke Parry Reality Central Energy with Amber Savage, Archie + Randall & Joycie Royal Oak Jez and Emma Wild $5 cover Royal on George DJ Patty Duke Saloon Super Saturday, The Party Continues... with live DJ playing commercial music and upstairs DJ Loco with Karaoke. Star Hotel Carl Fidler Sexy Lounge 4pm-6pm Voice DJ EARL & DJ C Free Entry th SUNDAY 5 BURNIE Stage Door The Café Tom Vincent Trio, featuring Tom Vincent from Hobart on piano, Leigh Barker from Melbourne on drums, and Marc Meader from Amsterdam on drums. 5pm, cover charge $15.

James Hotel Reality – DJ Mac D


Royal Oak Dave Calandra

Lewisham Tavern Dave Calandra 3-6pm FREE

Royal on George Leigh Ratcliffe Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. Ursula’s Carl Bulow


Trout Hammerhead, Turbo Deluxe, Jack’s Agenda ($5) LAUNCESTON

LAUNCESTON Spurs/Warehouse Crazy Karaoke

The Metz Acoustic duo Brett & Joel 9pm-12pm

Halo Ali B + Lee Coombs (UK)


SESSIONS – Rock out with the bands Echo Blue and the Voyeurs $3 cover Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Naughts & T.H.C. Upstairs 11pm:– DIRTY F*CKN DANCIN presents – house, electro & breaks, with resident) DJ’s Gillie, Adam Turner, + Corney + DSKO

Voice DJ EARL & DJ C Free Entry SATURDAY 4


Republic Bar & Café Sundy Side Up (music, comedy & poetry) 8:30pm The Metz Sunday Session Live acoustic on deck with Charles 4pm-7pm DJ Dave Webber 7pm-late Wrest Point BERNARD FANNING w/ The Panics and Andrew Morris LAUNCESTON

Sirocco’s Decks in the City with DJ Paul

Irish Murphy’s Idle Hands Mark Vincent Voodoo Lounge The Rodgers

King’s Bar Kings DJ “Roxy” Spurs/Warehouse Room Service

James Hotel Open Decks Bring your own vinyl th MONDAY 6



Heat Black Market Midnight till 7am

Republic Bar & Café Joe Pirere 8:30pm

Kaos DJ Heath


Republic Bar & Café Sugartrain $2 10pm Syrup Upstairs 3pm: SATURDAY ARVO LIVE

HOBART Irish Murphy’s 8.30 - 9.10 – Atalana Heale 9.30 - 10.20 – Patrick & Anna 10.40 - 11.30 – Ten Bears Republic Bar & Café Damien Brown 9pm LAUNCESTON Irish Murphy’s Leo James Hotel Toss the Boss Toss to win free drink Saloon Trivia Night in the Main Room $5,000 to be Won Commences at 7pm. th WEDNESDAY 8 HOBART Kaos DJs Chilli & Brent Republic Bar & Café Equinox 9pm Syrup SYRUP SMACK DOWN Hosted by MDUSU and DJ Gotesque Open Mic Night and DJ Battles The Metz Uni Night DJ Dave Webber 9pm till late Happy hour – 9-11pm Trout Disgorge (US) Dawn of Azazel (NZ) MephistophelThree Victims ($8) LAUNCESTON Batman Fawkner Inn MARK STINSON

Green Wood in the P/B Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. th FRIDAY 10 BURNIE Sirocco’s “Achtung Baby” U2 Tribute show DEVONPORT King’s Bar Kings DJ “Roxy” Spurs/Warehouse Big Screen Videos

Heat Black Market Midnight till 7am Kaos Tristan Republic Bar & Café I & I Bredda 10pm Syrup Downstairs 9pm: KO – Resident DJ’ Mez ‘Laying down the Khunks “O” Funk’ Downstairs 10.30pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: LaCasa sexy vocal house with residents DGJ, Matt B & Gillie Trout The Roobs, Raggard Annes ($4) LAUNCESTON

Irish Murphy’s Mick Attard GRRR James Hotel Cheap ass Wednesday Glenn Moorhouse Saloon Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. th THURSDAY 9 BURNIE


Syrup Unstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s T.H.C.and Rolly Upstairs 11pm: DIRTY FKING DANCIN – the best of house, electro & breaks with resident DJ’s Gillie, Adam Turner, Modal and Kir

The Metz Acoustic on deck with Charles & Joel 4pm-7pm

The Metz Acoustic duo Shawn & Lucas 9pm-12pm


HOBART Duke of Wellington MINT – breaks/electro/ house upstairs Dave Webber, Gnosis, Spinfx plus guests 10pm-5am

Batman Fawkner Inn CLUB 8 4PLAY Irish Murphy’s The Fabulous Picasso Bro James Hotel James bar Glenn Moorhouse Reality DJ Mac D Royal Oak Ciaran Van Den Burg in the P/B

Irish Murphy’s Ben Castles James Hotel Ho Club

Stage Door The Café Viktor Zappner Trio, featuring Denise Sam from Launceston, on vocals and percussion. 8.00pm DEVONPORT King’s Bar Love Bugs Social Night Spurs/Warehouse Crazy Karaoke HOBART Halo LTJ Bukem + MC Conrad (UK) DJ Friction + SP:MC (UK) Kaos Blues with Billy Whitton Republic Bar & Café Fell To Erin/Voyeurs 9pm Syrup MESH – Hobart’s oldest club night, breaks/ drum+bass with resident DJsSpinFX, Scott Woodhouse and guests.

Royal on George Well Strung Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. Ursula’s No Strings

The Venue PARKWAY DRIVE – “ALL AGES ASSAULT” TOUR Trout Lakes/Always (Melb), Midnight Caller ($5)



BURNIE Sirocco’s Decks in the City with DJ Paul DEVONPORT King’s Bar Special band night “Hammerhead”

Republic Bar & Café Quiz Night 8:15pm

LAUNCESTON Batman Fawkner Inn ROUNDABOUT Irish Murphy’s Cocoa Jackson Lane (touring act)

LAUNCESTON Irish Murphy’s Leigh Stretchy Ratcliffe James Hotel HO Club th

HOBART Irish Murphy’s 8.30 - 9.00 – Alex Byas 9.20 - 10.20 – The Sign 10.40 - 11.30 – Jordan Miller Band Republic Bar & Café Jens Lekman $10 9pm

James Hotel UniNight Cover Band Royal Oak Mick Josephson in the P/B Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. th FRIDAY 17 BURNIE Sirocco’s DJ Cola

LAUNCESTON Batman Fawkner Inn CLUB 8 M.S. AFTER PARTY – ROCKET NOODLE, HAMMER HEAD Irish Murphy’s Funkin Unbelieveable James Hotel Reality U2 Tribute Show Dj Mac D Royal Oak Charles Perkins in the Boatshed Royal Park Regatta Grounds MS FEST 2006 – GRINSPOON, SHIHAD, COG, ROGUE TRADERS, THE HERD, TRUE LIVE, THE FAST CREW, BLISS N ESO, BEHIND CRIMSON EYES AND MORE.

DEVONPORT Irish Murphy’s Glenn Moorhouse James Hotel Toss the Boss Toss to win free drink Saloon Trivia Night in the Main Room $5,000 to be Won Commences at 7pm. th WEDNESDAY 15 DEVONPORT Spurs/Warehouse Bundy 8 Ball Calcutta

Saloon Super Saturday, The Party Continues... with live DJ playing commercial music and upstairs DJ Loco with Karaoke. Voice PEE WEE FERRIS th SUNDAY 12

Kaos DJs Chilli & Brent Republic Bar & Café Stevie Paige

Syrup Hobart’s Underground Films Hosted by Andrew Harper showcasing a variety of locally produced movies Free Entry The Metz Uni Night DJ Dave Webber 9pm till late Happy hour – 9-11pm Trout Argus

Stage Door The Café Shindig No 3: Sheyana, Robbie Elliott, Steve Lake, 5.00pm.



Irish Murphy’s Daniel Townsend Rocket Noodle

Spurs/Warehouse Long Weekend Rage

Republic Bar & Café The Original Angels $20 9pm Syrup KINK@SYRUP presents Moguai + special guest Ben Morris (Kink Sydney) + Gillie & Adam Turner $15 pre sale tickets

Spurs/Warehouse Big Screen Videos HOBART Duke of Wellington MINT – breaks/electro/ house upstairs Dave Webber, Gnosis, Spinfx plus guests 10pm-5am Heat Black Market Midnight till 7am Kaos Tristan Republic Bar & Café The Red Eyes $10 10pm Syrup Downstairs 8pm: KO – Resident DJ’ MEZ ‘Laying down the Khunks “O” Funk’ Downstairs 10.30: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm Lacasa Presents Jon Carter (UK) Vocal House, Eletro,Techno and House + Locals Gillie and Matt B. Tickets on door. Trout Bad luck Charms, Enola Fall, Anthony Rochester LAUNCESTON

Batman Fawkner Inn MARK STINSON

James Hotel Cheap ass Wednesday Luke Parry Saloon Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. th THURSDAY 16 BURNIE

The Metz Sunday Session Live acoustic on deck with Charles 4pm-7pm DJ Dave Webber 7pm-late

King’s Bar “Good Company” live band


9pm Royal on George Voodoo Lounge

Stage Door The Café Viktor Zappner Trio, featuring John Broadby from Hobart, on tenor sax and clarinet, 8.00pm.

Halo DJ Sveta (Syd)

LAUNCESTON Irish Murphy’s Nathan Weldon Ben Castles Jade and Glenn Gypsy Caravan


Heat Black Market Midnight till 7am

James Hotel Open Decks Bring your own vinyl

Irish Murphy’s The Geale Bros

Kaos DJ Heath

James Hotel UniNight Funkin Unbelievable DJ Mac D

Republic Bar & Café Trojan Horns (funk, reggae, ska, latin, hip hop)$10/$8 10pm

Star Hotel Carl Fidler Sexy Lounge 4pm-6pm

Royal Oak

Trout Couch Night

Batman Fawkner Inn CLUB 8 SHILLELAGH Irish Murphy’s ST PATRICK’S DAY The Dead Kilkenny’s (last ever performance) The Embers Phil Picasso And many more James Hotel James Bar Chris Pickering Reality DJ Mac D Royal on George Sgt Green Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

DEVONPORT Spurs/Warehouse Pumpkin Heads HOBART

Trout Couch Night







Sirens Worldfly Beautifulplace EP launch with special guest Debra Manskey Upstairs – $8 / $6 conc. 7:30pm





King’s Bar DJ “Dog”

Ursula’s Ultimo Trem

Spurs/Warehouse Crazy Karaoke

Voice DJ EARL & DJ C Free Entry



Kaos Sensual Item – jazz, Latin and swing


Republic Bar & Café Bondi Cigars $15/12conc. 9pm Syrup MESH resident DJ Scott Woodhouse, SpinFX+


Sirocco’s Decks in the City with DJ Paul Stage Door The Café Gaye Clarke & the Big Band Sound, 7.00pm.

drum+bass Scott Woodhouse, SpinFX and Guests

GIG Guide 01/03/06 - 04/04/06 LAUNCESTON

Spurs/Warehouse Donut

Irish Murphy’s Glenn Moorhouse James Hotel HO Club



TUESDAY 21 Halo Bass Kleph


Kaos DJ Heath

Irish Murphy’s 8.30 - 9.10 – Hayley Couper 9.30 - 10.20 – Simon Ditcham 10.40 - 11.30 – Sir Veto

Republic Bar & Café The Red Eyes $10 10pm

Republic Bar & Café Nathan Kaye 9pm

Syrup Downstairs 10.30: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly and T.H.C. Upstairs 11pm DIRTY FKING DANCIN presents – house, electro & breaks with resident DJ’s Gillie, Adam Turner, Timo and Corney.


Heat Black Market Midnight till 7am

The Metz Acoustic duo Brett & Joel 9pm-12pm Trout Six Ninja, ($3) LAUNCESTON Batman Fawkner Inn CLUB 8 MONSOON Irish Murphy’s Sgt Green James Hotel Reality DJ Mac D Royal Oak Leo and Mick in the P/B Royal on George The Fabulous Picasso Bros Saloon Super Saturday, The Party Continues...with live DJ playing commercial music and upstairs DJ Loco with Karaoke.

Irish Murphy’s Sambo James Hotel Toss the Boss Toss to win free drink Saloon Trivia Night in the Main Room $5,000 to be Won Commences at 7pm. nd WEDNESDAY 22 DEVONPORT Spurs/Warehouse Bundy 8 Ball Calcutta

th SUNDAY 19 BURNIE Stage Door The Café Tom Vincent Trio, featuring Tom Vincent from Hobart on piano, Leigh Barker from Melbourne on drums, and Marc Meader from Amsterdam on drums. 5pm, cover charge $15. HOBART Republic Bar & Café Coco Jackson Lane supp. Chris Pickering (Boat People) $3 9pm The Metz Sunday Session Live acoustic on deck with Charles 4pm-7pm DJ Dave Webber 7pm-late LAUNCESTON Irish Murphy’s Micky J Leo S&M Funkin Unbelieveable James Hotel Open Decks Bring your own vinyl Star Hotel Carl Fidler Sexy Lounge 4pm-6pm

Republic Bar & Café Blue Flies 9pm



Halo Pressure

Batman Fawkner Inn CLUB 8 2006 AUSTRALIAN AIR GUITAR CHAMPIONSHIPS Irish Murphy’s Kieren Glasgo (Gold Coast original act) James Hotel UniNight 3sum Dj Mac D Royal Oak Samuel Bester in the P/B Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. th FRIDAY 24 BURNIE Sirocco’s DJ Cola DEVONPORT

Spurs/Warehouse Big Screen Videos HOBART

Republic Bar & Café Kieren Glasgow 9pm

Heat Black Market Midnight till 7am

Syrup Downstairs Kamikaze Karaoke Hosted by Little Miss Pink & Karaoke KowGirl

Kaos Tristan

The Metz Uni Night DJ Dave Webber 9pm till late Happy hour – 9-11pm Trout Branded Left-Handed,

Batman Fawkner Inn STEVIE PAIGE Irish Murphy’s Samuel Bester Arugus (Hobart original band) James Hotel Cheap ass Wednesday Live Music Saloon Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. rd THURSDAY 23 BURNIE Stage Door The Café Viktor Zappner Trio, featuring Ross Challender, from Hobart, on all saxophones and flute, 8.00pm. DEVONPORT King’s Bar “Love Bugs” Social Night Spurs/Warehouse Crazy Karaoke HOBART Kaos Acoustic duo The Sign Republic Bar & Café Darren Hanlon $15/12conc. 9pm

HOBART Republic Bar & Café G.B Balding 8:30pm

Syrup MESH – Hobart’s oldest club night, breaks/

Heat Black Market Midnight till 7am

Republic Bar & Café Geoff Allan & Toasted $2 10pm Syrup Downstairs 8pm: KO – Resident DJ MEZ ‘Laying down the Khunks “O” Funk’ Downstairs 10.30pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: “Pickle” Hard Dance, Techno, Trance Residents Corney,DSKO, Tristan + Guest Trout The Keds of Ray Brower, Supershow

Irish Murphy’s Idle hands James Hotel Toss the Boss Toss to win free drink

Kaos DJ Heath

Saloon Trivia Night in the Main Room Republic Bar & Café Son Del Sur (Cuban Salsa) $5,000 to be Won Commences at 7pm. $3 10pm th WEDNESDAY 29 Syrup DEVONPORT Downstairs 10.30: TACKYLAND – 70’s 80’s Spurs/Warehouse and 90’s RETRO with Bundy 8 Ball Calcutta resident DJ’s Rolly and Naughty. HOBART Upstairs 11pm: DIRTY F*CKN DANCIN house, Kaos electro & breaks with resident DJ’s Gillie, Adam DJs Chilli & Brent Turner, Corney and Kir Republic Bar & Café J. C. Hanson The Metz 9pm Acoustic duo Shawn & Lucas Trout 9pm-12pm Disconnect Show Trout LAUNCESTON Dane LAUNCESTON

King’s Bar “Mischief” live band

Kaos DJs Chilli & Brent


Sirens Planet Woman Upstairs – one show only – $15 / $10 conc. 8pm

th MONDAY 20

King’s Bar Kings DJ “Roxy”

Trout Couch Night

Duke of Wellington MINT – breaks/electro/ house upstairs Dave Webber, Gnosis, Spinfx plus guests 10pm-5am


Fell To Erin - 10.40 - 11.30


DEVONPORT King’s Bar Kings DJ “Roxy”


Batman Fawkner Inn CLUB 8 4PLAY Irish Murphy’s The Unit James Hotel Reality Dj Mac D Royal Oak Ben Castles in the P/B Royal on George Sgt Green Saloon Super Saturday, The Party Continues...with live DJ playing commercial music and upstairs DJ Loco with Karaoke.

Batman Fawkner Inn PULSE Irish Murphy’s THE EMBERS James Hotel Cheap ass Wednseday Leigh Ratcliffe

Voice DJ EARL & DJ C Free Entry th SUNDAY 26

King’s Bar DJ “Dog” Spurs/Warehouse Crazy Karaoke HOBART Kaos Blues with Billy Whitton Republic Bar & Café Archie Roach & Ruby Hunter $25/$12 9pm Trout Kind Winds


Batman Fawkner Inn CLUB 8 BREAKWATER Irish Murphy’s Voodoo Lounge James Hotel James bar Sambo Reality Dj Mac D

The Metz Sunday Session Live acoustic on deck with Charles 4pm-7pm DJ Dave Webber 7pm-late LAUNCESTON

Royal Oak Mark Vincent in the P/B Royal on George Gypsy Caravan Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. Ursula’s Three Piece Suite Voice DJ EARL & DJ C Free Entry SATURDAY 25

Republic Bar & Café Sundy Side Up (music, comedy & poetry) 9pm


BURNIE Sirocco’s Decks in the City with DJ Paul Stage Door The Café The Unit

Irish Murphy’s The Geale Bros Ben Castles Leigh Pointy Ratcliffe Sgt Green James Hotel Open Decks Bring your own vinyl th MONDAY 27 HOBART Republic Bar & Café Republic Quiz Night 8:15pm

Batman Fawkner Inn ROUNDABOUT Irish Murphy’s Voodoo Lounge James Hotel UniNight Sgt Green Dj Mac D Royal Oak Daniel Townsend Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. st FRIDAY 31 BURNIE Sirocco’s DJ Cola

Commercial Hotel BALLPOINT – “BLOOD, SWEAT AND BEERS” EP LAUNCH WITH THE BREWS Irish Murphy’s Well Strung James Hotel James bar Leigh Ratcliffe Reality Dj Mac D Royal Oak Mike Elrington band in the Boatshed L.B.C Royal on George Phil Picasso Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. Ursula’s Daryl & Brendon


DEVONPORT King’s Bar SPECIAL NIGHT APRIL FOOLS – dress up as a fool or whatever Kings DJ Roxy HOBART Heat Black Market Midnight till 7am Kaos DJ Heath Republic Bar & Café 3 Corners of Africa – Best of African Hip-Hop The Venue Bouncing Souls – US punk band All ages

th TUESDAY 28 HOBART Irish Murphy’s Cait Vertigan - 8.30 - 9.10 Samuel Bester - 9.30 - 10.20

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

Devonport Spurs/Warehouse 18 Kings St Devonport 6424 7851 Kings Bar & Niteclub 25 King St Devonport 6423 3488

Hobart Halo 37a Elizabeth St Mall Hobart 6234 6669 Republic Bar 299 Elizabeth St North Hobart 6234 6954 Soak @ Kaos 237 Elizabeth St Hobart 6231 5699 Syrup 1st Floor 39 Salamanca Place Hobart 6224 8249 Uni Bar - Hobart Campus 1 Churchill Ave Sandy Bay 6226 2495

Launceston Royal On George 90 George St 6331 2526

LAUNCESTON Batman Fawkner Inn CLUB 8 SCREAMING JETS – TIX AVAILABLE FROM MOJO MUSIC Irish Murphy’s The Unit James Hotel Reality Pound 4 Pound Featuring Dj Klaus “Heavyweight” Hill + Joycie + Recut Dj Mac D Royal on George Gypsy Caravan Saloon Super Saturday, The Party Continues...with live DJ playing commercial music and upstairs DJ Loco with Karaoke.

King’s Bar “3 Weeks Late” live band Spurs/Warehouse Big Screen Videos


HOBART James Hotel HO Club


Irish Murphy’s 211 Brisbane St Launceston 6331 4440 James Hotel Reality Niteclub James Bar 122 York St Launceston 6334 7231

Lonnies Niteclub 107 Brisbane St Launceston 6334 7889 Saloon Bar 191 Charles Street Launceston 63 317 355


LAUNCESTON Irish Murphy’s Leo


Sirocco’s Decks in the City with DJ Paul




BURNIE Stage Door The Café Dr Jazz is Back, Len Bagnall & Friends, 5.00pm, cover charge $15.

Trout The Night Terrors (Melb)

Voice DJ EARL & DJ C Free Entry st SATURDAY 1

Stage Door The Café Viktor Zappner Trio, featuring Yoly Torres from Burnie on vocals, 8.00pm

@Venue Guide

Republic Bar & Café Bomba (reggae) $15/12conc. 10pm

Saloon Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. th THURSDAY 30

DEVONPORT Star Hotel Carl Fidler Sexy Lounge 4pm-6pm

Kaos Tristan

Duke of Wellington MINT – breaks/electro/ house upstairs Dave Webber, Gnosis, Spinfx plus guests 10pm-5am Heat Black Market Midnight till 7am

James Hotel Open Decks Bring your own vinyl Star Hotel Carl Fidler Sexy Lounge 4pm-6pm

The Batty The Batman Fawkner Inn 35 Cameron St Launceston 6331 7222 Ursulas on Brisbane 63 Brisbane St Launceston 6334 7033

To list your gig in the Gig Guide, email details to Page 17


Punishingly Hardcore


It seems that a lot can happen in sixteen years. Just ask Converge. In that time they’ve gone through ten members, and while they haven’t had lineup changes for the last six years, they recently had to endure the disappointment of Hellfest, which was canned just two days before the band was due to take the stage. They spoke to Ryan Cooke about the band’s fierce reputation, the cancelled festival and why they are yet to come to Australia. What has Converge been up too of late? We've been writing new music and living our lives for the last few months. We've all been fairly busy with that. Converge are considered one of the biggest underground acts of all time, do you feel it adds pressure every time you decide to enter the studio? No. We don't pay any mind to others expectations and opinions. If we did, we would not be writing honest music.

Converge have been playing together now for roughly 16 years, over that time 10 members have played in the band. What were the reasons for all the shake ups in the lineup?? Not really. The lineup has been the same for the last 6 years, excluding the removal of Aaron Dalbec from the lineup in 2001. There were no plans to replace him though, we just felt that it was time for a variety of professional and personal reasons. Prior to that, our bass player situation was a bit unstable as no prospects could commit to the work load we had. Nate filled that position permanently in 1998, and that has never changed. We consider the lineup we have, and have had since 2001 our official lineup. I believe you’re currently working on a track Thursday titled ‘A City by the Light Divided’, how did this come about? And how were Thursday to work with? We are currently waiting to work on the project. It should be interesting. They've been supporters of ours for a great while and we have respected their work ethic and vision for a long time. It should be interesting for sure. On your bio, it says the bands sound is influenced by bands like Starkweather, Rorschach, Born Against, Godflesh, The Accused and Entombed, who you personally enjoying at the moment? Those bands are still listened to. BLACKLISTED are an amazing Hardcore band that I actually listen to, as are MODERN LIFE IS WAR. I also listen to a good amount of independent Hip Hop, obscure Black Metal, and a whole lot of other stuff. We just listen to whatever we see substance in. You made the move from Equal Vision to Epitaph

You build a building too tall, it will fall.

a few years back now. What prompted this decision? Why not Deathwish? It was time to end the relationship with EVR for a variety of professional reasons. There are some great people there and we will always appreciate their efforts towards our band. Epitaph are an amazing label, filled with true fans of music. They have understood us artistically where we've felt that many labels have not done so in the past. There is none better in our opinion. Do you have an opinion regarding violence at shows, such as moshing, etc.? Do you think hardcore bands such as Killswitch Engage, Dillinger Escape Plan and Hatebreed encourage violence? Ignorance encourages violence, bands don't. Each member of Converge has been off doing some side projects like Doomriders, Cave In etc; do you find this keeps the band fresher? It definitely does. It allows us to progress and grow while we are acting outside the band. It's always been a positive thing for us. Were you upset that this year’s Hellfest was cancelled just 2 days before you were set to play? And do you think the festival will return? It was a let down but a lot of us saw it coming. You build a building too tall, it will fall. As clichéd as it sounds, that's what happened there. I believe you’re still yet to visit Australian shores for a tour; why is this? And should we never get our hopes up? The timing never works out for us. Our schedules are hectic. We hope to visit there soon. What shall 2006 hold for Converge? The new album is underway. We are all really excited about what we have written so far. The new album will be released on Epitaph later in 2006. Thank you for your time, it is appreciated.

By Ryan Cooke

Hard Boiled In March

By Ryan Cooke March is shaping up to be a huge month of metal here in Tasmania. The month kicks off with a huge bang in the form of Parkway Drive, Behind Crimson Eyes and Cog all playing in the state on the same day - as well as U.S brutallers Disgorge a few days earlier (check the gig section @ the bottom for more info). I have discovered just recently one of the best new and coming metal acts in the world, I recommend everyone checks out a British act called ‘Bring Me the Horizon’. Devonport’s Something Kills have called it a day after only a short time together, forming out of the ashes of ‘After the Flames’ - Something Kills released their debut EP ‘Calling All Evil’ late last year. Reasons are still unknown at this stage but I assume it has to do with guitarist Richard Bellinger relocating to Melbourne. As was reported last month, Michael Crafter has parted ways with Adelaide’s I Killed the Prom Queen. Reasons are also unknown but one would assume the reasons would have to do with someone’s big ego. Prom Queen have named Ed Butcher as Crafter’s replacement, meaning he has made the journey from his home in Swindon, UK to join IKTPQ. The band is said to be rerecording all the vocals for their new album which is due out in the next few months. Now based in states, Perth’s Day of Contempt has parted ways with vocalist Ben, yet again reasons unknown but other news from the band is they have now officially changed their name to ‘The dear & departed’. Locally, one of the up and coming metal acts Defect HeD are currently trying to secure a full time drummer, the band have been inactive for a while but returned to the scene in early January playing their first show in 6 months. After 5 years, Emo kids Finch have announced that they are on an indefinite break. As some of you might already know, Chimaira have enlisted yet another drummer, but one a little more familiar this time. As many will know, original Chimaira drummer Andols Herrick is back in the band. The US Grammy Awards have been and gone and Slipknot was among the winners, taking out the best Metal Performance Category. Drummer Joey Jordison was quoted with saying "It really still hasn't sunk in yet," and "I'm glad that we didn't win it earlier," he added. "It really felt like we deserved it this time.” New Jersey noise maniacs The Dillinger Escape Plan are writing material for fourth LP while their guitarist Benjamin recovers from shoulder surgery; this is the same injury that forced DEP to pull out of the US leg of Gigantour. The mighty Cannibal Corpse is releasing a new album simply entitle ‘Kill”. The new album is being produced by Eric Rutan (Morbid Angel, Hate Eternal) and is set for release on March 21st via Metal Blade Records. The next few months are looking to be huge here and across the strait. Southern Extremities Productions are happy to announce that brutal U.S death metal gurus Disgorge will be making the trip south during their much anticipated national tour in March. The show will be @ the Trout on March 8th and will feature support from N.Z's Dawn of Azazel, Mephistopheles and Three Victims. MS Fest in Launceston on march 11th will feature Cog, Melbourne’s finest screamo act Behind Crimson Eyes and kiwi hard rockers Shihad - tickets are on sale so don’t miss out. If you don’t dig the mainstream bill, check out Parkway Drive the same night in Hobart as Disconnect Records are bringing them back to Tasmania after their highly successful late 2005 tour. This is a one off show and is all ages. Mainland wise, you have The Haunted and Korn to look forward to over the next few coming months.

Recommended Shihad – Love is the New Hate Jungle Fever – Self Titled 7” Caliban - The Undying Darkness Megadeth – Youthanasia Nine Inch Nails - The Fragile Right Disc The Red Chord – Clients Kate DeAraugo - A Place I've Never Been Norma Jean – Throwing Myself Unearth - Our Days Of Eulogy Page 18


Summer Sk8 Wrap

It’s been a huge month for Tassie skateboarding with comps, demos, new parks and carnage left, right and center.

First off congrats to a few of the young guys who are really putting Tassie on the map in skating. George Simmonds has just picked up sponsorship with one of Australia’s biggest skate company’s Kwala. Ben Smith is now skating for Juice clothing and has a checkout in this month’s Slam magazine. While Chris "Dix" Smith from Devonport is skating for Globe and Hardcore and has been getting quite a bit of coverage in the Aussie scene. Dix has really been pushing it lately and this caught up with him recently while in Melbourne where he broke his leg. Get well soon. These guys and others can also be found in the latest Australian Skateboarding Magazine, in an article on the Tassie skate scene. Tassie represent. Dover has a new skate park. This place is fast, smooth and basically pretty sick. It’s the best-made park in Tassie and was done entirely by volunteers on a shoestring budget. So, instead of whinging about having no facilities in your area, take a leaf out of these guys’ book and do it yourself. There will be an official open day on March 11th so come down and show your appreciation for what many are claiming the best park in the State… There is also a new bowl being built in Nubeena. This place also looks super smooth and should be near completion by the time you read this. Launceston now has its very own skate shop, McGavin, which opened its doors a couple of months ago is totally skater owned and operated, so get down there and support your local scene.

Was it just me or did Tassie seem a bit quieter, nicer and less smelly over the weekend of February 11th? Ah, that’s right – all the dirty skateboarders where in Melbourne for the Global Assault. For those who don’t know, the Global Assault is one of the biggest skate comps in the world and attracts all the big names from around the world. This event truly shows how big skateboarding has become, with the Rod Laver arena selling out for the 3rd year in a row and hundreds of skaters making there way over from Tassie alone. I

trick competitions. Honorable mentions (and minor place getters) were Alex Harvey with frontside heelflips and varial heelflips up the "penny gap". Young Dan with a double flip up the gap. Obie was trying to air over Tassie and nearly did and probably would have taken the prize if it wasn’t for Kieran McKenzie’s complete and utter disregard for his own safety. This kid was killing it and himself all day.

I know the world is full of freaks (just go to the skate park one day) but there’s something wrong when a major skate comp is won by a 17-year-old and an 11-year-old came 2nd. That’s no typo. Fucking 11-year-old Nyah Houston showed up the very best skateboarders in the world. All except Ryan Sheckler who took the cheque and the glory. As I said this event attracts skaters from all over the planet and Tassie was lucky enough to cop some overflow from this. Marc Haziza and Alex Giraud from France came down to sample some Tassie hospitality.

Ex Tasmanian Sean Holland has left his long time position as editor of Australian Skateboarding Magazine to start his own mag. Keep an eye out for this and get behind someone who has done so much for Tassie skateboarding. That’s about that for what has certainly been a busy period in Tassie skating. Keep shredding.

While they were here they hit up most of the local parks and filmed some tricks that have certainly never been done there before. While they were here they skated the ramp in my basement and managed to burst a major water pipe. So there was no shower for us in the morning. Thanks Mark. Then it was back to Hobart just in time for a BBQ/ demo/comp put on by Jimmy’s Skate and Street. This was a mellow Sunday afternoon affair with a free BBQ which is always a hit with the hungry and homeless skate crowd. Marc and Alex ripped the park, mingled with the locals and helped judge a couple of best

Bringing new

Kade Imlach There is an urge felt by all men at some point in their lives – the urge to get a motorbike and jump it off large objects. And for Kade Imlach, it’s an itch that is about to be well and truly scratched, when he rides alongside the infamous Crusty Demons. I spoke to him about riding, injuries, and how he’s about to take to the dirt with men notorious for risking life and limb for the sake of entertainment. What have you been up to today? Not much. Just sitting at home watching 50 vids ‘cause it’s too wet to ride. What about in the last month? Heaps of riding, traveled to Sydney for some practice and heaps of building at my house. You’re going to be riding with the Crusty Demons. How did you get involved in that? A mate of mine gave me the producer’s e-mail and I just sent him an e-mail and he hooked me up with the Hobart and Launnie show. How did you get started? My dad got me a bike for my 4th Chrissy and it’s all history from there.

What can we expect from you on the night? Hopefully a clean run with no spills. You’re sponsored by What opportunities has that given you? So far a new bike which hasn’t been delivered yet but it shouldn’t be far away. Brad is a top fella; he has got me an interview with you guys and I’ve only been with him for about three days. So expect big things in the future. What will you be riding on the night? One of the Braaap bikes. What’s your worst injury so far? Dislocated neck and hip What do you think people like more about these shows; when people make a jump, or when they stack it? Probably stack it, ‘cause it looks funny sometimes. But if it’s serious everyone usually stands up and just goes “owwwwwwwwwww!” What’s next for you? Riding at the Crusty tour then heading up to FMXNATS on the Gold Coast. [And] Plenty of riding in between. Kade Imlach appears with the Crusty Demons of Dirt on the “East Coast Carnage” Tour, in Hobart on the 18th of March and Launceston on the 25th.

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CD/DVD REVIEWS Piano Overlord Ying Yang Twins USA Still United By Paul Woolcock In my opinion this is just another commercial Hip Hop release that serves no purpose other than being familiar background club or party music. I suppose there is nothing wrong with this if you want to spend money on Hip Hop with seemingly nothing new to offer. Atlanta-based Ying Yang Twins have unsurprisingly made a few platinum albums using the winning combination of Crunk-style beats and simplistic hype rhyming that almost always seems to be about bragging or flirting. Fascinating shit. This is a remix album featuring new versions of the hit singles “Shake”, “Wait” and many others as well as collaborations with artists such as Pitbull, Elephant man, Bubba sparks and more. The production (by Mr Collipark on most tracks) is solid, though I often find the beats a little tedious using far too many clicks and claps. The delivery of the all too familiar lyrics is decent and consistent. The one track that stood out for me was “The Pink” due to the fact that the instrumental is a hyped up version of the “Pink Panther” theme, which is kind of cool. The album also comes with a DVD containing some live footage, an episode of “Punk’d” and the music videos “Bad”, “Wait” and “Shake” as well as short ‘making of’ documentaries for each of them providing a little insight into the whole process as well as a chance to see the twins talk about nothing in particular.

What an odd CD this is. Judging by the style of these tracks the Piano Overlord (Scott Herren aka Prefuse 73 and Savath & savalas) is a bit of a tripper. Taking the sounds of a custom drum kit and an assortment of pianos (including a Wurlitzer, some Rhodes pianos, a fender piano bass and an acoustic piano) the Overlord has come up with some form of Hip Hop/ broken beat/ electronic-sounding instrumental weirdness compilation. Nice. While this CD may be too unusual for most it should appeal to those who are after something that sounds kind of like Hip Hop made by a pianist on acid. Mainly unfamiliar piano riffs with varying distortion over unpredictable percussion is on offer here, broken up by strange ambient sections which could pass as either relaxing or haunting, not to mention a small amount of rhyming toward the end of the CD. After getting used to the unusual feel the Piano Overlord generates I found I actually really enjoyed a lot of this album. Some of the tracks are soothing enough for a come down while others set a good vibe for getting smashed. There are some tracks present that are a bit too jarring for me though, with so much jingly distorted oddness I feel like I might go insane. Still, I would recommend Piano Overlord highly to anyone after an unusual beat-based CD.

Swarmy The Appetiser By Paul Woolcock This is a decent EP that could have been excellent if only there was a bit more variety. Swarmy definitely has some interesting lyrics about some pretty cool subjects (stuff like tagging, hangovers and politics) but unfortunately, after a couple of tracks, I find it hard to concentrate on what he is actually saying. While the rhymes themselves are usually good Swarmy rarely changes his mellow delivery, making his style seem a little rigid. This consistency makes for decent background music but I feel that with his kind of lyrics, Swarmy would be capable of making some outstanding tracks if he took a risk or two. The production (mainly handled by Fame) suits Swarmy’s style well but also seems a little too monotonous for my fading attention span. Hopefully Swarmy’s full length LP ‘A Foot Through The Door’ (released mid this year) will have a lot more flavour as ‘The Appetiser’ seems a little bland.

By Paul Woolcock Hugely successful DJ Funk Master Flex is a veteran of American commercial Hip Hop. Known for his role in helping make mixtapes an important part of the scene he has enough influence to attract some of the biggest names in rap onto his CDs. At the moment I generally find mainstream American Hip Hop far too obsessed with Bling-Bling bullshit for my interest and unfortunately I feel this is no exception. This CD/DVD package is based on a tour Flex organised which had famous rappers taking their ludicrously pimped up rides all over America. The DVD contains footage from the tour and while there are some amazing cars on display the overly flashy editing means you generally don’t tend to get a decent look at each of them. What you do get is a chance to see shit like Flex making sloppy attempts at interviews and Busta Rhymes whinging about other competitors breaking the rules etc. Nothing you’re going to want to watch more than once I think.

By Paul Woolcock

While the delivery is fairly average it’s good to hear him expand his subject matter beyond arses and money. Unfortunately seemingly everything else on the album failed to say anything new. While R&B is certainly supposed to be relaxing a lot of this album is almost too laid back and un-attention grabbing. If not for the occasional ridiculous sexual comment this CD would be enough to send me to sleep with what I see as uninspiring rhyming and bland, repetitive singing. There is a laugh or two to be found with tracks like ‘Can’t Find My Panties’ (Tiffany Foxx) and ‘Just The Way You Like It’ (Supafly, Half dead, Snoop and 9 Inch Dix) but for all the wrong reasons. I have never been a fan of Snoop so I can't be sure, but it doesn’t seem like he is getting anymore interesting. However, die-hard fans will want it just because it has his name on it no doubt.

By Carl Fidler

By Ryan Cooke

This is the country folks, the most beautiful, traditional sounding country. Usually this style of music leaves me on the edge of my seat, white knuckled, with what’s left of my fingernails pushing through the palms of my hands ‘til they bleed. But this is just lovely... and ever-so-slightly twisted. Jenny Lewis has a beautiful voice with a sexy edge to her delivery that floats like a sleepy vulture over hardened lyrics that could have slipped from the drunken mouth of the late Johnny Cash. Her tales sound real and honest and straight from the heart of the South. I can picture her sitting on the stoop of her trailer waiting for her lover to return from the bar, drunk and angry, for better or for worse... She captures the mood perfectly, and The Watson Twins, and they really are twins, identical in fact, meander their sultry harmonies around Lewis’ simple melodies. Her songs have a comfortable blend of cute puns and hard truths and the result is endearing and immediately accessible.

It appears Emo/Metalcore/Screamo - whatever you want to call it - is here to stay. With that in mind, Melbourne’s latest hype metal act, Carpathian, have arrived with their self-titled debut. Kicking things off with Michael Moore’s ‘they should mosh’ speech, the EP soon hits its straps with the sing-along anthem ‘Don’t have my back’ – a highlight of which is the first breakdown 20 seconds in the track. From there, the speed and attitude doesn’t stop, with ‘Holding Hands is for Girls’ serving as another great example of Carpathian’s take on the popular American genre of metalcore. ‘Kiss the Rings’ is just one huge breakdown, which is sure to have every kid at their shows cat walking and acting like idiots –as seen on the Hellfest DVD. Watch out for Carpathian later in 2006 when they drop their debut album on Resist Records, and I recommend that any fan of Unearth, Parkway Drive or anything in that genre of music check this CD out.

Matchbook Romance

Voices Mary J Blige The Breakthrough Following in the fashionable footsteps of J-Lo and PD, Mary J Blige has renamed herself MJB. I don’t think it’s necessarily any easier or faster to say but it will take less space on the tour poster. MJB has been pumping out the hits for well over a decade now and has proved herself to be an R’n’B Diva with an amazing voice, but this album irritates the crap out of me. Track after track of wailing out “Oh baby, baby, please come back to me, I’ll treat you so good this time, oh can’t you see how much I need ya baby...” ad nauseum. Jesus wept! I can’t help thinking if she just shut up, he might come back! Now fair enough, there is obviously a market for this type of pap; people break up everyday, but it comes across as too desperate and needy. The track titles say it all for me: “Enough Cryin’”, “Good Woman Down”, “Baggage”, “Alone”. There is an atrocious cover of U2’s “One” at the end of the album that U2 took the time to record with MJB.

Nino Brown & Samrai

Blazin' 5 By Carl Fidler Blah. Blah. Blah. Blah.

Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah.

Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah. Blah.

Welcome To Tha Chuuch

The CD kicks off with a surprising track ‘Sisters N Brothers’ which has Snoop Dogg making an unusual attempt at rhyming about real subjects like the state of politics and religion.

Carpathian Carpathian EP

By Ryan Cooke Matchbook Romance created quite a swirl amongst the online audience through self-promotion before they were discovered by legendary Bad Religion guitarist Brett Gurewitz, who quickly signed them to punk label Epitaph Records. The band played to packed houses around the country on their most recent tour to promote their successful album Stories and Alibis that sold over 200,000 copies. They went from an unsigned act to a stand out one, and previewed some tracks from Voices live on tour. Now that you know all of that, Voices quickly picks up where ‘Stories and Alibis’ left off. Opening track ‘You Can Run, But We'll Find You’ features a beautiful piano intro - although every man and his dog seems to be doing that nowadays. Tracks like ‘Surrender’, ‘Portrait’ and the first single from the album ‘Monsters’ also showcase the band’s catchy lyrics and quick/tight guitar styles. Alas, no matter how much I sing this band’s praises, people will still dismiss them as ‘emo’ and won’t give a flying fuck, but try look past the label and give Matchbook Romance a chance – you may be surprised.

Yellowcard The audio CD is a 16 track mix of various well known rappers including Xzibit, 50 Cent, Mobb Deep, Nas, Elephant Man, David Banner and many more. All generally doing what they usually do so if you like these artists you probably won’t be disappointed. The production is tight with some nice instrumentals to back the fairly standard rhyming so I suppose if you’re a fan of mainstream American Hip Hop and poorly filmed flashy cars this is for you.

Cross Bred Mongrels Restore Your Faith

Everyone knows what Snoop Dogg is all about so I’ll skip the background and get straight to it. “Welcome To Tha Chuuch” sees Snoop team up with some new names as well as some old ones; artists like Daz, Kurupt, Nate Dogg, J. Black and more all make an appearance on this mainly R&B album.

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Carshow Tour CD & DVD

Bigg Snoop Dogg Presents

By Paul Woolcock

Rabbit Fur Coat

By Carl Fidler

Funk Master Flex I am probably being a bit harsh, as the Ying Yang Twins seem good at what they do. It’s just that I am personally bored shitless with what they do because its been done so many bloody times already. If you’re a fan though you will no doubt love it and I’m sure you have much more of this kind of Hip Hop to look forward to; people can’t seem to stop buying it for some reason.

Jenny Lewis

The Singles Collection ’03-05 Paul Woolcock

I can’t help but feel a little sorry for Cross Bred Mongrels. In my opinion these guys are the weakest link of Adelaide’s talent filled Certified Wise family (which contains such outstanding artists as Funkoars, After Hours and the almighty Hilltop Hoods). Cross Bred just don’t do it for me. MC Flak and MC/producer Debris (best known as one third of Hilltop) have been around for a long, long time, so long that I feel there is no excuse for releasing such sub-standard Aus Hip Hop. In my opinion Flak is quite possibly one of the most difficult Aus MCs to listen to, ever. His flow is inescapably sloppy, his subject matter is almost always bragging with nothing to back it up and his voice is not my idea of catchy. I wish I could think of some redeeming fact about Flaks rhyming skills but, quite simply, I can’t. Debris is a decent rhymer when compared to Flak although he doesn’t drop very many lyrics on this album. His production is tight and often funky although fairly slow and barren, possibly just to support Flaks style (or lack thereof). A few other artists make an appearance here including Reason, Flee and the all powerful king of Obese, Pegs (who drops a verse on ‘Restore Your Faith’ that doesn’t seem up to scratch for such a lyrical mastermind). There are 6 tracks and 6 remixes, so this is more of an EP than an LP. Perhaps I would not be so down on this CD a few years back but Aussie Hip Hop has evolved in leaps and bounds recently so I can’t help but feel this is a step in the wrong direction. Maybe you should take Flaks advice from ‘Bring It Back’ track 5 “…You want some real dope music? Go buy the Calling” or anything else, there is so much outstanding Aus Hip Hop to be enjoyed nowadays and ’06 is going to be huge. I hear Cross Bred are going to perform live in Tas soon and it’s possible they just make the kind of Hip Hop that needs to be seen live to be enjoyed. Let’s hope so.

Finding this review irrelevant? Well, this is how I felt listening to this album. This is a party tape of hip-hop and R&B favourites from DJ’s Nino Brown and Samrai and has about as much to offer me as the above “insightful” words offer you. The inclusion of Gwen Stefani makes me think of “So Fresh” for young wannabe gangstas. It’s poorly mixed and cluttered with too many cheap DJ tricks. It’s basically rubbish, but if you’re still interested, it’ll be available at Cunninghams in the next couple of days for $5.

Lights & Sounds By Ryan Cooke Before we start, let’s get something out of the way… This CD is shit and I wouldn’t wish it upon my worst enemies. Now I have that out of my system, I shall start talking about the album. Now, you’d think a band that has sold more than a million records would be doing something right, yes? Well, that isn’t the case, and it makes we wonder… who in the blue hell is buying this rubbish? From the piano intro to the rootsy acoustic duet ‘How I Go’ with Natalie Maines (of Dixie Chicks fame), this CD is just sugar coated bullshit for the young emo kiddies with too much money for their own good. The only thing I (sort of) respect Yellowcard for is not going down the same path as every other emo band by talking about teenage angst, suicide and cutting yourself – among other silly things. But, as I’ve said before, do not buy, download or waste your time listening to this CD.

Ministry Of Sound The 2006 Annual

The Living End

By Carl Fidler

State of Emergency

What the hell happened to Ministry Of Sound? Once the Mecca of dance music, an institution of pioneers, forging their way to the sounds of the future... they’ve chucked it in for a dirty wad of easy cash. I guess, there is a whole new generation of uncultured clubbers that will believe Bodyrockers and Rogue Traders to be dance acts of substance! John Course and Mark Dynamix are responsible for this year’s annual, and both are respected DJs in their fields, but there is something terribly cheap about this CD and it carries the flavour of dud bikkies. The tracks are too commercial and too obvious with nowhere near enough highs. Poo, poo, poo. The Mark Dynamix disc contains a couple of interesting remixes of Gorillaz’ “Dare” and “Want 2/Need 2” by Sharon Phillips, but the John Course disc is just one big fat yawn. With extra cheese. The best news though, is that most of the tracks on the CD have been converted into “true tone” ringtones (including Bodyrockers and Rogue Traders) which you can purchase from a list on the back cover for a mere $6 each. K-ching!

By Ryan Cooke The Living End will always have a special place to my heart - going way back to 1999. TLE were the first ever band I saw live, and seven years, two albums and two drummers later, Melbourne’s tightest trio are back – bigger and better than ever. The Living End’s 2006 offering, ‘State of Emergency’, is their strongest effort since their self titled album. From the word go, ‘Til the End’ has your attention and will take you on a journey you won’t forget. The album’s first 2 singles, the catchy standard first rock single ‘What’s on your Radio’ and the more antieverything ballad, ‘Wake Up’, are just two of the many highlights of this great album. “State of Emergency” is going to put The Living End back at the top of the charts and back in everyone’s stereos.

CD/DVD REVIEWS The Proposition By Tom Wilson

Black Dice


Broken Ear Record By Randall Stafford

Cute & Cult By Pat Duke

Brooklyn's Black Dice release their third album on DFA records entitled “Broken Ear Record”. Their two previous releases “Beaches and Canyons” and “Of Creature Comforts” were unpredictable soundscapes of abandonment and this release is no different. Originally Black Dice were a post-Hardcore noise band under the guise of Providence. Some of tracks on this album I personally would consider noise but others take a more substantial path. If anything it's interesting. The opener "Snarly Yow" is as it suggests; deep distorted rhythmic lines with short cross-timing melodies and what sounds like a guitar being put to death over the top. "Heavy Manners" is like an electrical storm; the dynamics within the piece are understated and the dreadful yet sweet acoustic guitar is a nice touch. While "Street Dude" is a huge tune with massive distorted vocals and sampled synths smashing each other causing a cacophony of music. Each festival of digital noise flows into the next so at times it becomes very disconcerting but there are some irrepressible moments. The best offering is "ABA"; it is a very short tune but like a small group of pretty test tones. The lack of pure up-and-down rhythm on this album would no doubt turn a lot of people away; at times it's very dark and alienating. This is abstract art and not easy to sit and listen too. If you’re a closed-minded immature old-schooler stay at home and put some metal back on.

Le French Agoria First mix cd released to date, damn I liked it! With a crazy progression of techno he navigates the mix into many transient landscapes of gloom at the beginning of the cd it's almost hard to believe some of the tracks you here through it. With the likes of Radiohead, Iggy pop, LFO, alter ego and more it proves to be a expression found within his true Jazz backgrounds.

Personally not being a techno man this cd seems to grow on me more every time I give it a spin. With such a variation of tracks it pumps from dark mystical sound scape beats into full on bouncing chunk! And just to throw you off the rails hammers Iggy's nightclubbing! Woooh what a crazy gutsy move and very effective I could only imagine what Agoria would do live. Also with its happy vocal slamming on the odd occasion to throw so many genre’s into one mixed cd of 23 tracks it still is a nice little package that can be inspiring in the electronic music world. The last track is a great laugh strings of life slapping on the ivory I haven’t heard a piano play a funkier house tune. Two big groovy fat fucker thumbs up for this one people! Tell ya grandma to give her 1000watt speakers a workout.

Modular Presents A Taste of Kandi Volume 1 By Randall Stafford "A Taste of Kandi" is the first release in a new series for the global conglomerate that is Hed Kandi, the name synonymous with house music around the world. Hed Kandi covers everything from club nights, radio programs and has even scored some commercial success. Other familiar series on the label include, "Beach house", "Back to Love" and "Twisted Disco". It’s a straight-up vocal house album with full-length 12” mixes and a European flavour. As always there are some house stalwarts and remixes by some top class producers including Artful Dodger and Cabin Crew. Artists making there name for Hed Kandi club nights across the globe such as Stonebridge and Peyton continue their affiliation with the label and Peyton's "A Higher Place" (ATFC remix) is probably the stand out cut on the album. The selections that supply organic and old school elements are certainly the more delectable including the R&B infused "U Got Me" by Para Beats Feat Carmen Reece and Nate James’ "The Message". Often Hed Kandi mixed disc releases just push the boundaries of cheese and unfortunately this is no exception, LnM Projekt’s "Everywhere" (that overplayed Fleetwood Mac sample) drops the standard and the smooth cocktail club sound is therefore destroyed late on the album. Overall this is a satisfying release for the soft-core clubber and classic house listener. It's perfect for pre-clubbing drinks but can also deliver a punch. The tracks are not new but an offering of current club hits and label specials that haven’t surfaced on other Hed Kandi releases. Standard but fun.

Leave Them All Behind By Pat Duke This indie-dance double-CD is Mixmag’s album of the month and hugely rated by DJ Magazine, and it’s pretty easy to understand why. With artists like The Killers, Bloc Party, The Rakes, Erol, Alkan, DFA 1979, Tom Vek, Tiga, Phones, The Kills, Optimo and Soulwax, it’s a rocking CD that suites the alternative scene and electro remix lovers. When I was given this CD to review I was a bit sceptical but I was impressed with its diverse sound between organic rock to electro pop. With modular, smoothlyrolling tracks in the first CD, it expresses many of the vibrant acts out there voicing their tunes. Yes, there are some tracks in there that give me the shits ( Fiery Furnaces – “Single Again”), yet still does make up for it with the later tracks of the first CD with remix’s from the likes of Mylo, Cut Copy and Jagz Kooner. The second CD has many more tracks that have a funkier essence about them like Presets – “Summer of Love”, Chromeo – “Needy Girl”, very catchy. My preference overall of would be the likes of the last five tracks of the first CD and a majority of the second. Not a bad CD – definitely not my cup of tea but if you like the indie-dance sound grab it, listen to it, hug it, love it.

By Tom Wilson

It’s 1800s Australia, and the Burns Brothers gang – Arthur (Danny Huston), Charlie (Guy Pearce) and youngest Mikey (Richard Wilson) – fall afoul of vengeful policeman Captain Stanley (Ray Winston) after a Glenrowan-style siege. The ultra-violent Arthur has escaped, and so, with the other two in custody, Stanley makes Charlie a proposition – hunt down and kill Arthur by Christmas, or young Mikey will be hanged. The brainchild of Aussie music superhero Nick Cave – who wrote the screenplay and scored the film – “The Proposition” shares the same sombre beauty of the music he is known for. Director John Hillcoat’s outback Australia is a bleak, hostile, brutal place; one of dust, sweat and blood. The film is uncompromising in its depiction of a brutal, savage chapter of Australia’s history. The violence is sickeningly visceral. Heads explode. Spears impale bodies. But “The Proposition” does not indulge in violence for the sake of violence (particularly notable given the modern tendencies towards graphic carnage begun by “Braveheart” and “Saving Private Ryan”) The performances are stunning. Guy Pearce is almost unrecognisable under his scurvy-yellow pallor and crooked teeth. John Hurt’s drunkard bounty hunter is played to flamboyant perfection. Winston’s Captain Stanley gets our sympathy, even after pistol-whipping the chained Mikey in the opening scene. Given the fate that befalls him in the final act, we feel for him – despite his sometimes brutal methods, he is a decent man. Visiting socialite Fletcher, on the other hand, is a cold, calculating weasel, and it’s a role David Wenham eats for breakfast. What’s puzzling about this DVD is the extras, which focus entirely on the impact of Aboriginal culture on the production – bizarre, given that in the film the “blackfellas” come off just as brutal as the white colonists.

By Pat Duke “Clubber’s Guide to 2006” – the tunes have finally got chunkier and more electro, expressing the sound that’s particular popular today. Goodwill and Axwell have banged their heads together to come out with some new refreshing funky club tunes that have been smashing dance floors for the future to come. With CD 1 we have Goodwill throwing in some fantastic electro remixes of Gorillaz, Mylo, Sharem Jey, Louie Austen and many more. With its smooth transitions from one track to the next, its definite imprint of phat chunky bass lines flow through the first half of the CD. Resorting into a couple of soft tunes in the mid range of the mix with a tonne of vocal hooks for the commercial spew to keep all the patrons happy that want the true Ministry sound. On CD 2, Axwell has thrown a curve ball of his own style that he’s always achieved successfully in the past – definitely the more commercial humbling groan throughout this track listing, consisting of the more perforated bass funk. Definitely the more club-friendly side of things yet still a very vibrant sound, worth the listen. The first listen I wasn’t too impressed but the more you hook your ears into it the better it ends up sounding. Definitely a heads-up to the Goodwill CD – I really enjoyed it – and Axwell still got his high standard of club music pumping. If you like Ministry of Sound this is definitely worth the buy!

The sex is frank without being overly explicit (unlike “9 Songs”) or patronisingly sugar-coated (unlike any of its American contemporaries), and it’s a true credit to the lead actors that nothing looks forced.



GAMES Ultimate Spider-Man (PC) By Jason Collins

by playing his arch nemesis Venom. Fans of the comic will easily recognise the many characters and should be more than happy with the way that the developers have represented these faithfully to the originals. Graphically its stylized 3D cel shaded engine matches the content perfectly really bringing the comic book feel of the game to life. With fluid animation and vast areas to explore eye candy is aplenty. Within these areas you must complete various tasks and defeat certain enemies such as the Rhino and Elektro to progress.

My Playlist

With the creative team from behind the comic providing the story you can be sure that this enhances the quality and atmosphere of the game and allows them to continue from where the comic left off. Gameplay consists of the completion of various mission critical tasks and fighting various members of the spidey universe. The combat system although simple is highly enjoyable and suits this game well, considering its market is likely to be a fairly young audience or spidey fans.

By Randall Stafford

This is an awesome release with so many brilliant selections with that French DJ undertone that is defined by the flow and slick skill of mixing diverse music.

Overall Treyarch should be commended for this game as it must be hard for a developer to continually refine and create new fresh gameplay experiences for the consumer when dealing basically with the same content over and over.

Ludo Llorca composes a mix of acoustic and electronic music inspired by Afro-American music heritage; everything from blues to jazz, and from soul to techno.

He then spent two years on stages around the world, with a female singer and five musicians performing one of the most requested electronic live shows at the time.

This is a touching, frank and laugh-out-loud funny study of a one-night-stand that turns into a relationship. While it adheres to the rom-com formula – particularly the chase scene at the end – what makes it work is a killer script, likeable leads and intelligent structuring. Talking heads segments are used at key junctions to give different perspectives of sex, and they work wonderfully – as does the voice-over thoughts of the two leads. I have a feeling that both guys and girls will both get a chuckle out of some of the “truths” that come out in this.

This could arguably be called Australia’s first Western. “The Proposition” is a vivid, harsh look at what was ultimately the forging of our country, and is a triumph not just for director Hillcoat, but bard Nick Cave.


The album opens with his own vocal introduction (deep effects included) outlining the album's featured artists, then straight into the pure soul funk of ‘Evil Vibrations" and Llorca’s own collaboration with Stephen Frank "All We Ever Have". Phonique's "99 1/2" is outstanding electro house with loads of atmosphere and other featured tracks include Supacell's "It's Here It's Now" and "Hit on You" by Roundtree. Llorca even manages to get Tone Loc's "Funky Cold Medina" in the mix, once again proving his attitude and skill as a DJ. "My Playlist" does become distinctively harder later on the album but stays funky throughout.Llorca's first release was "Newcomer" dropped in 2001.

The story is a tale like a thousand hook-ups in a thousand different bars. A wildlife photographer shares a cab home with a dressmaker. He will be flying out of the country in three days, and so when they arrive at her house, she takes him inside, convinced it will just be a fling. But as they find out, it’s pretty hard to keep it “just sex”.

My only gripe with this film is the wise, almost omnipotent taxi driver, whose sub-role as relationship counsellor – coming into play as she ferries them to and from the apartment – is overplayed to the point where the film loses some of its realistic grounding. But with a film this sweet and charming, it’s forgivable. “Better Than Sex” is a highly amusing and quite poignant look into the politics of one-night-stands. Guys, believe me – this should not be written off as just some chick-flick.

French DJ Llorca delivers an abundance of funky soul, electro and classic material with his first-ever compilation.

MOS Clubbers Guide 06

Better Than Sex

For a long time games based on superheroes and movie licenses have been average at best, with the most money for the game being spent on the actual license and the least on the actual game. Content to sell copies of a game based on a popular character or movie regardless of how shite the actual game itself may be. Thankfully in recent times this has been changing.

He is also a dedicated remixer credited with a smashing remix of Alex Kid's "Come with Me" under the name Monkier. This mix album is a seminal release for this undeniable

Ultimate Spiderman is the third game from developers Treyarch to have the wall-crawler as its star but this time out they have strived to create a much more free roaming environment with vast areas to explore and more characters from spideys comic adventures making an appearance.

French talent and its uniqueness sets it apart in today's current dance market.

Which brings me to the twist not only can you play hero (spidey) but you can also indulge your dark side

Ultimate Spiderman is a solid and enjoyable title that should not disappoint either the casual gamer or the hardcore spidey fan.

Graphics Gameplay Sound Multiplayer Overall

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**** **** **** no ****

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No two ways around it, pesto is a challenging dish, even for the frontman of Melbourne’s rising stars, True Live – Ryan Ritchie. But while Mr. Ritchie struggled to defeat the basil plant jammed into his blender, he had absolutely no problem speaking to Dave Williams about True Live’s upcoming stint at MS Fest in Launceston on March 11th.

No friend of basil

True Live

What are you up to today? Trying to make some pesto…not having much luck. I’m trying to get rid of this… I grew this basil plant, and I’m trying to make some pesto, but my blender’s not behaving.

When was the first time you played with the lineup that you’ve got now? The first series of gigs was at First Floor, a Wednesday night residency. And they went well; we got heaps of people dancing. Then we took a little break, and then we went, “Okay, let’s put it on the line.” And we took on the Monday nights at the Evelyn. We started with two people watching, and then that became four, and then that became eight, and within five weeks we had a hundred and fifty people there each Monday. And Elf Transporter had the Sunday that he was running at the Evelyn, and the Red Eyes had the Tuesday. So between the three of us – and we’re all mates – we fucking owned the Evelyn for three nights, which is why the Evelyn’s Monday night hip-hop is Monday Night Hip-Hop; because we built it up.

So what’s True Live been up to in the past month? Just playing heaps of live stuff, and I’ve been working on the record as much as I can – trying to get it right. So you’ve already started working on an LP? Yeah. Actually, the LP’s been pretty much done for quite a while now. We’ve just been held back for certain reasons; certain managerial reasons. Have you swapped management and stuff? Yeah. We’ve swapped management a couple of times, and the label, with regards to timing and stuff like that. You can’t just go put something out. You’ve got to prepare the world for it first, and have the right kind of approach. And we really want to get it right with the first album; we want to make a difference with it. And you only released the EP in December, didn’t you? Yeah. The EP was basically a selection of songs off the album, so that the marketplace could kind of get an introduction to the band. You’ve got a fairly extensive string section. Is there any sampling, or use of computers? Yeah. Shit yeah. The only sampling we do is sampling of ourselves…self-sampling, which is a medium…the first person to do it was Roni Size, who did it on the “New Forms” record. They were sampling themselves. So it’s rather than using a sample from someone else, you first record your ensemble, and then you mix it, and then you put it in a sampler and use it. To what extent do you think there’s a move towards the live playing of instruments in hip-hop in general? Well the thing about it is, in America, it’s been in the scene for years; Neptunes, Timbaland, those kinds of guys. They’re all tracking everything themselves. They’re tracking the drums; they’re tracking the fucking…they’re playing everything. The tradition of the record breakbeat being sampled and stuff, it’s almost done. I mean, Kanye…he’s the one that samples a lot of the soul things, but they also play a lot around them. He gets players in to play around them. So it’s quite common for hiphop artists to use real live music. The Roots were kind of pioneers, but they’re trying to achieve something quite different from what we’re trying to achieve.

…My blender’s not behaving… Now the name of the band…or group… What do you call yourselves – a band or a group? Ah, we’re a band ensemble. Does the name have a reflection of that attitude? Well the first word “True” is what I’ve always believed to be one of the most important parts of music; to play true; to write true; to mean everything. And so, for us, a solo is not a pre-written solo, when the player has nailed the exact solo that he wants to do, and does it each time, and the audience goes crazy. He stands on the fucking edge, and gets his nuts out, and improvises every time, because that’s what it’s about for us. And for me, it’s about staying true to my lyrics; staying true to what I’m trying to achieve in my poetry, and what I’m trying to achieve lyrically. The “keep it real” phrase is long gone, but to me it’s just a reality. I’m sick of fucking people

NOT another joke about COWS!

The Herd Aussie hip-hop crew The Herd liked fine artist Jane Tyrrell so much they made her an official “Herdette” last year. We caught up with her leading up to their shows at MS Fest and Hobart’s Uni Bar – the latter being, for her, very special indeed … What are you up to this afternoon? Well, waiting for this [interview], then I’m going to the graffiti show, with Frenzal Rhomb. What’s The Herd up to these days in general? We’re just about to kick out on the second big tour since the album’s release. Doing loads of gigs for the next three months. We’re kicking off next Wednesday – we play Griffith Uni, then Brisbane, then Newcastle. Do you have a rehearsed stage show, or is it pretty loose? Yeah. Before, it would always be improv, really, and freestyling. But for the first album tour, we did rehearsal for a good week, to make the set tight. Since then I’ve mastered it, because we’ve done many, many gigs. Part of this tour is really exceptional though, because Simon – otherwise known as Bezerkatron – won’t be making a couple of the gigs, so it’s going to be a bit special. So I’m working on some fills, and some of the others are working on some fills…so yeah. How long have you been a member of The Herd? I think it was November last year. So you’re the new kid on the block? I am the new kid on the block! Yes! How did it feel joining people who were so estab-

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And I was like, “No problem, of course”. So we went from there and we had the different members of the ensemble jamming each time. So I got Ivan, the drummer, who’s the man in my opinion, and I chose Thai the keyboard player because he’s a really out-there cat, and I’m really into that pre-’73 fusion sound. And I was working a lot with Tom, the bass player, who I bought down. And then Tamil, who was the violin player, was just jamming with us, and he said, “I know this really badass cello player who’s really into playing with us”. We had another cello player, and she hated it because she didn’t know what she was doing, and we had a clarinet player but he wasn’t quite up to scratch… We got this cello player, and it just fucking clicked and that was it. We just kind of rolled with it from there, and I was really stoked because I have this really awesome ensemble of musicians to write stuff for. Everything just kind of worked out.

lished, particularly as the only girl? Yeah, it’s wicked. I haven’t got enough nice things to say about it, really. It’s kind of…exactly what I was looking for at the time. Although none of us had any idea that that’s where we’d be; it was a very organic kind of decision.

How did it come about? They called me last year in about February. Shannon – otherwise known as Ozi Batla – said he’d written a track with me in mind. So he sent me the disc, and I put down some vocals and sent it back to him, and he said “Bring it on!” So I flew down there to Sydney. I put down “Under Pressure”, which is kind of my feature track on the album. And then we ran it by the studio, and they said, “Nah, that’s too good! Let’s get you on some more!” And I’m like, “Alright! Bring it on!” And I did two tracks, and I played the first two big opening shows, as a special guest, in Sydney and Melbourne. And after the Sydney Metro show, it was a definite fantastic and huge response, from the audience and the media. And the week after I couldn’t do the show, ‘cause I was just finishing my degree and doing my exams. And they called me from Newcastle and said, “Look, we’re missing you here tonight.” And I’m like, “Man! I want to be there!” And they’re like, “We want to know if you want to do the rest of the tour.” I’m like, “What are you saying?” And they’re like, “Well, we’re wondering if you want to be a Herdette?” “Bring that shit on!” So I finished my degree the day that I became the first Herdette; I flew to Brisbane and played my first gig with them as part of the band the day I finished my degree. It was pretty nice timing, really. What degree did you finish? Um, I’m a fine artist; I’ve done five years of visual arts, which sounds like a long time. I’m a print-maker mostly, but I did sculpture as well. I did exhibitions around Melbourne. In The Herd, you sing...rap… Do you call it “singing” or “rap”? I definitely sing so far, in what people would have heard. But I’m into a bit of spoken word, which I guess people will hear in the near future. What about writing? Do you think you’ll get into that? Oh, absolutely. I have got my own parts; I strongly be-

acting hard; I’m sick of a million things in hip-hop that I just can’t fucking stand. So I just want to be true to myself as a poet and as a songwriter in my lyrics. And the other word, “Live”; that’s the obvious one. It’s like, when we play, we play live; there’s no click tracks, no backing tracks, no samples, no nothing. It’s all coming out of the ensemble as you see it. And then the other bit about the live element is the self-sampling element of the band. It’s really important to us. How did you guys get together originally? How long have you been together? We’ve been together for about three years now. Basically kind of got together; Elf Transporter was running a jam night, a hip-hop jam night. Just local cats. He invited me in to jam with him, and he was like, “Man, you should stay on – keep working each night, be my wingman”.

It’s good to make something, isn’t it? It’s amazing. It was such a great feeling. We didn’t know what to expect, but on the first night, the two people that came up said “That was so good – we’re going to come next week and bring our friends”. And they did. It just built from there. By the time we did our last night at the Evelyn, after a year’s residency, we had a capacity, sellout show. We were killing it – it was fucking great. Back in those days we were a certain kind of band; I suppose we’ve grown quite a lot since then. Talking about not knowing what to expect, that’s probably how you feel about Tasmania… You’re in Tassie? Oh man…we fucking love it there. We played the Republic Bar and we had capacity both nights – the second night there were people outside the window watching us. We love it over there. We had one of our best gigs of recent times at the Republic. I think the thing with Tassie is that it really suits our culture. There’s a fine art and wine culture there, plus there’s just a fucking out-there rowdy culture. After Tassie, what then? Well we’re having a big A&R meeting on the album next week with a good friend of mine and my manager. And basically try to knock that off and get it [the new album] out in July. True Live play MS Fest on March 11th alongside Cog, Shihad, Grinspoon and many, many others. Tom thinks they’re great, so see them.

By Dave Williams

There’s lot of people pawning off their voices out there, but it’s not my game. lieve that there’s no point in putting down a verse if you haven’t got any input. There’s lot of people pawning off their voices out there, but it’s not my game. I write all my own stuff. So you would’ve been involved in “The Sun Never Sets”? That’s right. The feeling in the group…is it that the album achieved what was expected? Yeah. I think the outcome has been something that everybody’s happy with. So it’s certainly a different sound from “The Elephant Never Forgets”, the album before that, which I wasn’t on. Yeah, I think the fans’ response has been great, and more to the point I think it’s just an honest reflection on the social and political awareness. That came out pretty well. So yeah – everyone’s pretty happy. There’s got to be some benefits and some drawbacks to being the only girl touring with eight guys… What are they? Stinky feet? Yeah. Stinky feet – that’s not too bad. We did a month’s touring together over Christmas together. I guess the benefits have been quality time with them on tour. I’ve actually always hung out with guys; maybe that’s just hip-hop, because you’ve got to have balls to deal with it. It’s just been great hanging out with people who are so switched-on, you know? Creatively on the ball, one-hundred-percent, always thinking, always being inspired. I guess the negatives are…let me think – there’s not many. Maybe just the smell factor, that’s about it – that’s all I can think of. I do crave women after a long period of time. The burping and farting… Yeah, that’s alright – I’ll challenge them on those! (Laughs) I really can’t think of any negatives. I wish I could come up with some good ones. You must wish that more girls would get involved… Yeah, I guess I do wish. It’s a funny, fickle place to be.

There’s two ways of looking at it; there’s lots of hip-hop talking about your momma, and how big your dick is and all that kind of stuff. As far as women go, entering into that kind of style of hip-hop…forget it. Because it’s all bravado and it’s empty words. I don’t know how far a woman could go with that kind of thing. But on the kind of hip-hop that The Herd’s doing; stuff that’s done on relevant topics, there’s definitely room for females. In terms of female singers or rappers, who inspires you? I’ve got many inspirations. As far as singers involved with hip-hop, Jill Scott – she’s in a Philadelphia crew – she’s sung with The Roots and other people. Erykah Badu… Lauryn Hill – she’s like one of my favourites ever. As far as rapping goes, she’s one of the illest freestyle rappers you’ll ever come across. The Herd play Hobart’s Uni Bar on the 10th of March (wish her happy birthday) and MS Fest in Launceston on the 11th. “The Sun Never Sets” is out now.

By Dave Williams & Tom Wilson

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African New Wave is about to hit us hard

3 Corners Of Africa

Hip hop has exploded on a global level, to the extent that Australian television broadcasts documentaries present the real portraits of a nation when seen through the eyes of local hip hop artists. One such film was “Kenya Hip Hop”, broadcast in 2005 on ABC Television's “Foreign Correspondent”, which focused on fresh talents Sinpare. This East African duo from Nairobi are at the forefront of a dynamic urban Africa that can no longer be ignored. Joining Sinpare for The 3 Corners of Africa, are South Africa's H2O. Born and bred Soweto boys, they still reside in that infamous ghetto. H2O are now ready to launch their eagerly awaited sophomore album 'Amanzimtoti' in Australia. West African four-piece Da Fugitivz are the third corner in the line-up. They are winners of Best New Group and Best Rap Group in their home country of The Gambia. They have toured extensively in Europe. Australian hip-hop and contemporary music fans, be warned – the African New Wave is coming…

Thursday 13th April Good Friday Eve

+ Supports Joycie and Dj Paul

Friday March 3rd

Amber Savage & Archie

Coming Soon

The New

Sirocco's Bar & Nightclub 6 4

W I L M O T 0 3

S T R E E T B U R N I E 6 4 3 1 3 1 3 3 Page 27

SPOTLIGHT The Artistic Assault of ARTRAGE 2005

Raaah! ArtRage is back! Teen delinquent artists striking down those barriers, while expressing their yearning for freedom, cries of pain, and rejection; the dark souls of post-pubescence teenagers about to be let free on society. ArtRage, in case you don’t know, is an annual exhibition of secondary school art students from around the state that has just recently started its first showing in Launceston. Painting, photography, and graphic design are the main staples of creative expression here, with a welcome nod to sculpture, loneliness, skating and sexual awakenings – all pretty interesting stuff. This year’s ArtRage keeps up the exhibition’s good reputation, becoming one of the better exhibits of the past couple of years. Rachael French and her team deserve a pat on the back for combining so many elements and putting them together in what must be a hard task of selecting and gathering. Over the years the skill of the artists and the quality of their work has greatly improved to create an engaging and sophisticated show away from typical high school art, as school takes on school in the great sport of Art.

Unwind at...

ArtRage gives me a look back on an age and generation I seem to be drifting away from, yet I still get glimpses of my own past. The dark and depressing moods showed through some of the works, and Kurt Cobain once again rears his ugly head. Some if not most of the works show teen angst; large faces scream, while shy faces cry. These young artists are developing and are changing beings, and this is what I expected to see and what I found. I was disappointed though at the large amount of work that seemed a little self-conscious and too much of the self. I was hoping for some insights into how these guys saw the world issues that are everywhere to use and to pick up on. Not one political comment, reflection or work (this I admit is my bias). Is this a sign of the infiltration of a “Big Brother” generation? Having said that there are always a few that lift their heads out and create something of more sophistication. Elke Andrusko’s “Vesta’s Shadow”, showed great composition; very minimal, striking out to me amongst the others. Callan Young, “Brothers” – unabashed humor, great in-your-face digital photography. Jessmay Bath’s great sculpture “Co-existence of Natural and Industrial World” – beautifully simple and unique amongst the others. Emma Peachey’s “Life is a Pattern” – fast and great use of music and image (synaethesia) and Sarah Cooper White’s mixed media installation. All in all this is a good exhibition with so much to see it becomes hard to take it all in and probably requires a few visits. It has been put together very well and looks exciting, entertaining and fun. ArtRage is on display at Launceston’s Inveresk Museum until the 30th of April.

Just Add You!

By Sam Eddy

Hundreds of activities and events have been planned for young people throughout Tasmania during National Youth Week. To see the Tasmanian calendar of events go to

Friday Night Live Jazz at 8pm Fri March 3 March 10 March 17 March 24 March 31

Carl Bulow No Strings Ultimo Trem Three Piece Suite Daryl & Brendon For more information Contact the Department of Education’s Office of Youth Affairs on 6233 7945.

Ursula’s Wine & Tapas Bar 63 Brisbane Street, Launceston (near the Princess Theatre) Open from 12 til 2.30 and from 5pm Tuesday thru Saturday P: 6334 7033 | E:

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Bare Threads

Name : Anna Age : 18 Favourite Band: American Hi-Fi If you stole fifty million dollars, what would you do with it? Put diamonds on my braces. What do you think you’d probably be arrested for? Stealing candy from babies.

Name : Ben Age : 18 Favourite Band : Alexisonfire Favourite Drink : Coronas forever! If you stole fifty million dollars, what would you do with it? Put an ad on TV bagging out my friends.

Name : Annika Age : 23 Favourite Band Distemper If you stole fifty million dollars, what would you do with it? Buy an island What do you think you’d probably be arrested for? Setting things on fire.

Name : Marcus Age : 27 Favourite Band The White Stripes If you stole fifty million dollars, what would you do with it? Go to a casino and make a hundred million. What do you think you’d probably be arrested for? Starting a fire in the casino.

Wednesday Uni Night DJ Dave Webber 9pm till late Happy hour – 9-11pm

Sunday Sessions Live acoustic on deck with Charles 4pm-7pm DJ Dave Webber 7pm-late 217 Sandy Bay Road | 03 6224 4444

March Gigs: Friday 3rd

Monday 13th

DJ’s Scott Woodhouse

Acoustic on deck with

& Jesse Breen

Charles & Joel

8pm – late


Saturday 4th

Saturday 18th

Acoustic duo Brett & Joel

Acoustic duo Brett & Joel

Vodka & Redbull Jugs (4-7pm)



Saturday 11th

Saturday 25th

T h e re ’s A l w ay s S o m e t h i n g Happening At The Metz

Acoustic duo Shawn & Lucas

Acoustic duo Shawn & Lucas



1M o n d ay

13th March Acoustic on deck With Charles & Joel (4-7pm) 1$15

1 1 5 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 2 3 8 4 | F A X 6 3 3 1 2 3 8 7 | W W W. C H I L L I D J . C O M . A U








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Sauce - Issue 24, 1-3-06  

Tasmanian music and pop-culture, featuring Rogue Traders, Brant Bjork, Grinspoon, D.H.T., Dave Calandra, Bouncing Souls, Ballpoint, Behind C...