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HIP HOP Walking the Hard Road with Mic's in Hand

Hilltop Hoods My nuts are quite large…

Arguably the biggest hip-hop act in Australia, the Hilltop Hoods have certainly made a name for themselves, and have developed a fierce reputation as one crew you shouldn’t miss live. Prior to the release of their new album “The Hard Road”, Pressure MC caught up with Dave Williams to tell him how it is… What have you been up to today? I got up at 8am and by 8:30am we were out the door. We did two photo shoots and checked our equipment in to the venue, had a quick lunch and then did two more radio interviews. Very soon we’ve got a soundcheck then one more interview! Apart from finalising the new album, have you had time to do anything else in the last month? What? Absolutely not. In between finishing and mastering the album, rehearsing and media any spare time that I’ve had has been spent sleeping. What has the feedback been so far on "The Hard Road" - not just whether people like it or not, but what comments are people making to you - critics, mates and the public? Feedback has been minimal so far as the album is not out yet. Everyone who has heard it so far says it’s our best work to date – the vocals are stronger and it’s a little darker than ‘The Calling.’ Let me say, first of all, I really like this new CD. I find that “The Hard Road” is a much tougher, harder album than “The Calling”, with some party tracks mixed in. What do you think of my impression? That’s pretty accurate I think. I would describe it in a similar way myself. That’s pretty much spot on. How much pressure do you think everyone in the group felt to live up to or exceed the expectations brought about by "The Calling"? To be honest, I think any pressure we felt was put on us by the media. We did feel it a little bit and the pressure that we were going gold with this but at the end of the day we tried to ignore it and I think we did a good job of ignoring the expectations. Your first single off the album, “Clown Prince,” opens with someone (one of the Hoods?) trying to back out of buying a round of drinks. Where did the inspiration come for this track? Being that it’s a party-style drinking track we wanted to open it with some humorous gesturing which often happens when we’re hanging out so we thought we’d open with a bit of a guest! Again, on “Clown Prince”, you give us this gem – “Typical MC, my nuts don’t match the size of my ego”. So how big are your nuts, and how big is your ego and why is there so much bravado in hip hop compared with other genres of music? Firstly, my nuts are quite large which makes my ego incredibly big and I think hip hop has so much bravado because a lot of hip hop is very battle-orientated so it’s a competitive nature. But you have to take it as tongue in cheek with a grain of salt. If everybody took things literally in hip hop it would just get ridiculous.

The Dog Is About To Have His Day For ...

Bliss n Eso Those in the audience for Launceston’s MS Fest last month will remember Bliss N Eso; the fiercely energetic hip-hop crew who set the crowd alight with, most notably, a hiphop rendition of The White Stripes’ “7 Nation Army”. Touring on the back of their new album “Day of the Dog”, American-born MC Bliss spoke to Dave Williams about the album, the MS Fest show, and…ahem…hiphop furniture… So you’re pretty busy at the moment? I’m just at work, yeah. But it’s okay; I’ve got a minute to talk. Generally, what are you up to at the moment? Pretty flat-out with the tour; we’re obviously on our national tour at the moment for our album “Day of the Dog”; just been heading up shows…The response has been great. How is everyone receiving “Day of the Dog”? Really well. I mean, we debuted at #45 on the ARIA charts; which is pretty much unheard of for Australian hip-hop, and we were really stoked with that; we didn’t expect that at all. The reviews have been great so far, and the feedback has just been really positive. So we’re really happy at the moment with the way everything’s going. The name “Day of the Dog” – is that a reference to “every dog has his day”? Yeah, yeah. The metaphor is; Australian hip-hop is like the underdog of the industry. Not so much now – it’s getting a lot more recognition, which is great – but over the past several

You’ve got some pretty vicious lyrics on this album; some could almost call them violent. How far should the listener read into what you’re saying? Firstly, I don’t think we have vicious and certainly not violent lyrics. As far as reading into what we’re saying it depends on the song and context that aggression is put into lyrics. ‘Stopping All Stations’ is a violent story but I think the morals in that track are fairly clear cut. The Hilltop Hoods have been together for over a decade now. How have you, personally, changed in that time? Got older, got smellier. I’m not sure how I’ve changed. I think that judgement should be given by an outsider ‘cos it’s hard to judge yourself. When I was younger I used to worry about the scene but now I do my own thing, don’t go out as much and I work a lot harder on my music and I guess I take it a lot more seriously. How has the group changed in that time? As a group we definitely take our music a lot more seriously. When we started making music it was for kicks and laughs, we never took ourselves too seriously but over the years we have dedicated more and more time to it. Now it’s our soul passion and driving force to get up in the morning. You’re returning to Tasmania this month to play in Hobart – what differences have you noticed, playing in Tasmania, compared with the rest of the country? We’ve played four gigs there and I think that Tasmanian crowds go just as hard as anywhere in country. In my experience Tassie crowds are wicked! What’s next for you? In the immediate future – a nap before the show tonight. In the long term – we have “The Hard Road” launch throughout April then we’re looking at going overseas for a month, then we’ll come back to Oz for a regional tour later in year hitting all the hard to get to spots. Hilltop Hoods play Hobart Uni on Friday the 21st of April, but if you needed me to tell you then you’re out of luck because it’s sold out.

By Dave Williams & Tom Wilson

TUU ACTIVITIES COUNCIL

HILLTOP HOODS SOLD OUT

There was a time at the festival where we got kicked out… years, it’s always been that underdog. The title, it’s like; every dog has his day, is like the culture and showing the industry that there’re a lot of crews doing it and there’s a lot of people here and it’s all building.

on their high horse or whatever; I’m not saying anyone in particular who was there. But it always happens. But for us, it’s like just a great chance to get out and meet people. If they’re fans of our stuff, I love to talk to them. It’s great to hear their feedback and have a chat with the locals, man. There was a time at the festival where we got kicked out because certain bands were coming, and their management [from Rogue Traders] was like, “Ah, we don’t want anyone backstage, blah-de-blah”. But that’s cool; everyone has their own style. And we were just happy to go out and party with the locals, man.

I was looking through a Freedom Furniture catalogue that I got in the mail, and they’ve released a range of furniture called their “hiphop” range. It just looks like regular furniture but they’re sticking the name “hip-hop” to it. (Laughs) Yeah! It’s eventually going to happen, man. It’s been happening in the States for a while; big conglomerates just jumping on hip-hop and exploiting it… That surprises me though; it’s pretty weird. For me it just means that hip-hop is penetrating the mainstream even further… Yeah. That kind of thing is cool and everything; I guess I was talking more about the industry…the music industry… It’s so much more receptive, and it’s growing all the time – to Australian hip-hop in particular. Obviously there’s been mainstream stuff from the States and internationally for a while, but with groups like The Hoods and other groups being brought in and getting proper commercial exposure… That’s what I was referring to, I guess. You played recently at the MS Fest. How did you feel about that? That was awesome! We were really happy with the way that it went…the show was great; it was a real buzz. There were kids in Launceston knowing who we were. We were expecting to be going in and being one of the smaller bands – obviously we were. But we really kinda felt that, “Yeah, we’ll just go in and do our thing and hopefully it will be cool”. And we did our thing, and the people were all in the front row knowing the words. We were really just stoked with how well it went; we were walking around

the festival meeting heaps of the kids and people who came out. It was great. You guys were one of the few performers who actually mingled with the public after the show. There seemed to be a bit of ego flying around backstage there. (Laughs) Yeah, I don’t know man… Certain bands might get

You’ve supported some pretty big international acts previously; Xzibit, Cypress Hill, Jurassic 5… Do you come away from those shows with some kind of awe of those guys, or is it really just a marketing machine that’s made those guys so big? Do you think there’s much difference in skill? Definitely with some of the acts. Not necessarily the recorded stuff; some of it is great, though. It’s more just live presence, really. Some of those groups we’ve supported, we really just sat back and went, “Wow, it’s incredible what they’re doing on stage.” It’s been great for us, because we’ve learned so much obviously, supporting so many acts and meeting them and having the chance to ask them questions and learn from them. So it’s been so beneficial for us as a live show. So I think that’s one of the reasons our live show is as solid as it is. From watching The Roots just take over the stage and show something that you really kind of see in hiphop; just this extravaganza of all kinds of crazy sounds coming at you. Obviously, not all the acts; some acts are just another hip-hop show. But definitely, a lot of them, you definitely take something away with you, which is good. Bliss n Eso’s “Day of the Dog” is out now.

By Dave Williams & Tom Wilson Page 3


HIP HOP The Philosopher Speaks

K'naan

I challenge you to find another rapper who cut their teeth rhyming in a language they didn’t even speak. As a child growing up in Somalia, surrounded by the culture of violence and starvation perpetrated by warlords, K’naan’s affinity for the likes of Rakim laid the groundwork for the artist now touring with his debut album, “The Dusty Foot Philosopher”. He spoke to Dave Williams about rhyming, writing and memories of violence. First of all, how do you pronounce your name? “Kay-Naan”

On your album a lot of your songs deal with issues and references to life in Somalia, but you left Somalia when you were nine – is that correct? I left when I was thirteen or fourteen. I guess you’d still have a lot of memories of that age… Yeah. Those were some of the most memorable times of my life. I guess it was, and still is, a violent place and a violent time, and that’s been the main inspiration for your writing? Yes, it has been; it’s been a huge inspiration. But I haven’t forgotten to be inspired by all the beauty that I’ve seen in that country; the people. Your music is more in the style of Nas and to some extent Kanye West and Public Enemy, in that it’s more social commentary and political rap as opposed to gangsta rap. Why do you think you ended up in that style and not the other? Well, for me it’s not so much a style or even a pattern. For me it’s more about my own reflections

of things. It’s my own responsibility [towards] honesty. More than anything else, I wanted to be honest about my life, and I wanted my music to reflect my life. This is how I really see the world. As it turned out, I couldn’t have made a gangsta rap album or any of that stuff. And I think because I’ve known violence on such a huge scale, it doesn’t allow for you to be able to glorify it. When you know it in its true nature, there’s no way to glorify it. So I think gangsta rap is really for people who don’t know the reality of violence. So do you write on a constant basis, or do you sit down and go “today I’m going to write some lyrics”? I don’t do either of those actually. I write when I cannot write; when I’ve become frustrated. And it’s a strange thing to do, because I know that most artists that I know are really prolific in that they write almost everyday. They just find a page, pick up a pen and write. I don’t do that. I just kind of sit around and spend months not doing a thing, then I spend three months not doing anything but writing. When it comes, it comes. But I don’t really have a time or a process or a way; it just happens. What about all the beats and samples. Did you handle the production? We had these two guys called Track & Field which I worked with, and together we created this music. They’re incredible musicians. They did the production on this record. But then, we had to come up with a new way to do my sound…and this is what we came up with? Did you produce beats and things before that? No, I basically created ideas and that for music; I would get together with my musician friends and have them play parts that I could hear in my head.

Unleashing Bomb Diggity 06 Publisher / Editor David K Q Williams Graphic Design Simon Hancock shancock@sauceonline.net

Editorial Tom Wilson twilson@sauceonline.net

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 (May 06) Advertising Booking: 26/04/06 Advertising Artwork: 28/04/06 Gig Guide: 26/04/06 Editorial: 26/04/06

Address: Po Box 5094, Launceston, Tas, 7250 Phone: 03 6331 0701 Advertising: advertising@sauceonline.net Editorial: editorial@sauceonline.net

Contents 3-5

Hip Hop

6-7

Hard Boiled

9

Gig Reviews

10-15

Bangers & Mash

16-17

Gig Guide

18-19

Rock Salt

20-21

Cd Reviews

22-23

Rock Salt

25

Xtreme Sport

28-29

Spotlight

30

Fashion

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I’ve known violence on such a huge scale

Unleash The Nugget Since forming in Rosny College in 2002, nine-piece hip-hop outfit Unleash the Nugget have commanded attention; their musical resume featuring Gone South and the 2003 Falls Festival in Marion Bay. With the band tuning up their instruments for “Bomb Diggity ‘06” at Hobart’s Republic Bar – which they themselves organised – Anton Heath spoke to Dave Williams about the new line-up and what promises to be a memorable occasion on the hiphop calendar. What have you been up to today? Not much, actually. I’m house-sitting my mum’s house; I’m living upstairs at Republic at the moment, so it’s kind of good to get away, have a bit of a house and stuff.

I understand that when you were young you used to recite rhymes from Nas and Rakim? Yeah. More Rakim than Nas; I was a little bit older when I got into Nas. But yeah; Rakim is obviously one of the most renowned legends of hip-hop. I kind of had fortune fall upon this record from my Dad sending me vinyl. And I would listen to it and be able to rhyme exactly like he was doing, and

So the line-up for Unleash the Nugget has changed? Not a whole lot. We’ve got another drummer coming in from Melbourne to play this gig with us, because as far as the long run goes, it’s probably going to be more viable, even though he’s living in Melbourne, because Gilly went to school with him, and they’re mates, and he’s pretty keen to do gigs. We’re in the process at the moment of booking some gigs in Victoria, and so if we’re going over there…because he’s already over there, and he can sort

K’naan’s debut album, “The Dusty Foot Philosopher” is out now.

By Dave Williams & Tom Wilson

us out with people if we need a fill-in if someone can’t do the touring. With this new drummer we’re getting – Aaron McKellar – it’s going to work out even better, because our other drummer, Paul; he’s awesome, but he’s got a full-time job and he’s also just started going to uni as well, so he doesn’t have that much spare time at the moment. And we want to start charging along, and he’s not really able to do that at the present time. Are there any plans for a CD at the moment? Yeah, yeah, definitely. That’s what the new songs are for. I think we’re going to have six new songs at this gig, or even seven. So we’ll have enough to do six new songs for an album. So first and foremost we’re going to do these shows in Victoria, and then through playing shows the songs will evolve, and after a couple more gigs, the new songs will feel like we’re at a position with them where we’re ready to record them. Every song that we’ve written pretty much has changed; the choruses have been rewritten, or verses have changed… We probably need this time to evolve the songs. We’re really keen to start recording, so in the next three months we’ll start making that happen.

…[It’s] like an epic hip-hop weekend… So what’s been happening in the world of the Nugget lately? Well the last gig we played was a thing we’d done with True Live, and since then we’ve been…for this gig we’re playing on the 22nd of April, we’re gonna have some new songs and stuff. Mainly we’ve been focusing on getting the line-up sorted for this gig; it’s been pretty hard to organise. And mainly focusing on writing new songs.

I would repeat his songs to the neighbourhood kids. Obviously I didn’t know any word of English, so it would take me ages!

What’s happening on the 22nd of April? You’ve organised this night yourself? Yeah; it’s Bomb Diggity 06 – it’s more of an event. It’s not just our gig; we want it to be something that people will remember as more than just a gig, you know? It’s Saturday April 22nd at the Republic Bar, and it’s going to be Unleash the Nugget, DJ Royal-B – he’s going to play a set… Where’s he from? He’s from Hobart. And we’re going to get a couple of special guests – I’m not sure who – to do a few different things, which aren’t the usual things to do supporting a hip-hop gig, something different to stand out. It’s the night after the Hilltop Hoods gig in Tassie, so it’s going to follow on from that; like an epic hip-hop weekend.

Unleash The Nugget play “Bomb Diggity 06” with DJ Royal-B at Hobart’s Republic Bar & Café on Saturday April 22nd.

By Dave Williams & Tom Wilson


HIP HOP Talking Crime & Compact Discs w i t h

Chopper A lot can be said about Mark Read. Love him or hate him, the former Tasmanian has entered the criminal mythology of Australia in the same way as Ned Kelly…. But unlike such contemporaries, “Chopper” is very much alive. Former standover man, convicted killer and best-selling author, Australia’s most notorious and famed criminal is becoming something no one expected…a rap star. Dave gave his old mate Chopper a call on his mobile ... Whereabouts are you today? I’m in Collingwood. What are you up to over there? I’m just sitting here watching TV. How long since you've been in Tassie? I lived in Tassie for nine years; nine years of my life in Tasmania…I left Tasmania about five years ago; I divorced my first wife and came back and married my old girlfriend Margaret. I’ve got a six-year-old boy in Tasmania.

How long have you been into hip-hop? Ah…last couple of years. What gave you the motivation to do this CD? Well they asked me to do a hip-hop song for the “Trojan Warrior” movie. It was a flop, but it was well put-together. Anyway, they asked me to do a hip-hop song, and I did it. And a young work experience kid called Jesse said, “Would you like to do a hip-hop song on a CD?” And I said, “Yeah, why not?” And then I found out that he was working at Pizza Hut and was paying for the whole thing from his work at Pizza Hut, plus going to school. So I wanted to help him; I admired his work ethic. And three years later we had a CD out. Are you going to be doing a live performance? Nah, I can’t perform hip-hop. I recorded the whole thing locked in a wardrobe surrounded with foam rubber, with a microphone, and that went out to a tape recorder and a computer in the lounge room. So I can’t write; there’s no use kidding yourself. I’m fifty-one years old – I can’t perform hip-hop. I guess it’s your background and the stories you’ve got to tell, I suppose… Well hip-hop…I don’t know what the hip-hop fascination with the criminal world is. A lot of hip-hoppers try to make themselves look like gangsters; they try to impersonate the American negro gang-bangers and drive-by-shooters. It’s the only branch of the music industry that is absolutely fascinated with guns and knives and violence and gangsters and crime. Especially all the white kids – they’re fascinated with how the American nergo gang-bangers get around… They all try to be gangsters from Los Angeles. I can’t understand the fascination.

You’ve got your “Interview With a Madman” CD – when is that being released? It just got launched yesterday – released in the shops today.

With this CD you’ve almost become the Australian 50 Cent… I’m not a 50 Cent. The real 50 Cent; he’s only worth about twenty-five cents, really. I mean, he’s an idiot. He’s got no criminal credibility whatsoever. He’s invented himself a criminal past to enhance his standing in the hip-hop world. I don’t understand it.

You got a lot of big names from the Aussie hip-hop scene helping you with that. It must have made you feel pretty good to have so much talent willing to work with you. Yeah. Fuckin’ oath.

You might get bigger than 50 Cent – you’re the real deal! Well I’ve got the criminal credibility, but I’ve got no musical credibility at all. I’m what 50 Cent would like to be.

50 Cent; he’s only worth about twentyfive cents, really. I mean, he’s an idiot. How do you write your tracks? Well most of it was written for me. I helped them out, you know? A lot of it was cut out of my books, my poems. I heard that you weren’t that happy with the Eric Bana depiction of yourself… (Laughs) Oh, I was happy with Eric Bana’s depiction of me. I was unhappy because they didn’t invite me to the premiere of the movie. They treated me very badly over that movie. I didn’t make any money out of that movie. I signed every penny over to charity. They said, “If Chopper Read gets a penny, they’re going to withdraw all government funding from the movie”. So I said, “Well, if I’m a fly in the ointment, I’m going to remove myself

from the ointment.” So I made no money out of that bloody movie whatsoever. Do you think this album’s just going to reinforce people’s image of yourself? I don’t know what people’s image of myself is; I don’t care. It’s got an anti-drug message in it. I don’t know what it’ll reinforce. I’m not trying to reinforce anything. Thanks very much for your time today. OK mate. Good on ya.

By Dave Williams & Tom Wilson

He’s the greatest, just ask him

Proof (D12) So often, the lively personalities of the hiphop world sound bored out of their brains when interviewed…so if there’s one thing to say about D-12’s Proof, it’s that he’s consistently outrageous. He spoke to Dave Williams about Eminem, the gangsta culture and Oz hip-hop. G’day, how are you? Well good day, man! How you doin’? Good man. Thanks for doing this now. It’s all good.

lyin’. When I met him, I met him rapping, you know what I’m saying? On the song “Yellow Brick Road”, we was rappin’ that stuff.

I eat an MC’s ass like R Kelly does to young girls!

Why do you think Eminem’s had so much success? Because he can rap, and he’s white. (Laughs) Okay. And you were the only guy out of D-12 to be in “8 Mile”. Is that because you’re the only one who can act, or was there some other reason? I was just in it ‘cause I can tear the motherfuckin’ ass out; I’m one of the greatest rappers to ever do it. That’s just what’s gonna happen. That’s why you never see me having a defeat; I am the alpha and the omega of battle rapping. I’m just a battle rapper; it’s what I can do. I eat an MC’s ass like R Kelly does to young girls! You know what I’m saying?

You obviously see your strengths as a battle rapper, but do you find you’re inspired by anything at the moment, artistically? Politics? Personal reflections? Nah, I’m keepin’ it the same man. I’m into girls with nice booties and nice faces and nice boobs. I’m into the things that God put on Earth before me. I just live a life like that, man; I’m not into politics, you know what I’m saying? I’m not trying to go there, man; I’m just trying to relax, chill out, get the vibe, Micheal Jackson can’t touch this… Just put this hip-hop shit on the map.

How much do you and Eminem have to do with each other these days? A lot. We work like that. It’s how it works.

I was doing an interview with one of Australia’s most notorious criminals, who’s just released a hip-hop CD, and he said that he doesn’t understand hip-hop’s fascination with the criminal life. What do you think it is? I think…hip-hop is a voice that’s come from poverty or struggle, that speaks for the streets. Even like American gangstas, like Al Capone… Back in the day, all the gangs-

Musically, what’s flicking your switch these days? What’s flicking my switch right now is…some Janis Joplin, some Jimi Hendrix, you know what I’m saying?

tas wanted to be the stars…stars wanted to be the gangstas. If you can put your mind right, and put your stream-ofthought into rhyme form, it’s no different or no worse than getting into it from the streets or from whatever walk of life they come from. Hip-hop is a very vast thing, you know? Your handle Proof – that’s got to come from somewhere. Is it like alcohol proof? It’s living proof; I’m living proof. I’m a testament, all day, every day. I’m living proof. Thank you very much. No problem, baby. Thanks for taking the time to talk to me, okay? And yo, I wanna tell everyone in Tasmania, big up! D-12 coming! Third album on the way! It’s going down real big!

By Dave Williams & Tom Wilson

Hey, I just wanted to clear up something – we’re actually called “Sauce”, as in “tomato sauce”— The Sauce! The Sauce! This is the Sauce! [Unintelligible freestyling]. What’s up with ya baby? You good? Yeah, I’m having a great day. Where are you at the moment? Man, I’m in Australia! In Melbourne! [More unintelligible freestyling] Nice. Have you been able to listen to any Australian hip-hop? Y’know what? The last time I was here, the only Australian hip-hop that I got to be exposed to was a guy named FiggKidd. That’s the only thing I heard last time I was here. But I’ve made a return, and hopefully learn about more of the hip-hop culture here. I’m goin’ to an MC battle, which I was just told I wouldn’t be able to understand. I think he’s playing with me though. I’ll be able to understand everything. It’s just the pace, I think. Yeah. It’s gonna be good. They gonna battle. They know what time it is. They got the blueprint style; they MCin’. We gonna check it out and we gonna rate them on their skills. Now I’ve read that you encouraged or convinced Marshall Mathers to rap. How much truth is there to that? Ah, that’s not true, man – whoever told you that, they be

Page 5


HARD BOILED

helps a lot that places are willing to give original bands a go, especially punk. Now we just need to start building a strong fan base for support.

Thanks to The Red Tracksuit We Have

Branded Left Handed Branded Left Handed are one of the many new punk bands coming out of Hobart at the moment. I caught up with the band in early January but due to other issues, we’re haven’t been able to run the interview. What have Branded Left Handed been up too lately? Basically, trying to get exposure by doing as many shows that come our way, and trying to practice as often as possible. We're still experimenting with different styles in order to ‘find our sound’, but with our debut EP coming out in, hopefully, March, people will be able to

make up their own minds!

How would you describe your style? Punk rock would describe us best, but with bits of scream, happy, fast and Emocore thrown in. Your myspace page lists bands like Blink 182, Matchbook Romance, Story of the Year, New Found Glory and NOFX as influences of the bands, who personally has influenced you and what are you currently digging? Me personally, I have been listening to a lot of Fallout Boy and Slick Shoes. Thomas, with a background in theater and singing in pub cover-bands enjoys anything from metal to pop, but currently his favorite band at the moment would be My Chemical Romance. My father is also a major influence for me, having sung and played guitar all his life. Brendan has been listening to a lot of Matchbook Romance and New Found Glory but his major influences are basically the same as everyone else. The Hobart punk scene has really taken off in the last few years; do you find it's easier to get a show due to your style? Yeah definitely, it

You have supported more established bands like Race the Fray, Ballpoint and Solvent Intake. What did you gain from playing with these guys? I think it’s fair to say we’ve been lucky to be mates with all those guys prior to BLH but every time we play with a new band, it helps us in one way or another plus gives us a chance to improve on different things. You have been working on an EP, when shall it see the light of day and do you think your fans will be happy with the end result? We’re looking at getting in some recording time during February. So, we’re hoping for a March release. Before we release anything though we want to be confident in it ourselves, so we are sure people will be getting quality. When a random punter comes to one of your shows, what should he expect to see? Equipment! Maybe the odd live animal sacrifice! Nah we’ve all said how we like energetic live shows so we usually try to put in as much as possible. Sometimes that means giving the guitarists a good smack in the head though. What does 2006 hold for Branded Left Handed? Well , getting our EP out is a priority! And we've just been up to Launceston on the 4th of February to support Ballpoint and Halfmast at the Gunners Arms, which was our first trip up north. We’re also in the middle of planning a small tour up to Gosford NSW, where Oxm is originally from. Other than that, we’re trying to get as many gigs in the Hobart area as possible. Who would you guys like to thank? Thomas’s housemates and neighbors for putting up with the noise of endless practice and the cops for not bothering to tell us about complaints. Cozzy and Kent, Amy, Ballpoint, Mischa Cacagno, Mayfair and Trout and everyone else that has helped us - you know who you are, we’re just too hopeless to remember you! Oh and also Jonno Thorp and the red tracksuit.

By Ryan Cooke

Lock n Load, it’s

BulletHead To paraphrase the title of their album, Sydney’s Bullethead know their enemy – and it’s cover bands. Formerly known as Rubicon, they were strong enough to pull more than eight hundred punters into a venue before they even released an album. And then came Bullethead – harder, and certainly louder. They’re about to use Tassie as the firing range for their upcoming national tour. What have you been doing? Just been sorting out… I think we’ve got a full national tour coming up; forty or fifty shows. We’ve got that coming up in June. There’s always…there’s something about the business; when you’re not playing, you’re even busier. So when you’re not busy, you’re getting busy? Yeah, that’s pretty much it. I don’t know what it’s like for international artists; they probably don’t even get to sleep, mate! The “Know Your Enemy” tour – you’re actually starting that in Tassie? Actually, we’re just going down to Tassie for a bit of a warmup; get the machine running a bit. The tour actually happens in June…then we’re hitting Tassie again. So this is like your testing ground? Yeah, it’s sort of like a testing ground. And Tassie rocks; it’s a bit of a warm-up…get in there and play some hard shows. And then you’re going to come back again? Yeah, then we’re coming back on the big tour; the “Get Head” tour. We’re going to call the tour the “Get Head” tour; “Get Head – Get Bullethead” (Laughs) The band was originally called Rubicon…

Page 6

Well what Rubicon means is “point of no return”; in 49 B.C Julius Caesar crossed the river Rubicon…he took his armies across the point of no return. It’s sort of like a metaphor… But everyone uses “Rubicon” these days.

We don’t talk to cover bands

Is that why you changed the name? Not really – Rubicon was starting to get established, and we changed our sound; we sort of got heavier. Basically, the Rubicon audience won’t really like Bullethead at all. So we just thought, “Let’s have a clean slate”. And Rubicon was like a training ground; it was an education, and we had a certain audience. Bullethead’s going to have a different audience. It’s a lot heavier.

I’ve read things about you guys that have used terms like “just starting out” and “on their way to great things”. How do you feel about that? I don’t really think about it; I just think it’s all shit to me. [You] just get on with it… Get on with it; you are who you are, and you’re going to go as far as you’re going to go. If someone likes you, they like you; if they don’t, they don’t; and just move on. And if they say, “We’re just starting out” – well, we are just starting

In March

By D.H Wheatley Tassie death metallers Psycroptic have secured another European tour this time alongside the likes of Nile, Cannibal Corpse and Kataklyism. The month long tour starting in April will take them around Germany, Hungary and Austria as they showcase tracks off their latest well produced cd titled ‘Symbols of Failure’ which was recorded late last year. Another Tassie band who are a little less in your face musically, but still manage to rock hard is Hammerhead who had their cd launch early March. Their aptly titled ‘Stiff’ with the complete rock n roll cliché lifestyle encapsulated and situated on the front cover, is a throw back to the 80’s and early 90’s hard rock that is seeing a re-emergence at the moment. These guys have become regulars around the Hobart scene for what a lot of people reckon is good solid rock and the live show to accompany it and secured the support slot for the vets of oz rock The Screaming Jets in Launceston late March. The album is available through local music supporters Tracks and also online and the tracks to look out for are ‘Animal’, ‘Peacefully’ and ‘Feel the Pain’ as the stand outs. April will see Melbourne’s Dreadnaught hit Tassie for a Southern show at the Republic on Friday night the 7th of April and a Northern equivalent at The James Hotel in Launceston on the 8th. They’re latest cd titled ‘Dirty Music’ was mixed by former Superheist guitarist DW Norton and sounds almost as good as the tremendous 2000 release ‘Down to Zero’. While Dreadnaught play in Launnie on the following Saturday night all the Hobartian fans of the rock should get along to the monthly Rock Club that takes part at the Trout. The line-up this time will be Children of the Damned (an Iron Maiden tribute band) and Solar Thorn. Entry is only $4 and the usual giveaways will be happening so not bad value. The trout will also be hosting Triple J Unearthed winners Highroad no. 28 from the mainland with up and coming local metallers Separatist and glam hard rockers Lady Crimson. The gig is on Tuesday night the 18th and all tickets are $ 7, whether you’re a poor uni student or a high flyer it’s all about equality, man. A report on how the show went will be included in next month's Sauce but don’t let that stop you from attending this and the other rock/metal gigs on offer in Tasmania.

How do you see the scene in Sydney at the moment? Ah, Sydney’s good. It’s a highly competitive scene; it’s probably the hardest state in all of Australia to crack. Sydney’s got a different vibe about it. It’s a different feel. If you can crack it in Sydney…it’s pretty difficult, mate. If you can survive in Sydney, and you can stay consistent in Sydney, you can take Australia, because Sydney’s just so tough. Do you think original bands still have to battle over cover bands? Or is it pretty accepted that there’s a strong music scene there? Well the industry, where I’m at, we don’t talk to cover bands; cover bands are a different world to me anyway. If you play in a covers band, you’re not going to have any credibility. A potential fan knows that if you’re playing covers, they’re not going to be interested, because they want to see you do it hard; they want to see you do it the real way. I don’t really see any competition with cover bands; covers play different venues. Cover bands are designed for when people are already in the venue, and originals are designed to bring people into the venues.

Hard Boiled

out. No one knows us. But we’ve got a nice team behind us…But I’m pretty much just “guitar, amp, get up there and give it a hundred-and-fifty percent.” And if you like what we do, you like what we do. I’m not fazed, and I’m not into the hype – because I know what hype is. We’ve got more of a down-to-earth approach I think. So how big are your plans for Bullethead? Well I mean Rubicon still holds the record for the biggest independent shows in Australia. Rubicon was pull eighthundred-and-fifty punters into the Metro Theatre without radio play. And we didn’t even have a record; that’s just from the live scene… Bullethead’s different – we’ve got “Know Your Enemy”, we’ve got the new album…we’re already working on the next EP… With the education that I have now, there’s no reason why I can’t be doing the Metro Theatre again; if I can pull a thousand people through the door, why can’t I pull five thousand? I’m not saying I’m going to pull a thousand, but the principle is there. If you can sell one, why can’t you sell ten? If you can sell ten, why can’t you sell a hundred? “Know Your Enemy” is out now .

By Dave Williams & Tom Wilson

Other metal news in closing Joey Jordison (the man who never seems to want to take a break) is set to work behind the desk and probably in front of it with thrash metal group 3 Inches of Blood on their upcoming album. Fellow Slipknot member Corey Taylor is also in the studio in LA working on Stone Sour’s follow up self titled cd. The album is set to be titled ‘Come What May’ and from all reports is more melodic and darker and of better production than its predecessor.

Recommended Karnivool – Themata Rob Zombie – Educated Horses Sevendust – Next


HARD BOILED

Now THIS is What I Call Oz Rock!

Dreadnaught

Five years ago, when I was in high school, I turned on “Rageâ€? to see a band that became – and has remained – one of the few Australian rock bands I’ll listen to. That band was Dreadnaught. With a sound that would leave others in a pummelled, bloody heap, their latest release – “Dirty Musicâ€? – is exactly what the name implies; rock played raw, loud and hard. And they’re coming back to the state that spawned them‌

couple of new songs for a new thing; we got stuck on that first couple of songs; it’s always hard to do those

muchâ€? – you’re more appealed by that. I could say that about album reviews; I like to hear people say good things about the music. I’m glad people are into it. But if someone says a bad thing‌well, fuck ‘em, I don’t care. And that’s what “Scenesterâ€? is all about. That’s the music – “fucking scenester!â€? You talk shit; if you had any credibility, you just got rid of it. And no matter what anyone says to you about what you’re doing, you just ignore it. Run your own race – that way you’ll always win! The Tassie gigs – what kind of set are you putting together for these shows? Ah, well! I’d be giving it all away, wouldn’t I?

first couple of songs for a new record. That’s always the hill to get over.

Well will it be focusing on the newer material? Ah, yes, yes. You’d be right there. The set focuses a hell

You’re re-releasing “Dirty Music� with a bonus

of a lot on the new album; we do throw some sprinklings in from the older releases, just a track or two here and

disc‌ Where’d you hear that? (Laughs) I’m only joking‌

there. But obviously the show revolves around the new album.

Thank Christ! I hate it when that happens in interviews! It’s got a bonus disc, but I’ve got to ask this

You’re not getting away without playing “The Game�,

– why do bands re-release albums? What have you been up to today?

Well this one‌it was an offer from Roadrunner; it wasn’t

Well‌mowing the lawn‌watching Rose Tattoo DVDs

our decision. It’s got some fresh artwork too, just for the

and listening to Rose Tattoo CDs because Pete Welsh

hell of it‌ They offered to re-release it, and said, “Would

just died.

you like to do some new art?� And “Why don’t we put something together as a bonus disc?� It’s no greatest

Oh, really? I didn’t know.

hits thing, because we’ve never had any fucking hits!

Y eah, I’m shattered. Pete Wells died‌not last night, the

(Laughs)

night before. So I’ve just been playing Rose Tattoo.

It’s no greatest hits thing, because we’ve never had any fucking hits!

A lot of the tracks on “Dirty Music� were pretty venIt was the same for me when Dimebag [Darrell,

omous – “Scenester� and stuff like that. Who were

Pantera guitarist] got shot; straight home and

some of the targets of that venom?

whacking on Pantera CDs‌

Well there’s no real targets. A song like “Scenester�; that

Yeah; I’ve listened to nothing but in the last twenty-four

track’s basically about just running your own race; no

hours, that’s for sure. They’re my favourite band, so

matter what bullshit anyone talks about you. It’s basical-

that’s the end of it, unfortunately. Without him, there’ll

ly irrelevant. The music industry’s as bitchy as a fucking

be no more Rose Tattoo records. So yeah, pretty shat-

hairdressers, for fuck’s sake‌and unfortunately some

tered.

people can open their mouths so wide that they swallow themselves; whatever you’re doing. Some people might

What’s the band been up to in the last month?

say to you, “Tom, ah, you’re a fucking shit journalist.�

Just off the touring; only just did a Geelong and Mel-

Other people might say, “Oh, I love your writing, Tom.�

bourne show, then the next visit is down to TAS. Other

So you’re not going to pay any attention to the guy who

than that, we’ve just started to get the ball rolling on a

told you you’re a shit journalist. But, “Oh, thanks very

where it changes on the album�. Well, no it doesn’t! you do realise that‌ That’s in there. We’re actually running two sets on this

Dreadnaught play Hobart’s Republic Bar & CafÊ

tour – we’ve got two separate sets. They do contain

on Friday the 7th of April and Launceston’s James

some of the same songs, but they’re in a different order.

Hotel on Saturday the 8th. Miss them at your own

For example; one’s got “Game�, the other’s got “Scum-

risk. “Dirty Music� is out now through Roadrunner

bag�. It depends what we play in Tassie; it depends on

Records.

the mood of the night‌ For a Dreadnaught show, man – if you’re just used to the record, you won’t be expecting what we’re going to deliver, because we are a live band. And to us, our songs are there to do whatever the fuck

By & Tom Wilson

we want with them. If you were thinking, “Oh yeah, this is

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CLUB 8

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Page 8

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THE GO SET (Melb) THE VALLEY & PARKWAY DRIVE (Syd)


BANGERS & MASH Bring On the Vinyl

Superstyle Deluxe A record label is a serious undertaking…so imagine our surprise when we found out that producer/DJ SuperStyleDeluxe (AKA Dan Holmes) created his imprint, The Payback Project, by accident… What have you been up to today? Dashing round like a mad man trying to finish a remix whilst at the same time getting ready to catch a flight to France for a gig in the Mountains with Chickaboo. What has SuperStyleDeluxe been up to in the last month? We have been hard to the grindstone remixing; we just finished one for Circuit Breaker, Splank Records & today have nearly done one for The Beatmonkeys.

tues 11th +

I hear [Tassie] goes off like yogurt! and felt right. Although I had no decks I used my mate’s, but as he sold them. It was a good 4-5 years before I brought a pair of my own. I then landed a residency with the Capoeira Twins at the legendary night called Stump Juice…and here I am today What do you think are the hallmarks of a good mix? No rules! That is my motto. I never judge anyone as I think everyone has their own style and shouldn’t be constricted to mix a certain way. My personal opinion is to mix in key and try to build a new tune by layering, catching drops, etc, etc. I

never

As well as getting the next single ready and of course working on the album. Finally, been working it hard on the Deejay Circuit.

all events at halo

6

- entry in purdy’s mart (off collins st.) for more info. check out...

www.digitalthugz.com art and design - www.drunkpark.com

In one of your press kits, it lists all the artists that have received the “SuperStyleDeluxe treatment”. Could you put into words what the SuperStyleDeluxe treatment is? How are your mixes unique? We see a remix as a challenge and we always analyse the original and try to give something unique to help compliment the release; we always try to see the bigger picture and try to imagine how our mix would sit next to the original as well as the floors, hi-fis etc. So it’s a full-on design process. We have a very particular sound that has taken us years to develop and it’s that key signature that we are asked to donate to a mix when approached.

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

You’ve started your own label, “The Payback Project”. Why did you decide to do this? It all happened by mistake; I was asked by Intergroove as I was inquiring about possibly doing some promo mix tapes. And they just offered me a label deal. I was stoked to say the least. It took a good year before the first release as I spent a long time searching and designing a concept and approach for the label. 12 months on and I now have a full roster from fresh new acts like Rebel Sketchy & Audit to more established acts Like The Capoeira Twins & Smithmonger. I also have incorporated an MC to release named Bukue One from the US, a pure lyricist - his single will be out soon.

A lot of DJs talk about where they think electronic music is going, but what about DJ equipment? What do you think will be the next technological innovation to enter the DJ scene? I tell ya, I haven’t even bitten the CD bullet yet! I love vinyl, I love it! Again, it boils down to mixing personality – I use scratching for my effects.

You’re playing in Hobart on the 16th of April. What are your impressions of our island state? Overall, I hear it goes off like yogurt! Everyone I’ve spoken to has told me what a great place it is so naturally I’m very excited to wet my whistle, so to speak!

But I think the technology at the moment is amazing – new inventions coming out every five mins, maybe slightly too much. But again, they do say variety is the spice of life!

Your DJing show features MC Chickaboo – how did you two start working together? Chickaboo worked a track with us for one of our singles. About a month later I was near to her house playing in Shoreditch. She came down and did a PA. And we just instantly clicked. Two years on we are still going strong… It’s such a fun show and gets really interactive; even if we play at a venue for two hundred we are always buzzin’ afterwards.

+ Supports Joycie and Dj Paul Page 10

play a record till the end; in fact I hardly start at the beginning – it’s usually in the middle somewhere… I try to extract the best bits. That’s just my style though, and obviously different music genres require different techniques.

How did you get started in DJing? When? It started when I was about 15 playing some old hardcore rave bits; it just seemed to instantly click with me

As for incorporating technology into a live aspect, I think the sky is the limit; you can pretty much do anything you like and only spend a few hundred quid to do it! What’s next for you? The long awaited album for Against the Grain, [and] lots of DJ work and remixes. Also looking after the label and the artists. I’m very, very excited about the future. SuperStyleDeluxe plays Hobart’s Halo on Sunday the 16th of April

By Tom Wilson


BANGERS & MASH Record Labels & Sandwiches

Concorde Dawn I think [Australia]’s become quite a rock bastion… Considered in many circles of electronic music to be the pioneers of New Zealand’s drum-n-bass scene, Concorde Dawn are certainly busy boys. With the release of their album “Chaos By Design” in March, the itinerary of Evan Short (AKA Killjoy) is so hectic he can’t even buy a sandwich without doing an interview for SAUCE’s Tom Wilson. So apart from eating Subway, what have you been up to today? I’ve been running a record label! (Laughs) It’s a lot of hard work, which has pretty much consumed most of my time. Paying bills, invoicing people – doing kind of business stuff. What’s Concorde Dawn been up to in the last month? We’ve been touring around New Zealand. Just been touring the record; it’s been out for a week now, and we’ve just been doing the New Zealand album release tour. It’s been really good. How do you think the New Zealand music scene compares with Australia? Well it’s really hard, because Australia’s obviously got a really large, well established and self-supporting industry when it comes to things like rock; you’ve got huge, huge bands like AC/DC and INXS that have done really, really well internationally in

It’s a Bird! It’s a Plane! It’s…

TasAlien

Leading up to the Psy-Trance epic of the 2006 Fractal Festival – the three-day open air dance festival – I entered the mothership and spoke to Dayal Patel & Jodie Irvine, the alien overseers…

the past. And I think because of that it’s become quite a rock bastion. But one of the things that New Zealand is…because it is so small and it doesn’t really have quite the success that Aussie has. People like Scribe have just taken the music industry over here by storm, in terms of being really underground music that has exploded onto the mainstream. It’s one of those weird things. New Zealand has a really, really small market for music; we’ve only got four million people over here. But for some reason underground stuff seems to do really well; even better than a lot of commercial pop acts do. So I think that’s the main difference. And we’re quite lucky down here as well; the government funds us with our music videos and albums. You just apply for certain grants and get to make a video or do an album release or whatever. We’ve got a government that’s starting to support this industry that’s really starting to grow and support itself. So you can get the government to pay for a music video shoot in a nightclub with lots of half-naked women; that’d look good on the tax return. (Laughs) Yeah! That’s pretty much it. The real life Concorde kind of crashed and burned and was retired from service – do you reckon the future of Concorde Dawn is a little more secure? Yeah, I reckon; the people that help us stay in the air are pretty good people; the people that help us run our business and support us are pretty much our best friends. So I trust them to keep us flying; I trust all our mates enough to pitch in and keep us in the air.

Like, “What are you doing in this club?” Yeah – “Can I see your I.D love?” It’s quite funny actually – I was talking with someone the other day about Bulletproof…and this is someone that I’ve known for a long time now…and you just kind of figure that they’d be up-to-date and know what’s going on. And I was like, “Bulletproof are doing some stuff again!” And they were like, “Who?” I was like, “Bulletproof!” They’re like, “Yeah, I think I’ve heard the name…” And I said, “What?!?” And then you think about it; we’ve been doing this thing for eight years now. We’ve been involved with the scene for eight years as Concorde Dawn, and it’s kind of weird to meet people and you forget how young they are. We’re both nearing thirty, and we’re like, “Shit!” (Laughs)

Thanks for your time today, Evan. Enjoy your sandwich. (Laughs) Cheers mate. Concorde Dawn play Hobart's Syrup on Thurs, 27th of April

By Tom Wilson

What’s next for you guys? Basically a whole bunch of touring; Matt’s actually living in Vienna now, in Austria…he relocated there about five months ago, just to push our European and UK side of things a bit better, to be in the right time zone. He just wanted to go somewhere different and do something different and eat sausages and speak a different language. He’s just been doing his thing over there; he’s down here touring down New Zealand at the

into the execution of shows such as this? Who does what? A lot and then some more and then a shit load more! From sourcing DJs (local & interstate), flights/accommodation etc for interstate DJs, sourcing a site, liability, loos/power, market stalls (if any one is interested!?), staff, setup of the festival….I’m sure there’s more but… What do you think are the advantages of holding a gig outside of urban areas? Any disadvantages? Advantages = we can be LOUD! And we get to stomp the earth and dance into the sunrise! Disadvantages = travelling to setup the festival and occasionally pissing people off cause we’re LOUD! What is the future for Tasalien? Fractal is our annual event and we would love to continue this ritual for as long as we can!

For the uninitiated, what and who is Tasalien? TasAlien are Dayal Patel & Jodie Irvine and a heap of enthusiastic friends and family that all help to create a loving, psychedelic atmosphere for all to enjoy!

As far as anything else goes, we have nothing in the pipe line yet but, you never know….actually, WE never know! Thanks for your time and this opportunity. Stay Psychedelic for Life!

How long has Tasalien been around? Dayal & his mates have been putting parties on for about five years but, TasAlien has only been for the last three years.

A BIG THANK YOU TO ALL AND THE MANY THAT HAVE SUPPORTED US IN THE PAST AND MAY IN THE FUTURE!

Why was it conceived? Dayal loves Psy-Trance, Jodie loves people, we both love each other and we love to party with our friends and meet new, interesting and creative people!

Do you find it strange that, because the actual plane retired five years ago, some of your younger fans might not know what one is? Um…They’d have to be pretty young if they didn’t know what a Concorde is!

moment. But just going to be touring solid for the next six to nine months, before we can even start thinking about doing more music or another album. Touring pretty much keeps you on your toes. You’ve got no time to sit down and put any time into being creative… Then who knows? Maybe after that we’ll do another record…but I don’t even want to start thinking about that.

The Fractal Festival begins on the 14th of April and leads through to the 16th.

By Tom Wilson

What role do you play in it? We are it! We start the ball rolling and help & motivate others to join in on the fun! We are the DJs, organisers, promoters, staff, decorators… Which act has given the best performance at one of your shows? ALWAYS the local talent, but we like to support Australian produced Psy and would have to say that Sun Control Species & Legohead have rocked our souls! What was Tasalien’s involvement in Earthcore? We bought tickets like everybody else, went and saw some spectacular acts and got spazzy! What genres of music do you like to focus on? Psy-Trance! Psy-Trance and more Psy-Trance! We support local Psy-Trance producers Module & Nebulous Organic Sphere. We do like to assist local talent regardless of genre and have had local bands such as Billy Goats Gruff, Echo Blue and others play at our events. What changes have you seen in the dance scene over the last few years? We have seen a revival in the popularity of Psy-Trance and over the last three years have introduced many people to psychedelic music, art and other psychedelic people! You’re about to hold the Fractal Festival. What goes

Dayal & Jodie Page 11


BANGERS & MASH And so it swings towards Tasmania; the

Pendulum About to play 2 already sold-out shows at Halo on the back of their album “Hold Your Colour”, WA-bred.

London-based IDM act Pendulum are busy boys…but that didn’t faze member Paul as he spoke to me about “intelligent dance music”. It did inconvenience his though… Read on, read on…

partner

…bastardising the genre just for the sake of getting that reaction… those places I never thought I’d go. correct?

What’s next for you, man?

Rob did a gig in Tel Aviv in Israel in 2004…so we’ve

The album, “Hold Your Colour”; what does “Hold

definitely gone some places.

Your Colour” mean?

I’ve heard that when you started out, you wanted

It basically means staying focused with your original

to make “intelligent dance music”…

What was that like?

plan of attack; keeping the idea that you have in your

I think when people used to say IDM, it seems like…

He said it was awesome. The place itself is beautiful;

mind and following through with that, rather than let-

”I don’t really buy it, because it’s glitch-y and has

definitely not what we’d expected.

ting anyone change what you’re about and what you

edits and has weird pads – so let’s call it IDM”. We

want to achieve in the first place.

just wanted to make music that was…we didn’t con-

The women were lovely, the gig was cool, the alco-

fine to drum-and-bass and breakbeats in general… It

hol was ludicrously expensive, and you have to drink

What colour do you reckon Pendulum is?

didn’t have to be silly and be unnecessarily loud and

every last drop of your alcohol before they’ll give you

Black!

noisy in order to achieve dance floor results.

another one. [His mobile rings – it’s his partner – he gets her to call

you know this, but they’ve sold out.

sounding music.

him back later while Tom pisses himself laughing]

There you go!

But we felt that there were elements within drum-

I feel bad! I’ve put her off three times now! She’s

Does that give you the warm and fuzzies?

and-bass that were just bastardising the genre just

called me in three countries and I’ve gone, “Can you

I’ve never been to Tasmania actually, so I’m kind of

for the sake of getting that reaction on the dance

call me back later?”

stoked to go down there. The other two guys I think

I hear you performed in the Middle East. Is this

But yeah; he said it was awesome out there. We’ve

I’m definitely looking forward to hitting the Apple Isle

been to some mad places; we’ve actually got a resi-

and having a look around…in the whole twenty-four

dency in St. Petersburg in Russia, which is one of

hours I’m down there, anyway.

Nightmares On Wax Unfortunately these days I can only break-dance when I’m drunk “A lot of people have forgotten what hip-hop is all about” asserted George Evelyn down the line from the UK just last month. “More than anything else, it’s a lifestyle thing – and I’ll always be a b-boy.”

(“Finer” on “Carboot Soul”) that’s the killer number that virtually blows everything else out of the water – and the other material is far from just flotsam or jetsam. Even the weaker moments on the new album – “Flip Ya Lid” and “African Pirates” are nominees for the honor – would be mild standouts on a swag of contemporary releases. While there are more innovative artists out there reconfiguring the hip-hop ethic, Evelyn has found a niche he more than comfortably fills.

For this particular break-boy, however, it’s been a solid fifteen years since his first Nightmares On Wax album “A Word Of Science” with then-partner Kevin Harper, and Evelyn was quick to admit that age does play havoc with his lifestyle preferences. “Unfortunately these days I can only break-dance when I’m drunk,” he added, with a resounding chuckle, “and I’ve found myself out there on the dance floor, suddenly realizing ‘shit, that hurt’…!”

There was in fact a N.O.W. album between this one and “Carboot Soul” – the rather innocuous “Mind Elevation” (2002). Evelyn himself sees more of a relationship between his new baby and “Carboot Soul”, and is a shade dismissive of the intermediary one. “[“In A Space Outta Time”] is a deeper album, and I think I’m a lot more focused. I’m definitely a lot more satisfied this time around. I kind of wonder where I was emotionally on that album…”

While his reflexes may be a trifle long in the tooth, Evelyn’s creative panache most certainly is not, and he’s just unveiled the fifth Nightmares On Wax album. On first impressions “In A Space Outta Time” seems to utilize the same roadmap as Evelyn’s earlier opus “Carboot Soul” (1999) – as on that album, the first track “Passion” is more orchestral and cinematic in scale; as before, it’s the fifth track

Page 12

Some sticklers, however, will have you believe that “Smoker’s Delight” (1995) was the landmark N.O.W. long-player, and everything since mere pretenders. “Yeah, it’s funny, isn’t it?” Evelyn mused. “Some people found us through “Smoker’s…”, and some people started the journey through “Carboot…”. With most people I guess there’s a sentimental connection to do with the moment they discovered the record. I’ve had peo-

But we’ve recruited a drummer and a guitarist into the group, and we may still see some expediential growth in the number of people in Pendulum; obviously keeping Rob, Gareth and myself as the core

But that’s the plan for later on this year; a completethat because that’s we’re everybody’s been for the last three years, and that’s where I came from in the first place. A massive stage show, and a whole live thing with a digital aspect to go along with it. So stay

came down last year. But I did not get to come, so

Spaces Out In Timely Fashion

moment until we’re happy with what we’ve got going.

ly live show. Still DJing, obviously; we’ll always do

We’re addicted to big sound; we want big, heavy-

what other people were doing.

Trying to keep details about that a bit tight at the

members.

Nice! Now your shows in Tassie – I don’t know if

floor. So we wanted to achieve that without doing

Next…working with a live band on the next album.

ple come up to me and say that “Smoker’s Delight” was the soundtrack to their life backpacking across South America, you know what I mean?” For Evelyn himself, “Carboot Soul” seems to have had the most visceral impact. “That was the moment I suddenly realized I could sample my own musicians and take everything so much further; the moment when I could combine my knowledge as a deejay with that of having a band.” “In A Space Outta Sound”, he said, is a logical extension of this personal development – while “Carboot Soul” was the album in which he graduated from deejay tricks and found his musical feet, it seems that this time around he seeks to show he’s learned how to walk. It’s also inspired by Evelyn’s pre-eminent production idol. “Part of me tried to imagine what it would be like if Quincy Jones were in the studio, and what he’d do. You’ve just got to wrap yourself up in it, in that moment. I mean, that’s why the album is called “Inner Space”… It’s all about that mental space you reach when you’re making an album, and you hit that right place where it all works and, in so many ways, it leaves you wanting more.”

tuned! End of 2006 – that’s what’s next! Pendulum play Hobart’s Halo during April, both shows have already sold out!

By Tom Wilson Sampling has played a huge role in the Nightmares On Wax back-catalogue, and although personally he’s using less samples sourced from other people’s records and using more of his own musicians, Evelyn still considers the process a form of art in its own right – if it’s handled correctly. And he agrees that people like Si Begg, Luke Vibert and Cassetteboy can be hilarious in their off-the-wall plunder-phonics. “The key is how you manipulate it – a creative and innovative use of the sample, and anything that’s stimulating,” he suggested. One thing Evelyn isn’t so keen on is the mention of two words: trip-hop. Shortly after its release, some music journalists arraigned “Smoker’s Delight” as the blueprint for that now-defunct stoner lounge muzak genre - and while a decade ago he may have been vehemently opposed to the suggestion, these days the man laughs it off with a kind of tired resignation. “Well, I’ve talked about it before, and I’ve never actually attached myself to that style,” he reported. “I full-heartedly refer to hip-hop, and I think everything I do is an extension of that – hiphop.”

By Andrez Bergen


BANGERS & MASH

The Name of the Affair

Paul Mac A “panic room” is a vault-like secure chamber in a house that the owner can lock himself in and be protected from the outside world. For DJ Paulmac, it was the nerve-centre of his new album, recorded in his basement away from life in Sydney. What he finally emerged with was an album named after that very place, and lead single “Sunshine Eyes” has been doing very well indeed. He spoke to SAUCE about the album, collaborating, and why press kits are wrong. You played down here about a year ago with Daniel [Johns]. Yeah, that was awesome. Are you in Hobart or Launceston? I’m in Launceston. OK, yeah; that was fully wicked, I enjoyed that a lot. What stands out about that for you? Well it was quite exciting for us because those were the first shows. I mean we started in Hobart, then Launceston, then Melbourne. So it was really new. We were really, really fresh. It was still quite exciting at that point. So we were almost your testing ground? Yeah.

Beating the drums

For the main event on the mainland… Oh well, you’ve got to start somewhere.

Your single “Sunshine Eyes” was inspired, according to the press release, by a “New York affair”. Oh, I absolutely hate press releases… I love them. I think they’re so cheesy. Well, I think that song’s about lots of things. I mean, the verses are about what you kind of worry about, and sort of thinking about things in the past and what the future’s going to be like, and just all neurotic shit. And the choruses are just about those other more beautiful moments, and one of them was, yes, inspired by an affair. But my songs end up being an amalgamation of all kinds of relationships and experiences stuck together, recording to a mood of what the music is. Now, “affair” to me conjures up some image of infidelity. So what was going on there? Was it like a summer lovin’ thing? Yeah, totally, totally. And then back to the real world, you know? Nice. And what is happening with The Disassociatives? The plan is that it’s just this kind of ongoing conversation that we can keep returning to. Like at the moment Dan’s doing his own stuff and I’m doing my own thing, and I’ll be touring and promoting this and then we’ll get back together after that. Like a bit of a “casual affair”? Yeah, totally.

Now on your previous tracks “Just the Thing” and “Sound of Breaking Up”, you have also Peta Morris’ vocalist as well as on “Sunshine Eyes”. What is it about her vocals or about her that compels you to keep working with her? Um…she just gets where I’m coming from, you know? Have you heard the rest of the album yet? No, I haven’t. Oh bummer, because there’s a heap of new vocalists on this album as well. As I write certain songs, I sometimes think “that’ll be a good one for Peta” because she seems to get that part of your personality. And then, there’s another song which is more ethereal, and I found a girl called Lenka who works in a band called Decoder Ring. The thing about Peta is that she’s got a real vulnerability in her voice that I adore. So it’s like you end up casting little bits of your personality to different people. You’ve moved down from the Blue Mountains; now you’re in Sydney, in the west. Yeah. The Blue Mountains was a really crucial thing for me. I had to just get out, chill out for a while. And I think that really helped with my music, to sort of focus on doing solo stuff and writing songs and writing lyrics and all that. But I wanted to throw myself back into a city and have a little fun and be surrounded by that energy again and see what it would produce. Was moving up there originally a case of getting

your shit together? Ah, yeah. You could say that. Actually I burnt down my previous studio, so I took it as a sign from God to make a move, ha-ha. “Panic Room” is available now.

Tom Wilson

with

John Carter

I'm surprised U2 still talk to me. It was the style at the time. If you could throw a sharpened CD at any person or group of people in the dance music scene (and cause grievous bodily harm), who would it be and why? (Note - this question is not merely limited to CDs, as you can Frisbee records as well) Faceless commercial shite producers that flooded us with faceless commercial shite Whose CD do you think would be the deadliest projectile, and why? James Brown; ‘cos he's the sharpest and he's on crack

There are only so many ways you can interview a DJ; let’s face it, there’s only so many times you can ask “Where do you think dance music is going?” before the whole thing gets boring as bat shit. So I got drunk and decided to hassle renowned DJ John Carter, and he was nice enough to play along… What have you been up to today? Packing to hit Australasia tomorrow What about in the last month? Came back from Thailand to freezing Britain, so I'm off again. DJing etc. In your press release it says you "twiddled a 303 in the legendary Gee Jam studios in Jamaica". Why were you waving a rifle around Rastafarian musos?

Tell us the filthiest thing you've ever seen (or better yet, done) in a nightclub. Do DJs pick up as much as we assume? A guy in a safari suit cumming and blobbing the front of his trousers while dancing to a particularly heavy piece of ragga at the Blue Note back in ‘95. He wobbled a bit with his bird, then a big dark patch appeared on the groin area. Light suit, dark patch – ho-ho-ho. DJs pick up a lot of exotic skin diseases from what I can tell As everyone knows, DJs are all on drugs (tongue firmly in cheek). What's your poison? Tomato juice and rat poison. Or a shot of Bush Doctor How do you think the music you play now compares to what you were spinning a year ago? More Jacking. Less straight up house. Ever acted like a dick in front of someone famous? Constantly. It's a hobby. I'm surprised U2 still talk to me. What's next for you? Underwater, U2, Pubs etc

Tom Wilson Page 13


BANGERS & MASH

Launceston’s Experimental Endeavour

Fusion

For those in Launceston hanging on for something different, several Christmases are about to come at once…on a Sunday night. We spoke to Gavin from the James Hotel about his plans for a night that should prove very interesting indeed. Tell me about this new night. The new night is called Fusion. I have been overseas and interstate recently and I have been to watch various different acts and artist performing different types of music; experimentation with different instruments vs. DJs etc. It is a night that gives opportunity to experience something a little different. What artists are you considering for the night? First of all Carl Fidler will open the night playing, in his unique style, some of his own music. He will be followed by Nine Mile which is a two-piece international acoustic

…One of the members plays a Peruvian box drum which he sits on… act. The uniqueness of this is that one of the members plays a Peruvian box drum which he sits on… Another surprise for the night is that 101 & Falling are reforming for a special performance. We also have DJs Joycie and Randall performing, but this will be Joycie on the decks and Randall on the drums. I am looking to experiment more with this particular concept and am looking for a saxophone player along with other instruments to offer something different that has its own unique sound. Also Randall will team up with Ratty (Leigh Ratcliffe) to perform their favourite hip-hop and MC-style music. To what extent do you think this was influenced by the more left-of-centre club nights on the mainland? To be honest not a great deal. I have had this idea for sometime and I suppose that on the mainland there are more options for people on a Sunday night. Almost any night of the week on the mainland and in other parts of the world people have the opportunity to go out and catch a live band or go niteclubbing. Well, Sunday is the obvious choice as it gives an opportunity for those who work weekends to have some variety.

Pound 4 Pound

I write this review not eight hours after the first Pound 4 Pound drew to a close (or is it nine? Damn daylight savings!) My ears are ringing, my knees and back are killing me and the front of my shirt smells of Bacardi 151. And I’ve got a massive smile on my face. The first of a new night at Launceston’s James Hotel dedicated entirely to hard-hitting breaks and electro, Pound 4 Pound promised to be intense, and it delivered. I made my entrance at about two in the morning to see the impressive figure of Klaus “Heavyweight” Hill hovering behind the decks in a Metallica t-shirt. But while his beats carried more than enough energy, I couldn’t help noticing that the numbers on the dance floor seemed to be fluctuating a little too drastically for a Saturday night at that time. But then it happened. The British DJ launched into a Prodigy marathon, and in the blink of an eye the crowd seemed to double. Despite a few hiccups in the rhythm – some of the mixing shifts tended to lose the beat – Hill revved the crowd superbly. The lightshow was the best I’ve ever seen in the Reality; from some intense lasers to the always-reliable throw-your-hands-in-the-air floodlights. The pounding rhythm of Hill’s beats was so thick and intense you could almost reach up and grab hold of it in the air. Klaus stayed fairly loyal to the breaks/electro sound, and as a result, his crowd stayed loyal to him; the dance floor filling and remaining that way until kick-out. At the end of the night, Reality’s resident DJ took to the mike and asked us to “Make some fucking noise!” After such a long and intense set, it was highly deserved. To sum it up? Incredibly hot women, ridiculously infectious beats, a bar tab… Goddamn, that was fun! 5/5

Fusion kicks off at the James Hotel on Sunday the 23rd of April.

James Hotel Manager Gavin with Klaus Hill

By Tom Wilson

By Tom Wilson

Touring Artists

A Little Banger

Dopamine

Matt Hoffman

Tom Novy

Dopamine is a chemical naturally produced in the body. Dopamine is commonly associated with the 'pleasure system' of the brain. Dopamine is critical to the way the brain controls our movements.

At the onset, a cheeky under-aged Matt Hofman, frequented clubs in his hometown Canberra where he’d witness great local talents such as Archie (B'Arch) and Jono Fernandez who would influence his deep appreciation for dance music. Hofman’s dedication to this end became most evident at the aged of at the age of 16, when he replaced his devoted bass guitar for with a set of turntables.

Persistence, steadiness, and creativity are three virtues which are hard to find in any industry, especially in the German Dance-scene. Since his first single "I House You" from 1995 Munich's DJ and producer Tom Novy managed to grow in all directions with remarkable constancy. Novy created a unique and extremely danceable sound that ranged between House, Dance, and Funk. This process is evident on his debut album "My Definition" on which one hit follows the next.

Dopamine's music is commonly associated with the pleasure system of the dancefloor. Fat and funky in his design he is guaranteed to get bodies sweaty and the dopamine flowing. With 10 years experience behind the decks, his progression from techno to breaks has seen Dopamine bringing fresh and exciting elements to the genre. After years of fine tuning his trademark sound in the studio, Dopamine is now releasing records that are played by the heavyweights of breaks the world over. With his first release 'Hold You' on Thursday Club Records, Dopamine's history with electro and techno is hammered home for a solid and relentless 7 minutes of electro/tech influenced breakbeat badness. It's currently being caned by Rennie Pilgrem, Plump DJs, Clive Morley, Stanton Warriors, High Eight, POD, Deekline & Wizard, Atomic Hooligan and Jay Cunning; definitely high praise. With 'Zoit' on the flip, Matt throws down more mayhem inducing frequencies which mingle with lush flowing pads and hard abrasive beats. A favourite with James Zabelia and lovers of deep techy breaks worldwide. Dopamine now has a new home away from home with Title Fight Recordings run by Klaus Heavyweight Hill. Title Fight allows Matt to really explore the tougher side of breaks whilst keeping his trademark electro funk style intact. His first release on Title Fight titled 'Harsh' sold out within two days and repressing began immediately. Expect even bigger things from Dopamine and the rest of the awesome Title Fight crew in the immediate future. Dopamine plays Hobart’s Halo on Monday the 24th of April as part of Title Fight 8

Page 14

Since then Hofman as built a repertoire records which reflects his broad taste in music including but not limited to Hip Hop, House, electro, progressive, Breaks, Drum and Bass as well as Metal/Rock. His versatile knowledge coupled with his DJ mixing, scratching, cutting and sampling capabilities, secures weekly gigs for him in and around Melbourne, and regular interstate guest spots in Canberra, Hobart, Brisbane and Sydney. Subsequent to moving to Melbourne in 2001, Matt has performed at warehouse parties and club gigs at Room and Metro; guest spots for Earthcore, Fractured and Kinetik; and, he holds a residency at a monthly night called Darkbeat. His DJ accolades also includes playing along side most of Melbourne's best such as Phil K, Sean Quinn, Ivan Gough, Gavin Kietel, Scrambler; and, international talents, Steve Gerrard, Klaus 'Heavyweight' Hill, Stanton Warriors, James Holden, Paolo Mojo and Aquasky. Matt Hofman cannot be pigeon holed owing to his continuously changing and innovative style that is always funky and never cheesy. He can drop anything from funked up jazzed out jackin House, Progressive House/Trance, Breakbeat, Electro House, Tech House, Tribal and Techno.

There is a reason that his songs have become more and more successful internationally; he has matured into quite a career artist/producer. Also as a DJ, he is presently in greater demand than ever, as his co-operation with the legendary English Dance-Label Ministry of Sound clearly shows; he was the first ever German DJ to remix the “Annual” compilation. The rich experience Tom Novy was able to gather in his numerous appearances as a DJ during the last 15 years, make for another bonus – he has become a very well rounded, versatile artist/producer/DJ. "DJing around the world definitely has an effect on my work as a producer too. You simply become more open stylistically." Tom is influenced by Pop culture and the fusion of genres in music. “It opens the boundaries in music. This is what evolution is all about.” Tracks like "Now or Never", or "Minha Vida", a nine-minute-long Samba hymn easily floating with a Mediterranean swing, once again show his ability to adapt to different musical styles.

Matt Hofman’s musical expertise is not only grounded in the practical sense, but also in his professional vocation - music is his life.

Still these songs represent only a small selection of his stylistic spectrum. Tom’s music is always evolving…always getting better.

Matt Hofman plays Pound 4 Pound at Launceston’s James Hotel on May 6th

Tom Novy plays Hobart’s Syrup on Friday the 14th of April.

The Presets Remix Kravitz 4 Absolut

Ten of the world’s most innovative music artists have remixed LENNY KRAVITZ’s collaborative project with ABSOLUT, including two piece Sydney act The Presets. Following the launch of ABSOLUT KRAVITZ – an exciting new music project which saw global music icon Lenny Kravitz writing an exclusive new dance track inspired by ABSOLUT itself – ABSOLUT is taking the project to the next level. Lenny Kravitz’s track ‘Breathe’ is just the starting point for a chain of creative inspiration, as 10 leading music producers, composers and DJs – chosen by ABSOLUT from across the musical spectrum and from all over the world – contribute their own unique interpretation of the original track. Launching the project last month in Sydney as part of the global unveiling were Australia’s own masters of electro-clash, The Presets. The Sydney 2 piece have created a work of wild electronica, rebuilding the original track over the sound of frequency modulators going crazy. Even Lenny Kravitz’s vocal track is distorted towards abstraction. And yet for such a radical remix, it’s reassuringly accessible, with the original chord sequence anchoring the entire remix. Their performance at the exclusive ABSOLUT KRAVITZ launch saw them play their remix version of “Breathe” for the very first time, along with a set of the band’s original music. The ABSOLUT KRAVITZ remixes will not be for sale - Instead they will be available to download for free from http://www.absoluttracks. com where you can find all 10 remixes along with the Lenny Kravitz original version of “Breathe”.


BANGERS & MASH

Flaunting It on the Charts…

Let’s just take the piss a little bit…

TV Rock

is all a bit easy.” So we started just finishing a few remixes. The next single we did was “Being Good” by Deep Face, and that went really, really well. And we thought, “Well, let’s just keep going!” So that’s sort of how it developed.

The track “Flaunt It” – how long did it take you to put together? Was it an easy track to produce, or was it a difficult one that came up as a diamond in the end?

[Your track] “Flaunt It” is the first Australian-produced dance track to reach #1 on the ARIA charts since 1999’s “Don’t Call Me Baby”… Yeah, it is. It’s a long time between drinks! But I would suggest that that run might not be as long anymore. I’d be very hopeful of that.

I wouldn’t say “diamond in the end”, but there was certainly a bit more thought than usual that went into it. We had a really hot groove to start with, and then the vocal went on top, and we thought, “This is sounding great”. But it was pretty underground still. We shopped it around a little bit. We took it to EMI, and they said no – they weren’t interested. Sony,

“TV Rock” – is that some kind of tongue-in-cheek swipe at blatant commercialism? Where does that come about? I wish it was a very cool story…other than the fact that we’ve been trying to think of a name for a very long time. “TV” was on one list, and “Rock” was on the other. Like you say, there was some semblance of “TV” being a bit of commercialism and whatever, and “Rock” being “rocking at the club”. So we thought, “Let’s just take the piss a little bit and write cool records, and come up with a name that we’re happy with that doesn’t mean a lot”. And since then we’ve been informed that TV Rock is actually a mineral that you can project images onto, but it’s nothing to do with that. In reality, we’ve settled on a name that we thought was okay, and we thought we’d just let our

initially, weren’t interested. So we started our own record label Bimbo Rock, and put it out on Bimbo Rock ourselves. And then it got to number one on the club chart, and then we shot a video, and were pushed to our financial limit as far as how much we could spend on it. It’s certainly a liberating experience – if none of the big boys want to put it out, you can still put it out and do exactly what we’ve done. That’s just the end result. The cream can rise to the top; it doesn’t matter what it comes out on. If you get knocked back, don’t accept it as an absolute “no”. It doesn’t mean it’s the end of the road; that’s the real thing to be taken out of it. Thanks for your time today, Grant. An absolute pleasure!

By Dave Williams & Tom Wilson

music do the talking.

Grant Smillie Given that he is appearing in SAUCE with a Fedora and porn star moustache, it’s fairly clear that DJ/producer Grant Smillie doesn’t take himself too seriously. Thing is, the dance world is taking him quite seriously indeed. As one half of TV Rock – working with fellow producer Ivan Gough – the recent single “Flaunt It” made them the first Aussie dance group to have a #1 single since Madison Avenue’s “Don’t Call Me Baby” way back in 1999. He spoke to Dave Williams about the band, the success and how being knocked-back doesn’t mean shit…

So you and Ivan, how long have you been working together? We started working together at the end of 2004. Last year we did twenty remixes, so we did about two a month or thereabouts. It went from being two days a week to three days a week, and then about June last year, it ended up being full time. It’s been really good. We’ve got a great working relationship, and we just love being in the studio. How did you first get together with Ivan? It’s not a bad story actually. I was playing in One Love in Melbourne at the Prince of Wales, and Ivan just came in for a drink. I’d certainly known about Ivan for a long time, and I think he’d known about me, but we’d never really met. I ended up standing next to him at the bar, and we had a mutual friend who said,

So how are you feeling today? Great! Can’t complain! Just sort of in the studio today working on the bits and pieces; just trying to get as much time in there as possible at the moment. It’s

“Oh, this is Ivan.” We worked on a remix of one of his tracks, actually, and that went really well. Then we

Ivan Gough

also did a really good “Song 2” by Blur, that ended up getting picked up by Moguai in Germany and got

a pretty hectic schedule at the moment.

played all around the world. We thought, “Gee, this

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GIG Guide

Spurs/Warehouse Well Strung

05/04/06 - 02/05/06 WEDNESDAY 5th

1 DEVONPORT Spurs/Warehouse Bundy 8 Ball Calcutta

1 HOBART Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late

DJ G-Rox Royal Oak Mark Vincent 9 till late in P/B Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. FRIDAY 7th

Republic Bar & Café Black Coffee 9pm Syrup Upstairs 10pm: LATE NIGHT BOOTY CALL DJ’s Spinfx, Dave Webber, Bent & Scott Woodhouse. The Metz Uni Night Mega Happy Hour 9-11pm DJ Dave Webber 9-late The Vic JohnCraig Live

1 LAUNCESTON Arts Alive (Behind Fresh Café) THE FRINGE LOUNGE Blue Cotton/Cirque FX/ Meeghan May/ Samora/ The Balfour St Blues Progression/ Charlie Caper (Sweden)/Show Us Your Culture...Africa! / Josh Foley / Performance art 4pm-8:30pm Batman Fawkner Inn Mark Stinson, ‘Acoustic Solo’ Irish Murphy’s Jesse Higgs Dave Adams 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. THURSDAY 6th

1 DEVONPORT Kings Bar “The Groove Factory” Dance to the big electronic sound of trance with laser lights Spurs/Warehouse Crazy Karaoke

1 HOBART Republic Bar & Café The 120y’s 9pm Syrup MESH – Hobart’s oldest club night, breaks / drum+bass with resident DJs: SpinFX, Scott Woodhouse and guests. The Vic Jeremy Matcham Live

1 LAUNCESTON Arts Alive (Behind Fresh Café) THE FRINGE LOUNGE DJ Hannah/Fashion Parade/Lady Midnight/ Emma Dilemma/Claire the Contortionist/Show Us Your ...Queer Culture! 4pm-8:30pm Batman Fawkner Inn $500 8Ball Calcutta @ 8pm $1 POTS @ Voice Niteclub, with Dj Earl Irish Murphy’s Leigh Ratcliffe James Hotel Uni Nite Funkin Unbelievable (Free buses from da Uni)

Page 16

1 BURNIE Sirocco’s DJ Cola

1 DEVONPORT Kings Bar Live Band: “Hot Strings” Spurs/Warehouse Big Screen Videos

1 HOBART Duke of Wellington MINT – Breaks/Electro/ House 10pm-5am Heat Nightclub 10pm – 7am Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café DREADNAUGHT & Bullethead $7/5conc. 10pm Syrup Downstairs 9pm: KO – Resident DJ’ Mez ‘Laying down the Chunks “O” Funk’ Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: BREAKEVEN @ Syrup presents M.O.S Maximum Bass Tour feat. Klaus “Heavyweight” Hill with resident DJ’s Adam Turner, Scott Woodhouse & Mez. The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen

1 LAUNCESTON Arts Alive (Behind Fresh Café) HIP HOP TUCK SHOP Tom Thum (Bris)/ Emcee Squared (Melb)/ Oz2Oz/ Altrueism/ Oxcyde/ BBoys/Calumn MacLean/ Joel Fenech 5.30pm-10.30pm Batman Fawkner Inn DJ Earl + Guests @ Voice Niteclub Irish Murphy’s Voodoo Lounge James Hotel James Bar Glenn Moorhouse Reality Dj Mac D Dj Niko Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. Ursula’s Lounge Daddy SATURDAY 8th

1 BURNIE Sirocco’s Decks In The City with DJ Paul

1 DEVONPORT Kings Bar Kings Dj “Roxy”

1 HOBART Heat Nightclub 10pm – 7am Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café King Marong & Afro Mandinko (African music) plus Sinpare (African hiphop) $10/8conc. 10pm Syrup Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s T.H.C. and Rolly - Upstairs 11pm: THE BEEZ NEEZ presents – the best of house, electro & breaks with resident DJ’s Gillie & Adam Turner + Kir & Corney. The Metz Live Acoustic with John Craig 8-11 The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen

1 LAUNCESTON Batman Fawkner Inn Bullethead (Syd) Supported by Rocket Noodle Dj Earl + Guests @ Voice Niteclub Irish Murphy’s Funkin Unbelievable James Hotel DREADNAUGHT supp. The Voyeurs Dj Mac D Dj Niko Royal Oak Leo and Mick 9:30 till late in P/B Saloon Super Saturday, The Party Continues...with live DJ playing commercial music and upstairs DJ Loco with Karaoke. SUNDAY 9th

1 HOBART Republic Bar & Café A.S.A Mountain Festival $5 8:30pm The Metz Sunday Session 5-8pm Acoustic on deck with Charles 8-late DJ Dave Webber

1 LAUNCESTON Arts Alive (Behind Fresh Café) THE FRINGE LOUNGE Wrapping up the Fringe will be a major chill session featuring...J/ Blue Daze/ Espace/ Hank’s Fusion/ Zac and more. 2pm-5:30pm Irish Murphy’s Idle Hands Mick Josephson Mick Attard James Hotel Open Decks Bring your own vinyl Royal Oak Oak Folk open folk Sunday Sesh 4:30- 9 in P/B Star Hotel Sexy Lounge with Carl Fidler 4pm-6pm MONDAY 10th

1 HOBART Republic Bar & Café Quiz Night 8:30pm

1 LAUNCESTON Irish Murphy’s Leo James Hotel HO Club TUESDAY 11th

1 HOBART Republic Bar & Café Show no mercy (washboard band) 9pm

1 LAUNCESTON Irish Murphy’s Glenn Moorhouse James Hotel Toss the Boss Toss to win free drink

1 LAUNCESTON Batman Fawkner Inn Good Friday Eve with Roundabout, ‘Cover Band’ Dj Earl + Guests @ Voice Niteclub Irish Murphy’s THE EMBERS James Hotel Good Friday Eve James Bar Dj Randall, Re-Cut, Buff star dlux Reality 3Sum Dj Nikko Royal Oak Damen Browne 9 till late in P/B

1 HOBART Heat Nightclub 10pm-7am Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café Ian Moss (solo) supp. Hayley Couper $20 10pm Syrup Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly and T.H.C. - Upstairs 11pm: THE BEEZ NEEZ presents DIRTY F’KING DANCING – house, electro & breaks with resident DJ’s Gillie & Adam Turner + guests Timo & Modal.

Saloon Trivia Night in the Main Room $5,000 to be Won Commences at 7pm.

Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests.

WEDNESDAY 12th

FRIDAY 14th

The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen

1 DEVONPORT

1 BURNIE

1 LAUNCESTON

Spurs/Warehouse Bundy 8 Ball Calcutta

Sirocco’s DJ Cola

1 HOBART

1 DEVONPORT

Batman Fawkner Inn Monsoon ‘Cover Band’ Dj Earl + Guest @ Voice Niteclub

Halo Pendulum (WA) feat. MC J Rippa. Local DJs Smokey, Waz, Model T, Spinfx

Kings Bar Live Band “No Way Out”

Irish Murphy’s Gypsy Caravan

Spurs/Warehouse Big Screen Videos

James Hotel James Bar Leigh Ratcliffe Reality Dj MacD Dj Niko

Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café Blue Heelers 9pm Syrup Upstairs 10pm till late: LATE NIGHT BOOTY CALL with DJ’s Spinfx, Dave Webber, Bent & Scott Woodhouse. The Metz Uni night Mega Happy Hour 9-11pm DJ Dave Webber 9-late The Vic JohnCraig Live

1 LAUNCESTON Batman Fawkner Inn Mark Stinson, ‘Acoustic Solo’ Irish Murphy’s Robbie Elliot Greenwood James Hotel Cheap ass Wednseday Leigh Ratcliffe Saloon Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. THURSDAY 13th

1 BURNIE Sirocco’s MAXIMUM BASS TOUR feat. KLAUS “HEAVYWEIGHT” HILL + supports JOYCIE and DJ PAUL

1 DEVONPORT Kings Bar Live Band...”No Way Out” & Kings Dj Roxy Spurs/Warehouse Ian Moss

1 HOBART Republic Bar & Café Sugartrain $2 cover 9pm Syrup MESH with resident DJ’s Scott Woodhouse, SpinFX, Plastique & guests The Vic Jeremy Matcham Live

1 HOBART Duke of Wellington MINT – Breaks/Electro/ House 10pm-5am Heat Nightclub 10pm-7am Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café Pete Cornelious & the Devils $2 Cover 10pm Syrup Downstairs 8pm: KO – Resident DJ’ Mez ‘Laying down the Chunks “O” Funk’ Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: M.O.S & La Casa present Germany’s NO. 1 DJ Tom Novy with support from residents Matt B, Gillie & Adam Turner. The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen

1 LAUNCESTON Irish Murphy’s Alphanumeric James Hotel James bar Glenn Moorhouse Reality Ian Moss Supported by Carl & Glenn (The Dead Abigails) Saloon Good Friday open till late in the Loft with Karaoke early and Live DJ’s later.

Royal Oak Idle Hands 9:30 till late in the P/B Saloon Easter Saturday Night “SGT GREEN” Happy hours 10pm to 11pm and 2am to 3am. Karaoke in The Loft SUNDAY 16th

1 HOBART Halo Superstyle Deluxe (UK) plus local DJs

Spurs/Warehouse Voodoo Lounge

1 LAUNCESTON 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. WEDNESDAY 19th

1 DEVONPORT Spurs/Warehouse Bundy 8 Ball Calcutta

1 HOBART Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café Angie Boxall 9pm Syrup Upstairs 10pm till late: LATE NIGHT BOOTY CALL with DJ’s Spinfx, Dave Webber, Bent & Scott Woodhouse. The Metz Uni night Mega Happy Hour 9-11pm DJ Dave Webber 9-late The Vic JohnCraig Live

1 LAUNCESTON Batman Fawkner Inn Mark Stinson, “Acoustic Solo” Irish Murphy’s Samuel Bester The Voyeurs

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

1 LAUNCESTON

THURSDAY 20th

Irish Murphy’s Geale Bros Ben Castles Voodoo Lounge 3 Sum James Hotel Open Decks Bring your own vinyl Royal Oak Oak Folk open folk Sunday Sesh 4:30 - 9 in the P/B Star Hotel Sexy Lounge with Carl Fidler 4pm-6pm MONDAY 17th

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

Kings Bar Kings Dj “Roxy”

Republic Bar & Café Blue Flies 9pm

The Metz Sunday Session 5-8pm Acoustic on deck with Charles 8-late DJ Dave Webber

SATURDAY 15th

1 DEVONPORT

1 HOBART

James Hotel Cheap ass Wednesday Glenn Moorhouse

1 HOBART

Sirocco’s Decks In The City with DJ Paul

TUESDAY 18th

Republic Bar & Café Sundy Side up (music, comedy & poetry) 8:30pm

Ursula’s Three Piece Suite

1 BURNIE

with supports “Separatist” from Melbourne and 2 more funky bands. ‘4 BANDS FOR 5 BUCKS’.

1 LAUNCESTON

1 DEVONPORT Kings Bar Kings Dj Roxy With Karaoke By Request Spurs/Warehouse Crazy Karaoke

1 HOBART Republic Bar & Café Fatter than Musrat plus Nellie & the fat band $7/5conc. 9pm Syrup MESH – Hobart’s oldest club night, breaks/ drum+bass with DJ’s Scott Woodhouse, SpinFX and Guests. The Vic Jeremy Matcham Live

1 LAUNCESTON

Irish Murphy’s Luke Parry

Batman Fawkner Inn $1 POTS @ Voice Niteclub, with Dj Earl

James Hotel HO Club

Irish Murphy’s Ben Castles

Saloon Easter Monday Multi Band Night “Exciting Sydney Band ‘HIGHROAD No. 28’

James Hotel Uni Nite Live Band (free buses from da Uni)


Dj G-Rox Royal Oak Samuel Bester 9 till late in the P/B Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. FRIDAY 21st

1 BURNIE Sirocco’s DJ Cola

1 DEVONPORT Kings Bar Live Band. “Addictive” Spurs/Warehouse Big Screen Videos

1 HOBART Duke of Wellington MINT – Breaks/Electro/ House 10pm-5am Heat Nightclub 10pm-7am Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café Carus & the True Believers supp. Link Le Fevre $10/8conc. 10pm Syrup Downstairs 9pm: KO with Resident DJ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: La Casa – funky vocal house with resident DJ’s Matt B, DJG & Timo. The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen UTAS HILLTOP HOODS – SOLD OUT

1 LAUNCESTON Batman Fawkner Inn The Alternative Voice with Rocket Noodle, Modus & The Belchers @ Voice $5 cover Irish Murphy’s The Unit James Hotel James bar Sambo Reality Dj Mac D Dj Nikko Royal Oak Mark Vincent 9 till late in the P/B Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. SATURDAY 22nd

1 BURNIE Sirocco’s Decks In The City with DJ Paul

1 DEVONPORT Kings Bar Kings Dj Roxy Spurs/Warehouse The Kool Daddys

1 HOBART

DJs Chilli & Brent 10pm till late Republic Bar & Café Bomb Diggity ‘06 feat. Unleash The Nugget & dj Royal B + special guests $8/6conc. 10pm Syrup Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly and T.H.C. - Upstairs 11pm: THE BEEZ NEEZ presents DIRTY F’KING DANCING - house, electro & breaks with resident DJ’s Gillie & Adam Turner + guests DSKO & Kir. The Metz Live acoustic with Lucas & Adrian 8-11 The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen Wrest Point Pete Murray & The Stonemasons Donavan Frankenreiter Nine Mile Gates Open 12 Noon – Over 18 event

1 LAUNCESTON Batman Fawkner Inn Black Dog ‘ROCK, Cover Band’ James Hotel James Bar Luke Parry Reality Dj Mac D Dj Nikko Royal Oak S&M 9:30 till late in the P/B Saloon Super Saturday, The Party Continues...with live DJ playing commercial music and upstairs DJ Loco with Karaoke. SUNDAY 23rd

1 HOBART Republic Bar & Café Merchants in Groove 8:30pm The Metz Sunday Session 5-8pm Acoustic on deck with Charles 8-late DJ Dave Webber

1 LAUNCESTON Irish Murphy’s Phil Picasso Robbie Elliot Leigh Ratcliffe Jukebox James Hotel Reality FUSION 101 & Falling (reformed) Nine Mile (Pete Murray’s national support act) Carl Fidler (The Dead Abigails) Ratty & Randy (Funk it up) Dj Joycie (turntables) + Dj Randall (drums) Dj MacD Dj G-Rox Dj Niko Royal Oak Oak Folk open folk sunday sesh 4:30 - 9 in P/B Star Hotel Sexy Lounge with Carl Fidler 4pm-6pm MONDAY 24th

1 DEVONPORT King’s Bar Spurs/Warehouse

Heat Nightclub 10pm-7am

1 HOBART

Kaos Soak @ Kaos

Halo Title Fight 8 – Dopamine

(Syd) and guest Local DJs Seb, WBalls, Gnosis

Loki.

Spurs/Warehouse The Machine

The Vic Jeremy Matcham Live

1 HOBART

Republic Bar & Café Quiz Night 8:30pm

1 LAUNCESTON

Heat Nightclub 10pm-7am

1 LAUNCESTON

Batman Fawkner Inn $1 POTS @ Voice Niteclub with Dj Earl

Batman Fawkner Inn MELBOURNE HIP HOP BANDS ‘3TO2’ & AWBS + BREAK DANCERS. $7 cover charge Irish Murphy’s Idle Hands James Hotel Anzac Day Eve Dj Recut, Randall, Buff star dlux TUESDAY 25th

1 HOBART

Irish Murphy’s Voodoo Lounge James Hotel Uni Nite Sgt Green (free buses from da Uni) Dj G-Rox Saloon Request Night – keep the party going with $3 Daiquiri’s for the Ladies and live DJ playing requests. FRIDAY 28th

Republic Bar & Café Smooth 9pm

1 BURNIE

1 LAUNCESTON

Sirocco’s DJ Cola

Irish Murphy’s Luke Parry 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. WEDNESDAY 26th

1 DEVONPORT Spurs/Warehouse Bundy 8 Ball Calcutta

1 HOBART Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café Dirty kyser + The Loopway band (Japan) $2cover 9pm Syrup Upstairs 10pm till late: LATE NIGHT BOOTY CALL with RESIDENT DJ’s Spinfx, Scott Woodhouse, Dave Webber & Bent. The Metz Uni night Mega Happy Hour 9-11pm DJ Dave Webber 9-late The Vic JohnCraig Live

1 LAUNCESTON Batman Fawkner Inn Roundabout, ‘Cover Band’ Irish Murphy’s Nathan Weldon Rocket Noodle James Hotel Cheap ass Wednesday Luke Parry Saloon Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco. THURSDAY 27th

1 DEVONPORT Kings Bar Kings Dj Roxy & Karaoke by Request Spurs/Warehouse Annie Piper

1 HOBART Republic Bar & Café Simon Russel Guilty as Charged $3 9pm Syrup Upstairs 10pm: CONCORD DAWN album launch with special guest JPS + local DJ’s Spinfx, Smokey &

1 DEVONPORT

Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café The Drones, The reactions, Hana $10/8conc. 10pm Syrup Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s T.H.C & Rolly. - Upstairs 11pm: THE BEEZ NEEZ presents DIRTY F’KING DANCING - house, electro & breaks with resident DJ’s Gillie & Adam Turner + guests Corney & DSKO. The Metz Live Acoustic with Loco 8-11

Kings Bar Live Band “Richie Beanue Allstars”

The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen

Spurs/Warehouse Big Screen Videos

1 LAUNCESTON

1 HOBART

Batman Fawkner Inn Roundabout, ‘Cover Band’

Duke of Wellington MINT – Breaks/Electro/ House 10pm-5am

Irish Murphy’s Funkin Unbelievable

Heat Nightclub 10pm-7am Kaos Soak @ Kaos DJs Chilli & Brent 10pm till late Republic Bar & Café Bliss & Eso supp, Phrase & Nate and Damaged goods $18/15conc. 10pm Syrup Downstairs 9pm: KO with Resident DJ Mez ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: PICKLE – Techno, Trance & Hard NRG with residents DSKO & Corney + guests. The Vic Live Bands Detour, New Age Hippies and more Footy on the Big Screen

1 LAUNCESTON Batman Fawkner Inn Monsoon, ‘Cover Band’ Irish Murphy’s Break Water James Hotel James Bar Glenn Moorhouse Reality Dj Mac D Dj Niko Royal Oak Leo and Mick in the P/B 9 till late L.B.C Outloopway Blues Band in the Boatshed Saloon Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

James Hotel Reality Bliss N Eso (“Day of the Dog” national tour) Support: Phrase, Dj Flagrant Saloon Super Saturday, The Party Continues...with live DJ playing commercial music and upstairs DJ Loco with Karaoke. SUNDAY 30th

1 HOBART Republic Bar & Café Cake Walking Babies 8:30pm The Metz Sunday Session 5-8pm Acoustic on deck with Charles 8-late DJ Dave Webber

1 LAUNCESTON Irish Murphy’s Leo Kyrin John and Robbie Gypsy Caravan James Hotel Open Decks Bring your own vinyl Star Hotel Sexy Lounge with Carl Fidler 4pm-6pm MAY MONDAY 1st

1 LAUNCESTON James Hotel HO Club TUESDAY 2nd

1 LAUNCESTON James Hotel Toss the Boss Toss to win free drink

@Venue Guide Burnie 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 www.republicbar.com Soak @ Kaos 237 Elizabeth St Hobart 6231 5699 Syrup 1st Floor 39 Salamanca Place Hobart 6224 8249 syrupclub@bigpond.com The Victoria Tavern (The Vic) 30 Murray St Hobart 3223 3424 Uni Bar - Hobart Campus 1 Churchill Ave Sandy Bay 6226 2495 www.tuu.com.au

Launceston Irish Murphy’s 211 Brisbane St Launceston 6331 4440 James Hotel Reality Niteclub James Bar 122 York St Launceston 6334 7231 info@jameshotel.com.au

Saloon Bar 191 Charles Street Launceston 63 317 355 The Batty The Batman Fawkner Inn 35 Cameron St Launceston 6331 7222 Ursulas on Brisbane 63 Brisbane St Launceston 6334 7033

SATURDAY 29th

1 BURNIE Sirocco’s Decks In The City with DJ Paul

Saloon Trivia Night in the Main Room $5,000 to be Won Commences at 7pm.

1 DEVONPORT Kings Bar Kings Dj Roxy

To list your gig in the Gig Guide, email details to gigguide@sauceonline.net Page 17


ROCK SALT

Easter At The Good Friday

Jetlag and makeup

Dresden Dolls

open til late in the Loft with Karaoke early and Live DJ's later EASTER SATURDAY

EN SGT GRE urs: Happy ho

10PM to 11PM & 2AM to 3AM

Karaoke in The Loft EASTER MONDAY

MULTI BAND NIGHT 4 bANDS FOR 5 bUCKS! Exciting Sydney Band

HIGHROAD nO.28 SEPARATIST WITH SUPPORTS

(melbourne)

+ 2 MORE BANDS

(tba)

1 9 1 C H A R L E S S T R E E T L AU N C E S TO 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 18

Called a “high art rock band” by more than just this interviewer, burlesque punk duo The Dresden Dolls have certainly come from left of field…and who else would they be signed to but Roadrunner Records? Dave Williams got under the makeup of Brian Viglione… How long have you been in Australia for? We have been in Australia for about six hours. (Laughs) That’s pretty mad – straight from the airport to interviews… Absolutely, but that’s the nature of the beast sometimes. Do you feel a bit disoriented? Surprisingly, no. Actually, I was expecting to really be out of my fucking head if I didn’t sleep on the plane, but I was able to get some sleep. We came from Boston to Japan, did two days of press in Tokyo. And then we just got in this morning from Tokyo; flew overnight, ten hours. So our biological clocks are ticking away okay. But I remember the first time we came to Australia and New Zealand, we made the sad mistake of falling asleep as soon as we got back to our hotel at about twelve noon. So we woke up at 9PM, fully awake, and completely screwed ourselves for the next day. It was like being in Wonderland, upside-down, on acid. We’re much better off this time. So are you just doing press in Australia, or are you doing shows? We have one very small show in Sydney for around two hundred people, I think on Sunday night. Is that an exclusive, invite-only sort of thing? No – thankfully not. We were wondering if it was just going to be all industry people. But it’s open to fans. So it’s going to be two hundred fans and a couple of people from Roadrunner Australia. And the new album…? Yes; we’re very excited about it, and very proud of it. I think it achieves what we wanted to do…really capturing the live energy of the band…the real strippeddown, raw essence of the drums, piano and vocals, which I think we were just a little too insecure about on the first record. To me, there’s an overall image of a “high-art” rock band…a meeting of rock and jazz and classical music… It sounds sophisticated, doesn’t it? But really, when you come down to it, it’s a pretty gut-, emotion-based band. I think one of the things that we’ve learned – and especially Amanda, in her songwriting – is learning how to simplify music in her own writing…and to simplify the ideas and the packaging in which the ideas are presented. The material in this new album spans probably the last seven years. “Sex Changes” and “Modern Moonlight” were written before Amanda and I even met, but then developed a lot while we were playing the songs on tour. But those songs…like “Modern Moonlight”, in its complexity, is a much different type

of composing compared to “Delila”, which is just three chords for the whole six-and-a-half minutes of the song. So there’s a radical difference in Amanda’s confidence in being able to relate an idea through a much simpler musical structure. Do you think there’s almost an erotic element to the band? Oh absolutely. I mean, that’s part of the whole sexual chemistry inherent in rock ‘n’ roll; it makes you feel lucid; it makes you feel that you can let your guard down. When you forget everything else that’s going on around you, and you completely submit to that feeling, and succumb to that glorious forgetting of yourself and your surroundings… People are sexual animals by nature, so that comes through when you’re not being conscious of it I think. Have you copped any criticism from other musicians for having that element to your show? The sexual chemistry? Yeah. (Laughs). No…I thought you were going to say something about the makeup and stuff like that! But no; I think sexual energy has always been fairly welcome no matter what stage you bring it to. Well what about that, then? The costume and makeup? Absolutely. People used to call us fags…sticky minds that were just creating substance-less music and couldn’t play and this and that. A lot of that stemmed from the more jaded and insecure members of the Boston music community who felt threatened that the Dresden Dolls were getting a lot of attention in the press. And we weren’t at all playing by the rules of the Boston music scene… Bring something different to the table…something different to the musical palate. So when we entered from playing art galleries to playing clubs, people kind of went, “Wow, this is going to work”. And we were like, “You’re fucking right it’s going to work!” I think it spurred us on to prove to people that we aren’t fucking around. I think that’ll give inspiration to a friend of mine who’s got a band that’s got a real performance element to it…what some people would call “risqué”. And recently they were booed and abused by people who were saying that this person was acting was encouraging men to rape. Was she doing a very provocative striptease thing? Well apparently she tore off the bass player’s singlet with her teeth. (Laughs) Well, I don’t know. Sometimes if people think something is contrived, they start to feel defensive right away. People kind of go “Argh! I don’t like the way this is shaking me up! Let’s squash it and kill it! So maybe she’s hitting a button in some people that’s sensitive. What’s happening for you in the next month? The next month…we’re leaving Melbourne on the 14th after two days of press there, then we fly to Austin, Texas. We’re going to play South-By-Southwest. New album "Yes, Virginia" is out now.

By Dave Williams & Tom Wilson


By Dave Williams & Tom Wilson

ROCK SALT Enter the Gala Mill

who works with The Spazzys? No; we borrowed and stole a bunch of recording gear off all our friends up there, threw it in a borrowed van and took it on the ferry. We went down to a farm…you know Swansea? Near there, but inland from Swansea; on the east coast. We set up in this old convict mill on a tenthousand-acre farm, and just banged together a record over the course of a week.

The Drones When The Drones were awarded the 2005 Australian Music Prize in the form of twenty-five grand, it’s unclear exactly what they were expected to do with it. But one listen to their release of that year – “Wait Long by the River and the Bodies of Your Enemies will Float By” – will prove that they certainly deserved it. Having just completed work on their follow up “Gala Mill”, they spoke to Dave Williams about recording in Tasmania and being expected to buy a kilo of smack… So you’ve been doing a couple of interviews today? Yeah, yeah. Why do you think you’re getting all this attention at the moment? Well we’re sort of revving up for a quick tour of Australia. And this AMP awards thing. What was the story with that? It’s just a…We won twenty-five grand, which is good… Are you told that you have to go and use it to produce a record? Or could you perhaps go to the Bahamas and rent a really nice yacht and have chicks in bikinis… It’s like they want you to do that; the Bahamas option! But then you’ve got to bore them stupid by trying to fix all your gear and shit like that. But that’s what they wanted – for us to go and buy a kilo of smack or something. It was quite funny. They were like, “Go out and do something outrageous!” Yeah, they were going, “What exciting things are you going to do?” And we were just like, “Well, we lost most of our clothes on tour, and one guitar’s broken and the pedals are all busted.” Stuff like that. And they went, “Oh, okay…” They wanted us to snort coke off prostitutes’ bums and stuff like that. Well that’s what the fantasy is of rock n roll… So what have The Drones been up to in the last month to prompt this tour? Got a CD coming out?

man. It’s become a full-time occupation, which is a fucking great thing. We can pay the rent by playing music, which is such a cool thing. I think that’s a great note to end this interview on. Good luck with everything – I hope your gig down here just goes off. No worries. Cheers, mate.

What inspired you to come to Tasmania to record, as The Drones play Hobart’s Republic Bar & Café on opposed to doing it where you live? Saturday the 29th of April. “Wait Long by the River Well, we love Tassie; we’ve been there heaps of times, and the Bodies of Your Enemies Will Float By” is out and our drummer’s from now. Tassie too. It’s just beautiful down there. And the drummer had just joined; we’ve got a new drummer. We just thought, “Fuck it; if we can do this cheap, let’s go and have a little holiday in 211 Brisbane St Launceston 6331 4440 Tassie with the excuse of making a record”, you know? It beats being in a recording studio.

IRISH MURPHY’S

They wanted us to snort coke off prostitutes’ bums… We’ve had “Wait Long by the River…”; that’s been out for almost a year. Actually, I do know about that; I think it’s the most beautiful title. Is that a Chinese proverb or something? It’s like a Hindu thing, I think. It is a great comment; people think it’s kind of hostile, but it’s actually the opposite. It’s more about patience and longevity and perseverance, I think… Yeah; just ignore all the dickheads and persevere. You’ve done a bit of touring overseas as well? Yeah. We got back about four weeks ago, after a six month tour. Did that leave you all scarred and with loose orifices from going through Amsterdam? Yeah – fuckin’ oath! A lot of border crossings. But yeah – we were totally ruined after that. It was so exhausting. Just madness. We’ve all been hospitalised and stuff like that. So we got back and just collapsed, basically. You’ve got a new album coming out – “Gala Mill” Yeah – we recorded it down in Tassie. Was it down the end of the Tamar River, with the guy

Wednesday Originals Night

You’re coming back down here, just for one show? Just a quick in-and-out, “eats, roots and leaves” kind of thing? Yeah. Then you head back to Melbourne? Back to Melbourne, and in about five weeks…I mean, we’re doing gigs all over Australia in the next five weeks, and then back to the UK and Europe and do all that again. Things seem to be amping-up for you at the moment – excuse the pun… (Laughs) Yeah, yeah – nice one. Thanks. It’s getting…we’re busy every day now,

$ 8:50 Carlton or Cascade Jugs $ 10 Stella Jugs $ 17:50 Hoegaarden Jugs

April Gigs Wed 5th

Jesse Higgs, Dave Adams

Wed 12th

Robbie Elliot, Greenwood

Thurs 13th

The Embers

Wed 19th

Samuel Bester, The Voyeurs

Wed 26th

Nathan Weldon, Rocket Noodle

Beer Garden Opening Soon Live Music 7 Days Theres Always Something happening At Irish

Reclaim The River

1 Thursdays The Reclaim the River festival will showcase Tasmanian and interstate musicians and DJs at Marion’s Vineyard, overlooking the Tamar River on Saturday 22nd April. The all-ages event will feature gigs by Modus, Billy Goats Gruff, Pharmer PSY, Matt C.J, Greenwood, Anna Bickel and more. Alternate entertainment will come in the form of fire twirlers, a healing tent, A-V presentations, assorted food and drinks, local wines and community stalls. This event is being held to raise awareness of the negative impacts of the native forests-fed, polluting pulp mill proposed to be built in the Tamar valley. All funds raised from the event will go to The Wil-

Play 8-ball In Our New Games Room

derness Society and the Tamar Residents Action Committee to help fund the ongoing campaign to stop Gunns’ proposed pulp mill from being built at Longreach in the Tamar Valley. When: 7pm – late, Saturday the 22nd of April, 2006 Where: Marion’s Vineyard, Deviot, five kilometers south of the Batman Bridge on the West Tamar.

Costs:

$20 per ticket at gate $15 per pre sold ticket.

Tickets are available from The Wilderness Society’s Launceston Campaign Centre 180 Charles Street, Marion’s Vineyard and Fresh Café.

A Different Theme Every Week Variety Of Dj's 70's, 80's 90's Etc

Happy Hour All Night

1 Fridays Live Bands Every Friday Night CHECK OUR NOTICE BOARD AT THE CLUB FOR SPECIAL EVENTS AND UPCOMING BANDS

1 Saturdays King's Own Dj Rock With Roxy To Our Video Screens Top Hits & Requests

Ye s S m o k e r s , Yo u C a n S m o k e O n y o u r N e w " S m o k e r s D e c k " 25 KING ST DEVONPORT | 64233488 OR 0403054260 | CLUB NOW OPEN 8PM TIL LATE Page 19


CD/DVD REVIEWS Girls Aloud

Richard Ashcroft

The Drips

Chemistry By Carl Fidler

Keys To The World By Carl Fidler

The Drips By Ryan Cooke

Oh Lordy… I don’t know where to begin with this one. OK, it’s crap, there’s a good place to start – it is absolute crap! “Chemistry” is their third release of crap too! That’s pretty good going actually. [At least they’re consistent – Tom] Girls Aloud consists of four stunners and one not-sostunner (probably the more talented of the five) and they began their career in 2002 by not getting voted off “Popstars”. Oh Jesus! I can’t go on, but I need to write two-hundred words. I’d write ‘crap’ another hundred times but I did that last month… Um, they’re pretty. And I guess they can sing… but the music is so contrived and plastic (and then covered in plastic wrap!), it’s awful, awful music and makes me want to stab my eyes with forks. Seriously though, it really is nasty trash, sterile and money driven, as only bubblegum pop can be. There are no shining moments on “Chemistry”, the songs are obvious and dull. The production isn’t even that great, as Dave Venter (local sound engineer) pointed out to me, it already sounds like an MP3, which shows a deeper understanding of their market. Xenomania is the team behind Girls Aloud. They manage, publish, produce, mix, and write the songs. They also write songs for the Sugarbabes, Kylie Minogue and Lene from Aqua. My guess is that Kylie took all the good songs…

“Keys to the World” is the debut release for Ashcroft’s solo career. Ashcroft, for those who can’t quite remember, was the front man for The Verve. It’s a good solid album, expertly produced and well rounded, but there’s nothing that grabs me the way The Verve’s “Bittersweet Symphony” did. They seemed to capture the essence of grim northern England, in a way the rest of the rest of the world could relate to, but “Keys to the World” doesn’t have any of that. There are beautiful songs with lush orchestral arrangements and rattling tambourines (perhaps a throw back to The Verve or what Ashcroft brought to The Verve) but the rest is pretty much plain piano ballads. It’s actually a bit wet; Ashcroft’s voice is filled with angst and passion but the songs are flat and lackluster. I didn’t notice this while Ashcroft was still with The Verve, but there is a quality to Ashcroft’s voice that reminds me of Neil Diamond, and at times, Bruce Springsteen, Mark Knopfler, Bob Dylan and even a hint of Bryan Adams. It could be age or what he was listening to before recording the album, or maybe he’s always been a closet MOR fan!

Caliban The Undying Darkness

By Ryan Cooke

The Elected

In recent heavy music history, the decision by German Metalcore favorites Caliban to sign with Roadrunner Records and make considerable changes to their sound is one of the more controversial ones.

Sun Sun Sun By Carl Fidler “Sun, Sun, Sun” is the incandescent follow-up to The Elected’s critically acclaimed debut, “Me First”. The album was written and recorded in a succession of motel rooms while singer/songwriter Blake Sennett was on tour with his other band Rilo Kiley. There is a constant push and pull within Sennett’s biting, reflective lyricism that is born from the unsettled exploration of touring, while at the same time feeling completely at home on the road. Sennett’s grand, sweeping compositions are lush and flowing with beautiful ease. It’s like sinking into a big ol’ comfy chair. And that seems to be the vibe with most of the ‘MOR/almost country’ acts coming out of Middle America at the moment. Like Jenny Lewis, who I reviewed last issue and who is also from Rilo Kiley, the result is relaxed and uncomplicated with all the intensity contained in the lyrics. Sennett captures the limitless space of the open road with plenty of time to reminisce and look forward. Soft and lazy and feeling just like home, “Sun, Sun, Sun” is a masterfully soulful creation, studded with tiny gems.

Mudhoney Under a Billion Suns

By Carl Fidler I know I might disappoint a lot of old-school music fans with this review, but to be honest, I found the album to be a sad disappointment. There’s a good two hours I’ll never get back! I first heard these guys back in the early 90s with their neo-garage classic “Touch Me I’m Sick”. That was an awesome track, but “Under a Billion Suns” is closer to a slow death. These survivors of the grunge implosion have never swayed from their original vision: to make really loud rock music, but after eighteen years of pumping out thick, soggy punk riffs and snotnosed finger pointing, they seem to have lost their edge. I’m sure they’re a lot happier these days too, which might have a bit to do with it. “Under a Billion Suns” contains the usual Mudhoney recipe, which is pretty much a wall of trashy guitars and some unimaginative chord progressions, but they’ve added a new snidely political-fueled edge to their lyrics (anti Bush/ war), a touch of Led Zeppelin-based blues and a few psychedelic tangents. It’s loud and fierce and true to the Mudhoney dogma, but unfortunately, very ordinary.

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2004’s “The Opposite From Within” was a noticeable stylistic leap for the band - but instead of continuing to sound like a second-rate version of Killswitch Engage, Caliban have decided to take a more European metallike approach with their fifth album. From the slow and beautiful piano intro to the harder hitting tracks “I Rape Myself” and “Together Alone”, this album doesn’t let up. Some of the tracks you could swear were taken straight off the last two As I Lay Dying albums, but why change a successful formula? The biggest surprise of the album is the shock inclusion of Caliban’s cover of Bjork's "Army Of Me" - but having never heard the original, I can’t really say how the two shape up. Anyway, I enjoy this album and I believe you will too.

From First To Last Heroine By Ryan Cooke Not many albums that come out instantly blow me away, but the new From First to Last album certainly does. The follow up to 2003’s ‘Dear Diary, My Teen Angst Has a Body Count’ kicks off with the ever-powerful ‘Mother Sound’. From the crunchy guitar effects to the electro influences, ‘Heroine’ is an album not to be joked about. Each track seems to bring something new to the fold; personal standout tracks were ‘The Latest Plague’, ‘After Birth’ and ‘Waves Goodbye’. Heroine has something ‘Dear Diary, My Teen Angst Has a Body Count’ well and truly lacked - BREAKDOWNS! I would recommend this album to any Emo/Screamo fan or anyone who enjoys something different. Maybe that’s just because of the current music scene where kids with their tight skinny jeans and ‘mop-like’ hair, who like a band just for their looks, not for the musical content.

NOFX Never Trust A Hippy By Ryan Cooke It’s slightly bewildering how NOFX can still find different ways to bitch about politics and brag about how drunk they get. On the other hand, politics never get any better and beer never gets boring. But despite the same themes, the music manages to change and evolve over time – so let’s not roll our eyes at another NOFX EP. This release features two brand new songs from the bands forthcoming release on Fat Wreck Chords. Personal highlights include ”Seeing Double at the Triple Rock” and the acoustic number “You’re Wrong”. With lyrics like “You’re wrong for hating queers and eating steers if you kill for the thrill of the hunt/You’re wrong ‘bout wearing fur and not hating Ann Coulter/You’re wrong if you don’t question your government/If you think her reproductive rights are inconsequent, you’re wrong/You’re wrong fighting Jihad/Your blind faith in god/Your religions are all flawed.” You can’t look past this release.

After forming in 2000, The Drips are finally here and dropping their self-titled debut album upon the world. Riding on the back of the current new-wave-of-rock phase, The Drips kick off their album with the track “Broken”. Alas, this song and this album have nothing we haven’t heard before. I’m sick to death of every band coming out and all sounding like The Strokes, The Hives, Jet etc. Most of us don’t like them so why would we want to hear your take on their style? Apparently Triple J has this on major rotation but that doesn’t say much about the radio station who let that guy outta Powderfinger get number one on the Hottest 100.

Roll Deep Presents Grimey Vol 1 By Paul Woolcock Born in East London, Grime music seems to be a combination of Drum & Bass, Garage, Dancehall Reggae and break beats featuring British MCs blistering along the instrumentals at the speed of a fugitive amphetamine addict driving a stolen police car. Impressively energy charged and at times grindingly invasive, Grime is possibly best suited to the speeding club goer whose heart beats faster than a humming bird. Not the kind of music you would listen too if you’re feeling even remotely fragile, this Grime compilation is full of claps, clunks, rapid snares and short, sharp samples. Most of the MCs are skilled at fast paced rhyming and keep the intensity high throughout nearly the entire CD.

Delta The Lostralian By Paul Woolcock In my opinion this is a good Aussie Hip Hop release. Delta, previously known primarily as a successful free styler, has put together a solid 12-track LP. From the very first track it is apparent that this Aussie MC has a long history of battle rhyming his flow, being heavily based on impact rather than melody, seems rarely to vary much in actual structure. Delta touches on an impressive array of subjects, from the usual boasting tracks such as ‘Rhymes Like This’ and ‘Mayday’ to much more reflective efforts like ‘Four In A Home’ ‘One Less Gun’ and ‘The Greater Good’.

Sure to please those who get bored of anything under 130 bpm or anything that doesn’t sound constantly confusing, To me, Grime seems like the kind of music that has you wondering when one track finishes and the next begins. The male MCs sound aggravated and twitchy while the female MCs sound like they would bite your face off if you even thought about asking them for their phone number, not because their lyrics are overly violent but more the fact that their delivery is viciously frenzied. Being unfamiliar with Grime I find it difficult to tell whether this is a well made compilation or not, in fact I find it difficult to think at all while this CD is in my stereo.

One gripe I have with this LP is the fact that Delta’s delivery seems consistently aggressive regardless of the subject matter (one rare exception is track 9 ‘The Rut’ in which he has a more subdued delivery).

Perhaps it’s a pill-monster’s dream and a pot head’s nightmare. Perhaps it’s a musical masterpiece in fast forward or maybe a 5-second train wreck in slow motion with lyrics thrown on top.

I suppose that if Delta is pissed off about almost everything he rhymes about he shouldn’t pull any punches but it does seem odd that he sounds angry even when rhyming about positive things.

I just can’t tell. Still, it is something a bit different to what I am used to and I would rather hear this playing at a club than most of the mainstream hip hop coming out of America at the moment.

Without much to balance the aggressive-sounding rhyming you may get sick of the feeling that he is shaking his fist at you for almost the entire album. There are some nice collaborations to be found on the LP. ‘One Less Gun’ features UK rapper Skinnyman who is fairly impressive, possibly largely due to his interesting voice. Delta’s verses are well thought out on this particular subject with lyrics like "These rappers openly claim to cock back the heat but for career criminals they’re not that discreet." ‘The Greater Good’ is another nice collaboration featuring US rapper Mojo who brings a bit of much needed melody to the album. While the hard hitting ‘The End Is Near’ features Prowla, Motion and Lyrical Commissions Trem who, as always, displays vicious lyrics with tight delivery. The production, largely handled by Mark B, is good (if not a little basic) suiting Delta’s punchy style perfectly. In my opinion the Lostralian is all in all a well-made album. I do feel there is something missing here however, although I’m not exactly sure what. Perhaps I just expect too much variety.

Resin Dogs Definition By Paul Woolcock The Resin Dogs have certainly accomplished a lot over the years and looking at some of the collaborations on this single they don’t plan on slowing down. This 5-track single features artists such as Lazy Grey, Abstract Rude, Hau, Mystro (who seems to be popping up all over the place at the moment), and, impressively, The Pharcyde. ‘Definition’ is a party banger about what defines a real MC. It’s basically a thumping beat covered with fast-paced rhyming in many accents, while the other tracks range from the more sombre ‘A Destructive Circle’ to the funky ‘Shut Yo Mouth’. Unsurprisingly, it sounds as if the Resin Dogs, like so many other artists, are becoming pretty Americanised. If you heard this CD on the radio you may completely miss the fact that Australians were responsible for its release. I hope there is a little more Oz flavour on the full album, which has apparently just been released. Good party music but perhaps a little disappointing for fans of Aussie music that sounds like Aussie music.

Tornts Decimation Recordings By Randall Stafford Oh shit. I have heard a bit about Tornts but I had no idea what he was about. I will get rid of the formalities before I go into detail about the actual material on this CD. Originally from Tasmania Tornts has apparently been working on hip hop for 10 years. He seems to have a very unusual sense of rhyming, in fact he often raps for a few bars without making any words actually rhyme at all. He makes his own beats, dark and simple, not brilliantly produced but well suited to his style of rhyming. Now for the actual content. As far as I can tell, Tornts is the most negative ‘musician’ I have ever heard come out of Australia, or possibly anywhere. When I first threw on the album I found myself half laughing and half cringing at his outrageously nasty lyrics such as “You’re a nice suburban housewife, I’m a backyard abortionist, coat hanger hanging out of my Nike jacket” but after a couple more tracks with not even the slightest breather from his unrelenting bleak, nasty and often all-too-vivid verses I started to feel pretty bloody awful. Tornts seems to want to point out absolutely everything negative around him and it sounds like he’s found a lot of inspiration in Melbourne. One track, affectionately called ‘Filthy Whores’ has Tornts describing the life of a St Kilda prostitute in such horrific, pitiful and filthy detail it’s enough to make you feel like shit (once you stop laughing at how brutally honest he gets). This CD is all bleakness, anger, hate and frustration; there is nothing here that is designed to sound pleasant; no scratching, no melodic hooks, nothing but constant bitterness. If you’re sick of life and all the positives it has to offer this might just be your kind of hip hop. The most worrying thing about Tornts is that amidst all his insanely bleak ranting he seems to occasionally make a depressing kind of sense. With comments like “every day just deletes and repeats itself like its senile and rambling on, more than halfway gone, every single bottle of Jacks in the world couldn’t quench this shit. No appeasing the thousand ugly secretaries in my head typing the same message: What’s the point of this place?” If you are even a little emotionally unstable I would not recommend Decimation Recordings.


CD/DVD REVIEWS Into The Blue The Alkaholiks

Paul Mac

Firewater

Panic Room By Randall Stafford

By Paul Woolcock While The Alkaholiks do seem a cut above a lot of the other American party hip hop I have heard lately, they don’t seem to really be trying anything different. The MCs are nice and rugged with their structure and delivery but they rarely break away from the usual subjects, clubs, women, bragging and of course, piss (with a couple of exceptions like ‘Poverty’s Paradise’ and ‘Do It’). This wouldn’t be a problem at all if they would bring something new to these topics rather than the old approach we’ve all heard so many times before. I suppose not everyone is after originality in their party hip hop and these fellas are The Alkaholiks so their take on these subjects is exactly what fans would expect. This is a well produced album that is easy to listen to with some excellent beats (except for the over use of happy claps with a couple of tracks in my opinion). The Alkaholiks have been involved with hip hop since the early nineties (they have toured with KRS-One and Ice Cube) so I just think they could bring a little more to the scene by now.

Aqua Bassino Rue De Paris By Randall Stafford Aqua Bassino is the working title of Jason Robertson, one of Edinburgh’s finest dance exports; his new release “Rue De Paris” delivers a sumptuous variety of sounds and moods. A former bass player, Robertson has played many of the instruments on the album; it is very relaxing music with a blues and jazz influence and that smooth sound that normally typifies French house. His debut album released in 2001 “Bits and Bobs” was applauded for its cross-genre forays and lounge room grooves and this album is as delightful and listenable. It turns out Aqua Bassino has been through some serous hardships (financial and personal) to get the album together thus explaining the soulful journey that lies within the music.

Tr e a s u r e hunters Jared (Paul Walker) and Sam (Jessica Alba) scrape together a living on a dilapidated boat in the Bahamas, waiting to find the wreck that will make their fortune.

Paul Mac’s latest offering is a pop-laden affair with a clever theme, art work to match and also features some of Australia’s finest vocalists. Peta Morris, Sarah McLeod (formally of Superjesus) and Lenka (Decoder Ring) are impressive and work well within Paul Mac’s arrangements. Following on from his highly successful debut release “3000 Feet High” and work with the Dissosiatives, “Panic Room” has song writing as the defined focus. The songs are emotionally driven with structured pop/dance direction, meaningful lyrics and some interesting melodic movements. The title track “Panic Room” opens with some eerie keyboards and dub beats; the production is subtle and smooth but over saturated, still this is the best offering on the album. “It’s Not Me It’s You” is a commercial release with that “Idol” broken R&B bass line and an unnecessary and ineffective key change. On “Never Been Before” Sarah McLeod’s vocals are brilliant as is Mac’s work with effects, and the use of a 6-beat groove over a normal 4 bar progression. There are lashings of sing along pop and club remix fodder but the longer you listen to this album the more bland and unimaginative it becomes. The repeated use of electric piano sounds make the dynamic of “Panic Room” flat and one- dimensional. It’s a pop album with dance aesthetics but the traditions that make dance music work are lost as Mac doesn’t break up the monotony of many of the tracks. All in all this is a boring outing for Paul Mac, the tunes just don’t hit the mark perhaps due to that modern Australian pop sound that hasn’t progressed in the last 5 years. There are too many production clichés, overly sincere lyrics and clunky chord progressions. Even on a production level it’s as if the whole album is too compressed and lacks individual space.

Joined by an i r re s p o n s i b l e lawyer friend (Scott Caan) and a girl along for the ride (Ashley Scott), they go diving to discover not only a legendary, priceless wreck, but also a crashed plane with a bellyful of cocaine. Seeing their find as the solution to all their money problems, they set about recovering it…and from there, the plot isn’t worth divulging. Is “Into the Blue” an archaeology movie about a lost wreck? Is it a chase movie involving drug barons? Who cares? There’s so much happening in this turkey that I found it impossible to give a shit about any of it. This movie is so completely unmemorable that I had to read the press kit to remember the plot, and the “acting” is inept. All I can say is, finally – some competition for “Stealth”

0/5

Salute to the Jugger By Tom Wilson

Although many stylistic elements are covered, D&B beats, house grooves, big choruses and choir vocals, it’s as if Paul Mac has tried too hard to create a sound that has already filtered itself into the past. 2 Turntables out of 5

“Look 2 the Sun” opens the album, a beautiful Saxophone solo with deep Barry White sounding vocals spreading the love over the slowly building acid jazz beats and smooth changes. The title track “Rue De Paris” is awesome it’s almost pure jazz, a gorgeous piano progression, minimal drums and subtle strings that continually build to a drum solo and one final chord from the piano. Sandra N’Kake supplies the vocals for “I’m a Believer”; this is a more standard chill out tune as is “Think it Iz Real” which features a very funky bass line and has a touch more energy than most of the album. Other stand out tracks include “Espirito De Amor” and the subtle closer “Jay’s Vibes” a lengthy deep house gem with that ride cymbal pattern made famous by St Germain. There’s a summer beach sound that drifts through the whole album and the acid jazz aspect keeps it sounding analogue and musical. It really does swing and the overall production is brilliant. Released on Laurent Garnier’s FCommunications label, “Rue De Paris” is just so smooth, perhaps paying homage to the traditional French sound. Finger clicking along to this masterpiece is easy as pie and the talent displayed in each of the compositions is top class. Certainly this is not just house-related chill out music but something more. If you like your lounge room tunes with a touch of jazz then this is a must. 4 turntables out of 5

Junkie XL Today By Randall Stafford Junkie XL AKA Tom Holkenburg has a new album coming out this month and “Today” is the first single from his upcoming release of the same name. Junkie XL has certainly kept busy since his number 1 remix of Elvis Presley’s “A Little Less Conversation” with movie soundtracks such as “The Animatrix” and “Kingdom of Heaven” now added to his growing list of accomplishments. “Today” will be Junkie XL’s fourth album and the Dutch DJ/producer/musician revisits ground covered on his earlier work with his latest release. Unfortunately “Today” is guitar-based Euro trash that only just registers another blip on the already over-saturated market of guitar-plus-beats dance music. A boring partmono-tonal vocal over the top of hardly-developed drum loops and an absolutely awful modulating bridge section that’s tackiness almost had me in hysterics. It’s not that the production is bad, it is just very simplistic and a direct influence from New Order doesn’t help its case for any point of difference. The lyrics are predictable and cheesy and the track just goes nowhere. It sounds like a big room anthem without the staying power or hook that makes a track memorable. There is nothing new or exciting about this release; Junkie XL makes no excuses for being commercial; it’s just that this singlesbase format is used far too frequently and the effect is therefore lost within a myriad of tracks within this style.

Saw 2 By Tom Wilson

By Tom Wilson

“I want to play a game…” A group of strangers wake up in a decrepit mansion to discover they’re now captives of the notorious serial killer Jigsaw – a man who won’t kill you, but will put you in situations where you’ll probably kill yourself. The house is full of nerve gas that will kill them in a few hours, unless they can find various antidotes hidden around the house, each guarded by nefariously brutal booby traps. Meanwhile, a police detective (Donnie Wahlberg) – who has actually captured Jigsaw but has no idea where the mansion is – is dragged into the sadist’s game…because one of the captives is his own wayward son. The original “Saw” was one of the most effective and entertaining thrillers I’ve seen in years; a simple premise milked for all it was worth by two very talented young Australian filmmakers, James Wan and Leigh Wannel. While relegated to the producing role in this sequel, their presence is still felt. While “Saw II” lacks the devious punch of the original, it remains a fun horror movie in its own right. Swapping the minimalist two-men-shackled-in-oneroom concept of the first film for a larger and more elaborate setting, “Saw II” loses surprisingly little of the grisly punch that made the original so good. The traps are even more evil than the first – giving them away here would be a crime – and the characters, while still slightly cliché, are interesting enough for us to care when they bite the dust. But, as with the first film, it’s the head-slapping final twist that makes “Saw II” a worthy sequel and a great piece of entertainment in it’s own right.

4/5

Llorca My Playlist

Rize

By Randall Stafford

By Tom Wilson Tosca is the brainchild of Richard Dorfmeister (of Kruder and Dorfmeister fame) and Rupert Huber. While both these Austria-based artists are respected remixers, Dorfmeister a legend in downbeat trip-hop circles. Tosca is the duo’s purely original material. Originally school friends with links to experimental music, the duo reformed in 1994 to release the acclaimed 12” “Chocolate Elvis”, a classical and blues-influenced track featured on many compilations. Since then the illustrious producers have written and remixed numerous titles released on their own highly respected label G-stone. “Souvenirs” is made up of remixed tracks from Tosca’s 2005’s J.A.C. album by an invitation only group of artists. Opening the album is the Burnt Friedman mix of “John Lee Huber” feat Theo Altenberg, it’s a polyrhythmic and eastern-influenced track that acts beautifully as the opener as it has no pulse-defined drum groove. There are two versions featured of the track “Heidi Bruehl”, Plantlife’s mix has a minimalist groove with subtle guitar and vocal samples dripping with cool. While the Makossa and Megablast mix is the choice cut on the album, it’s deep; a touch tech-driven and the vocal just slides over the jackin’ house beats. Increasingly popular remixer Hans Peter Lindstrom puts his own spin on “Zueri” and hands out a disco/ house chiller that just grooves. Other stand outs are the Stereo Need No PJs mix of “Pyjama” featuring Sandra Kurzweil and “The Big Sleep” Senior Coconut mix, a Latin jazz salsa with old school jazz piano hooks. “Souvenirs” is inspiring music; haunting, down beat, minimalist, ethnic and ambient; at times there are an abundance of flavours covered on this album. The selections are well categorised as it gets deeper and darker as the album progresses. There is semblance of Jazzanova-style production from the turn of the millennium and some more tweaked modern electro sounding tracks also. This is a superb release that further solidifies Tosca’s reputation as one of the worlds most diverse and intelligent dance acts. 4.5 Turntables out of 5

An odd one, this film. Set in a technological timewarp – people drink from medieval gourds but still have electricity, and the 20th century is referred to as “The Golden Age” – the “Juggers” of the title are nomadic warrior-types who wander the desert wasteland to challenge tribes in a vicious contest that could best be described as a cross between gridiron and the gladiator combat of ancient Rome. A young girl, Kidda, is captivated by the captain of one of the Jugger teams, Sallow (Rutger Hauer) and, after crippling one of his team mates, joins as his replacement; their journey taking them to the famed underground city, to play against the reigning champions – the most revered and feared of them all. Shot in Coober Pedy in the late 80s, “The Salute of the Jugger” is, as I’ve said, a very strange film. It’s a post-apocalyptic piece (aesthetically very similar to the “Mad Max” films). But, bizarrely, it’s also a sports film – bizarre given that they’ve gone to so much effort to create an alternate world, only to use it as a stage for a sporting movie. Imagine “Gladiator” crossed with “The Mighty Ducks”. Rutger Hauer – who seemed to be pushed back into B-movies with the onset of the nineties – is in fine form as the menacing, battle-scarred team captain, and most of the other performances are up to scratch (despite some very oddly-placed Australian accents). And the makeup design on every one of those battlescarred faces is terrific.

Several films have dealt with the hardships of growing up amid the poverty, drugs and violence of South-Central LA – most notably John S i n g l e t o n ’s “Boyz In The Hood”. But none have ever really presented a solution to the perils that ensnare black teenagers living in these neighbourhoods. “Rize” – a documentary by former music video director David LaChappelle – tells the story of a cultural movement that has risen from the ghetto asphalt. It’s not any kind of religion. It’s a style of dance so energetic, multi-faceted and cathartic it can almost be seen as the antithesis of the “Fight Club” philosophy. Spawned from the breakdancelike performances of Tommy the Clown at birthday parties, the “clown” style of dancing evolved into both a popular pastime and an anti-drug, anti-gang social movement. Like the boxing cells of “Fight Club”, independent clown groups appeared in other ‘hoods, becoming so widespread that a battle-style dance competition is held each year to an audience of thousands. “Rize” opens with a disclaimer proudly stating that none of the dance footage is sped up, and after seeing some of them in action, you’ll barely believe it. These guys move so fast that they become almost a blur; painted faces contorted with such intense energy that these dance sessions almost resemble voodoo rituals. It is simply astonishing, and LaChappelle’s comparisons to early tribal war dances are particularly accurate – as if these kids have unleashed a part of their heritage almost totally lost in their present society.

Calling to mind films like “The Navigators”, “The Salute of the Jugger” is a solid film. While it’s no masterpiece, it’s watch-able, and for this kind of movie, that’s good enough.

As a documentary, “Rize” works particularly well; both as a spectacle and a haunting reminder of just how good we have it here.

2.5/5

3.5/5

1 turntable out of 5

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ROCK SALT

B o t h

S i d e s

o f

t h e

G u n

Ben Harper Ben Harper is tense the minute he walks into the room. It’s no secret that he doesn’t feel comfortable in interviews. “Every time feels like my first time”, he says, shifting in his seat, “And I just find that the process of it feeds into one’s own self-obsession”. On the wrong day, this uneasiness can cause an otherwise charming, gentle soul to act rather petulantly. Interestingly, one of the most crushing displays of this behavior was included in the documentary feature of one of Harper’s DVD releases. (I still have nightmares I am that French journalist). Ah yes; his music may sail the listener into Zenlike introspection; but it is also impassioned, political and uncompromising at times; much like its creator. That is of course what makes Ben Harper so fascinatingly dichotomous as a person and an artist. Luckily, I have interviewed him four times in six years, and am therefore practiced at managing both versions; the halcyon and the anxious. All it takes is a dash of gentle nurturing, a touch of counter intimidation, and throw in a sound knowledge of the songs on his latest album and, well, you can be the judge. It’s only fitting that Ben Harper’s latest album is called “Both Sides of the Gun”. It’s split into two separate CDs, offering two distinct emotional and musical landscapes. The CDs are not numbered or named; prohibiting the application of an order or priority. The simplified explanation is that one rocks out while the other chills out. But with Ben Harper,

nothing is ever that simple.

The mood of the rock-out album vacillates between uplifting, let’s-all-chip-in-and-make-a change optimism, and what-is-the-world-coming-to vitriol. In fact, Harper describes the third track “Black Rain”, (written days after Hurricane Katrina struck New Orleans) as “Talking myself down off the ledge of being a non-patriot”. He describes lyrics like “Don’t you dare speak to us like we work for you / Selling false hope like some new dope we’re addicted to” as being rooted in “long term pain and historical significance”. On the other hand, the opening track “Better Way” is one of the most powerful, anthem-like social pledges since John Lennon’s “Give Peace a Chance”. Given the unpredictable nature of Harper’s responses, it is with some trepidation that I mention that the song puts me in a John Lennon frame of mind. His eyes immediately widen, “it was an absolute tribute to him. I am so vibed that you got that. I haven’t mentioned it to anyone”. And just like that, the gentler version of Ben Harper arrives. “Most of the time I am a really free-wheeling guy who laughs a lot. I want to break down that perception that I am always serious and tense.” Ben Harper was in born in 1968 to a black father and white mother; a situation he describes as “Not exactly a popular statement to make in America at that time. It posed a lifetime of cultural dyslexia for me to varying degrees”. Perhaps just as impacting was the fact that his father was absent for most of Harper’s formative and teenage years; his parents relationship having disintegrated early in his life. “When I was growing up, none of my friends had parents who were still together. It was almost like the kid with the straight family was the abnormality. We were a pretty fractured generation”. Harper was raised by his maternal grandparents who owned and operated a Folk Music Centre (and instrument store) in Claremont, California. “It was a crazy childhood with crazy sounds kicking around in my head”.

The Lights & Sounds of

Yellowcard

It’s no secret that Hollywood – the nerve centre of American entertainment – isn’t all it’s cracked up to be. So many bands go in, and so few come out. But among the survivors are Florida punks Yellowcard, who spoke to Dave Williams about the cultural vacuum that is the City of Angels. So how long are you in Australia for? We’ve been here for seven days. We’re taking off tomorrow; we’re heading for Japan. I understand that you and Ryan moved to New York because you felt like you were getting “lost in the scene” in Hollywood…

No, it’s not quite it. I never really actually lived in Hollywood; there’s this big misconception that we moved to New York because we hated L.A. We definitely moved out of L.A because we hated it, but… We just needed a new place where we’d never actually been before; a place where we didn’t really know too many people. We’d been on the road for about nineteen months straight, touring “Ocean Avenue”. And when the touring was done, it was time for us to all go our separate corners. And Hollywood’s our least favourite place; we really don’t want to have to spend too much time there unless we have to. So we kind of needed to pick a new place where we didn’t really know anybody, and New York was just this strange, magnificent place that we chose to spend some of our time there, to inspire some thoughts and feelings for the new record. What is it about Hollywood that makes it your least

Harper could not only play guitar by the time he was ten, his grandfather had taught him how to make them; not to mention a whole host of exotic and diverse wood instruments. Then at seventeen, he heard someone play finger-picking slide guitar. “That switch was flipped and the songs flooded in”, he says with boyish enthusiasm. “Once I was able to form myself on a specific instrument and once I realized that instrument was saying something different to me every day and was demanding my creative time –the door just blew open and it was like “welcome to the next chapter of your life”. Since his 1993 debut “Welcome to the Cruel World”, Harper has released six albums (including his latest) pushing his collective album sales into the millions. He tours relentlessly throughout Australia, America and Europe playing to audiences of over ten thousand. His appearance in the award winning documentary “Standing in the Shadows of Motown” and widely acclaimed rendition of the Beatles “Strawberry Fields” for the “I Am Sam” soundtrack in 2001 served to sail him further into the mainstream consciousness. On a personal note, Harper recently married his long time partner, actress Laura Dern. The couple has two children together, five-year-old son Ellery Walker and two-year-old daughter Jaya. Also the father of two children by his previous marriage, Harper credits fatherhood with keeping him grounded. “One minute you riding your bike on a glorious, sunny day celebrating your very existence, the next

favourite place? It’s just a very fake place; you imagine it… It’s the capital of the entertainment industry, and it’s everything from a bunch of sharks in suits to a bunch of fake people that will only talk to you if they want something from you – it’s not really my scene. We’re from more of a humble setting back in Florida, and you imagine growing up like that and then moving to a place like L.A – it’s a bit of a culture shock. It’s kind of a parade of delusion. The title of your latest album – “Lights & Sounds” – is that related to your perception of Hollywood and your move to New York? Ah, no… I’m getting them all wrong, aren’t I? Well I think you might be picking up on things that you’ve heard in other interviews…we’ve said things along these lines, but nothing’s really direct. Clarification’s always good. Yeah. Um…we didn’t…We kind of chose Hollywood, and we’ve got this character on the record called Hollywood… It’s a play on words, and it’s a kind of reference to the kind of place that Los Angeles and the Hollywood area can be. For the most part, the theme that goes through our record can pertain to anywhere or anybody or anything that you do in life. Hollywood’s kind of a place where you have these expectations; you always hear it’s a beautiful place and it’s glamourous and the weather’s nice…it’s where all the stars live, and it’s gotta be the greatest place on Earth… And you go there and it’s just not that. It’s very deceiving… You get there and the weather’s not that beautiful; there’s this big cloud of smog that covers the city, and all the Hollywood people that live there aren’t the coolest people sometimes; they’re elitists in a way. It’s a very polluted environment in terms of attitude. I guess that gives you a bit of material for writing… It does, it does. We didn’t go out and write a record just about Hollywood – like I said, it’s anything in life. You’ll have expectations of a place where you’re going, and goals that you might have, and when you reach the end of the road and you finally get there, it’s not really what you expected. When you see that, you have to learn how to deal with it; do you tuck tail, turn around and go home? Or do you stay there and put up with the shit? Do you mould to it, and give in to the temptations? What is it? For us, being a band and moving out to a place like Hollywood for the first time was exciting. Problem was, once we got there, it wasn’t the great place that we thought it was. It requires a lot out of you – sometimes things you don’t want to do – when you’re in this entertainment industry.

Page 22

minute you’re covered in throw up!” As for Dern, he’s remaining very tight-lipped on that subject. When I ask about the inspiration behind the albums prettiest and most romantic ballad (“Happy Ever After In Your Eyes”) he shifts uncomfortably in his seat as the anxiety resurfaces. “It’s tricky, because If I give way more in my interviews than I do in my songs, that’s giving away too much”. As if regaining composure he adds “I want to keep something just for me”.

By Angela Pulvirenti

On the new album, what was the riskiest thing you did? I think that there are a lot of things that we did on this record that weren’t really expected of us. I think that the start of the record, the intro, might be the biggest. That’s where I’m leading to, yeah… Yeah. That was kind of a ballsy thing to do. People were expecting this record from what we were called a “power-pop-punk” band, and to start the record off with a fifteen-piece orchestra playing along to this beautiful melody along with a piano…doesn’t really give kids exactly what they’re expecting. I’d say that’s the bravest thing that we did…or the stupidest. One of the two. (Laughs)

By Dave Williams & Tom Wilson


ROCK SALT Going the Distance in Roots Music

Nine Mile

Musically, the output of Canada seems erratic to say the least; the source of everything from the sonic chaos of Strapping Young Lad to the radio rock of Nickelback. Now, the land of hunters and hockey players has a new genre to put on its musical resume – roots, in the form of Nine Mile. About to play Tasmania supporting Pete Murray and the Stonemasons, singer/guitarist Dari told us about the meaning of roots music and how Canada lacks culture.

speech… I think Canadian culture…I don’t think there’s such thing as Canadian culture… There are a couple of things; there’s hockey. But mostly we’re just a country that’s made up of people from all over the world. There’s a little bit of that. I’ve got my West Indian roots, and on the other side Dave has been rooted in this country for a long time, and MJ, our bass player, is French-Canadian…and she’s got aboriginal heritage as well. So there’s lots of things that make it… One of our biggest concerns about being in Australia come the next few months is that we’re not going to see the hockey playoffs. So that makes us Canadian. We’ll

be watching more cricket than hockey, and that will feel a little strange. There’s always Pay TV… Yeah, exactly! Which we never seem to get when we’re on tour! There’s not a lot of time for TV on tour as well. But I think about Canadians…one of the things that sucks about Canada at the moment is there really isn’t a lot of… The music, I feel, is pretty compartmentalised, in that I don’t really see anybody… There’s not a lot of people doing it freespirited and focusing on the strength of the songs,

it’s weird. If we call that “roots”, there’s not a lot of roots in Canada, that I see. I think in Australia, that’s probably one of the reasons we keep going back to Oz; it’s very well-received there, and there’s a very positive spirit. Nine Mile play with Donavan Frankenreiter in support of Pete Murray & The Stonemasons at Wrest Point on Saturday the 22nd of April and the James Hotel as part of “Fusion” on Sunday the 23rd.

By Dave Williams & Tom Wilson

You’ve supported Xavier Rudd; does that say that your style of music is best described as “roots”? I like to describe it…we’re the product of all the things that we grew up listening to, and all the things that we like and hate and all that sort of thing. Our music is, for us, the music that we make; I guess it could be considered “roots-y”…I hope that “roots” means “honest”. We can go from a country groove to a reggae groove to a folk song, and it doesn’t seem to bother anyone; it’s still a Nine Mile song. And I feel like Xavier has the same sort of thing going. The new record, “Food In the Belly”, has all sorts of bluegrass things in it, and it’s bouncing around a bit. I don’t think it really matters, because regardless of what Xavier does, it’s Xavier. And I hope that whatever Nine Mile does, it’s Nine Mile. I know this is totally not your area, but I’ve been listening to a bit of Eminem’s “Curtain Call”… Totally; it’s my area, man, because it’s honest music. Our van…if you listen with us when we’re travelling in the van, we listen to everything from Eminem to… We listen to System of a Down in the van, and we listen to Dylan – it’s all over the place.

I don’t think there’s such thing as Canadian culture…

5906

Do you think there’s something specifically Canadian about Nine Mile? Well, there’s definitely…there’s lots of A’s in our

Page 23


XTREME SPORT

Skate Wrap Up The seasons are changing. Daylight savings is over and there’s bitter cold in the air. For a skateboarder, that pretty much means the end of the world is nigh. So with the end in sight, everyone made the most of what was another big month for skating in Hobart. In skate park news, Dover Park officially opened with a sausage sizzle and a skate jam on a beautiful sunny day which saw many Hobart locals take the two-hour journey down for a skate and a mingle with the locals. Nubeena skate park was also finished and officially opened last month. The team from Jimmy’s Skate & Street made the journey down to put on a demo and test out this small but very functional skate park. The question is, does anyone actually skate in Nubeena? The answer seems to be “no”, but someone got this place built. If you’re in the area definitely check out these two new parks. Rumour has it that Moonah council has given the goahead for a skate park in their area. This one seems a bit touch and go with the council letting twelve-year-

old kids design the park and not being very open to feedback. This place looks set to be another suburban disaster if some kind of reason does not prevail. On a lighter note, Glenorchy is putting on a skate day at the Abbotsfield skate park, Abbotsfield Road, Claremont, on April 8th. There will be heaps going on during this day, including the Bikeworks trail bike team, demos and giveaways by Jimmy’s Skate & Street team, basketball shootouts and freestyle DJs. This is a big weekend for skating with a skate day at Dover the following day, Sunday April 9th. This day will feature, live music, fire-twirling demonstrations, beat-box, drumming and graphic workshops, and skate demos by the teams from Ozone and Jimmy’s. A bus leaves Hobart at 9.30 outside Ozone and 9.45 from Kingston (Summerleas turnoff). So don’t miss this opportunity to get down to one of the state’s best parks. Tassie has long been overlooked as a skate destination, but it seems the word is starting to spread as more tourists from the mainland graced our shores this month. Arguably the best young skater in Australia Shane "Nugget" O’Neil came for a visit with his buddy James James (that’s not a typo). These guys traveled around to most of the street spots and skate parks around the state and threw down a few hammers along the way. Matt Maunder and ex-Tassie Tom Cuthbertson and Sean Holland were also in town, and rumour has it a few heated sessions went down on a crazy private wooden backyard bowl that has just been built.

Seems like a few people are onto the DIY vibe, with a few backyard ramps popping up. Dodgers, Richmond, Lenah Valley, Hobart and Lauderdale are some of the rumours. If you’re lucky you are skating one of these. If not maybe it’s time for a bit of do-it-yourself, yourself.

out for that. Tom Cuthbertson has also been filming on the "mainland" for what could be the most anticipated video to come out of Australia, “Play 2”. I’ve seen a little sneak of this video and believe me Tom holds his own along side some of the world’s biggest names in skating, such as Dustin Dollin and Ali Boulala.

Tassie doesn’t get many DVD premieres, so when one of the most anticipated skate movies of the year "Enjois" – "Bag of Suck" makes it way to town, you know it’s going to be a big night. This was not a night for the weak of heart, as almost a hundred skaters piled into Jimmy’s Skate & Street for some free drinks, giveaways and to watch possibly the funniest and wellrounded skate video ever. The trailer claimed "fun for the whole family and Daddy’s girlfriend" and it certainly had something for everybody.

So that was the month that was in skateboarding, and it’s not getting any warmer so put this down and get out there and skate while you still can.

By Jimmy McMacken

Ex-Tassie resident and former Australian Skateboard Champ George Newsholme seems to be well settled in Adelaide and has been filming hard for an upcoming video for his new shop sponsor Daily Grind, so keep an eye

Crusty Demons East Coast Carnage Tour York Park -25/3/2006

The Crusty Demons have been pushing the limits of their bodies and gravity now for ten years. March 25th was their first ever visit to Launceston, but was their second weekend in a row in Tasmania. Launceston’s crowd was super-pumped-up, and at the stroke of 6pm it was all on; from the roar of a motorbike engine the crowd went ballistic. All the riders were there – they came out one-by-one, did a few tricks and were introduced to the audience. One of the many highlights of the show was the mini bike trick competition featuring local boy Kade Imlach. After making the final he was up against two of the best riders in the world. I’m not real sure what tricks were pulled but the final rider threw a huge back-flip on the mini bike and the crowd went off! Although Kade’s trick wasn’t up to scratch the crowd still voted him the winner and he walked away with $500. Nate Adams, Adam Jones and Luke Smith both won the crowd over with huge back-flips and what not, but it was defiantly Jon Guetter’s back-flip on a quad bike and Jimmy Blazes’ back-flip – which he only just landed on a snow mobile – that were my personal highlights of the show. From the huge tricks to the loud heavy metal music pumping out of the monster-sized PA, this show is a must for everyone. I can’t wait until next year’s shows.

By Ryan Cooke

Page 25


HOT MOD

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Page 27


SPOTLIGHT

Barbara Kruger

Streets Alive (Ltn)

Australian Center for Contemporary Arts Southbank, Melbourne 2006

This years STREETS ALIVE festival kicked off with the Harajuku Street Parade last Friday in the Mall and ends with the Betta Jive Urban Beat street parade on Monday, April 10 from 11.30 to 2pm. It culminates in a concert in Prince’s Square with students in outrageous costume, percussion works, colour and movement. But before it wraps up there are still plenty of events to watch and with which to get involved. The Master Class program includes: Beat Box with Tom Thum (8 & 9 April), exploring new techniques in creating beats, rhythms and melodies using the mouth; Emcee with Melbourne’s Emcee Squared (8 April); Band Promo with the fantastic Dead Abigails and Tas Music (8 & 9 April); Comedy with Greg Fleet (8 April) and Digital Photography with Geoff Robson (8 & 9 April). There are also Master Classes in Zines, Break Dance as well as The Fringe Lounge events, a Cinema Bus, Projections on the Inveresk Silo and a host of other events throughout the CBD All Master Classes cost just $5 and bookings are available by calling Stuart on 0400 429 436.

Have you ever taken a step into another person’s head? Lied into the face of a friend? Girlfriend shagged your boyfriend? Cafe conversations wrapped up into turmoil and jealously, bitterness and spite, covered with the warmth of a smile; Barbara Kruger takes us to place we rather not think about. A place where a simple conversation opener tumbles quickly downhill, as sniggering remarks turn quickly into a crescendo of self-interest, defensive remarks and complete breakdown. What is it that your friend is really thinking when they tell how nice you look? Are they as honest as you once thought? Walking into ACCA you have to pass an almost initiation. Words roll on screens - “Don’t bother me”. “Don’t trust me”. “Kill me.” “Is this what life feels like?” Two rooms of rolling projections under your feet, the trademark Kruger banner slogans given life through the projector – overt, in-your-face and dislocating. Kruger, a large figure in the International art scene since 1974 has been the middle of a large amount of discussion and publications. She deals with and questions issues like feminism, consumerism, individualism and desire. Issues that become all the more relevant when put across in a fashion like that of Kruger. I was led through the two rooms – one red, one blue – of rolling text, when I was opened up by a huge black and white room covered in words. A plastered floor of sayings, criticisms, modern day words like “computer”, “bigger lips”, “new car”, “a rich man’s jokes

are always funny”; these words attack you, put images in your head. In fact it was like walking into my head – all my thoughts and feelings. Everything, as strange as it might seem, became apparent and once again I felt the sense of dislocation, this was typical Kruger work; bold, powerful and immersive. If this wasn’t enough I moved into the last room of a four-room installation in which I was presented with four large screen projections. Words were replaced by conversations. I was a tiny man on a café table stuck in the middle, overshadowed by four massive heads – smiles, deceit, pure hatred, questioning as each conversation slid around into each other, each getting a little more and more intense. The communication between the screens showed a great sophistication to Kruger’s approach, overshadowing many other mulit-screen installations including arguably Bill Violas exhibition in Canberra late last year. As much as the actors tried to cover their real intents, all was revealed to the viewer by a series of subtext under each head – the almighty truth. The almost agonising truth becomes apparent, as one lady accuses her socalled friend of sleeping with her lover, we see the real truth – she was never a friend. The size of each screen, heads and words transports and dislocates us into the fictitious world of Kruger; a realistic, almost painful world that I’m sure most can relate to.

By Sam Eddy

Mandy Kane eleVATEs to the Screen Mandy Kane follows up the radio release of his new single "Murder in the Daylight" with the launch of the short film eleVATE in which he stars and composed the score. The theme song for the film titled "Glitch" will appear on his forthcoming "Murder in the Daylight" EP proving his talent as a singer, composer and now actor. The EP will also feature a remix of the title track by Van She as well as the club hit (UK) Hanky Panky.

the only support act ever to be able to keep up with their pace) he discovered many new facets of life that would inspire some of his most intense and knowing songs.

Mummy's Boy Records and Australian Music Biz would like to give Melbourne and Sydney media representatives the opportunity to join Mandy at the launches of eleVATE. For details, see below. For those not in Melbourne or Sydney, watch out for the new EP on your desks shortly.

The EP features six original MK tracks, coming together in a coherent and exciting set which is sure to again raise industry eyebrows and prove that music and lyrical substance are still ingredients that can win through in today's music industry.

Living up to his home town reputation as a hard working artist who’s clearly in it for the long haul, Mk ended 2005 with a unique online campaign for his track (UK) Hanky Panky which helped establish his international fan base and will star in and write the score and theme song for a locally-made, privately funded short film called “EleVate”, scheduled to be filmed in early 2006. He has also completed a remix for the EP with Modular artist VanShe for the EP “Murder In the Daylight” which is released in April 2006 through his own label “Mummys Boy Records'.

THE FRINGE LOUNGE Tuesday April 4th 4pm - 8.30pm Arts Alive (Behind Fresh Café) THE FRINGE LOUNGE The Muddy Turd/Samora the Sword Swallower/Charlie Caper (Sweden) /Show Us Your Culture...Global Dance!/Anastasia Bickel/DJ Lea Turner/Harajuku Street Dancers and more. 4pm-8:30pm Wednesday April 5th 4pm - 8.30pm Arts Alive (Behind Fresh Café) THE FRINGE LOUNGE Blue Cotton/Cirque FX/ Meeghan May/ Samora/ The Balfour St Blues Progression/ Charlie Caper (Sweden)/Show Us Your Culture...Africa!/Josh Foley/Performance art 4pm-8:30pm Thursday April 6th 4pm - 8.30pm Arts Alive (Behind Fresh Café) THE FRINGE LOUNGE DJ Hannah/Fashion Parade/Lady Midnight/Emma Dilemma/Claire the Contortionist/Show Us Your ...Queer Culture! 4pm-8:30pm Friday April 7th 5.30pm - 10.30pm Arts Alive (Behind Fresh Café) HIP HOP TUCK SHOP Tom Thum (Bris)/ Emcee Squared (Melb)/ Oz2Oz/ Altrueism/ Oxcyde/ B-Boys/Calumn MacLean/ Joel Fenech 5.30pm-10.30pm Sunday April 9th 2pm - 5.30 pm Arts Alive (Behind Fresh Café) THE FRINGE LOUNGE Wrapping up the Fringe will be a major chill session featuring...J/ Blue Daze/ E-space/ Hank's Fusion/ Zac and more. 2pm-5:30pm A full program of events is available from www.streetsalive.com.au - C U on the STREETS.

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Mandy Kane spent most of his teenage years in his home studio, writing and recording songs inspired by a variety of rock icons from bygone eras - from David Bowie (in his Ziggy Stardust era) and Alice Cooper to The Beatles and Pink Floyd. Seeking other outlets to develop his musical and theatrical sensibilities, he joined local drama groups and rallied fellow outsiders to be his back-up band, with whom he cut his teeth on the live circuit, playing at local venues. His eventual signing to Warner Music saw him jetting to Los Angeles to re-record his songs with producers Chris Vrenna (Nine Inch Nails) and Joe Chiccarelli (Frank Zappa). When he returned to Australia, it was agreed between MK and the label that the re-recorded material had lost something in the transition and they decided the best approach was to have someone mix the original home demos he had produced. Tony Espie (The Avalanches, New Buffalo, Architecture In Helsinki) was the perfect choice to bring new vitality to the songs MK had already breathed into life. Although the album did not achieve the hoped-for commercial success, it did open up a whole new world for MK, and through a couple of years of touring with his band (including successful supports for Marilyn Manson and Australia’s notorious party band Machine Gun Fellatio, who proudly espouse that MK and his troupe were

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Page 29


Bare Threads

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AT... REALITY NITECLUB @ THE JAMES HOTEL. 122 YORK ST. LAUNCESTON May 6th

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Matt Hoffman (Melb) + eSKay & SpinFX (Hbt)

M.O.S HARD NRG - Nik Fish + eSKay & RE-CUT Page 31


mixup, the operatives, fxu, and syrup present new zealand’s drum’n’bass heavyweights...

APRIL 06

DESIGN BY B CHAO A S, ALBUM TOUR

SAT 1/4 - Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly & T.H.C. - Upstairs 11pm: THE BEEZ NEEZ presents – house, electro & breaks, with resident DJ’s Gillie & Adam Turner, + DSKO & Timo WED 5/4 - Upstairs 10pm: LATE NIGHT BOOTY CALL - DJ’s Spinfx, Dave Webber, rBent & Scott Woodhouse. THURS 6/4 - MESH – Hobart’s oldest club night, breaks / drum+bass with resident DJs: SpinFX, Scott Woodhouse and guests. FRI 7/4 - Downstairs 9pm: KO – Resident DJ’ Mez ‘Laying down the Chunks “O” Funk’ Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: BREAKEVEN @ Syrup presents M.O.S Maximum Bass Tour feat. Klaus “Heavyweight” Hill with resident DJ’s Adam Turner, Scott Woodhouse & Mez. SAT 8/4 - Downstairs10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s T.H.C.and Rolly - Upstairs 11pm: THE BEEZ NEEZ presents – the best of house, electro & breaks with resident DJ’s Gillie & Adam Turner + Kir & Corney. WED 12/4 - Upstairs 10pm till late: LATE NIGHT BOOTY CALL with DJ’s Spinfx, Dave Webber, rBent & Scott Woodhouse. THURS 13/4 - MESH with resident DJ’s Scott Woodhouse, SpinFX, Plastique & guests FRI 14/4 - Downstairs 8pm: KO – Resident DJ’ Mez ‘Laying down the Chunks “O” Funk’ Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: M.O.S & La Casa present Germany’s NO. 1 DJ Tom Novy with support from residents Matt B, Gillie & Adam Turner. SAT 15/4 - Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly and T.H.C. - Upstairs 11pm: THE BEEZ NEEZ presents DIRTY F’KING DANCING – house, electro & breaks with resident DJ’s Gillie & Adam Turner + guests Timo & Modal.

tickets: $10 +bf available from ruffcut records nourish cafe & syrup.

new album ‘ design by chaos’ out now at ruffcut records!

WED 19/4 - Upstairs 10pm till late: LATE NIGHT BOOTY CALL with DJ’s Spinfx, Dave Webber, rBent & Scott Woodhouse. THURS 20/4 - MESH – Hobart’s oldest club night, breaks/drum+bass with DJ’s Scott Woodhouse, SpinFX and Guests. FRI 21/4 - Downstairs 9pm: KO with Resident DJ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: La Casa – funky vocal house with resident DJ’s Matt B, DJG & Timo. SAT 22/4 - Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly and T.H.C. - Upstairs 11pm: THE BEEZ NEEZ presents DIRTY F’KING DANCING house, electro & breaks with resident DJ’s Gillie & Adam Turner + guests DSKO & Kir. WED 26/4 - Upstairs 10pm till late: LATE NIGHT BOOTY CALL with RESIDENT DJ’s Spinfx, Scott Woodhouse, Dave Webber & rBent. THURS 27/4 - Upstairs 10pm: CONCORD DAWN album launch with special guest JPS + local DJ’s Spinfx, Smokey & Loki. FRI 28/4 - Downstairs 9pm: KO with Resident DJ Mez ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan. Upstairs 11pm: PICKLE – Techno, Trance & Hard NRG with residents DSKO & Corney + guests. SAT 29/4 - Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s T.H.C & Rolly. - Upstairs 11pm: THE BEEZ NEEZ presents DIRTY F’KING DANCING house, electro & breaks with resident DJ’s Gillie & Adam Turner + guests Corney & DSKO. Coming Up 26th May – Pickle @ Syrup presents MINISTRY OF SOUND Hard NRG Tour feat. Nik Fish & John Ferris.

BREAK EVEN AT SYRUP PRESENTS

STARRING

FRI 7TH APRIL PLUS: ADAM TURNER SCOTT WOODHOUSE MEZ TICKETS: $15+BF FROM RUFFCUT RECORDS NOURISH CAFE & SYRUP SYRUP - 39 SALAMANCA PL.

MINISTRY OF SOUND PRESENTS

GERMANYS #1 DJ

TOM NOVY

FRIDAY 14TH APRIL

PLUS RESIDENTS:

GILLIE MATT B ADAM TURNER

SYRUP / 39 SALAMANCA PLACE, HOBART CITY. - for more info. check out - www.freshdisko.com

ART & DESIGN: WWW.drunkpark.COM WWW MINISTRYOFSOUND COM AU


Sauce - Issue 25, 5-4-06  

Tasmanian music and pop-culture, featuring Hilltop Hoods, Bliss n Eso, K'naan, Unleash The Nugget, Mark 'Chopper' Read, Unleash The Nugget,...

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