Sauce - Issue 31, 4-10-06

On the street 1st Wed every month

Issue #31 04/10/06 - 31/10/06

GAUDI

DALLAS CRANE

FRIDAY 6TH

BEXTA

FRIDAY 13TH

MACROMANTICS

GROUND COMPONENTS

BEDROOM PHILOSOPHER

SATURDAY 21ST

SATURDAY 28TH

COMING SOON

Bob Evans (Jebediah)

october gigs 122 YORK STREET LAUNCESTON 6334 7231 WWW.JAMESHOTEL.COM.AU

TASMANIAN MUSIC SHOWCASE

TRAVELLING SHOWCASE

Dylan Eynon The Embers The Voyeurs Modus GRRR

Modus The Dead Abigails Robbie Elliot Clint

Something With Numbers The Vasco Era The Fumes

Going Behind The Scenes Of

THE BUTTERFLY EFFECT

BY TOM WILSON

Bassist Glenn sounds pretty lively for a guy who’s still in bed. But then, The Butterfly Effect’s talent for producing energy on command is something few, who’ve seen them live, would deny. Touring hard on the back of their second full-length release, “Imago”, I quizzed Glenn on what happens backstage, his influences, and on the word which singer Clint Boge has tattooed across his abdomen – a word that runs deeper than the ink in his skin....

S o h o w a r e yo u ?

G o o d , m a t e ; l a y i n g i n my b e d , h o p e f u l l y t h i n k i n g a b o u t g o i n g o n t o u r, [ b e c a u s e ] w e ’re l e av i n g i n a b o u t a n h o u r ’s t i m e.

S o h o w ’s t h e t o u r t r e a t i n g yo u s o f a r ?

I t ’s g o o d – w e ’ v e j u s t h a d t h re e - a n d - a h a l f w e e k s o f f, s o a l l t h e b a t t e r i e s a re r e c h a r g e d a n d s t u f f. W e d i d f o r t y - t w o dates on the first run, from the end of Ju l y t o t h e b e g i n n i n g o f S ep t e m b e r, a n d now we’ve got another five weeks star ting t o d a y.

Yo u g u y s h ave g o t a r e p u t a t i o n a s a p r e t t y h a rd - t o u r i n g b a n d . H ave yo u g o t a n y t r i c k s fo r d e a l i n g w i t h t h e r i g o r s o f b e i n g o n the road?

N o t re a l l y. Tr y i n g n o t t o p i s s e a c h o t h e r o f f t o o m u c h i s a l w a y s a go o d o n e. We g i ve e a c h o t h e r s p a c e w h e n w e n e e d i t ; s o m e t i m e s w h e n y o u ’r e i n e a c h o t h e r s ’ p o c ke t s , i t c a n b e a b i t s t re s s f u l . B u t w e ’re p r e t t y g o o d . We ’re a l l s o r t o f r o a d d o g s , so we kind of know how to deal with it.

W h e n y o u ’r e ge t t i n g o u t t h e r e a n d y o u ’r e p l a y i n g s h o w s e v e r y n i g h t ; i t ’s s u c h a b u z z t h a t i t ’s s o r t o f s e l f - s u s t a i n i n g i n a w a y, y o u k n o w w h a t I m e a n ? L o o k i n g t o t h e n ex t s h o w, y o u ’r e a l w a y s s t o ke d t o b e d o i n g i t .

Fr o m wh a t I ’ ve s e e n o f yo u g u y s l ive , yo u ’ r e p r e t t y e n e r g e t i c o n - s t a g e.

Ye a h , i t ’s s o m e t h i n g , I g u e s s , w e p r i d e o u r s e l v e s o n . We g a i n e d o u r rep u t a t i o n a s a live band at the first show that we did; t h a t w a s a l o t o f f e e d b a c k t h a t w e go t . We never wanted to be one of those bands that just stood there and had four lights o n t h e m , a n d j u s t s t o o d t h e re a n d p l a y e d t h e s o n g s , b e c a u s e t h e re ’s s u c h a l a rg e r e l e m e n t t o t h e m u s i c . S o w e j u s t ge t o n s t a g e a n d a c t t h e w a y t h e m u s i c m a ke s us feel.

T h e B u t t e r f l y E f f e c t ’s s o u n d d r aw s o n a l o t o f d i f f e r e n t i n f l u e n c e s – wh a t a r e t h e y fo r yo u ? A n d h o w d o yo u t h i n k t h e y h ave ch a n g e s t h r o u g h o u t t h e b a n d ’s ex i s t e n c e ?

I t ’s k i n d o f h a r d t o s a y. We a l l h av e c o m e s l i g h t l y d i f f e re n t p l a c e s g r o w i n g u p. C l i n t a n d I c a m e f r o m m o re o f a l a t e e i g h t i e s , early nineties metal/g runge backg round, w h e re t h e o t h e r g u y s w e re i n t o S i l ve rc h a i r and Helmet and those sor ts of bands w h e n t h e y w e re g r o w i n g u p. A l l o f u s h av e m a t u r e d i n o u r m u s i c a l t a s t e s s i n c e w e ’ ve go t t e n a b i t o l d e r. We h a d a n o p p o r t u n i t y t o p r o g r a m “ Ra g e ” a c o u p l e o f w e e k s a g o , a n d I w a s q u i t e s u r p r i s e d by s o m e o f t h e t h i n g s t h a t m y b a n d m a t e s w e re c h o o s i n g .

C l i n t w a s c h o o s i n g b a n d s l i ke L a m b, a n d Ku r t w a s c h o o s i n g C h r i s I s a a k . I t ’s s t r a n g e ; I t h i n k t h a t w e a l l c a m e f r o m a h e av y r o c k b a c k g r o u n d , b u t n o w i t ’s m ov i n g i n t o m o re o f a , , , I d o n’ t k n o w – e m b r a c i n g a l o t o f different styles.

S o wh a t ’s b e e n p l ay i n g i n t h e B u t t e r f l y Effect tour bus?

A h . . . t h e m o s t r e c e n t t h i n g , a n d w h a t ’s b e e n g e t t i n g t h e b i g ge s t f l o g g i n g i s t h e n e w M u s e re c o r d ; t h a t w a s p re t t y t r u e w h e n “A b s o l u t i o n ” c a m e o u t a s w e l l . . . t h a t c o p p e d a b i t o f a c a n i n g a s w e l l . We ’re l i s t e n i n g t o [ To o l ’s ] “ 1 0 , 0 0 0 D a y s ” a b i t , b u t i t u s u a l l y go e s o f f a f t e r a b o u t t h r e e s o n g s ; n o o n e ’s u s u a l l y go t t h e p a t i e n c e t o l i s t e n t o t h e w h o l e re c o r d .

“

C l i n t wa s c h o o si n g band s l i ke La mb , a n d Kur t wa s c h o o si n g Chri s I sa a k .

”

I t ’s p r e t t y s l o w, i n a g o o d wa y.

It has its moments; it is what it is, you k n o w ? W h a t e l s e h ave w e b e e n l i s t e n i n g t o . . . ? Th o s e a re t h e t w o m a j o r o n e s t h a t h av e b e e n c o p p i n g i t t h e m o s t re g u l a r l y. “ G r a c e ” f r o m Je f f B u c k l e y s t i l l s e e m s t o g e t a h i d i n g e ve r y n o w a n d t h e n ; i t ’s o n e of the inescapable records.

W h a t k i n d o f r o u t i n e d o e s t h e b a n d h ave b e f o r e a s h o w ? F ive m i n u t e s b e f o r e a s h o w, wh a t a r e yo u n o r m a l l y d o i n g ?

We l l f i v e m i n u t e s b e f o r e, w e ’r e u s u a l l y standing with instruments on at the side o f t h e s t a g e. W e h a v e , l i k e , a n h o u ra n d - f i f t e e n m i n u t e s w a r m u p p r o c e s s , I ’ ve n o t i c e d . Ku r t a n d I p l a y – I p l a y m y b a s s , h e p l a y s h i s g u i t a r f o r a w h i l e.

I’ve got about twenty minutes wor th of v o c a l exe rc i s e s t h a t I d o t o w a r m u p my v o i c e. C l i n t d o e s a b i t o f vo c a l exe rc i s e s .

Th e n w e ’r e j u s t m i l l i n g a r o u n d b a c k s t a ge, g e t t i n g i n t h e v i b e ; d o s o m e s t re t c h e s a n d that sor t of stuff – jump around a bit.

Th e n . . . y e a h ; j u s t g i ve e a c h o t h e r a b i t o f a h u g a n d o f f w e go !

While you’ re cur rently doing a string o f a l l - a g e s s h o w s , b o t h yo u r u p c o m i n g Ta s m a n i a n s h o w s we r e l i c e n s e d . We r e n ’ t the underage crowd a consideration?

W h a t ’s t h e s t o r y b e h i n d t h a t ?

U s u a l l y t h e o n l y t h i n g t h a t re s t r i c t s u s f r o m d o i n g a l l - a ge s s h o w s i s t h e l i c e n s i n g.

A s f a r a s I c a n re c a l l , w e a c t u a l l y h a d a bit of a shit-fight just finding venues at a l l f o r t h e Ta s s i e s h o w s t h a t w e re t h e r i g h t s i z e a n d t h e r i g h t v i b e. S o I t h i n k , i f t h e re w a s a n o p p o r t u n i t y t o d o u n d e r a ge s h o w s , w e w o u l d h ave d o n e t h e m , b u t i t was a bit difficult.

I ’ ve g o t t o a s k s o m e t h i n g f o r t h e p e o p l e w h o ’ l l b e a t t h e s h o w s ; c o n s i d e r i n g i t ’s a l m o s t g u a r a n t e e d t h a t C l i n t ’s g o i n g t o g e t h i s s h i r t o f f, w h a t ’s t h e s t o r y b e h i n d t h a t t a t t o o . . . d o e s i t s ay “A t l a s ” o n h i s belly?

It does, yeah. Apparently when he was s i x t e e n h e h a d a d re a m t h a t h e h a d a son, and his name was Atlas... And a c t u a l l y, a b o u t t h r e e m o n t h s a go h e h a d a s o n a n d c a l l e d h i m “A t l a s ” ! S o i t ’s h i s s o n’s n a m e !

T h a t ’s p r e t t y t r i p py.

Ye a h . A n d C l i n t a n d I w e re i n a b a n d t o g e t h e r b e f o r e Th e B u t t e r f l y E f f e c t a s w e l l , a n d w e h a d a s o n g c a l l e d “A t l a s ” .

S o I t h i n k i t ’s a t h e m e t h a t ’s b e e n i n h i s head for a little while!

T h e B u t t e r f l y E f fe c t p l ay H o b a r t ’s W r e s t Po i n t S h o w r o o m o n O c t o b e r 2 7 t h a n d L a u n c e s t o n ’s S a l o o n B a r o n t h e 2 8 t h .

Jet Shine on (CD)

The Living End Live aT f e s t i va l h a l l ( D V D )

IN STORE NOW @ PAGE 3

PAGE 4

The Perils of Songwriting According To

SOMETHING FOR KATE

BY TOM WILSON

Writer’s block is a curse that must affect every scribe at some point. For Something For Kate’s Paul Dempsey, it was following up their platinum-selling last album, “The Official Fiction”. About to return to Tasmania on the back of the new LP “Desert Lights”, we went writer-to-writer about how he got the inspiration to turn those lights on – four years after he hit me in the head with a water bottle.

I understand you’ve been suffering from a bad case of writer’s block on this album…

Yeah, it kind of always happens with me. I used to worry about it and freak out, because I felt that songwriting should be easy…because it used to be easier than it is. But I think it’s just one of those things that, the more you do it, the harder you have to work at it, so that you don’t end up becoming formulaic and boring. So I gave myself a rough time writing these songs, because I didn’t want them to be crap. I didn’t want to fall into patterns that I’ve done before.

The repetition thing; you start recognising that you’re going back to the same point when you’re trying to think of something new.

Yeah. I think it’s just one of those things that happen to everybody no matter what you do. It’s hard to shake yourself out of your own routine.

What do you think triggered the ideas to start flowing? Or did they [actually start “flowing”]?

They did eventually…there wasn’t sort of a sudden breakthrough, and then everything was

The Southern March Of

okay. The whole thing was hard work… I’ve come to accept that it is hard for me; it’s not something that comes completely easily. If it’s going to be hard work, it’s going to be hard work, and that’s fine, because the rewards are worth it. I guess the way everything finally changed is that I just kept at it. It took a long time – it took about eighteen months… But I just stuck at it, and every few weeks or months an idea would come along that would get the three of us excited.

After all this time writing songs, do you still get that buzz when you hit on an idea and you really start cooking with it? Do you get that?

Yeah. I totally know what you mean. And we do still get that, but it’s harder to get. I guess that’s what I’m getting at. That’s what we crave. By the sounds of it, you’re a songwriter yourself ?

Not a songwriter anymore, but a writer and a filmmaker; I’ve been writing pretty much since I could stand up.

So you know the feeling; when you’re onto something, and all you want to do is ride it out to its full conclusion. It is a real buzz. It’s hard to describe, but when it’s there, it’s there.

It’s amazing where the inspiration comes from actually; in 2002, on the Gone South festival down in Hobart…I was in college, and I actually wrote a short story about when you accidentally hit me in the head with a water bottle when we were all screaming, “Water!”

(Laughs) Sorry!

Something For Kate plays Curly’s Bar in Hobart on October 12 th and Launceston’s Saloon on the 13 th

“

I gave myself a rough time writing these songs, because I didn’t want them to be crap

”

Inciting “Radio Action” With

SLEEP PARADE MACH PELICAN

Toshi 8Beat for a chat about The Ramones and being a professional punk.

“Radio Action” is your third album, and in the band’s lifespan you’ve played, on average, one gig every 4.17142857 days for the past eight years. How do you think your outlook and attitude has changed in that time, both as musicians and as people? What are some of the biggest lessons you’ve learned?

As a musician, my attitude has been changing with more professionalism. I mean; in the early time, I didn’t care how much I drank before the show ‘cause I could play with only energy and motivation. But these days, I am more careful not to fuck up the show just because I am too drunk and stuff. People pay money to see our show and I always want to show my 100% live set to them.

Sleep Parade are heading down to Tasmania for the first time ever and they’re hitting the Republic Bar in North Hobart at 9pm on Friday, 20th October and Saturday, 21st October.

From the south-eastern suburbs of Melbourne, Sleep Parade were organically formed by Leigh Davies (guitars/lead vocals) and Paul Zubrinich (keyboards/backing vocals) during casual jams at Paul’s house. They soon recruited Dan Teng (drums) and later added James Livesey (bass).

Over their two years, they have infiltrated every corner of the Melbourne music scene, playing in every venue that matters with everyone from big name metal acts (such as Karnivool) to the art-rock underground.

With a reputation for playing the kind of punk music that would make Lester Bangs proud – and then touring the living guts out of it – Melbourne-based Japanese three-piece Mach Pelican are about to launch their third album “Radio Action” in Hobart this month. I caught up with drummer/vocalist

The Ramones are obviously a big influence on you guys; how different do you think punk would be these days had they been around longer?

Without the Ramones, punk [would be a] much more difficult and serious thing, I suppose; people start forcing other people to have a proper idea and attitude to become a punk – [that] kinda bullshit. Maybe people [would] start comparing who is more punk than who. We don’t need that kinda bullshit. You don’t need any reason to be a punk. Punk is freedom and Punk is fun. I learned that from the Ramones.

Mach Pelican play the Republic Bar in Hobart on Saturday the 28th of October.

OCTOBER 10TH

Crystal Campbell Micheal Clennett Ray Martians OCTOBER 17TH

Cloudy (SA) Shane Pullen Surrender Dorothy

Since the release of their first EP, Sleep Parade have worked hard to develop a complex, progressive sound and have recorded their second EP, You Are Here, also produced by Lindsay Gravina. With such diverse backgrounds as classical, jazz, rock and funk between them, Sleep Parade has created a dynamic rock framework that integrates synthesizers, effects and drum loops.

With their ability to move from moody electronica to emotive rock melodies, Sleep Parade are creating a unique and original scene within Melbourne.

Sleep Parade play Hobart’s Republic Bar & Café on Friday the 20th and Saturday the 21st of October. Their debut EP “You Are Here” is available now.

OCTOBER 24TH

Patrick Berechree The Sign Fink OCTOBER 31ST

ACOUSTIC ORIGINALS

Cait Vertigan Eva (Duo) Jordan Millar Band

Every Tuesday, From 9pm 21 SALAMANCA PLACE. HOBART. T: 03 63 6226 1119 W: WWW.IRISHMURPHYS.COM.AU

PAGE 5

COMPETITIONS 2 WIN 1 OF 3 CDs Love Outside Andromeda

Longing Was A Safe Place To Hide

Name: Address: Email:

Send Entry to:Love Outside Andromeda Comp, PO Box 5094 Launceston, TAS, 7250 Competition Closes 24/10/06

WIN 1 OF 3 CDs Malente -

How Can You Stand To Stand Still

Name: Address: Email:

Send Entry to: Malente Comp, PO Box 5094 Launceston, TAS, 7250 Competition Closes 24/10/06

WIN 1 OF 3 DVDs Dave Hughes Live Name: Address: Email:

Send Entry to: Dave Hughes Comp, PO Box 5094 Launceston, TAS, 7250 Competition Closes 24/9/06

Getting Curious About

DALLAS CRANE

BY DAVE WILLIAMS

Sometimes, we aren’t permitted to satisfy our curiosity. Just ask a Dallas Crane fan. The video for the band’s latest single, “Curiosity” – set in renowned Sydney S&M venue The Hellfire Club – has been banned from daytime TV by Australian censors. But Dallas Crane’s motivation of curiosity isn’t something they’re going to apologise for, as bassist Pat Bourke explained…

So how are you feeling about the album?

Really good! The reviews are starting to come in, and “Rolling Stone” gave it a glowing review; so that’s a good one to get. And just people who’ve heard it and have got in touch; they’ve been really impressed with it. And, most importantly, we all are, you know? We wouldn’t be putting it out if we weren’t too happy with it ourselves.

So how do you compare this with what you’ve done before?

I think this is a bit more refined. Only two songs go for four minutes; the rest are about threethirty, or three or under. We’ve just culled a bit of the crap on the songs; we’ve said what we needed to say on this one. So therefore, if we could take four bars out here and there... There were a lot of things like, “Do we really need to have that in here?” And if it didn’t need to be there, we got rid of it.

I’ve been wondering what “Black Angels” was about.

It’s sort of just a hope song. “Black Angels” is metaphoric...it’s bad luck. Sad verses; “Hey dude / What are you thinking over? / Who’s going to make it alright?” Someone who’s bleeding a bit inside; hurting a bit. Then, it sort of gets resolved with the chorus - it’s like saying, “It’s got to be alright - you’re just going through a bit of a hard time at the moment.

I can’t say why the sun will shine but not for you.” It’s just a sad song. Make people feel

Publisher / Editor David Williams Graphic Design Simon Hancock

shancock@sauceonline.net

Editorial Tom Wilson

twilson@sauceonline.net

WIN 1 OF 6 Double Passes Something For Kate @ Curly’s Bar 12th October (18+) Name: Address: Email:

Send Entry to: SFK Comp, PO Box 5094 Launceston, TAS, 7250 Competition Closes 10/9/06

WIN 1 OF 3 CDs True Live-

The Shape Of It

Name: Address: Email:

Send Entry to: Malente Comp, PO Box 5094 Launceston, TAS, 7250 Competition Closes 24/10/06

PAGE 6

Contributors: Tina Anderson, Ryan Cooke, Laen Deakin, Sam Eddy, Ryan Farrington, Carl Fidler, Jimmy McMacken, Ian Murtagh, Alex Napier, Dean Swanton, Julia Nixon-Douglas, Thomas Whitty, Thomas Baker, Hamish Clark, Cyclone. Shea Gibbling.

Deadlines Sauce #32 (Nov 06) Adver tising Booking: 25/10/06 Adver tising Ar twork: 26/10/06 Gig Guide: 26/10/06 Editorial: 26/10/06 Address: Po Box 5094, Launceston, Tas, 7250 Phone: 03 6331 0701

Advertising: advertising@sauceonline.net Editorial: editorial@sauceonline.net Opinions expressed in Sauce are not neccesarily those of the editor, publisher or staff.

Contents 3 4-11 12-13 14 15 16 17-18 19 20 21 22

Hard Boiled Rock Salt Gig Guide Gig Reviews/DVDs CDs A-Z Bangers & Mash Hip Hop Ar ts Hip Hop / XSpor t Touring Ar tists

alright if they’re feeling sad; that’s the hope of it all, I guess.

Your contribution - the bass on the album - is really strong; an almost funky part of the soundscape.

Yeah. I’ve been playing bass for a long time now. I enjoy it; the guys - Pete and Dave - write great songs for me to play bass to. And it’s my instrument; it’s good to play a bit upbeat.

Have you got a favourite song yet?

“

We spent ten years doing things like cleaning toilets and things like that to fund being in a band

”

Oh, they just change. I suppose some days I’m loving “Curiosity” for the driving, and then the other slower songs...it’s sort of a mood-al thing.

So hopefully the album translates...there’s a mood for everyone, you know what I mean? No matter what kind of feeling you’ve got, you can get something out of the album.

The song “Curiosity” is where the title comes from; a reference to Andy Warhol’s “The Factory Girls”...

Well, to be brutally honest with you about why it got called “Factory Girls”; it’s just got a nice ring to it. It’s not by any means a homage to Andy Warhol or anything like that. There’s also a Rolling Stones song called “Factory Girls”. [But] It’s also a hats-off to the people who are going out and working...not doing what they really love doing, or want to do, but they’re just going out and doing it, and making a living from it.

It’s sort of a salt of the earth thing; hats off to them. It’s not by any means meant to be, “Oh, we can make a living off music”. Because we’ve only been out for the last couple of years. We spent ten years doing things like cleaning toilets

and things like that to fund being in a band...

“Curiosity” seems to be about girls; not just “Factory Girls”. I was wondering whether it was written by anyone in particular?

Everyone’s curious about anything. It might be drugs; it might be sex - whatever. It’s just saying that if you’re curious about it, and it’s not illegal - illegal being...well, pedophilia or something like that... If you want to take drugs, it’s up to you. It’s saying, “If you’re curious about it, have some fun with it - don’t feel bad. Have a crack at it; it’s nothing to be ashamed of.”

Dallas Crane play Curly’s Bar in Hobart on the 19th and Lonnies in Launceston on the 20th of this month.

Missing Link Entertainment and The Dover Hotel present

GROUND COMPONENTS

AN EYE FOR A BROW, A TOOTH FOR A PICK

SHOWCASING SOME OF THE BEST UP AND COMING ROCK ACTS IN THE COUNTRY PLUS NZ’S BILLY TK JNR & SOME OF TASSIE’S HOTTEST ACTS!

DEBUT ALBUM OUT NOW.

AVAILABLE FROM TRACKS RECORDS HOBART & KINGSTON, WILLS THE QUADRANT RUFFCUT RECORDS AND RED HOT CDS

FRI 20 OCT HOBART THE TROUT SAT 21 OCT LAUNCESTON THE JAMES www.myspace.com/groundcomponents www.groundcomponents.com www.loveandmercy.com.au

SATURDAY NOVEMBER 25 BESIDE THE SEA AT DOVER

Show starts at 10am, gates open Friday from 12noon with free camping and parking on site This is a strictly 18 and over event, no ID, No Entry!

For ticket details and more info, see www.missinglink.org.au

PAGE 7

Hitching The “Fire Flight” With

GABRIEL’S DAY Once upon a time there was a band that didn’t fit the label system, but instead of just sitting around getting bitter about it, they decided to find a new way to rewrite the rules.

Go to their website www.gabrielsday.com and you’ll find the Backsta ge Area, a space where the band goes around the traditional routes and goes directly to their audience via Usync – the system that they the band initially built with money raised from their own fans – that

“ Rolling Stone claims is laying the foundation of “a digital revolution”; “It’s Myspace but the next sta ge on”.

Th e b a n d ’s f r u s t ra t i o n a n d s u b s e q u e n t creative release as ar tists finding a way through the system is captured with their n ew s i n g l e “ F i re Fl i g h t ” . A t h re e - m i nu t e spiky chronicle of their obser vations and experiences of fighting their way out of the old school music industr y! “Fire Flight” is like musical car toon of the some of the typical characters we met along the way – “The Mister Family man who couldn’ t get

a master plan” – the bored label executive “ Th e L i t t l e D ra m a G i r l ” t h e “ X - Fa c t o r ” wannabe who’s think she’s a pop star”. The accompanying video to “Fire Flight” captures the song’s stor y and live energ y of the band that critics say “has mastered a sound and sta ge presence that would fit ver y well in an arena.” “ F i re Fl i g h t ” i s t a ke n f r o m t h e b a n d ’s s o p h o m o re a l b u m , a p p r o p r i a t e l y c a l l e d “ Po s t c a rd s t o t h e I n d ep e n d e n t ” , w h i ch according to Drum Media has now “set them up as real contender and will cer tainly make

It’s Myspace but the next stage on

”

a few ears prick up”.

Gabriel’s Day will be touring QLD, NSW, VIC, TAS in November and December in suppor t of the “Fire Flight” which will be released a s a n exc l u s ive d ow n l o a d t o t h e i r fa n s in the Backsta ge Area at www.gabrielsday. com alongside the full album downloads o f “ Po s t c a rd s To Th e I n d ep e n d e n t ” a n d their acclaimed debut album “Anthems and Intimacies”.

Gabriel’s Day play Irish Murphy’s Launceston on Thur sday the 23 rd of November.

The Gorilla Connection Of

GROUND COMPONENTS

BY DAVE WILLIAMS

you’d be forgiven for thinking that there’s a deeper meaning behind it... I certainly did, as I spoke with keyboardist Dallas Paxton.

They’re about to hit our shores on the back of their new album, and for Ground Components, the advancement of their musical career will be matching them for speed all the way. One look at the cover of “An Eye For a Brow, A Tooth For a Pick” - depicting a gorilla’s roaring mouth – and

PAGE 8

So what’s the gorilla connection? Are you guys saying that you’re ape-men?

That’s actually Joe’s mouth when he screams.

(Laughs) Nah – there’s actually a designer in Sydney who’s stuff we really liked. He came up with that idea, and we thought it was amazing. The animal significance isn’t anything, necessarily. There were other animals he tried to have with the same approach, but the gorilla just has this majesty about it. I actually wanted a donkey, originally! But it kind of looked...stupid. (Laughs)

So you’re not travelling around the country with a troupe of performing monkeys or anything like that?

Nah, except for the guys in the band. (Laughs) Did you guys produce the album yourselves?

Yeah. Basically, yeah; we had an engineer who did all the knob-twiddling, and then we kind of made the production decisions and stuff like that. So yeah – it was good.

You played South-By-Southwest a few years ago; did that have much of an effect on the band, or your career?

It didn’t really have an affect directly to our career, but it was definitely an amazing experience; it was a great thing to do. Going over there was really exciting. And coming back, having seen how things are done overseas was definitely beneficial.

Things are going pretty well for you; getting Album Of The Week on Triple J. How do you keep your feet on the ground?

I don’t know...gravity? (Laughs) I mean, it’s great

when things [happen] like Album Of The Week and all that. It’s not like we get stopped in the street or anything like that... The other guys get stopped in the street – I don’t.

Is that because they’re so grotesque-looking?

They’re disgusting, yep, that’s right.

And what’s your personality role? How do you fit in with the other guys?

Ah... (Laughs) That’s a funny question! I guess, in some ways... [The rest of the band start sniggering in the background] I’m the one that does all the driving and stuff like that – so I kind of play a “dad role”, I guess. But I don’t know; no one’s asked me that before. The other guys might have a better idea... [To his band] He’s asking me what my personality role in the group is... [Band starts yelling] The bass player says I’m the arsehole! (Laughs) You can quote him on that!

Ground Components play Hobart’s Trout on the 20th of October and Launceston’s James Hotel on the 21st, supported by Macromantics.

LIVE MUSIC FRIDAYS Wednesdays - Bundy 8 Ball Calcutta Thursdays - Crazy Karaoke Fridays - Big Screen Videos OCTOBER: Saturday 7th

ETHEL THE FROG

Saturday 14th

DR FINK

Saturday 21st

DONUT

Saturday 28th

RIPSISTER

SATURDAY: DJ SKIP SUNDAY: DJ TIM www.okeefes.com.au 124 GEORGE ST LAUNCESTON, PH 0363314015

18 King St Devonpor t - 6424 7851

James Kitto

TUU UNI BAR HOBART

Lawyer

COMING UP

Are you in trouble?

Got legal problems?

Need some help?

Kid Kenobi Lyrics Born Frenzal Rhomb

James will sort it out for you, at realistic rates.

2 Cameron St Launceston

PH: 6331 2555

Open Friday And Saturday Night

Friday 20th October

GOIN FISHIN Friday 10th November GYPSY ROSE Saturday Nights Kings Own DJ Rock With Rox - Top Hits & Requests CHECK OUR NOTICE BOARD AT THE CLUB FOR SPECIAL EVENTS AND UPCOMING BANDS

25 KING ST DEVONPORT 64233488 OR 0407246230 CLUB NOW OPEN 10PM TIL LATE

ee66 d i u rt0 Gu

bues G g o g t i Gig OAcu

G Tue Thur Sat Sun Fri Sat Fri

3rd Oct 5th Oct 7th Oct 8th Oct 13th Oct 14th Oct 20th Oct

Sat

21st Oct

Fri Sat

27th Oct 28th Oct

T he Legendary Uni Night With T assie's Best Bands

299 Elizabeth St North Hobart Ph: 6234 6954

Kelly Jo Phelps Supp. G.B Baling $25 Cover Falls Festival Playoffs No Cover Global Battle of the Bands $10 Cover Amplified 17 Bands $8/$5 Conc True Live Supp. Unleash the Nugget $15/12 Conc Blue King Brown $12 Presale / $15 On the Door Sleep Parade (Melb) Supp. Anita George + Lakoda $8/5 Conc Sleep Parade (Melb) Supp. Lakoda $8/5 Conc Love Outside Andromeda $15/12 Conc Mach Pelican (Japan) Supp Muddy Terf $12 Cover

www.republicbar.com

Drummers!

You Can Do All This: Practice Anytime - Day Or Night Set-up & Pack-up In Under 5 Minutes Stop Annoying The Neighbours Pull The Right Sound For The Right Song With Up To 130 Different Kits

Electric Drum Kits Available at McCann’s Music Centre 141-143 Elizabeth St, Hobart Ph: (03) 6234 4544 Email: drums @mccannsmusic.com.au

DTXplorer $1699 Now

$1399

“On Leaving” With

NINA NASTASIA

BY DAVE WILLIAMS

Given that she spoke to SAUCE while organising a tour, one might think that Manhattan-based singer/songwriter Nina Nastasia would want to get straight to the point. Thankfully, she didn’t, and in turn, we present to you a surprisingly candid conversation with the woman behind the new LP “On Leaving”.

In regard to your beginnings...do you have sisters or brothers?

No - I always wanted them, but I never had them.

It’s just me.

You sound a little bit sad about that.

I think it would have been a lot more fun to have not been an only child. [I may have been] better socially if I had.

Were you a bit shy?

Yeah, definitely. Very introverted.

Do you think that has shaped the type of music you make? Quite powerful, emotive music, which is perhaps not terribly social?

Well, maybe it had something to do with just trying to entertain myself, in a kind of solitary way.

I think for [the previous album], I’ve had several moments. Most of the experiences recording that record were pretty pure... I really had the most fun with that recording. Recordings since

How would you compare “On Leaving” with your previous releases?

I guess I would say...a lot of the songs... Actually, all four records have [some] really old songs that I’ve kind of dug up; songs from when I first started writing, which maybe I re-wrote. So I guess there are some similarities to all of them, at least, in that way. They all have a mixture of new songs and really old songs. But I don’t know...maybe [the new album] is a more sentimental-sounding record. I don’t listen to the others all that much.

…We just all played together and recorded that song, in a kind of drunken mind..

Was there a moment during the making of this record that has stood out as one of those pure, fantastic moments - the best moment of the process?

Um...I think...I’ve had several moments, actually.

“

”

then have been a little more stressful. That was a difficult time for me, because my father had died about a month before. And we were recording in such a short amount of time... [Long pause] I definitely had a moment with “The Blackened Air” that was kind of fun. We recorded a song called

Photo by Kennan Gudjonsson “Ugly Face”, and we turned all the lights off... We had been drinking a lot, and it was pretty late in the evening, and we just all played together and recorded that song, in a kind of drunken mind.

So you were recording in the dark when you were drunk?

Yep. (Laughs) Well, that was the nicest moment - I guess the hardest part of it was recording after your father passed away?

Yeah; that was a really hard time for me, I think.

I remember it being a hard time. But there was one song...I got this kind of hysterical laughing fit. You know when you laugh and you can’t stop laughing? I don’t know what it was, but I couldn’t stop laughing.

“On Leaving” is out now.

The Well-Earned Hype Of

THE KOOKS

press.

Yeah, man. It was pretty amazing. It’s amazing to actually make and record an album, and get it finished and out and on a CD. (Laughs)

BY DAVE WILLIAMS

Hailing from Brighton, The Kooks have been hailed as one of the biggest “buzz” bands of the year, and thankfully the “buzz” seems to be well-earned. Their fourth single “Naïve” punched its way into the Top 10 of their native UK, and pushed their album “Inside In, Inside Out” into platinum territory. Oh, one other thing – it’s only their debut, and their singer Luke Pritchard is barely twenty years old.

We dialled him up for a yarn…

Did you ever think that you’d get this far?

Ah…yeah. I wouldn’t have done it if I didn’t believe in it. But at the same time, it totally takes you by surprise as well. The level of success has been crazy really; in England. Definitely quite shocking. But I always thought we had good songs, and we could do well, you know?

“

I always thought we had good songs, and we could do well

”

That’s the key really, isn’t it? The songs over everything?

Yeah. Definitely, man. Especially on the album, I don’t think we have one particular formula, or one sound. It’s all kind of down to the songs, really. Melody is really important.

Where does the name The Kooks come from?

That was actually from a friend of ours. She suggested it when we were listening to David Bowie. You know the album “Hunky Dory”? A song on it called “Kook”; fucking cool tune. She just thought it was a good name for a band. We didn’t really think about it for ages, and then when we came to name the band, we’d already got a name there. It sounds quite…it sounds country. And also, it’s really what we’re into – it’s a nice name that we all said, and were like, “Fuckin’ A”!

I really love your first track, “Seaside”. I love the simplicity of it; the simplicity gives you some room to get your own meaning,

or apply your own meaning to the song. Is simplicity something conscious that you guys try to achieve?

Well it’s hard to say if it’s conscious or subconscious or whatever. I definitely think – the lyrics particularly – they’re very simple. I think that the most effective lyrics are simple; the ones that leave room for your own interpretation.

So I’d say it was a conscious thing, but at the same time, the way that we write songs… With me, when I write songs, I just let the words come out, you know?

How has your personal life changed since the release of the album in the UK, and the attention that you’re getting there?

Life hasn’t really changed; we’re just on tour constantly, or working… You don’t really notice it. We’ve been in Europe for ages. Changes…I don’t think I notice them.

The album “Inside In, Inside Out” is out now.

“Inside In, Inside Out” – has that been released yet?

In Australia?

Yeah.

No, it hasn’t. I think it’s going to be released quite soon though. Maybe next month, I think.

This is your debut LP. You guys must have freaked out when you saw the first one off the

Getting Computer Camp Love With

DATAROCK

BY DAVE WILLIAMS

For the Norway duo of Fredrik Saroea and Ketil Mosnes – otherwise known as dance-fusion weirdoes Datarock – there’s a bit more to title of their EP “Computer Camp Love” than the art of “one-handed typing”…as we found out when they answered to the SAUCE inquisition.

So how does the chaotic nature of the universe relate to the new EP, “Computer Camp Love”?

(Laughs) The chaos of the universe made me watch a movie called “Revenge of the Nerds” fifty times. And, the time warp...fifty percent of my mental capacity was stuck in a time warp. So the fifty percent that’s stuck in 1983 can communicate with the fifty percent that’s part of the natural cycles of time! (Laughs) [Sound of rushing wind] Sorry; going out and lighting cigarette!

“Computer Camp Love”; does that title come from “Revenge of the Nerds”? Or is that just your own experience?

Um...what makes a good interview? Lots of lies? Maybe I should lie and say “from personal experience”?

Mix it up - a bit of fact with a bit of fiction! I thought maybe you might have been to a computer camp recently?

We actually did; we’ve played in what’s called “The Gathering”. It’s hundreds and hundreds...maybe thousands and thousands of kids putting up a

network of computers. About three thousand kids gathering in an indoor stadium. Actually, I think at the most, they’ve had seven thousand kids.

And you went along and hooked up to the network?

No, we actually just played there - we played a show! (Laughs)

the Good Vibrations festival. I think we played for approximately fifteen thousand people. And it was great, because in Australia - because of the stage rotation - a lot of people knew more than one song.

So of the fifteen thousand people, you’d have, like, three thousand who knew the lyrics! So that was just amazing!

headlined - I think that might be a milestone.

Yeah, definitely. It’s crazy...if that festival sold out because of us...if we had any impact on the fact that it sold out in a few hours – then it’s a milestone!

Datarock self-titled LP “Datarock” has been reissued and is out now.

But this will be the biggest show that you’ve

“

The chaos of the universe made me watch a movie called “Revenge of the Nerds” fifty times.

”

Okay...so it’s possible that maybe you found a bit of “Computer Camp Love” after the show? Some “Computer Camp Groupies” or something...

Well, the funny thing was that nobody came up to us to say that they liked the show, but they sent us emails! (Laughs) ...Even though [the kids] are sitting next to each other - it’s all net-based!

So you’re coming out to Australia again this summer?

I can tell you the news from yesterday; we’re headlining a festival in Meredith. It sold out in two hours! (Laughs) How many people?

Ten thousand!

Is that the biggest show you’ve ever headlined?

No, the biggest show I ever did was in Sydney, at PAGE 11

GIG GUIDE BROUGHT TO YOU BY MISSING LINK ENTERTAINMENT

GIG Guide 04/10/06 - 31/10/06 OCTOBER

FRIDAY 6TH 1 HOBART 1 BURNIE

James Hotel

Off

Tribute

The Voyeurs

Periscope, Carl Higgs Amplified 2006 Presents

Dj Joycie (Decks) Vs Dj Randall (Drums)

1 LAUNCESTON

1 BURNIE

Stage Door the Café Viktor Zappner Trio, 8.00pm,

clarinet.

1 HOBART

Lark Distillery

Republic Bar & Café Falls Festival Playoffs 9pm

Is Theatre and Amplified 2006 Presents

Republic Bar & Café

James Brook & Co, The

Trout

Simon & Atalana

Muddy Turds

Sydney City Trash, The

9pm

Music from 9pm

NoNos, The Cross City

Reality

Trout

Republic Bar & Café

7.00pm.

Dj Nikko

Dj MacD

Anhedonia, The Infected

True Live supp, Unleash

Elizabeth St Mall

The Nugget

The Muddy Turds CD launch

10pm

@ Undertone Records

Switch Blades, Echo Blue

Dj Nikko 1 HOBART

Bronte Park

1 LAUNCESTON

Princess Theatre Dave Hughes

O’Keefe’s

7:30pm

DJ Skip

Amplified 2006 Presents SATURDAY 7TH

SUNDAY 8TH

Featuring: Argus, The Muddy James Hotel

Trout

Turds

Dj Joycie (Decks) Vs Dj

Race the Fray, Ballpoint

ALL AGES – 2:30-4pm

1 LAUNCESTON

1 LAUNCESTON

John Course – Vicious

James Hotel

James Hotel

Randall (Drums)

(Bronte Park) 1 BURNIE

1 DOVER

Curly’s Bar

Lonnies

Latrice and Jay-J

Stage Door the Café

Dover Hotel

Cuts 3

Glenn Moorhouse

Jason Howard

10pm

Shindig #9

Daryl Braithewaite

10pm

Reality

Reality

The Amplified Music

Dj MacD

Awards

Dj Nikko

Rosalind Wilton Lewisham Tavern

Vanessa Garratt & Friends

Brendan Gallagher

5.00pm.,

Mayfair Tavern

1 DEVONPORT

Amplified 2006 Presents Loud World

King’s Bar

1 FERN TREE

Phil Manning and Pete

Spurs/Warehouse

Cornelius

Ethel The Frog

Republic Bar & Café

1 HOBART

Syrup

The Dead Abigails

O’Keefe’s

Robbie Elliot

DJ Skip

Amplified 2006 Presents

Stage Door the Café

Clint

Eat Drink Music

Viktor Zappner’s 70th

Dj MacD

Birthday Bash

Dj Nikko

Adrian Cunningham (sax/

SUNDAY 15TH

1 HOBART

flute)

Saloon

Bronte Park

Allan Browne (drums)

Something For Kate

Amplified 2006 Presents

Nick Haywood (double

Highland Jazz Festival

bass)

Republic Bar & Café Merchants in Groove

SATURDAY 14TH

9pm

8pm Bronte Park

Republic Bar & Café

Amplified 2006 Presents

Amplified 2006 Presents

Highland Jazz Festival

Ampli-Fried

Ministry Of Sound – Mashed Tour

Halo

With Tonite Only (Live)

Amplified 2006 Presents

+ Gillie / DSKO / Adam

Local Produce

1 BURNIE 1 HOBART Sirocco’s Curly’s Bar

Amplified 2006 Presents

O’Keefe’s

8.30pm

Something For Kate

Music Showcase

DJ Tim

1 LAUNCESTON

Republic Bar & Café

Stage Door the Café

MONDAY 16TH

I & I Breda

Acoustic Avenue

9pm

Feat Wendy Moles

Hilltop Granton

O’Keefe’s

The Backspace Theatre

Entertainment Venue

DJ Tim

Is Theatre and Amplified

Daryl Braithewaite

“Ten Wonderful Years”

Republic Bar & Café

7:30pm

Amplified 2006 Presents

1 LAUNCESTON

10pm

1 DEVONPORT

Joe Piere 8.30pm

Funkin Unbelievable

King’s Bar

Dj Nikko

DJ Rox

TUESDAY 17TH

FRIDAY 13TH

Spurs/Warehouse

1 HOBART

Irish Murphy’s Crystal Campbell

Amplified 2006 Presents

Republic Bar & Café

James Hotel 1 HOBART

1 HOBART

8.00pm

TUESDAY 10TH

2006 Presents

1 LAUNCESTON

17 bands

Turner

Theatre Royal

1 BURNIE

Centre

Sugartrain 10pm

THURSDAY 12TH

Modus

1 HOBART

Queen’s Head

The Backspace Theatre

8.30 - 9.10

Is Theatre and Amplified

Micheal Clennett

Trout

2006 Presents

9.30 - 10.20

Ice Eater, Hammerhead

“Ten Wonderful Years”

Ray Martians

Stage Door the Café

7:30pm

10.40 - 11.30

Freddie Todman’s Black

Halo

Shane Pullen

Friday with Don Ives at the

N’Fa – live (1200

9.30 - 10.20

Rock Art from BAT

1 LAUNCESTON 1 LAUNCESTON

Theatre Royal

PAGE 12

10pm

Dj MacD

“Ten Wonderful Years” 7:30pm

TasMusic Showcase

Sheyana Unplugged,

Global Battle of the Bands The Backspace Theatre

Blue King Brown

Glenn Moorhouse

Amplified 2006 Presents Wax Lyrical

Dr Syntax

GRRR

John Broadby from Hobart on tenor sax and

1 HOBART

Republic Bar & Café

Stage Door the Café

DJ Rox THURSDAY 5TH

WEDNESDAY 11TH

featuring: Ulysseys Dog,

Fern Tree Community James Hotel

DJ Nick Thayer (Melb)

James Hotel

Buzz Explode Love

1 LAUNCESTON

Techniques)

Modus

Jeremy Sumner and Keith Mason, I Made a

8.00pm

1 HOBART

High Voltage AC/DC

Daryl Braithewaite

Highland Jazz Festival Trout

9pm

Falls Festival Band Play

The Embers

2006 Presents

7:30pm

7:30pm

Trout

The Backspace Theatre

“Ten Wonderful Years”

Darlington

Reality

Burnie Civic Centre

Republic Bar & Café

Is Theatre and Amplified

Dave Hughes

Dylan Eynon

Halo

9pm

For more info and band bookings for any occasion call Missing Link Entertainment, Booking Agents, Promoters, Artist Management. 6234 7755, 237-245 Elizabeth St, Hobart

Jeano

WEDNESDAY 4TH

Black Coffee

ENTERTAINMENT

James Hotel Dj Nikko

Stanton Warriors

This month Missing Link Entertainment present Live and Loud Rock Fest, Dover November 25! Featuring some of the best up and coming rock bands in the country with special guest from NZ, guitar legend,Billy Tk Jnr. Also, touring in November, don’t miss The Radiators! Every Saturday night from 8pm we search for Tassie’s top talent with “Uncovered and Undiscovered” at Venom bar and Nightclub, Liverpool st Hobart. See www.missinglink.org.au for more details.

Republic Bar & Café

Dr Fink 1 BURNIE

Irish Murphy’s 1 HOBART

grand

Cloudy (South Australia) 8.30 - 9.10

Surrender Dorothy 10.40 - 11.30

FRIDAY 27TH

Lonnies Dallas Crane

supp. Muddy Turf 10pm

TUESDAY 24TH

Venue Guide

1 BURNIE Republic Bar & Café

SATURDAY 21ST

Sirocco’s

Halloween Havoc

Irish Murphy’s

Savage

– Incarcerate, The Infected,

Patrick Berechree

Supp. Brother D and

Lady Crimson, Bumtuck,

Stage Door the Café

8.30 - 9.10

Mareko

Solar Thorn

Gaye Clarke & the Big

The Sign

Band Sound

9.30 - 10.20

Stage Door the Café

1 LAUNCESTON

7.00pm

Fink

Jerome Hillier Duo

10.40 - 11.30

7.00pm

Blue Flies 9pm

WEDNESDAY 18TH

1 HOBART

1 BURNIE

Republic Bar & Café Jed Row cd launch

Republic Bar & Café King’s Bar

Cloudy N-T

DJ Rox

9pm

1 DEVONPORT

Love Outside Andromeda Ned Collette

King’s Bar

The Stoics

Blak Dog 1 BURNIE

Spurs/Warehouse Donut

1 HOBART

Denise Sam from

1 HOBART

DJ Skip

New Sydney Hotel

Royal Oak

Curly’s Bar

Wild Turkey

Wild Turkey

Launceston on vocals and

Republic Bar & Café

RnB Superclub

percussion.

Sleep Parade (melb) sup

SAVAGE

Republic Bar & Café

Saloon

8.00pm,

Lakoda

MAREKO

Love Outside Andromeda

The Butterfly Effect

10pm

W/ Lakoda and Guests

Syrup

SUNDAY 29TH

10pm 1 HOBART

Halo Trout

Curly’s Bar

Klaus “Heavyweight” Hill

Bass Mixology with Bexta

Hammerhead, Lucy

Dallas Crane UTAS

New Sydney Hotel

DSKO

Wild Turkey

Corney PKC

Republic Bar & Café

SPRING BREAK ‘06

4 Letter Fish

Kid Kenobi

Republic Bar & Café

9pm

MC Shureshock

Sugartrain

Trout

Smithmonger

9pm

The Roobs, Red Rival

FRIDAY 20TH

1 HOBART

Republic Bar & Café Sundy Side Up 8.30pm

State Cinema

Trout Hammering The Cramps

Sirocco's Bar & Nightc lub 69 Mount St Bur nie 6431 3133 Sta ge Door The Cafe 254 Mount St Upper Bur nie 64322600

Devonport

Spurs/Warehouse 18 Kings St Devonpor t 6424 7851

Kings Bar & Nitec lub 25 King St Devonpor t 6423 3488

1 HOBART

Stage Door the Café Viktor Zappner Trio

O’Keefe’s

WEDNESDAY 25TH

Burnie

James Hotel TasMusic Showcase

1 DEVONPORT

9pm

THURSDAY 19TH

Trout

1 HOBART

Syrup

Wrest Point

Australian Surf Movie

Dirty South

The Butterfly Effect

Festival

James Hotel

Gillie

W/ Lakoda and Guests

6:30pm

Ground Components

Adam Turner Kir

SATURDAY 28TH

1 LAUNCESTON

Trout

1 BURNIE

O’Keefe’s

1 LAUNCESTON

1 BURNIE

Hobart

Curly’s Bar 112 Mur ray St Hobar t 7000 6234 5112 www.curlysbar.com.au Irish Murphys 21 Salamanca Pl Hobar t 7000 6223 1119 www.irishmurphys.com.au Republic Bar 299 Elizabeth St Nor th Hobar t 6234 6954 www.republicbar.com Syrup 1st Floor 39 Salamanca Place Hobar t 6224 8249 syrupclub@bigpond.com Trout 381 Elizabeth St North Hobart 03 6236 9777 Uni Bar - Hobar t Campus 1 Churchill Ave Sandy Bay 03 6226 2495 www.tuu.com.au

O’Keefe’s Stage Door the Café

DJ Skip

Midnight Caller EP launch

Blue Gum Jazz Band 7.30pm

1 HOBART

1 DEVONPORT

Irish Murphy’s

info@jameshotel.com.au

Cait Vertigan

O’Keefes 124 George St Launceston 6331 4015

Goin’ Fishin’

Cake Walking Babies

Stage Door the Café

8.30pm

Viktor Zappner Trio Special guest: Doug

King’s Bar

8.30 - 9.10

Sheehan

DJ Rox

Eva (duo) 9.30 - 10.20

8.00pm

Sleep Parade (melb) sup

O’Keefe’s

Anita George + Lakoda

DJ Tim

MONDAY 23RD

James Hotel Reality Nitec lub James Bar 122 York St Launceston 6334 7231 www.jameshotel.com.au

8.00pm

Republic Bar & Café

Republic Bar & Café

TUESDAY 31ST

1 BURNIE King’s Bar

1 LAUNCESTON

Melbourne duo Donna Fisk and MIchael Cristian

1 HOBART

1 HOBART

Launceston

Stage Door the Café

SUNDAY 22ND THURSDAY 26TH

1 DEVONPORT

DJ Tim

Spurs/Warehouse

Jordan Millar Band

1 HOBART

Ripsister

10.40 - 11.30

Republic Bar & Café

1 HOBART

Republic Bar & Café

Saloon 191 Charles Street Launceston www.saloon.com.au hotel@saloon.com.au 6331 7355

10pm

Ground Components, Echo

1 HOBART

9pm

Blue

1 LAUNCESTON

G.B Balding (finger picker

Wild Turkey (Melb)

Trout

Republic Bar & Café

Trout

Manic Monday 3 Bands

Blood Kandi, Roadkill

8.30pm

Halo

blues)

Phil Smart (Syd)

9pm

Republic Bar & Café Mach Pelican (Japan)

To list your gig in the Gig Guide, email details to gigguide@sauceonline.net PAGE 13

Bliss n Eso

LONNIES NIGHTCLUB – 9/9/06

By Ryan Cooke

Not many acts would come back to Launceston four times in nine months, but Bliss n Eso seem to pull it off every single time; back here once again, this time in support of the reissue of their hit album “Day of the Dog”. First up were local act and personal friends Altrueism; this being only the second time I had seen them live, they blew me away. Their rhymes are tight and they sing about stuff we can all relate to in Launnie.

Heads of State were the real reason I had headed along to this show, and again they failed to disappoint; they have to be one of the best acts in the state. Dundee and Medusa are so tight and seem to have so much fun on stage. After a short break, tour support Phrase’s DJ jumped on stage and did the best DJ set I’ve ever encountered, and really got the floor moving by playing classics by Run DMC, House of Pain and more. Then, Phrase jumped on stage and did a performance that blew the headliners out of the water – well, that’s my honest opinion. I didn’t know any of his material but I fell in love the moment he started. His set was far too short, but what can you do I guess?

Bliss n Eso then started their set and got the whole venue jumping and excited. No one matter how many times you see them, they still blow you away every single time. From the opening track “It’s Working” into their biggest hit yet “Up Jumped the Boogie”, the audience danced, jumped and just generally had an amazing time. Bliss n Eso played every track we wanted to hear and more – I don’t think anyone walked away disappointed. One of the best nights of the year – I know I would go see them again if they came back.

Dan Cross + Joe Nuttal TROUT - 21/09/06

By Ian Murtagh

Holly Throsby

THE REPUBLIC BAR & CAFE - 28/09/06

By Ian Murtagh

I have to tell you, damn she’s awesome to watch live (even though, from where I was standing, I couldn’t see what all the fuss was about when she had a couple of guys sitting at front of stage forcibly removed!)

I didn’t really pay attention when she was last down, but she really gob-smacked me this time. From time to time, I’ll be in the right mood at a gig – where whoever on stage gets me so well that they could sell me magic beans without me even batting an eyelid. And this was one of those gigs. She’s got this gorgeous, breathy voice and sings with a smile that never runs away; like a little girl running up to the microphone and whispering secrets.

She got extra points for asking the crowd if they liked Crowded House before doing “You’re Not The Girl You Think You Are” from the “She Will Have Her Way” release, which sounded much better live than on CD. For anyone lucky enough to grab a copy, she was selling a companion comic book she’d done called “Under The Town” which kinda breaks your heart a little when you read it. Support was Nellie from the Fat Band, and it was nice that her set was as long as Holly’s, because out of all of Hobart’s solo lady singers she’s definitely someone people should pay some attention to.

After the show Holly stayed as long as it took sitting next to the stage signing copies of her CD and comic for people; which just goes to show that she cared that the crowd loved it.

Mix Master Mike

The twenty-eighth of September, and all eyes were focused on Curly’s, with a pumped crowd awaiting the flavour of the best in the business…and rich, bedazzled flavour is what we got.

Curly’s had a great vibe, setting hearts and ears soaring to the jumbled mashed-up funk of the “Master”. From Missy Elliot, Chingy, Beastie Boys and the Wu Tang Clan, and with a hint of Magic Carpet Ride, it had something for all.

Smooth mixes and talented drops progressed through the history of all that was hot and a little more; the only downfall was a slightly “out” Nirvana track.

But as soon as his quick ears heard this problem, a quick flick of the wrist and a sample scratch put Mix Master Mike back on track! (Hence the “Master”) The old Cow Bar’s re-do was fantastic; a new style that catered even for those who turned up just to look cool. It’s hard to set a club into a multi-zone situation, but with acts like this, it’s a hard one to beat.

Mike was on the case with big LCD screens on each side to show his scratch skill. His hands hardly ever left the wheels except when vocalising and showing crowd interaction, pumping every man and his girl skywards.

To me, it was one of the best nights out in a long time.

Mick Attard The Living End + Nathan Weldon & The Two Timers ALBERT HALL - 15/9/06 IRISH MURPHY’S - 20/9/06

By Hamish Clark

DVD REVIEWS

CURLY’S BAR – 28/9/06

By By Alex Napier

By Tom Wilson

A concert filmed in New Jersey last year, “Sounds of the Underground” is a semi-documentary covering the bill as it unfolds from start to finish.

A hefty line-up of extreme metal and hardcore acts, it runs well – the bands are diverse, but not to the point where they seem to almost insult each other (as I’ve seen in other films of this type).

This doco captures the mood of the event brilliantly. The crowd is shot so vividly you can almost smell the sweat – chunky, black-clad bodies slam into each other under the glaring midday sun. Each band seems well represented by their chosen track; while “Love” isn’t the best song of Canadian metal behemoth Strapping Young Lad, it’s worth seeing simply because Devin introduces it with a foul-mouthed hand puppet. From their frantic display of riffage and progressive patterns, I’m definitely a fan of High On Fire; coming across as the lovechild of Mastodon and Amen. While Lamb Of God may be over orchestrating the “Wall Of Death”, Throwdown actually go one better; getting the entire mosh pit to face those at the back, and then charge headlong into them. And who else but those living cartoons Gwar could start a set by decapitating George W Bush and spraying blood over the mosh? While the singer makes a habit of insulting everyone he meets, the fact that he looks like a burn victim with elephantitis (dressed in medieval armour, no less) means he could get away with a lot more.

I haven’t enjoyed a music DVD this much in a long time.

8.5/10

By Ryan Cooke

Later: With Jules Holland MELLOW I rocked up expecting something spectacular, and well, let’s face it, I was disappointed. It was Dan Cross “Version 2” (I didn’t ask...) doing his solo shtick with special guests/mates sitting on stage watching a TV he’d set up for the occasion. Aside from an ear-blisteringly bad version of “Eye of the Tiger” he was kinda entertaining.

Ben Crothers jumped up towards the end of his set with a new song they’d written together called “Idiot Nightmare”, which I really dug. Joe and the sound man Ivan got in on Dan’s act playing “Smells Like Teen Spirit”, and just seeing Joe and Dan on the same stage was hilarious in that surreal way – picture chalk and cheese having a lovely chat over a cup of tea.

So then it’s Joe’s turn, and he sings a couple of songs – probably feeling kinda weird because he sings serious songs, and Dan basically just dicked around for about forty-five minutes. Some woman in the crowd screamed, “Sing a happy song!” And that pretty much did Joe in. He played “Wind and the Rain”, which was awesome, a new song off his latest record called “Ghost Poems” (the album, not the song), and then he said that the vibe just wasn’t there and finished his set of just five songs with a Smiths cover. I’m usually the first person to go “Wahoo!” any time Joe plays, and yeah, the songs he did play were great, but I was so disappointed that he didn’t play longer I chucked a hissy fit and didn’t bother sticking around for Hammering the Cramps.

Instead, I grabbed my bat and ball and went home, and I certainly did slam the door.

PAGE 14

Back in November 1999 was the last time the Living End came to Tasmania for a headlining show and that also happen to be my first ever gig, so TLE have always had a special place in my heart.

Mick Attard is a performer who always seems to have a unique signature to his music. Whether it’s his prominent vocal tone, classy mixture of guitar techniques and tricks or the subtle use of the harp in his tunes, I always enjoy his shows. With elements from so many different genres, it would be fair to say that he slides into the world music category (is that fair?). With so many colours to Mick’s “musical palette”, it was hard not to enjoy his set.

Watching “Team Two” set up, I knew that it was going to be a good performance after seeing Nathan’s solo set last month. I most enjoyed how these guys played off and around each other without even making eye contact. Such a musical conversation isn’t easy in a live environment, but they seemed focused and relaxed. My highlight of the evening was the five-minute “prog-funk” intro on one of their songs; being a lover of instrumental music I felt right at home. The only issue I can quibble about is that Nathan’s vocals were overpowered level-wise at times by the band. Besides that minor problem, I was most impressed with the tight sound between the bass and drums.

The comment of a friend that night really summed them up: “This is well thought-out music, ain’t it?”

I always enjoy watching live acts that incorporate a mixture of different musical styles into their art form.

Me and the crew rocked up to the Albert Hall thirty minutes after the doors were meant to open and then waited an hour to enter the building, in which time we missed the whole performance by local supports the Reactions.

We did get to see End of Fashion though, who were great as always; a lot of people were disappointed with them which I couldn’t understand. I thought their new material was great as was their stage show; only problem was the poor lighting.

After a bit of a wait, the Living End stormed onto the stage and belted out the first track “Till the End” from their album “State of Emergency”. It was mostly a greatest-hits set which was what most people I knew wanted to see.

All the classics including “Second Solution”, “Roll On” and newer tracks like “Long Live the Weekend”, “What’s on Your Radio?” were aired. The band closed with their huge hit from 1997 “Prisoner of Society” which had the whole floor going off its face.

The band’s encore started with the classic, rarely played “Uncle Harry”, into the newer track “Wake Up” and then the classic “West End Riot”.

The Living End was the best I’ve ever seen them play.

Some music DVDs are pure spectacle; painting a band or artist in the brilliant hues of stage lights as they strut ten feet tall before their audience. Others seem like documentaries; rare and unique moments in live music that remind us that no two performances are ever the same, and that we’re lucky it was captured for our enjoyment. “Later: Mellow” is in the latter category, and it’s a winner.

“Later With Jools Holland” is a fairly reputable program on the BBC; previous DVD editions of the show have included Metallica and the Foo Fighters. “Mellow” takes it down a notch, delivering a collection of performances which are as seductive as they are subtle. From the relaxed grooves of Zero 7 and Groove Armada to the bittersweet voices of Norah Jones, “Mellow” takes you into the personal space of each artist.

While Moby’s “We Are All Made Of Stars” is a little jarring – so relaxed is the atmosphere that rock music sounds too loud even when he plays it – the thirty-one performances flow like water, and the affect they have on the viewer is sublime. As you watch from your couch, the camera slowly draws in on their face, and it feels like they’re an old friend singing a song they wrote about you. The power they wield with even the most unobtrusive music is palpable; they aren’t pounding your ears as much as touching your soul.

“Later: Mellow” is a remarkably solid release; the pedigree of some of these performers is so high that, even as a viewer, I felt like I was expected to wear a tux. Treat yourself.

8/10

Huntsman

The Draft

IT’S JUST FOUR Just looking at the sticker on the cover of this CD, I knew I would be in for a treat. It told me that new Australian band Huntsman contained past members of some of the best hardcore Australia has ever produced (Toe to Toe, Last Nerve, No Apologies and Irrelevant), and that made me somewhat excited.

Track one “Get in, Get Out” is your traditional posthardcore song, whereas the second track “You’re Jaded” has more of a hardcore feel with its crushing guitar riffs and screaming vocals.

The final two tracks, “My Crime” and “You’ve Got Nothing” are both so punk it hurts and would impress the most elite punk kiddies from Hobart (you know who you are). Only one thing really shits me about this recording, and that’s the really awful guitar tone the band have chosen. This is a topquality CD and band, but I believe they need to focus on just the one style and run with it; there isn’t much room in today’s music industry for multi-genre bands, I don’t believe. Look out for this band to explode in the next few years in the Australian punk scene. I give this CD: 7/10 Review By Ryan Cooke

A MILLION PIECES For some stupid reason this month, I’ve landed myself with all the really shitty punk releases and my good mate Tom Wilson got all the good stuff like Papa Roach, Iron Maiden and Blindside. Having cut their teeth in Gainesville stalwarts Hot Water Music, three-quarters of The Draft’s lineup has been making music together for over a decade. It shows on their debut album, “In a Million Pieces”.

Are their comparisons to HWM? Of course there are.

As much as they are the same, they are completely different. This is a band that’s writing thick, lush rock songs while ignoring the boundaries of what’s popular and hip with the kids these days. Take the opening track “New Eyes Open”. It builds on the dynamic rhythm section of Jason Black and George Rebelo. I’d go on record saying that in this game, you’re not going to find a tighter rhythm section. The chorus soars and you’ll probably find yourself singing along to it for days. All of the songs presented on this disc have memorable elements to them. After listening to it a few times, I don’t find any filler tracks that I skip over at all. That says a lot for their songwriting prowess. Take the steamrolling track “Not What I Wanna Do”. It harkens on the days of The No-No band, with a renewed sense of confidence and standing on its own ground. Not personally a CD I would go out and buy for myself but still a quality release, I give it

Concorde Dawn CHAOS BY DESIGN

The fourth release of theirs, here comes Concord Dawn with an absolute cracker of a release. Mates since the age of eleven, the New Zealand duo Matt Harvey and Evan Short have been banging their heads together for many years now, getting many releases worldwide and getting their tracks spun by many big names worldwide.

I’ve been due for a D-n-B review to put me back to where I started, loving fast, aggressive, bass-driven tunes swinging around 160 BPM or faster. Consisting of two CDs, Concord Dawn have their eleven tracks of absolute madness thrown into a large chaos mix with no ice. With mega mixtures of organic instruments, spacious vocals, reverbed synths and chopped beats with sweet booming bass lines, this compilation of tracks truly takes you on a journey up and down the Richter scale.

Some picks of the bunch would have to be; “Aces High”, due to its aggressive punchy bass lines and peak time vibe to the track. This is followed by “One Night in Reno”; never have I heard a saxophone chopped up into such cacophonic mayhem. For a more funky-filled track, indulge on track nine, “Never Give Up On Love” – definitely a very uplifting track.

Overall I sincerely enjoyed the whole album, definitely a fresh wake up of hard banging beats, so if you’re a D-n-B buff check this compilation out!

6 out of 10.

Review By Ryan Cooke

Taking Back Sunday

Review By Patrick Duke

LOUDER NOW

I know I seem to be the token emo kid that writes for this magazine. Yes; I have a fringe, the piercings and the looks, but I refuse to listen to this sort of rubbish.

Taking Back Sunday seems to be the “it” band around the world at the moment and I have no fucking idea why.

Back with their third album “Louder Now”, the music has seemed to get worst since their last release “Where You Want to be / So scream louder now.” That may be a line from “Bonus Mosh Pt. 2” on “Where You Want to be”, but maybe it was also a glimpse into what the band considers their future…but I honestly don’t think the band or their fans have the balls to step up to the plate and take it to the next level.

The first single, “MakeDamnSure” is the stalker anthem of the summer, and to my surprise, is one of the least radio-friendly songs on the album, despite the fact you can barely tell it’s TBS based on the first verse.

I know I seem to say this a lot but I wouldn’t wish this band or CD upon my worst enemy, but this shit music seems to appeal to someone because they keep buying the albums and selling out the shows when they head out to Australia.

0 out of 10.

Review By Ryan Cooke

8 Buzz Junkie Monkeys out of 10

Iron Maiden

In preparation for my review of “A Matter Of Life and Death”, I promptly tore the sleeves off my shirt, whacked on my spandex and teased my hair into a monstrous flair of platinum blonde. While those who know me really don’t need that mental image, I make no apologies – this is, after all, the fourteenth album from the power metal monster that even my dear mother has heard of; Iron Maiden.

At the risk of being lynched by Tasmania’s metal community, I’ll admit that I’ve always hated most of the distinct elements of power metal (the seemingly non-stop solos, tinny sound, soaring melodies etc) and I’ve only been able to enjoy this album using one hell of a bass boost (fuck old-schoolers – I know what I like). But from the perspective of someone who hasn’t been a long-term fan, I will say that this album is, at the very least, something to take notice of.

I find it quite comforting to know that some people never change. Iron Maiden are still belting out power metal with all the zeal and over-the-top musical theatrics that helped them forge this genre almost two decades ago – hence why I haven’t bothered to analyse the individual songs, as you know what you’ll be getting. So is it “A Matter Of Life and Death”?

Only the true fans can answer that; those who wear Maiden shirts at wedding receptions and can recite their entire discography backwards (you know who you are). For the rest of us, this is just a friendly reminder that these pioneers are still well and truly kicking.

“Blue Collar” features production by Mark Ronson, Cool & Dre, Kanye West, No I.D. and Just Blaze, and features collaborations with Mario, Ol’ Dirty Bastard, Carl Thomas and a heap more great artists.

The last track of the CD is a retake of the classic track “Build Me Up Buttercup” by the Foundations, which speaks of Rhymefest’s pilgrimage to get a certain girl and features the charmingly (sarcasm) awkward voice of Ol’ Dirty Bastard singing an off-key chorus that will bring a smile to your face.

I’m definitely keen to hear more of what Rhymefest has to bring to the mostly same-ish, US hip-hop we’re all copping (and have grown used to). In other words, go buy this album.

Review By Ryan Farrington

Here comes “Party” mix, an excellent blend of floor-filler electro house beats with a real gradual progression throughout the entire mix. Every listen grows on you; from tribal drums collaged with electro synths, it really grabs your attention, as every track drops as though it gets better and fatter. Picks of the bunch would have to be Outwork feat. Mr. Gee – “Elektro” and Starkillers – “Discoteka”.

This CD is a very fine example of THE S MAN’s work; I could only imagine how awesome it would be to watch him live working a crowd in any club environment. Worth the purchase for this one, people – check it out!

8 dirty monkeys out of 10

Ministry Of Sound CLASSICS

Yes kiddies; Ministry Of Sound have released the ultimate “Classics” collection. Any song that’s been big in the past few years around the world is pretty much guaranteed to be on this collection; dance tracks that made you get off your ass and shake it around on sticky, hot and dirty dance floors.

With a massive fifty-five tracks including many legends such as Azzido Da Bass, Bob Sinclaire, Deep Dish, Cassius, Moloko, Daft Punk, Groove Armada, Basement Jax, Kosheen, Kings of Tomorrow and many more urban legends, this is a definitive collection of world-known producers and DJs. Every listen to the album brings you back to a moment in time that you remember when the song was big. For example, a couple of the tracks reminded me of Launceston’s Saloon many years ago with the cowboy saddle seats and ridiculously sticky floors watching many messy people trying to get their groove on whilst being pissed as nits on a Wednesday night. I know that’s bringing back many memories for a lot of people. (Those were the days, when I was young…).

So if you’re keen in grabbing all the club classics in one big bundled triple-pack CD, this edition of classics is a definite must-have for you bum-shaking groovers.

Review By Patrick Duke

BLUE COLLAR

Most of “Blue Collar” is boppy, barbeque rap that will have you wishing summer would hurry up and come around again. But there are a few exceptions, such as the heart-felt “Sisters”, a track about women all around the world doing it tough, where he also mentions talking to the son of a crack head, who asks him, “Why my Mamma love drugs more than me?”

This fifth volume, consisting of two CDs, starts off with the “Pre-Party” mix consisting of thirteen tracks of mainly minimal to deep house. Groovy, yes, but can get a bit monotonous and boring at the beginning. But hey, it’s a pre-party mix, which does gradually become more fun towards the end.

Review By Patrick Duke

8 euphoric dancing monkeys out of 10 Review By Tom Wilson

Rhymefest

I’m really feeling what Chi-Town has to offer these days, with artists like Kanye West and Lupe Fiasco blowing up globally; all eyes are on Chicago for producing comical lyrics and neck-snapping beats.

RELEASE YOURSELF VOL 5 The S Man, Roger Sanchez – a keystone to dance music worldwide – has got his fifth volume to his “Release Yourself” series. Roger being one of the most busy producers/DJs in the scene, with an average of 1.2 million listeners a week, it’s hard to believe he does so much in so little time whilst being an owner of Stealth Records.

A MATTER OF LIFE AND DEATH

7.5/10

Here’s a new name (for me anyway): old school battle MC and childhood friend of Kanye West, Chicago artist Rhymefest has hit the scene with his new LP “Blue Collar”.

Roger Sanchez

Sneaky Sound System SNEAKY SOUND SYSTEM

Sneaky Sound System have released their debut album consisting of clean chunky beats and sweet sensation melodies, with a lemon twist of thick chunky bass lines and smooth lyrics to fill any party.

Supporting many big acts such as Jamiroquai, Scissor Sisters, Moloko, James Brown, Mylo, Cassius and many more around the skirts of Europe, these guys have been considerably busy in the last couple of years.

My definite favourite on the album is track ten, “You’re Hot”. I remember hearing this song on a bijou breaks mix released over the internet some months ago and I always wanted to have the song which fell into my lap for definite use in future sets.

The album has been produced extremely well after listening to the tracks through many high-quality systems. These guys seriously have some cool and fun expression throughout their music. The trio is a fairly new act which has only been together for five years, after being recognised at a “Cowboys and Indians” fancy dress do at Sydney’s Fox Studios in 2001. Ever since then these guys having been living the fun life producing in “The Whack House” yet touring around the globe.

Overall this album has a great groove throughout and I suggest worth grabbing a copy of this album 8 Chunky Funky Monkeys out of 10.

Review By Patrick Duke

Papa Roach

THE PARAMOUR SESSIONS On the opening track of Papa Roach’s latest abomination, “The Paramour Sessions”, Jacoby Shaddix insists that “This is as real as it gets”, and that he’s “Taking it back to a hardcore level”.

Whatever he’s on, he’s taken way too many; it must take effort to get that disconnected from reality. Why would I think that? Because this album is fifty-two minutes of the most sissy-sounding, desperate-forcommericial-airplay bile I’ve listened to in quite a long time, and if Mr Shaddix “Came to get down / To get some fucking respect”, he has failed quite comprehensively. The title of the song in question is “...To Be Loved”. And that, class, is the definition of a word called “irony”.

But the music – think a low-rent Lostprophets after an emo makeover – isn’t the most offensive part of this release; it’s the band’s apparent desperation to look like they matter. For his booklet photo, bassist Tobin Esperance is seen playing guitar while sitting at the end of a bed, while a paid model sleeps topless behind him, as if to dispel any perception that he might be gay. The “fashioncore” element of today’s youth music is something that makes me cringe; the fact that depressed teenagers keep going out and buying it makes me sick.

While I normally grant really bad releases the honour of being a coaster on my desk (so at least movies like “Stealth” and “The Producers” can be useful for something), “The Paramour Sessions” is going straight in the bin. I just wish I wasn’t throwing away the time I had to spend listening to it.

0/10 Review By Tom Wilson

Paul Oakenfold A LIVELY MIND

Yes kids – strap ya dancing boots on, stick ya glow sticks around your wrists and get down to your local music store and grab yourselves a copy of the legendary Paul Oakenfold’s new release “A Lively Mind”.

Whilst being a veteran in the industry, Paul leads an extremely busy lifestyle at the moment touring around the world promoting his new album. With his previous history of remixing the likes of Madonna, Elvis, Justin Timberlake, Moby and more, he has definitely left a giant thumb-print on the dance music scene.

“A Lively Mind” is an album that consists of big dance floor fillers with catchy hooks, great vocals, big guitar riffs with a blend of sweet sound-scaping synths. With a mixture of house, breaks, down tempo and trance, it’s a sweet blend of what Paul has to offer with his magical skills of production.

My favourite track on the CD is track five “Amsterdam”; being a harder progressive trance track, it consistently keeps you on your toes with many great changeovers, break downs and builds. Not to mention his famous track “Faster Kill Pussycat” getting smashed around the global charts.

Overall this album gets better with every listen.

Some tracks aren’t my style yet are made up for with others. Great work, definitely appreciated.

8 Foot-Fetished Monkeys out of 10 Review By Patrick Duke

Tom Novy

IBIZA SESSIONS Munich’s Tom Novy has been a busy man for over ten years now, with numerous releases of albums, compilations and remixes, whilst smashing the charts world wide with many songs including “Your Body”, “Lovin’ U” and many more. The latest release to hit music store is his second volume to the Nouvea Niveau DJ-sessions “Ibiza Sessions”.

This double-CD comp consists of what Tom likes to describe as mixes of the “Chill Side “ and the “Grill Side”. With my twisted mind, I’ll work backwards starting with CD2; the “Chill Side”.

Definitely a smooth line up of cruising-style house beats for either the start of a big night or a Sunday session chill out. Including the likes of Tiefscwarz, Stylophonic, Buick Project and more, it’s a great transition of hazy transient vocals mixed with a great groove.

Now for CD1, “Grill Side”. It shows what Tom Novy’s made of, starting with a mega-happy track, then slowly turning darker and more electro. My definite favourite track on the album would have to be Bodyrox “Yeah Yeah” – one hell of a twisted electro tune that seems to be getting bigger and bigger. This CD has a very special variation of commercial, deep mixed with a splash of electro. Truly a great album for you house lovers.

8 ½ spank happy monkeys out of 10 Review By Patrick Duke

PAGE 15

AN A-Z OF TASMANIAN ORIGINAL MUSIC (VOL 2) in the artists’ own words

B

BRENDAN FULLER

I

S

He’s been hammering out his tunes for near on a decade and sees absolutely no reason to stop now. Kinda like Crowded House (so people say) in that catchy way. Soulful and hopefully thought provoking, a touch of melancholy in a blend of beautiful, passionate melodies and driving, percussive guitar. Probably a bit too awake for his own good, but at least it makes for good song fodder. Can’t write funny songs about nothing in particular to save himself but sure knows how to sing songs about girls. More introvert than people think.

Think of an acoustic musical cauldron of rock, folk, country, jazz, latin, blues, reggae and funk moods, delivered passionately with a rich, powerful and expressive voice, intricate yet complimentary guitar and spiced with vibrant harmonica. Think of songs melodic and catchy, with thought provoking lyrics of social, political and human comment…you are thinking of Samuel Bester.

IAN MURTAGH Folk/rock/indie finnaddict@gmail.com

Singer songwriter, folk, pop, rock, blues brendan.fuller@telstra.com

I enjoy playing live and seeing people enjoy my songs.

I set myself a high standard of performance and aim to give the audience an experience they can relate to.

I try to avoid repetitive lyrics and aim to communicate something about life be it political, personal or general. Musically I go for variety rather than try to fit into a particular genre. I like the music to interesting and have melody.

D

DEBRA MANSKEY Acoustic/Folk/Roots http://www.myspace.com/debramanskey

One of the founding members of Australian 80’s indie darlings Wild Pumpkins at Midnight. Now based back in her beloved Tasmania and working as a solo artist and music educator, this woman has charmed audiences around the world with her incredible live shows. A mixture of folk, punk, roots (and everything in between!) and overlaid with ‘one of the finest female voices imaginable’ (Rock’n’Reel Magazine, UK) this is an artist not to be missed.

H

HEADS OF STATE Hip Hop Jason – djgrotesque@gmail.com

After supporting the likes of De La Soul, Blackalicious, The Herd, Bliss n Eso and The Funkoars, Heads Of State have earned themselves a name around Hobart as the top party rockers. With their debut album almost finished and a stack of shows booked it’s looking like being a big year for these boys.

J

JORDAN MILLAR Pop/Rock jordan.millar@gmail.com

At the youthful age of nineteen, Jordan Millar is one of Australia’s most refreshing new Singer/Songwriters. With a list of achievements that include; National Youth Week RockIT – Industry award winner ‘06, Falls Festival Performer ‘05, and Support Act for Delta Goodrem (’05) and Tim Freedman (the Whitlams), he continues to impress people from all area’s of the music industry. His influences stem from a broad range of styles and sounds including music from John Mayer, Dave Matthews Band, Jason Mraz and Stevie Ray Vaughan.

P

PMXI TURBO Alternate metal/rock Matt - 0406 781 702 / 6331 9355

PMXI Turbo are an all original local act who are all for the Aussie way of life and justice within society. With an all-star line up of members this band really puts force into the ears they pierce and will fire up any onely Launnie night.

PA & STAGE EQUIPMENT S A L E S PA H I R E T E C H S E R V I C E

Quality Tasmanian Made Pro Speaker Systems Specialised Roadcases & Hardware Custom Cable & Patchwork Setups Qualified Professional Installations Repairs & Mods To Most Major Brands Of Pro Audio Live Entertainment & Events Management Friendly Honest Expert Advice

HUON VALLEY BASED

Statewide Delivery Service Free To Greater Hobart Area

BUSINESS HOURS

Tuesday to Friday: 10.30AM – 6.30PM Saturday: 10.30AM – 2:30PM Phone 03 62660034 or Mobile 0410 798337

www.BANDQUIP.com

PAGE 16

SAMUEL BESTER Eclectic acoustic rootsie styles samuel@sambo.com.au

T

THE JEREMIAHS Indie http://www.myspace.com/thejeremiahs

Three almost-legal St Patriates cannot fathom the concept of a cover, and so write originals by the truckload – two of which rotate vocalising. If the rock’n’roll of the Buzzcocks, the Rolling Stones and Oasis, the danceyness of the Stone Roses and the Strokes and the more relaxed tones of You Am I, Powderfinger and Radiohead orgied and forgot their contraception, the offspring of the Jeremiahs’ sound would have popped out nine months later. Any further questions can be jammed into our inboxes. Cheers.

THE RAY MARTIANS Acoustic Rock Tony - 62493369

The Ray Martians play acoustic rock with punchy local lyrics, strong arrangements and compelling harmonies. Not taking themselves seriously enough is their reckless and flawed marketing strategy. Tony Brennan’s original songs have musicality and edge with themes ranging from social issues to the ridiculous. Matthew Ives’ percussive skills and careful harmony arrangements have been a significant enhancement of the Martian sound. Brothers Damian and Nicholas Stolp are the foundation of the band with their effortless sense of each others’ improvising and passion for the band’s evolving sound.

THE SIGN Rock/Pop/Indie www.thesign.com

The original musical style of The Sign is drawn from rock, blues, pop and folk influences. The Sign consists of Joey Dee, a true Australian artist / singer / songwriter / actor and Pall Mall, American guitarist / vocalist / engineer / producer. Over many character building years this female/male combination have evolved to their present form. Continuously evolving, The Sign uses 12-string and 6-string acoustic guitars to present a unique sound. Great Vocals, excellent harmonies and compelling lyrics make The Sign a must see and hear.

TIMBRE Roots/Indie timbre@timbreband.com

Based primarily around two acoustic guitars, Timbre (pronounced TIMBER) have a unique songwriting style utilising soothing melodies and captivating harmonies that make it difficult to place them into any specific genre. In April 2006, Timbre re-released themselves onto Hobart and the world with the release of their debut self-titled EP and have since been seen performing both as a duo and a four piece band at local Hobart venues.

THE VOYEURS Exotic Rock www.thevoyeursmusic.com

Formed in November 2004, The Voyeurs have released one EP (The Voyeurs, 2004), one single (Girls in the City, 2005) and have also been included on Foghorn Record’s GY10 (2006). The Voyeurs have played with Wolfmother, Regurgitator, Gerling, The Panics, Blue Bottle Kiss, Dreadnaught among others and have played Falls Festival 2004, Gone South 2004, Australian Music Week Melbourne 2004 and 2005 and have done many of their own shows around the state. The new EP “Do Not Disturb” is due for release in November, 2006. The Voyeurs love to watch, they hope you like to listen.

TO BE INCLUDED IN VOL #3 OF THE A-Z OF TASMANIAN MUSIC PLEASE EMAIL: TWILSON@SAUCEONLINE.NET for more details.

Earthcore Can Expect Some

Heading To Earthcore With

ANTIX

GAUDI

BY DAVE WILLIAMS

Oh, the irony… New Zealand trance music duo, Hayden and Barton Strom weren’t the only “Antix” the last time they played the Earthcore Global Carnival in Victoria. I spoke to them about taking trance music to new places, and having someone hijack their last Earthcore set…

Are you in New Zealand at the moment?

Yes; we’re actually driving from the mountains [back] to Auckland.

What have you been doing there?

Well I’ve been snowboarding with a friend; we’re just going back. Auckland’s about an hour away.

How much time do you spend in New Zealand now?

We spend probably nine months of the year in New Zealand, and three months away doing our sets.

I guess there’s a lot more work for you during the European summer than in New Zealand?

Yeah, there’s a lot more. I mean, last time we were in Europe we were only there for one week. Before that we were in Brazil for three weeks; we’re actually picking up a fair few gigs over there now, which is great, ‘cause Brazil is a new place that’s starting to really happen for our sound. So we’ve been there three times in the last year.

So what do you know about the Earthcore event?

Ah...we played a couple of years ago. It’s quite funny really; we were playing on stage, and we looked at each other because some [other] drums were

BY DAVE WILLIAMS coming through the drum system. And we thought our computer had gone mental, so we shut the computer down and played a CD, and this drum loop kept banging through the main sound system.

So we started playing a CD, but the drums kept on happening. We went back to the computer again, and didn’t really realise what was happening until after the gig, when someone came up to us and said that some dude down the back had plugged into the main system and was playing his bongo drums over the top of our live set. (Laughs) So that was the last bit of Earthcore I had! I sort of went out with a bad taste in my mouth, really. But I’m really happy to be playing again. And on the main stage...that’s going to be great.

So what’s happening in the New Zealand trance scene?

To be honest with you, man; fuck-all.

“

…Some dude down the back was playing his bongo drums over the top of our live set

”

(Laughs) That’s not too good!

Nah, it’s not! But it doesn’t matter; when I go home, I want to relax. I don’t want to keep doing things! When I’m at home, I don’t have to worry about playing. So it suits me, definitely.

Do you think that there are more trance parties and events happening now, or do you think you’re just getting busy yourself?

No, no; I think in general - in the world - there’s a lot more happening. There’s more confidence, in countries opening up to dance music in general.

And dance music obviously encompasses trance music. So there’s a lot more going on, which is great for everyone making it and playing it and doing a good job of it, because there’re more places to play.

The Earthcore Global Carnival will be held in Victoria from the 24th to the 26th of November.

Italian-born, UK-based producer Gaudi is a man of many talents. Classically-trained but dabbling in everything from dub to world and nu-beat, the master of downbeat fusion is heading to Victoria to be part of the 13th Annual Earthcore Global Carnival, and he dropped me a line to talk about his production work and why he’s happy he can use the word “no”.

- I was born and bred in Italy. And I decided to break down my record deal with a major label, and start again from zero here in London, where I’m still based with my studio and work. So from that moment, I realised how serious and well-considered the music in London is. And if you work seriously, and you’re devoted to what you do - and you know how to do it - you have a possibility to progress.

So do you work on a few different things at a time?

Well at this precise moment, I have...this is going to sound a bit funny, but I have nineteen projects that I’m doing simultaneously. Some are quite heavy; like, two album productions.

Others...they’re not heavy; like single tracks for compilations, and remixes. But it’s all do-able; I started a long time ago, and [now] I’m about to finish. The two albums; they will be released next year - one in April and the other one in May.

You’re playing at the Earthcore festival. I guess you’d be playing in the Chillout tent, right?

Honestly David, I can’t tell you...because I don’t know.

How much of your life is taken up with making music, playing music or listening to music?

Well, in order it would be...listening to music is my first priority, in order to keep a constant refreshment in my style. Second; producing and creating music. And third would be playing live. I started playing live back in 1981, and now...I’m a bit tired! (laughs) But it’s good. I keep promoting it, but I’m not that enthusiastic about gig-hunting; I’m a bit more of a studio freak now. But I still love - so much - promoting my music live, but I’m not looking for it. But thank god I have tours booked every year, so it’s fine.

The Earthcore Global Carnival will be held in Victoria from the 24th to the 26th of November.

I expect you’d be playing your dub/downbeat/ chilled stuff?

Well, when I play, usually I go a bit more midtempo, sexy-groovy, because my concept of “chill” is not...”lie down”. It’s a bit more “keep dancing, but just let it go”. That’s the vibe. That’s my vibe.

So you can be choosy now.

Yeah.

That must feel nice...

Well it does for me, because it’s a little victory during your career. I’ve said so many times, “Yes. Yes. Yes.” “Gaudi, do you want to do that?” “Yes.” And now, when I don’t like something, I can say “no”. And for me, this is a little...a goal to achieve, in a sense.

When did this really come about for you? Did it evolve? Or is it still evolving?

It’s still evolving, thank God. But let’s say that the big step happened to me about twelve years ago, when I left all my previous musical career in Italy

PAGE 17

A Guide To

An Odyssey Of Mixology With

EARTHCORE 06 BEXTA On the Monster Mainfloor: 1200 Micrograms (live/TIP World/UK), Phony Orphants (live/Iboga/Denmark), Mo-Shic (live/ BNE/Israel), Myagi (2Wars/Splank/Monkey Shot/live/Canada), Peter Hook (New Order DJ Set/UK), Nick Sentience (Nukleuz/UK), Tsuyoshi Suzuki (Tokyo Drome/Japan), Gaudi (Interchill/UK), Xavier Morel (Solstice Music/UK), Jeppe (Iboga/Denmark), lowkey + nude (Brisbane), Bubble & Squeak (live), Spiz (grand finale set), Siaqua (live), Dr Jane (Sydney), Anthony Miller and Little Evil.

BY DAVE WILLIAMS

She’s considered by many to be Australia’s number-one female DJ, and – largely due to the success of her “Mixology” compilation series – could well be this country’s most successful hard dance producer. About to take to the decks at Syrup to dish out trance-based intensity, she spoke to me about the ins and outs of “Mixology 9” So whereabouts are you today?

I’m at home today.

On the Hydra Trance Stomping Ground: GMS (Spun/live/Ibiza), Raja Ram (TIP World/ UK), DJ Lucas (TIP World/ UK), Shulman (Aleph Zero/Israel), Sirius Isness (Phantasm/live/ Spain), Protoculture (Nano Records/live/Sth Africa), Michele Adamson (Spun/live/Ibiza), Antix (Iboga/live/NZ), FREq (Iboga/live), Eskimo (Phantasm/live/UK), Mantrix (Sub/PsyHarmonics/live), Sourcepan (Faerie Dragon Records/Adelaide), Ritchie Jay, Tee-C, Coomzy, Dr B and Suntribe.

Where did you play last?

I’ve done a couple of launches so far...in Sydney, Newcastle, Penrith and Adelaide. That was the last two weeks. Pretty crazy.

Across the Red Bus Electribe Zone: Oforia (BNE/live/Israel), Fatali (BNE/live/ Israel), DJ Frequence a.k.a. FREq (Iboga/ Plasquasm), Mr Peculiar (Sonic Dragon/lively), Digital Primate, Benza (lively), Krusty, Max Vegas, Chunky, Fulcrum a.k.a. Gavin Martin (lively), Semi Retired, Hazchem (lively), Aaron Smiles, Miss Maxo, Jayson Holden, andycan, Axiom (lively), Cacaphony, Dragonfly, Minge TV, Kundalini, Dream Katcher (lively), Phil Davine Power and The Jackyl.

When are you going to start that other stuff?

That’s pretty much now. I’ve got a vinyl that’s coming out with this CD; that’s got three tracks on it that I’ve done with some international artists.

And also, one of the first other DJ/producers that

In the Club 333 VIP Discotheque (with lectroland.com, Screw Crew and Psyclone Posse): umenoid a.k.a. Tsuyoshi Suzuki in electro/rock mode (Madskippers/Japan), DJ Lucas (10Kilo/ UK), Emok (Phony Orphants/Iboga/Denmark), DJ Lucas (TIP World/UK), Chicago (1200Mics/ TIP World/Ibiza), Space Tribe (live), Decoy (live), Jigsaw (live), Phat Controllers, DJ Triploid, NMo Ichi, Luke McD, Mish’Chief, Blinky (live), Benson, Brainstorm, Deviant, Andee Frost, Tim Boyd, NicNac vs Colonel Mustard, Problem Child vs Mbug, Geomythik, Wigsville Cabaret plus special guests.

Across the Sunny Market Precinct: Michael Mayer (Kompakt/Germany), Numanoid a.k.a. Tsuyoshi Suzuki (Madskippers/Japan), Spoonbill (live), Thad Lester, Not Happy Jan, Mur@t (Sydney), Mike Hunt (Lasergun), Dave Pham (Lasergun), Cecille (Lasergun), Shifty, Obliveus (Killa Beats/Beats Working) featuring MC Direkt + Jig (live bass), Hans DC (Beats Working), Lil Miss Breaks (Fractured), Guyno (Gimme A Break), Ferris (Slut), Rollin Connection (Dark Beat), Pixleton (Flirt), Simon Slieker & Heath Myers (Semi Retired), Virginia Le (DMC Records), Brett Anderson (DMC Records), Damian Laird (Sunny), Mike Callander (Sunny/ Honkytonks) and Gavin Keitel (Sunny).

In the G.O.D Hard Dance Arena: John 00 Fleming (JOOF/UK), DJ Wag a.k.a. Yakooza (Traffic Tunes/Germany), Mark EG (Blackout Audio/UK), Alex Kidd (Goodgreef/UK), Jewelz, Scott Alert, NFX (live), St Luke, JFX vs Dr Willis, Algorithm, Smeagol, Audiodreams (live), Krisis vs Exa-Cist, Ben Kakoschke, Soul-T and DJ Comp Winner.

In the Japanese Bonsai Bonanza: Nate (Protoculture/Nano Records/Sth Africa), Uni (Evolution/live/Japan), Slum (Elf Music/ live/Japan), Ta-Ka (Mother/Light Music/Japan), Daijiro (Digital Block/Japan), Tokage (Sirius/Japan), Kemix (Sanskara/Japan) and YK (Psy16/Japan).

In The Waiting Room: Trolley, Al Diddy, Redline, Psychogenesis (live), Sonic Shroom, Miss Regal, Bobby Raver, Auricle, TD Shagga (Somatica), Rif Raf (Deep as Funk/Sydney), Atonix and Stoj vs Disect (Canberra).

On the Renegade Floor presented by Smile Police & Reason: Garthy Garth vs Ozmusic, Jordz, Carlos McSunt, Photon, Xpression, Artemis, Matty J, Loota, Raving Alco, Gazmatron, Squidy, Dex and M-Experience.

Workshop Area: Get energised with drumming and circus skills!

Express yourself with stencils and paint! Feel rejuvenated with yoga and massage! Whatever you’re into, check out the Workshop Area!

The 13th Annual Earthcore Global Carnival runs from the 24th to the 26th of November in Undera, Victoria.

“Mixology” is your baby, isn’t it?

Yeah. I sort of started with the theory stuff, and now I’m bouncing off into my own little label, which is called Mixology Digital Records. So up until now it’s just been the compilations with Central [Central Station Records], and now we’re branching off and doing some other stuff as well.

while since you’ve played down here...

Yeah...I tend to get down to Tassie maybe twice a year...I’ve been there this year. It was crazy; they got a full house that night.

Bexta hits Hobart’s Syrup on October 27th

What was your focus or direction with “Mixology 9”?

Well it’s a little bit different to the other ones. Up until now, they’ve been concentrating on the hard dance, hard trance sound, because that’s predominantly what I play out. And this one, I’ve balanced out more musically. The first CD is more electro-house; a bit of breaks, but mostly electro. A bit of chill...a bit more laid-back than the hard dance stuff that I’ve been playing for the last ten years. But CD two is still the hard dance and the hard trance, which I’m obviously very passionate about, and which I absolutely love.

I’ve just expanded my repertoire a little bit.

Did you get any of your own production on there?

Yeah - I’ve got four of my own tracks on there, one which is called “Nightmare”, which is a remix from an album that I did in 2004. The rest of them are collaborations I did. I was in the UK and Europe last year, in the studios over there, collaborating with producers. Those three tracks are on the vinyl as well as the CD. You’re playing down here in October. It’s been a

Getting To The Point With

DIRTY SOUTH

BY TOM WILSON

DJing is mainly on weekends, but sometimes the craziness extends further into the “working week”.

I try to spend Mon-Fri in the studio as much as I can. There is no time for “other things” as music consumes most of my time.

He’s a DJ and remix producer who can mix “Music Sounds Better With You” with Nirvana in front of a packed dance floor and get away with it. So while his answers to the SAUCE inquisition may be short, rest assured – his music speaks for itself…

Where would you most like to take your DJing?

I like my DJing the way it is to be honest. I thought about introducing laptops and other gadgets but at the moment I’m happy with decks and a mixer. When I decide to do a “live” show that would be something completely different.

What have you been up to in the last month?

Remixing and moving house (at the same time).

What is the mood on the Melbourne dance floor these days?

Depends on the amount of drugs and alcohol that people are consuming.

You’re about to play a set at Hobart’s Syrup. What can punters expect from your set?

Bunch of tunes they know, bunch of tunes they don’t know, a few Jager Bombs and good times.

From a creative standpoint, what is the most important thing in the world to you right now?

I’d like to do an album in the next two to three months, so I’m going put all my creative powers into that.

What has been the highlight of the last year, and why?

For me it was the success of that Evermore tune.

I got lots of love from local and international DJs, and it’s opened many doors for me.

What music/artists have been most influential to you as a DJ?

A lot of inspiration comes from non-dance bands like the Red Hot Chilli Peppers and Franz Ferdinand.

And what is one recent song you never, ever want to hear again, and why?

I don’t really listen to the radio.

How big a role does DJing play in your life? How much time do you have for other things?

Now for the “brutal honesty” question – what did you do last Saturday night, from beginning to end?

Finished a gig at 6am Saturday morning. Got on a plane to New Zealand at 11am. Landed, got driven to the hotel, had some food, tried sleeping but no luck.

Went to my gig, played four hours all the way until the end and finally got some sleep after all that. It was fun though.

Dirty South plays Syrup on the 25th of October

In Hollywood For

TONITE ONLY

BY TOM WILSON

The term “old school” is bandied around a lot when describing artists, but when Sam LA More and Groove Terminator – who have been collaborating on a project called Tonite Only – admitted their music is influenced by the Commodore 64, it became pretty clear to us why their forthcoming album is called “Fuck Tomorrow”…

You’ve just finished your debut compilation, “Mashed 3”; how long did you guys work on this?

We just got mashed and banged it out over a couple of nights. Most of it was done in the wee hours of the morning, after a night out tearing up the local Hollywood electro scene.

How happy are you with the finished product?

I think it’s a cool CD; I like it and I would buy it.

Really glad we could get a live version of “Where the Party’s At?” on there.

You worked with Riot In Belgium on this project – what were they like to work with? And how do you think their influence shows on the album?

Sam: The Riots are a riot. While we like parties, they live parties. We didn’t work with them on this – we did CD one in Los Angeles doing and they did CD two in Australia.

It’s been said that your music is partly influenced

PAGE 18

I’ve signed up, who’s from Brisbane; his name’s TyDi. He’s one of the young up-and-coming DJs - going to be quite big, I think. And he makes really good music! So I’m getting behind some of the new blood in the scene!

by the old Commodore 64 game console; how evident do you think this is in the sound of Tonite Only?

Yeah, the SID chip in the C64 was technologically amazing for the time. Hackers invented some very cool sounds in the 80s by tweaking it to extremes.

After studying the waveforms from the old C64 I’ve been able to incorporate that technology in our music.

almost finished. I think it will scare the hell out of people, which we’re really excited about. It is real “last night on earth” stuff.

You’re both Australians, and we understand that you’re now primarily based in Hollywood. How is the atmosphere there different to back home?

Life is a lot more serious in Hollywood. Everyone is working all the time, the clubs and bars all close at 2am and the only kids who really party are the trustafarians. So the club scene is rubbish but there are a lot of incredible parties in the Hollywood Hills.

Tonite Only play Syrup on the 6th of October.

What kind of opportunities does Los Angeles offer that aren’t found elsewhere?

Los Angeles is all about talent, which is everywhere.

When you’re out getting mashed, all the hotties try to convince you to produce them. Everyone thinks they’re the next big thing.

We’ve heard that you have an upcoming debut artist album that is as yet unsigned. How is that going? Is the album finished?

Our debut album “Tonite Only – Fuck Tomorrow” is

How important is it to you guys to get signed to a label, and what do you think it would mean both to your sound and to you as an artist?

It wouldn’t make any difference to us to be signed.

Labels are just not necessary any more.

Answering The Hard Questions With

The Honest Truth Of Live Hip-Hop With

SAVAGE

TRUE LIVE

He’s a big man with a big sound, and after releasing his solo album “Moonshine” last year, Deceptikonz MC Savage is finally heading to Tassie flanked by Mareko and Brotha D. Apparently, Savage didn’t think we asked him enough questions, so he asked himself some. Ah…rappers and their funny ways…

Melbourne-based True Live are a unique ensemble that cross boundaries of genre and style while engaging audiences with songs of passion and meaning.

BY TOM WILSON

You’ve been quoted as saying that you “have a commanding sound” when you get on the mic, and that you “get people’s attention”. You’re also a pretty big guy; to what extent do you think stature and presence is important for an MC? Presence is vital; having a distinguished sound/tone is an added bonus. I think because I’m a big guy it just adds to who I am as an MC. You recently supported Snoop Dogg; what did you take away from this experience as a performer?

Every tour you do, and every show you perform, you gain experience, not just from being around big name artists like Snoop, but how they conduct themselves professionally. We here down under have a lot to learn about this, but only time will tell who actually learns from this.

With performances and recordings of musical and lyrical depth and a line-up consisting of a three-piece string section (cello, violin, double bass), percussion, keyboards and vocals, the group create a contemporary, organic sound that could only be described as monstrous.

If past performance is any indication, crowds can look forward to packed live performances in which the sets extend beyond the two and a half hour mark.

On the “Mintons” EP – the ensemble’s first supported release since signing with Australia’s biggest independent record company Shock Records – leader/producer Rhyno has drawn on the vast expertise of his fellow band-mates and some of Melbourne’s finest engineers and session musicians to create an exclusively

True Live sound. Between its deep grooves, large string sections (seventeen pieces of the MSO), New Orleans-rooted traditional hip-hop sounds, heavy breaks, and raw emotive performances, the “Mintons” EP represents a cross-section of the band’s recording ability and sound.

True Live play Hobart’s Republic Bar on the 13th of October, supported by Unleash The Nugget. Check out True Live’s brand new LP out now.

This EP shows that TRUE LIVE have clear artistic direction, a direction that has been sculpted through years of playing up to four gigs a week together as an ensemble and rigorous individual practice and performance.

True Live cross genres effortlessly by maintaining a series of consistencies that have worked throughout the entire history of music.

Mean what you’re saying, write good songs and if it’s not too much trouble, let the people dance.

“

…When punters come along to a Savage show, they will leave knowing it was money well spent…

”

You released your debut “Moonshine” last year; in hindsight, what do you think were the strengths and weaknesses of this release?

“Moonshine” only brought strength. As an MC the ultimate dream is to be able to do your own solo album, and to be received greatly by the public is a big motivational factor to do the next and the next….

With the Deceptikonz enjoying such success, why did you choose to go out solo and release your own album?

Is it something you’ve wanted to do for a long time?

Yep; as the group Deceptikonz, it was always the extension of us as artists to be able to do solo projects, we are just happy to be able to have the opportunity to fulfill this.

Australian hip hop has really exploded in the last couple of years, and it seems there’s plenty of quality coming out of NZ as well. How does it feel to be at the forefront of the burgeoning NZ hip hop movement?

All I know is – being Savage, or Deceptikonz – as long as we make our contribution and the scene flourishes, then that opens more doors for the new artists coming through as well.

l guests

ia and spec

You’re about to play the grand opening of the RNB Superclub in Hobart this month. What impressions do you have of Tasmania?

We don’t have an impression of Tassie; that’s why we are looking forward to coming there for the first time. I’ll let you know when the shows are finished.

You’ll be performing with Mareko and Brotha D – what do you think they’ll bring to the night? What can we expect from it all?

Mareko and Brotha D add dynamics to the show, every time we take the stage we want it to be an experience for the fan that paid good money to come along to the show. We don’t believe in just going on stage and just spitting verses like other MCs do; we want to make sure that when punters come along to a Savage show, they will leave knowing it was money well spent and that they’ll pay to see another show, and another, and another…

Savage plays Curly’s Bar in Hobart on October 25th and Sirocco’s in Burnie on the 27th, supported by Mareko and Brotha D,

PAGE 19

The Bedroom Philosopher’s

TIM “THE KNIFE” BONYTHON

No wave ever crashes the same way twice, so it’s good to know that people like Tim “The Knife” Bonython make a living capturing it on camera.

Renown for films that capture both the visceral and the spiritual elements of surfing, who would be better suited to be the tour director of the fifth Australian Surf Movie Festival? He gave me the lowdown on the philosophy behind the event.

I guess this is a bit more sophisticated a festival – it’s not just movies going from one shot of a surfer to another.

My attitude is…you don’t want to give people what they can get at home. And what they can do at home is buy a surf DVD or get a magazine, which will give you everything that surfing can do in the water, so you can aspire to be a good surfer by looking at surfing styles and going to exotic places. What we try to do is give a bit more than that. That’s exactly what we’re doing here with this festival. I’m making a real effort to make sure we’ve got unique films; story-driven films. You can’t just have the whole festival as just big crazy waves, you know? People get bored with it.

So what you have to do is mix it up; give people a whole montage of everything that surfing is, and I think that you’re really got to have lots of good stories… These films are actually the best parts of each film; we can’t show a whole film… What we want to do is put together a whole list of great films and show the best parts of them… The other thing that’s really unique…people want to see what’s happening right now. If you open any of the major surf magazines right this minute, they’re coming out with the greatest shots of what’s going on. Four weeks ago, Tahiti had one of the biggest rideable swells ever hit… The swell hit it on July 28th, and one of the biggest waves ever ridden was surfed on that day. There’s a guy called Manoa Drollet, who surfed what looked between a thirty-five and fortyfoot wave. It’s just an unbelievable wave, and I think the bar’s been set again for the biggest wave ever surfed there. That’s documented in a film called “As Good As It Gets”.

How hard is it to be as good every year as previous years? What’s your goal?

I definitely want the stories; the stories are really important. I can’t just have footage and nothing attached to it.

The Australian Surf Movie Festival catches a wave to Hobart’s State Cinema on Saturday the 28th of October.

TRASHARAMA

Hi ya, Freakers! Trasharama would like to thank all the mastermind Trashophiles who sent in their films in 2006. We’ve received loads of great movies but unfortunately we can’t screen everything (although we’ve tried to show as much as we can!). For those of you who missed out this year, don’t despair; just keep on knocking them out out. Your time will come!

Hobart’s “The Venue” cops a fist-full of the 2006 Oz Trash Tour on Saturday the 14th of October. For more info, check out www.trasharama.com.au,

IS THEATRE PRESENTS THE FLIP TOP HEART 2006 AWARDS Well, they did it! Is Theatre and Aurora Energy brought Tasmania and the nation another awesome Flip Top Heart performance competition.

2006 winners: Independent Overall Winner - Cash prize $1000 Awarded to “Southern Border” Sam Routledge, Clinton Barker and Jason James Under 18s Overall Winner - Cash prize $250 “Das Kleine Kampf” Alex Duncan and Anna Elliston People’s Choice Winner - Cash prize $125 “Das Kleine Kampf” Alex Duncan and Anna Elliston The Best Idea Told in the Shortest Amount of Time Winner - Cash prize $125 “Green” Gai Anderson The Best Use of the Wink (secret ingredient) Winner: “The Marvellous Extremeties of Millicent Jouissance” Carl Higgs, Alex Rigozzi, Christina Marsden, Caroline Pattle, Anica Boulanger Mash-Berg and Peter Rigozzi Falls Festival Creative Development winners: “Media Action Broadcast Reaction” Tim Denton and Annie Forbes The Phonics Sandi Rapson, Chris Love, Johnno Reece-Osborne and Lena Bowden Dance and Mobile Symphony - Extreme team, The Phonics, are going to the Chicago World Championships and putting Tassie on the map in December this year “Das Kleine Kampf” Alex Duncan and Anna Elliston See you all again in 2007 for another awesome Flip Top Heart!

AIR ASSISTS MUSIC BUSINESS ENTREPRENEURS’ SKILLS AT AMPLIFIED MUSIC CONFERENCE

Struth Be Told

The Australian Independent Record Labels Association (AIR), through their small business development program AIR Pocket, will be hosting the “DIGITAL” music business development seminar at the annual Amplified Music Festival in Hobart on Thursday 5th of October.

This session, “The Future of Digital Music: What You NEED to Know!”, will unravel the maze of digital distribution and bring the complete “how to” guide for independent labels, musicians and music businesses looking to move into digital music retail, and a snapshot of the global future trends for online music distribution.

This session will also take a look at the future trends for digital and mobile music technologies, and provide an overview of some of the major digital aggregators, e-tailers and DIY self service software companies.

Music business professionals who will be speaking at the event will include Stephen Foster, AIR Label Services Manager, and Charlie Chan, noted composer, and founder of independent online music retail store, Martian Method.

Covering a range of in depth music business topics, AIR Pocket aims to upgrade the industry’s skills and knowledge base through a series of seminars and concentrated workshops Australia-wide. For more information on AIR Pocket, please contact info@air.org. au Independent musicians, record label managers, and aspiring music business entrepreneurs are invited to attend: When: Thursday 5 October, 2pm Venue: Heritage Room, Level 2, ANZ Centre, 22 Elizabeth Street, Hobart.

Admission is FREE!

Fun Size Suicide I’ve just passed my ten year anniversary of smoking – rewarding myself with a burnt ash cake, complete with tar cream and nicotine icing, with one lit cigarette in the middle which I can’t quite gather the lung capacity to cough out. My only wish? To quit.

I compare my addiction to cigarettes to that of a rocky long-term relationship with a fiery lover. We met behind the high school gym in 1996. She had a dangerous reputation, and I’d often seen her hanging around with the rebellious older kids, in their dark jeans and dir ty jackets. When my friend Danny offered to introduce me to her, I was apprehensive yet powerfully intrigued. Against the grey pastels of a fading Saturday afternoon, I held the boutique-blue treasure box, fumbled with a lighter, and soon found myself engaged in a frantically long kiss from heavenly hell.

My hands swooned. My lips sizzled. My head sang with merry-go-round dream liqueur. I was coughing with smiles. She was dark and lovely.

Smooth and philosophical. She caressed her nutritiously intoxicating fingers across my virgin lungs. Her smell was on my clothes, in my hair, through my veins. Danny, later, par tly saw to that, with a can of Lynx Java and the questionable advice of rubbing dandelions into my fingers.

In the early days I had to hide our affair from my Mum, and more dramatically, my girlfriend.

I would cradle my forbidden love in the backshed, or in the toilets at school. There was something about her soulful wisps that provided an ar tful smokescreen from the sandpaper bluntness of the world. A private cloud laced with silk spores that were able to latch onto the tidal blur of time-chaos and slow it down, allowing my thoughts to coil and interlock with the spiritual cosmos around me.

As time broke-free and motored on, I realised the extent to which my sacred-secret girl was not mine alone. She was gossiping in cafes, swearing in bars, pondering idly at bus stops, humming along to the radio at intersections.

She could be wrapped around me, smirking cheekily one moment, and dissolving like a chemical witch the next. These would be periods devoid of passion, leaving just the empty bitterness of routine and a gloomy realisation that perhaps I needed her more than she could ever need me.

Over the years I would try and leave her. Cursing her memory as I powered along a swimming pool, committed to regaining my natural strength. At par ties and bars she would taunt me, like a cunning ex, draping herself across my table, tickling my nostrils with a cruel, delicious feather. For at least six months, I remained defiant, yet despite my small army of self-empowerment, I was unable to resist the enemy campaign of academic deadlines, money troubles and relationship upsets, and sensing the aftermath of my emotional wars, she would swoop in, breathing my men back to life with her thick, medicinal poetry.

And now, our bi-polar union continues, swinging between joyous post-gig moonlight celebrations, and demoralising Monday afternoon fallouts, when I realise what I’m really clutching onto is the idea of escape, and a longing for meditation, and that her love is a cheap vindictive poison that tricks my senses and leaves me anxious and wanting.

There is a pain in my heart. I know this is going to be the hardest break-up of my life. www.bedroomphilosopher.com www.myspace.com/thebedroomphilosopher

PAGE 20

Virgo Rhythms From

MACROMANTICS

BY DAVE WILLIAMS

Public Enemy…The Coup…Kanye West – these artists are, to me, inspirational… and now, joining them, is Macromantics.

Listening to her debut album, “Moments in Movement”, I was struck with the same feeling that came from my first listen to West’s “College Dropout”; it was fresh, original, challenging. I was lucky enough to catch up with Ms. Macro in the lead up to her Tasmanian tour with Ground Components.

To me, rap and hip-hop seem to be the punk of the new millennium; as punk was to the seventies.

Yeah, I a g ree. Hip-hop and punk really came up at the same time – mid-to-late seventies.

Hip-hop w as an American thing, and punk was more in the UK, but definitely they both made this ar t out of nothing; were saying something, or were sick of the way society was being run.

[They were] kind of taking things in their ow n h a n d s, a n d l e t t i n g t h e p e r s o n wh o society cuts out…giving that person a voice.

I’ve just always respected and loved both

You have a lot of rock influences in your music, don’ t you?

Yeah, I do. I mean, the hip-hop side is a given, obviously because I do hip-hop music and I rap. People, when they find out the rock kind of relationships that I have, they’re interested by that, because it is different to the standard kind of people who make hiphop and who stick to that.

kinds of music; they are ver y alive.

There’s been a comment about your album, refer ring to it as the “Virgo fucker of all eccentric bliss tsunamis”. What is a “Virgo fucker”?

Well, I’m a Virgo as well, and just the fact

“

I understand my re c o rd , b e c a u s e I understand myself.

”

that it was released in September… I just think it makes sense that it’s a “Virgo album” in a way; it’s kind of pedantic. And in the studio I’m a real perfectionist; I could do a take literally a hundred times and not be happy with it. I need someone there to go, “Hey – that was the one! Don’ t worr y!” I’m happy that it was bor n in the same month as me. I understand my record, because I understand myself.

Macromantics plays with Ground Components in October, at Hobar t’s Trout on the 20 th , Launceston’s James Hotel on the 21 st and the Lewisham Tavern on the 22 nd .

I under stand that you got into hip-hop while on tour with Ben Lee’s fir st band, Noise Addict. What was the stor y there?

Ben and I went to school to gether; Ben was a couple of years older than me. We worked with each other in drama and plays; I think he directed me in a play I was in. We met and hung out and had a mutual appreciation for music… Then, Ben’s band Noise Addict were doing their final farewell tour in America, a n d t h e g u i t a r i s t c o u l d n’ t m a ke i t . B e n asked me to jump on for that last tour; it was like a dream come true. So when I was in America was in 1995, and ’95 was like the golden era of hip-hop for me, and I was in America seeing it happen. Especially in New York City; just seeing how people live and breathe hip-hop, and how amazing it was…and how similar to punk it was, in its social context. It was saying something; it had this ferocious energ y about it, and I was pretty much in awe of the genre. So I came home and star ted writing raps, and the rest is histor y.

Youth Building the Future

N/W SK8 JAM

BY TELLEN RODWELL

The solo and adventurous nature of skateboarding continues to attract young people across the North West Coast. Since the 80s, young skaters have pursued the challenges offered by the sport, including designing and building their own ramps while street skating and dodging Police patrols. Any misinformed opinions about skating being a delinquent and destructive activity can soon be dispelled by watching the high level of skill required on the street or in the skate parks.

The risks in skating are, for many young people, their only opportunity to test and develop their strength and confidence. Twenty years ago, taking risks in the name of enjoyment was just part of growing up. Today’s obsession with safety and litigation leaves few natural and spontaneous activities for the

formative years of development. In the early days of the sport, kids scavenged for material to build their own full scale back yard ramps. The building of these ramps alone carried many risks long before anyone got to ride them.

In the late 80s a successful petition saw Burnie’s first pro-scale ramp erected at the old Burnie tip site. The steel monster swallowed skaters for more than ten years. In the late 90s, veterans from the first ramp worked with the next generation of skaters and the Burnie Council to establish the Marine Terrace Skate Park. This park lasted until 2006 when it hosted the inaugural No Comply Hip Hop Festival before being dismantled to make way for the building of waterfront apartments.

As an interim measure, while waiting for the new Burnie City Skate Park at West Park Oval, young skaters, supported by BIG hART, have joined together to set up their own temporary facility. An enthusiastic group of volunteers are in the final stages of completing a portable mini-ramp at the Creative Living Centre. This ramp will later travel and bring the experience of skate culture to young people in isolated rural communities.

The Burnie Shines event, SK8 JAM, will gather the strongest alliance of skaters to date and officially launch the ramp and indoor facility.

Skating has become one of those sports that draws young people together and connects generations as each one expands the challenge and redefines the culture.

By proactively fuelling the activities important to young people, their need for socially isolating behaviour will lessen. Promoting skating builds skilful and socially confident citizens.

SK8 JAM will be held at the Creative Living Centre, 2 Spring St, Burnie on October 14 from 12pm. It is a free, all ages event.

PLAN OF PROPOSED BURNIE SKATE PARK PAGE 21

TOURING ARTISTS

Entering The Ring With

KLAUS “HEAVYWEIGHT� HILL “A DJ for the people, always aiming to please the crowd, creating a good vibe through an eclectic choice of no-nonsense energetic music.�

On the level and on the money. Klaus “Heavyweight�

Hill is a bona-fide stalwart of the London breaks scene. This guy loves making music, whether in the booth wok-tossing breakbeats to the bass-bin max, or in the studio stir-fryinh bass-lines so heavy they be impossible to lift. Already name-checked by goodfellas Rennie Pilgrem and Meat Katie, Klaus’s sound is a barnyard blend of tough beats, booty wagglin’ groove and inspired darkness.

As part of 2Sinners (alongside Carl Hovland) he has delvered tracks for labels such as Distinctive, Botchit & Scarper, TCR and Ministry of Sound. As the Heavyweight, his material has appeared on Bedrock Breaks (Meat Katie), Mob, as well giving the remix treatment to James Lavelle’s UNKLE project, Jakatta, DJ Sneak, Atomic Hooligan and The Beastie Boys.

A four year stint at London’s The End club, residencies at Sydney’s Home, Hobart’s Halo and the Embassy in Townsville alongside a worldwide DJ schedule enables Klaus to issue breakout deliveries that drop brilliantly on the dancefloor.

All this, and he still manages to run his label; Title Fight Records. Make no mistake; Klaus’ moniker may come from his father’s career as a boxer, but the nature of his music makes him a heavyweight in his own right. Step into the ring and see‌ Klaus “Heavyweightâ€? Hill plays Hobart’s Halo on the 25th of October.

It’s All About A Player Called

NICK THAYER After playing privately for a number of years, Nick Thayer (T-ay-ar) initially cut his teeth supporting FreQ Nasty at 33 1/3.

Following this, residencies at The Lounge, Revolver, the Laundry and Club UK coupled with regular appearances at the Croft, ROOM, Onesixone and the Saint have seen Thayer develop a versatile style ranging from jazzy, laidback armchair sets through to three-deck plump and primed nubooty that has even seen the likes of the Stanton Warriors and DJ Hyper shaking it to his sounds.

Nick, as resident at Out of Order, “Melbourne’s premier breaks night� (3D World, Sydney) has hosted the likes of DJ Hyper, Danny MacMillan, Tayo, 10 Sui, C83, Kid Kenobi, Friendly, Soul of Man, Q45, Nubreed, and EK, whilst finding time to mix three CDs showcasing the sounds of the night.

More recently Nick has ventured into production and has seen his tunes move floors all over the country, with a remix for Bionik World getting play on Triple J and debuting at #24 in the ARIA club chart before rising to #16. Another tune “Theme One� is featured on the MOS “Clubber’s Guide to Breaks III�, and is released by Floating Point, whilst “Stomper� will be found on a DJ Ransom mix. This is a DJ who caters for the dance floor. In his words “DJing isn’t about showing off the size of your record collection - It’s about helping the punters have a great night.�

Nick Thayer plays with N’Fa at Halo on Saturday the 14th of October.

The Ill Art Of

PHIL SMART Phil is one of Australia’s most prominent and respected DJs, always one step ahead and another step sideways. He has a reputation for breaking new sounds, playing a wide range of styles from deep house and techno to breaks and electro, as well as head music and bar room sets. Voted Australian DJ Of The Year at the National Dance Music Awards in 2000 and appearing twice in DJ Magazine’s list of the world’s Top 100 DJs, it is Phil’s passion for music that gives him his unique edge.

Travelling with record boxes in tow, Phil is one of the new breed of DJs taking Australia into the international dance music arena. Making regular trips overseas he has played across North America, Europe and Asia including SF, LA, NY, Chicago, Denver, Dallas, Portland, Vancouver, Toronto and Mexico City for people like Funky Teknotribe, Spundaes and Basics; Bedrock and Club UK in London, E-Werk in Berlin, Prague, Phnom Penh and Bangkok. Phil’s tour of the states in 2005 included the famous PS1 party in New York, the Shambhala festival in Canada and Burning Man festival in the Black Rock desert, Nevada. Along with DJ Sugar Ray, Phil is responsible for staging some of Sydney’s most legendary events, such as Sabotage and The Project, and enjoyed a longstanding residency at Tweekin, the Sydney clubbing institution voted Best Club Night at the 2000 Dance Music Awards and described by DJ Magazine as “coming under the very short list of proper clubs around the world�.

Phil Smart plays Hobart’s Halo on Saturday the 28th of October.

PAGE 22

Causing An Effect With

N’FA Rising beyond his role as the frontman of the wildly successful 1200 Techniques, N’fa is no stranger to success. The ARIA-winning 1200 Techniques sold over 50,000 albums and captivated audiences with their edgy, raw performances at every major music festival in the nation.

Through it all, N’fa penned the charting singles “Hard As Hell�, “Where You At�, “Fork In The Road� and the monster hit “Karma�, which peaked at number four on Triple J’s Hottest 100.

Now, with 1200 Techniques taking a well-deserved break, N’fa has channeled his unique talents into his debut solo album “Cause An Effect�. Evolving and adding to the demonstrated success of his unique hip-hop formula, “Cause An Effect� takes the listener on a journey of light and shade as it presents hook-laden anthems alongside smooth, reclining rhythms.

In the artist’s own words, the album is “mentally and emotionally mesmerising, crossing the boundaries of standard hip-hop and connecting with listeners on its musical merit.�

It’s testament to N’fa’s credibility that he has amassed a team of co-contributors that reads like a who’s who of the hip-hop industry. On “Cause An Effect�, N’fa has collaborated with producers and MCs from the US, UK, Korea, New Zealand and Australia including, Roots Manuva, Mr Yoshiaki (Black Eyed Peas), Peril and Deceptikonz (Dawn Raid Entertainment).

To complete the picture, Hollywood superstar Heath Ledger and ARIA award winners Michael Gracey and Pete Commins have been enlisted to direct the videos for the single “Seduction Is Evil� and title-track “Cause An Effect�.

N’fa plays Hobart’s Halo on Saturday the 14th of October, supported by Nick Thayer.

Heading Into “Spring Break� With

KID KENOBI Since his early beginnings behind the decks in 1996, Sydney based Kid Kenobi has steadily risen to his current place as the busiest DJ on Australian shores, now widely regarded as the home of the most booming breaks scene in the world.

It’s often surprising to both peers and punters that such a profile has stemmed from the art of DJing alone.

This has provided the inspiration for Kid Kenobi to undertake production work, his first being the double mix CD for Ministry of Sound Australia aptly titled “A Clubbers Guide to Breaks�.

Outselling prominent international releases in the same genre, a second “Clubbers Guide to Breaks� compilation was released October 2002.

His debut remix of Green Velvet’s “La La Land� – a collaboration between Kid Kenobi and Poxy Music (Pocket and Ken Cloud) – is also out now on Hussle Recordings, receiving great reactions from both international and local DJs as well as trainspotters from around the globe.

In the meantime, a calling to explore foreign shores and a “break� into production has taken the Aussie breaks battler to the UK, Europe and New York where he engaged in a number of overseas performances and spent time in the studio with some of his favorite international engineers.

If the past is anything to go by, the future looks very bright indeed.

Kid Kenobi plays “Spring Break ‘06� at the Hobart Uni Bar on the 20th of October with MC Shureshock and Smithmonger.

Lizzy's This ‘n’ That

#$3 #,/4(%3 3-)4( 342%%4 3-)4(4/. #$S #L OTHES 3MI TH 3T 3MI THTON 0( 777 ,)::934()3.4(!4 #/0 H 7WW L I Z Z YSTHI SNTHAT COM

SILENCE THE SIRENS 17 TRACKS featuring guests: Fatlip (The Pharcyde), Pegz, Red Ghost, Urthboy (the Herd, Elefant traks), Raph Boogie (Mnemonic Ascent), Slap 618, BVA (F&D, Mnemonic Ascent), DJ FX, Ivens (Awakenings), Derm and Toroniks