Sauce - Issue 33, 6-12-06

On the street 1st Wed every month

Issue #33 06/12/06 - 02/01/07

UPCOMING GIGS //

4 F R I D AY 2 2 N D

4 F R I D AY 8 T H

+ UNLEASH THE NUGGET

DUKES OF WINDSOR

4 S U N D AY 2 4 T H

+ THE INCHES

XMAS EVE E X T R E M E H O L I D AY

4 S A T U R D AY 9 T H

BOMBA

+ SPECIAL GUEST

4 F R I D AY 1 5 T H

THE NEW BLACK 122 York Street Launceston 6334 7231 WWW.JAMESHOTEL.COM.AU

THE MELODICS

SPONSORED BY SMIRNOFF DOUBLE BLACK

4 T H U R S D AY 2 8 T H + MODUS

S U P A F LY I N C ( U K )

4 S A T U R D AY 1 6 T H

4 S U N D AY 3 1 S T

AC/DC TRIBUTE SHOW

NYE PIMPS & HO’S

Behind The Music Of

CARUS

BY TOM WILSON

About to hit Tassie for the final leg of the “Roots Roadshow” with Loren and The Rob Sawyer Band, accomplished roots guru Carus Thompson spoke to me about his music, and the triumphs and struggles behind it.

When you listen to music, what do you value the most? What are some elements you’re attracted to the most?

The lyrics are always what is the most important to me. Of course, melody and groove are paramount, but I really zone straight into what the singer is saying. And sincerity; where they are coming from, and if they mean what they are saying. But I am also an old-time minister of the funk so I love a good groove!

In many ways, art reflects life. What have been some examples of songs you’ve written reflecting different events in your life?

A lot of my earlier songs really came to me at turbulent times in my relationships. Songs like “Mind’s Eye” and “Wild” just came to me in about five minutes. When you are emotional, or going though an intense time, it’s always a good time for writing … Songs can just come to you like that, because you are so “raw” that there’s no filter between your emotions and the music. It can just flow out. And it will always be sincere, and it will always ring true because, despite the cliché, when you wear your “heart on your sleeve”, no one can every accuse you of insincerity.

At what point are you happy to call a song complete?

Is it usually your own instinct, or other people’s reactions? Why? It’s a combination of both. There is certainly a feeling that comes when it feels like you have got the arrangement working, and it feels complete playing it to yourself, and you are happy with it. I write quite a lot, so I am quite often performing songs as I go, before they are fully worked out. I find this really helpful. Songs can be like riding a bike in a way; when you first feel like you’ve worked out how to ride/deliver it and the crowd all get it and react, that’s when you really feel you’ve got it up and working. The great thing about writing songs is that before you created this “entity” there was nothing.

You are, in essence, creating something out of thin

air, and once you have written it this thing goes out into the world. Other people can cover it, play it to their mates drunk around camp fires … you have added something to the world, if you like. I love it when a song is really completed and then takes its own path. It’s a cool thing.

In the time that you’ve played music professionally, what would you say has been your biggest struggle?

Dealing with a member of the band who was a heroin addict. He has since left the band, but trying to keep something together when it’s all falling apart from

“

… Dealing with a (band member) who was a heroin addict.

”

the inside is incredibly stressful and intense. Scored a few grey hairs, I reckon. It was actually at a time when we were getting heaps of airplay and things were on the up-and-up too, but we have to really keep it close to our chests. I understand how The Libertines felt. You just have to keep going; the show must go on, no matter what. He was a great friend and an awesome (musician), and he really helped by making it through the intense touring schedule we had to do to get things up and running. But it’s certainly been a lot easier since we removed all drug addicts. Except for the beer monster living inside me! Apart from that, touring hard, and missing loved ones. But once you get into a rhythm with touring it’s not so hard; you are helped along by the music and the good vibes from the crowd.

and Loren. What do you see as their strengths as musicians?

They are amazing, both of them. Loren is a great songwriter and I think one of the best five singers in this country today. He makes just such a beautiful noise. I have learned so much about singing from Loren, and he’s also a great arranger.

Rob Sawyer is the “Super Musician”. I think he is going to be the best guitarist in Australia within a couple of years, if he’s not already. He’s a true musician; he can play anything, in any style, pretty much by ear. He doesn’t use a tuner – he can just hear it! If you wanna see true guitar playing, Rob is your man! I also love his vibe with his band. It’s unreal – he mixes reggae, roots, folk and punk together to make a sound uniquely his. I love the punk influence; sets him apart from all the Jack Johnson roots wannabes!

This may seem a little morbid, but if you were hit by a bus tomorrow, what are some of the things you’d wish you’d done, both professionally and personally?

Seems like I have gone on about this, but sincerity.

I’d like people to think that I was a real human being, not full of myself, and just tried to be true to what I was doing and not burn anyone along the way. In music, especially with so much of it going on now, it’s really about what you put out, because in the end that’s what you’ll get back.

What would you like to be playing on the bus’ stereo if it hit you? In other words, if you could choose the last song you’d ever hear, what would it be?

“Khe Sahn” – without a doubt. CHISEL ROCK! The Roots Roadshow hits Hobart’s Republic Bar on the 9th of December, and the Lewisham Tavern on the the 10th.

You’re playing the Roots Roadshow with Rob Sawyer

Looking Through

THE RED EYES

BY TOM WILSON

Foo Fighters

SKIN AND BONES Many large musical collectives tend to complain how much it costs to go on tour with that many people. To those bands, your hassles must seem trivial next to the eleven-headed dub/reggae monster that is The Red Eyes. Unleashing their latest LP “Rude World” this month, they had a word to me before packing their (numerous) bags and heading to Tassie.

How would you describe the sound of The Red Eyes?

Huge meaty steaks of drums and bass, topped off with skanking potatoes and synth-y salad, peppered with a psychedelic dub sauce.

There’re eleven of you in The Red Eyes. What are some of the challenges trying to write music, with the input of that many people?

We never have a problem with ideas that’s for sure – more like too many ideas.

How did the story of The Red Eyes begin? Where?

The core of the band started when we were playing together as a big band on a cruise ship. We were called The Starlights; but we got sick of playing lameo jazz standards for fat Americans – we wanted to get deeper. Then we met El and switched to reggae.

Where did the band name come from? Is it because

you’re always tired?

Tired and emotional? Usually people think because we’re a dub/reggae band the name must be a reference to a particular noxious weed, but we don’t partake in or condone illegal recreational activities. It’s actually from a movie called “Mystery Men”. Tom Waits makes a cameo as an inventor of non-lethal weapons.

A lot of the band is from New Zealand, and we’ve heard that one of you opens your set with a Maori speech. What can you tell us about this?

Actually, only two of us are Kiwis, but because El the lead singer is one of the two it gives people the impression we’re all that way inclined. The greeting is something that is very special to him, although we’re not doing it on this tour; we have a new opening which has been a lot of fun. We try and keep things fresh with new songs and new arrangements every tour. The set that we’ve hit on this time has been killing it all over the country so it’ll be great to bring it to Tassie, which is like our second home.

What are your plans for the next six months?

Get the album out to people and do a few more tours; hopefully get over to NZ and maybe Japan as well; start work on the next album; rid the world of evil.

Incubus

LIGHT GRENADES IN STORE NOW @

The Red Eyes play Curly’s Bar in Hobart on Thursday 14th, and the Falmouth Festival on the 16th.

PAGE 3

Bringin' the funk in December!

Sat 15th Republic Bar

299 Elizabeth St North Hobart Sun 16th (03) 6234 6954 Falmouth Festival

Falmouth Community Centre www.myspace.com/falmouthfestival

Wendy Rule

254 Mount St Upper Burnie 7320

DECEMBER PERFORMANCES THURSDAY 7TH

JAZZ WITH VIKTOR ZAPPNER TRIO

featuring Yoly Torres from Burnie on vocals Saturday December 9th Peacock Theatre at 8pm Salamanca Arts Centre

Sunday December 10th

The Bark Mill Tavern, Swansea

Saturday December 9th

In-store performance at Undertone 37A Elisabeth Street, Hobart 3pm

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Need some help?

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FRIDAY 8TH

ME 'N U

(Anthea Carins on grand piano, Del Polden on guitar and Krissy Rostan on clarinet) 7.00pm, $5 cover charge

SATURDAY 9TH

GAYE CLARKE & THE BIG BAND SOUND Country sounds

7.00pm, $5 cover charge

THURSDAY 14TH

VIKTOR ZAPPNER TRIO

Jazz featuring James Maddock from Hobart on tenor sax and vocals 8.00pm, $5 cover charge

FRIDAY 15TH

TANGO STAGE DOOR

Horst & Brenda invite you to experience Tango Argentino 7.00pm, $5 cover charge

Publisher / Editor David Williams Graphic Design Simon Hancock

shancock@sauceonline.net

Editorial Tom Wilson

twilson@sauceonline.net

Contributors: Tina Anderson, Ryan Cooke, Ryan Farrington, Carl Fidler, Jimmy McMacken, Ian Murtagh, Nicole Calabria, Felix Blackler, Damian Baumgartner, Claire Barker.

Deadlines Sauce #34 (Jan 07) Adver tising Booking: 27/12/06 Adver tising Ar twork: 27/12/06 Gig Guide: 27/12/07 Editorial: 27/12/07

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 5-15 16-17 18 19 20 21 22 24-27 28-29 30

PAGE 4

Rock Salt Gig Guide Hard Boiled Gig Reviews CD CD / DVD Hip Hop Hip Hop Games/Sk8/Ar ts Street Fashion

SATURDAY 16TH

PRESENTING CHRIS LYNCH 7.00pm, $5 cover charge

THURSDAY 21ST

CHRISTMAS JAZZ JAM

featuring Viktor Zappner & friends 8.00pm, $10 cover charge FRIDAY 22ND

MONTAGE

Kendal McLaren on vocals, Jerome Hillier on guitar & vocals with with a mixture of jazz, modern pop and easy listening music in an acoustic setting 7.00pm, $5 cover charge

SATURDAY 23RD

SONG SOUNDS

Launceston vocal and instrumental ensemble 7.30pm, $5 cover charge

THURSDAY 28TH

VIKTOR ZAPPNER TRIO

Jazz featuring Alistair Dobson from Hobart on saxophone 8.00pm, $5 cover charge

FRIDAY 29TH

TREVOR WEAVER

Singer-guitarist from Hobart.

7.00pm $5 cover charge

MS FEST SECOND LINE-UP ANNOUNCEMENT

The Bizarre Rituals Of

KARNIVOOL

BY DAVE WILLIAMS

and find out that we’ve been going since 1998. But the thing is that we’ve been out of the spotlight of the rest of the country. I think that having that isolation gives us the freedom to hone in our craft before we take it to the other side of Australia; and, ultimately, to the rest of the world.

They’ve been nominated for Most Outstanding New Independent Artist in the Air Chart Awards for their debut LP “Themata”, and have been locked into the already impressive lineup for MS Fest 2007. I spoke to guitarist Drew about pre-show rituals and why isolation can sometimes be a good thing.

Last time you were here, you played at the Republic.

How was the gig? Did everyone go nuts?

That was ridiculous! That was one of the craziest shows I think we’ve ever done. It was really surprising, actually. We had only got a couple of messages from people in Tassie, saying that we should come down there. So we were pretty unsure of how it was going to go, but we announced it, and it sold out in a few days or something. When we did sound-check, it was almost like playing a show. Everyone came down early for sound-check; they were moshing. The whole beer garden was singing an a cappella version of one of our songs when we got there, so it was pretty unreal!

I’ve talked with Eskimo Joe and Little Birdy and some other Perth bands, and one of the reasons they think is attributed to their success is due to Perth’s isolation. Do you reckon that’s a bit of an element to Karnivool’s success as well?

I think so. I mean, we’ve been together now for nine years. People usually think we’re a new band, and people find it really surprising when they read the bio

Does Karnivool have a kind of pre-show ritual that you guys go through?

Not really, no. I kind of just take a few deep breaths and jump up and down a couple of times and go on. We don’t really have anything like that; no group huddles and things like that. Our drummer’s an interesting guy; he’s got all sorts of rituals before...well, anything. He has to sit on the same side of the Tarago wherever we go; middleleft. He’s just got all these interesting things, I guess. He has to have the same combination of drinks every time before we go on-stage.

(Laughs) Sounds like he’s bordering on ObsessiveCompulsive Disorder…

(Laughs) Yeah. He’s the only one who has any kind

“

Everyone came down early for sound-check; they were moshing.

”

of ritual before we go on.

You’re reading it here first. As the first media outlet in Australia to officially announce the second lineup for the MS Fest 2007 at Inveresk Showgrounds on March 11th, we’re pleased to let you know that the following acts are on the lineup.

Pete Murray www.petemurray.com The Beautiful Girls www.thebeautifulgirls.com Bobby Flynn (“Australian Idol”) www.myspace.com/bobflynnfive True Live www.myspace.com/truelive These acts will join:

What do they say – genius and insanity are just two sides of the same coin?

Yeah. Well, I think our drummer’s got a bit of that going on. He’s definitely a genius, and he’s also very crazy!

And what about afterwards? Is it just models giving you guys massages and bearing champagne cocktails?

Yeah, yeah. We wouldn’t have anything else. It’s part of our rider. (Laughs) Karnivool play MS Fest 2007.

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PAGE 5

Pop-Rock Is

Taking A Stand With

THE NEW BLACK

BOMBA

BY TOM WIlSON

BY TOM WILSON

A love of the music of distant cultures… a passionate environmental agenda… two traits which have lit a course to Tasmania for reggae/world collective Bomba. Before he carries out an itinerary in our state including shooting a music video, playing songs off a new album, and joining wilderness protests, frontman Nicky Bomba had a word to SAUCE. You’ve recently spent a lot of time in Africa. Why did you decide to go there?

I’ve always wanted to visit the continent for as long as I can remember. The roots of most of the music I love come from Africa – the reggae, the funk, the melodies and the spirit. I am always on a search to get to the essence of things, and this was part of that. And Ethiopia especially, being the spiritual home of reggae music. Though, musically, it was different to what I expected.

So what is The New Black? They’re a four-piece pop-rock act from Melbourne. Why should you care?

Because after one listen to their debut EP “Your Heart, My Sleeve”, it’s clear that what these boys do, they do very well. So we did what the music press does best – encouraged them to get massive egos…

It’s been said that “The New Black sing & play with refreshing enthusiasm & confidence that borders on arrogance.” Since all good rock stars are arrogant, what will it take for The New Black to develop fullblown egos?

I guess we tend to strut about sometimes, although people can mistake fear for arrogance – like when I played an entire show with my back to the audience ‘coz I was too scared to turn around. I’ve read a few band bios and it seems that if you give a band a load of drugs, combined with already inflated egos, you have a recipe for success.

What will you then demand with your full-blown ego?

You know, we all have egos, but at the end of the day we are just people like you. Except that everyone loves us, girls want us, and guys want to be us, and I suppose we have more value as citizens of this country. Though sometimes it makes me sad when I think of all the unfortunate people who will never have the opportunity to experience our godlike existence.

If The New Black could have any celebrity (male, female or animal) as a groupie, who would it be?

I think there is a spot in Richard Branson’s heart for a bunch of penniless gypsies like us.

And what would you expect of them?

Oh, you know – bite-sized meals, quick exit strategies, automatic entry to the mile-high club, and, of course, he’d be good with our bags.

If we gave the band a million dollars, what would you spend it on?

Seriously, that kind of money would allow us to record as much as we can and travel overseas.

Perhaps a few instrument luxuries as well – I believe that we could become incredibly relevant…really.

Which band/artist, living or dead, would The New Black most want to play a gig with, and why?

This is the kind of question that causes internal disharmony. In truth, we are most excited to play with bands who have something unique and exciting to offer. We don’t mess with the dead.

What’s currently spinning in The New Black’s stereo?

Joy Division – “Unknown Pleasures”.

I understand there’s an interesting story behind a song “Karenin’s Smile”. Do tell.

Etienne was going through a reading phase (it didn’t last) when he stumbled upon Kundera’s “The Unbearable Lightness of Being”. The title of the song is taken from the last chapter, and it is rumoured that the song is about his cat, which somewhat disturbs me.

What was the most memorable gig you’ve ever seen, and why?

We recently supported Urge Overkill, which was a dream come true. They packed out The Corner, and had everyone singing along to their songs.

They are truly inspirational, and also since it was the most recent, at the forefront of my memory…

You’re bringing out a new CD, “Drums & Lions”.

What can you tell us about that?

The CD is, for me, an exploration into traditional music. It’s a sweet marriage between the real roots sound of the Ethiopian masenko and voice, and the reggae-styled setting that I love. Percussion instruments feature heavily, especially the djembe and conga.

World music seems to be a fairly underappreciated genre. What are some of the reasons more people should check it out?

The smaller the world gets…the bigger the population gets…the more we as a race seek a closer connection to the universe…The earth – our existence. World music, by its nature, has distilled through time with our growth as inhabitants of this planet. The energising sound of West African

drumming, to the wailing passion of an Ethiopian’s shepherd song, to the resonating earth tones of the yidaki (didgeridoo), puts us in touch with a primal, spiritual part of ourselves that is more relevant than ever. World Music is the new pop.

As well as returning to our state for the second time in less than a month, your three December shows will take you from one end of the state to the other – and back again – in only three days.

What circumstances led to such a hectic touring

“

…World Music is the new pop…

”

schedule?

Well when you have toured as much as we have, a two-hour trip from Hobart to Launceston is a piece of cake. We are big believers in making the most out of every opportunity.

We are actually coming down a day earlier on Thursday to help with the Weld Valley struggle. We’ve written a protest song for the cause based on the tragic non-value they are putting on our beautiful forests. I believe that survival of the woodchip industry is doomed, being heavily propped up by government subsidies. There seems to be a race against time to clearfall what’s possible before the democratically-elected powers that be finally get the message. This is a global matter now. We are just supporting the courage and resolve of the environmental groups who vote with there feet. They are the true heroes. I always wanted to be a park ranger, but happily fell into a musical life. I’m paying respect to that too.

Bomba plays Hobart’s Republic Bar on the 8th of December, Launceston’s James Hotel on the 9th, and the Republic again on the 10th.

You released “Your Heart, My Sleeve” earlier this year. How was it received?

Everybody who has heard the CD tells us that we are really, really good at what we do. Reviewers

“

…Everyone loves us, girls want us, and guys want to be us….

”

seemed fascinated by our aesthetics, which is very complimentary, but you are employed to do something, right?

We like to think so. What plans do you have to follow it up with an LP? Etienne and I are sifting through a heap of songs which we’ll be demo-ing for an album in January, and we’re extremely excited about this because it gives us a chance to show people the full perspective of The New Black.

What are the best and worst things about being in The New Black?

When it all goes right, it’s heavenly. It just works.

We also feel extremely fortunate to play with so many other inspiring bands. The worst thing?

Carrying our heavy equipment around.

When was the last time you vomited?

Our drummer, Paul, came down with a mystery illness last time we played the Republic Bar in Tassie. There were three buckets surrounding the drum-kit, and he didn’t miss a beat. That’s the short version; the full story is unfortunately too graphic for print…

The New Black play Launceston’s James Hotel on the 15th of December with Modus, and Hobart’s Republic Bar on the 16th with The Evening Dolls.

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PAGE 6

Just Arrived !

The Migration Of

MODUS

BY TOM WILSON

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

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with Tassie’s best ever “covers” band, “Ethel The Frog” (Hbt), along with the best local acts

Regular SAUCE readers will know Modus, and those who’ve seen them live can testify that we weren’t blowing smoke up their arses when we said how good they were. The last time I interviewed them, I wrote that I didn’t think they’d be around for much longer; that they’d soon set sail for mainland success. It turns out I was right. After stepping off stage at Falls this month, the band will be packing their bags…but, as drummer Anthony explained, they won’t be leaving us on a dull note…

You recently tasted success at the Amplified Awards. What did you win?

The Amplified festival and awards are a great vehicle for reaching out into the music industry, and we feel honored to have been recognised as one of the states best up and coming bands, as well as coming second for the major award for most promising Tasmanian artist.

We won a cute little certificate and some recording time at Fat Lip Studio with Dave Venter.

He’s been responsible for some tasty recordings lately and we are keen as to get in and work with him.

You’ll be playing the Falls Festival at Marion Bay; second time for the band. How is your approach to the show different than your first time at the festival?

Our first time at Falls was only like our fifth gig together, so we were really nervous about it. This time round we have heaps more experience and much better songs.

Plus we really believe we belong on the bill this year and want to give it every thing we’ve got.

It will be one of our last gigs in Tassie for a while and we want to make it something special, so you can expect our best performance ever!

You recently played a rather interesting private party. What happened there?

Yeah, the other night we played at a massive birthday party out past Deloraine for a mate of ours who is a real party animal. We were set up outside a huge shed with the roller door as a backdrop, a big PA and lights, and a crowd around a bon fire – the sort of thing you can’t do in town. 3 rd song in, and we can hear an engine revving.

Up flies the roller door and there’s the birthday boy pulling a massive burn out behind us! So we’re playing, the crowd’s cheering, and smoke and rubber is flying out over the stage – very rock ‘n’ roll! The smoke hung around for the

next couple of songs. We saw some photos later, it looked really cool.

We’ve heard that Modus is about to move interstate. Why is this?

Traveling interstate is something we had all been considering individually, even before we started the band. In fact, Modus became the main reason that most of us are still in Tasmania.

“

Wh o k n o ws wh e re we w i l l e n d u p ? Th i s is just t h e st a r t o f the j o u rn e y.

”

We did have some different ideas as to a settling location, but we are all committed to the music and have forged some amazing friendships, and are all prepared to make a few personal sacrifices for the good of the group. Queensland will be our initial destination.

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Ahmad is moving to be closer to his girlfriend, Jake also has close friends he wants to catch up with, and most of my family is there.

Most people seem surprised that we aren’t going to Melbourne as it is such a hot spot for Australian music, but who knows where we will end up? This is just the start of the journey.

Some have said that it’s harder for Tasmanian artists to make a living off music as it is for those in other parts of the country. To what extent is this reflected in Modus’ decision to move interstate?

It’s cer tainly tougher on original ar tists in Tasmania. Here you need to work your guts out just to be considered a peer to the cover bands.

A smaller population does mean less venues and fewer opportunities, but I think this has helped to create a higher standard of original music scene as bands need to compete for the bigger gigs.

The last few years have seen some amazing music come out of Tassie, and we feel that local musicians will enjoy more wide spread recognition in the coming years.

We’ve just decided not to wait for the world to come to us.

Modus support The New Black at Launceston’s James Hotel on the 15 th of this month, before they play their (hopefully not, forever) last Tasmanian show at the Falls Festival in Marion Bay.

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PAGE 7

Take Your Best Shot At

Guide To A Better World With The

OPEN MIKE NIGHT

JAMES BROOK BAND

BY TOM WILSON

Wednesday is already a great day of the week for Tasmanian artists and music-lovers – it’s when SAUCE comes out – but now, thanks to Will Potter of Launceston’s Royal Oak, it’s going to get a whole lot better, with the launch of a new monthly open mic night. We made like Gary Coleman’s nutsack and got the lowdown…

What can you tell us about the Open Mike Night?

Open Mike Night is to be held on the last Wednesday of every month in the front bar. All you need to do is register with me before the night and you’re allocated a time to play. Then it’s you, the mike and half an hour to show the public what you’ve got!

What gave you the idea to start a night like this?

I’ve had the idea for quite some time but other venues had a similar thing going. Open Mike Night was a love child of a favour I did for a friend of mine.

It was a lot of fun so we thought we’d keep it going.

After spreading the word I discovered there were a lot of people in the same position who just wanted to get their musical talents heard.

BY TOM WILSON

Hopefully, it will bring not just a lot of young musicians but musicians in general out of the shadows of the Launceston music scene. We want to give musicians the opportunity to promote their music to venues and find some new talent in town.

What kind of performance is eligible for this night? Is it purely musical, or are you also interested in spoken word or stand-up comedy gigs?

No, it’s not purely musical at all! If someone can get up on stage and make people laugh, tell them to give me a call! Basically the mic is there – if

“

If someone can get up on stage and make people laugh, tell them to give me a call!

Folk music…punk rock…environmental activism…

This might seem like a strange combination.

Unless, of course, you’re Ruge, bass player in the James Brook Band. Ahead of his shows in support of the Wilderness Society, we spoke to him about projects current and past, the proposed pulp mill, and wanting to live in a world free of corporate dominance.

Your sound has been called “music of clear reality”. What do you think this means?

Most of the material is based on my life experiences, and people I’ve met. Also I refer to historical stories that aren’t well known.

You’ve previously been part of an act called Skreech Tramps. Is this still continuing? If not, why?

We finished working together in 2001, simply due to the fact that we were living in different parts of the world.

you believe you can entertain people, whether it be in tune or stand up comedy, this is your chance to get heard!

You also play in a punk band called Ecowar, which I understand is based in Europe. How much involvement do you have with it these days?

We toured in Dec 2005 throughout Europe; the drummer has ever-increasing family commitments.

Now it’s become a part-time project, though we hope to tour again next year sometime.

In which bar of the Royal Oak will it be held, and why did you choose to do it there?

The one reason I chose to hold the Open Mike Night in the front bar is mainly the character of the bar. Also the Boatshed is mainly used for bigger audiences, for example our local Jazz nights which bring crowds of up to one-hundred-and-fifty people.

It takes less people to fill the public bar, therefore giving a better atmosphere.

In terms of musical performances, will “covers” be allowed, or is it only originals, and why did you decide to go the way you have?

We’ve decided both covers and originals will be allowed. We decided to go this way because it’s not a competition; it’s an event where people come to play music, whether it’s their own original stuff, or somebody else’s.

I understand that the upcoming shows are in support of Tasmanian forests. To what extent was this cause a factor in your decision to take on the gig?

Yeah, we simply disagree with the current use of our precious forests. We are happy to voice our opinion, and support others doing what they can to help make a difference.

What do you think are the potential influences and effects that an event like this could have on the Launceston music scene?

Anyone interested in performing at Open Mike Night should contact Will before the last Wednesday of the month on 0423121271 or The Royal Oak on 63315346.

What are your thoughts on the proposed pulp mill?

All we hear is that it’s the only way Tasmania can prosper and go forward (by having a pulp mill).

Well, if that’s all they can come up with, we’re all a bit worried. There are other ways to make money than wood-chipping. Besides, I hear that there are cleaner ways to make pulp. Anyone interested should contact the Wilderness Society.

”

Your most recent release is called “Sound Of The Plover”. What were some of the inspirations behind the album?

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Crystal Campbell Samuel Bester Jordan Millar Band

Reading about Tasmanian history. Books such as “Jack of Cape Grim” – a true story based on a Tasmanian Aboriginal rebel. The author recently contacted me, and she liked the song (“Jack of Cape Grim”). Also, time I’ve spent on fishing boats on Bass Straight, and the difficulties of leaving family and friends behind in Tasmania.

How big a role does music play in your life these days?

It’s the most exciting thing we do. This year I’ve toured to NSW, VIC, and most recently WA with The Go Set. It’s a real exciting time for us; we have formed a new band, and to work on something that’s a collective is super. We are working on a new album and film clip at the moment and hope to release both in the next few months. We are playing on the 13th Dec at the Trout with Rory and The Riot Act, and have been booked for the Cygnet Folk Festival. And hope to announce more dates soon.

As a musician, where do you hope to be in two years?

[I hope to be] living in a world that has totally changed; no wars, and an end to global corporate dominance.

On your website, much of your early material is available as free mp3s. What do you see as some of the positives and negatives of free music?

Positive: It’s available to people easily…

Negative: Musicians rarely get financial recognition for their work.

The James Brook Band plays Hobart’s Trout on the 13th of December.

It’s Not How You Use It That Counts, It’s

THE INCHES

BY DAVE WILLIAMS

As a band called The Inches, with a live show that has been described as “like having sex in a steam room with The Who”, it seems warranted to raise an eyebrow at this Melbourne four-piece (after, of course, having some truly awful mental images of Pete Townsend wearing only a towel). Ahead of the band’s Tassie visit, singer/guitarist Andrew dropped us a line.

I understand that you got a deal with a major label before the band was even a year old. How do you think it happened so quickly?

A few years ago, we came upon a cache of photos depicting label executives in compromising positions.

Quicker than you can say “blackmail” we were signed to a major with a healthy advance. It pays to have no morals in this biz…

You also recorded your debut EP without ever playing live. Why was this? You weren’t chicken, were you? (Just kidding) I started recording some songs in 2004 with producer Jaime Jimenez. During this process we recruited the members of the band, mainly from truck stops and, in one case, the ballet. We found that recording all our parts first made us much tighter and wellstructured when we finally got around to playing a live show.

We’ve heard that the first gig The Inches played was in a converted milk bar, and that it has remained one of your favourite shows. What was it about this gig that you remember so fondly?

We don’t play too many milk bars anymore, which

is a pity, because they usually have great acoustics, and you can get a milkshake freshly made up after the show.

You released your second EP in September; the “Inches EP”. What were some of the influences that helped you come up with such an unexpected and enigmatic title?

“

The seventies was such a brilliant era for music. So many great bands came out and we all draw a lot of influences from that decade. Also, Stevie Nicks gives me the horn How many inches are the Inches packing? (winkwink, nudge-nudge) Well I have to ask… What were the influences that helped you come up with such an enigmatic and unexpected question?

...Label executives in compromising positions

plans do you have for touring Tasmania?

We absolutely love Tassie – every time we come down there, it’s party time, and the shows are always great. This time we’re bringing our good friends the Dukes of Windsor.

The Inches play Hobart’s Republic Bar on the 7th of December, and Launceston’s James Hotel on the 8th, supporting the Dukes Of Windsor.

Influences? Tequila and Meth. Just kidding. What

”

Ah, you got us there. Yes, we named the EP during a particularly intense three-week bender. When the dust cleared, it was either “Self-Titled” or “Tequila Ain’t For Snortin”.

We understand you’ll be releasing your debut LP early next year. What can you tell us about its sound?

We use a lot of vintage keyboard tones, which gives us some semblance of a signature sound.

It’s basically a rock record with a lot of classic pop influences.

You were the house band on “Rove Live” last month.

What was it like to play for such a big audience? And what’s Rove like?

Rove is a sweetheart – a consummate professional.

The beautiful thing about television is that it’s easy to sit back and forget that 1.2 million people are watching you pick your nose. T’was a very funny and enjoyable night.

Your music seems to draw on a lot of 70s influences; what is it about that era of music that strikes such a chord (pardon the pun)?

“The Others”, And The

DUKES OF WINDSOR

BY DAVE WILLIAMS

Melbourne band Dukes Of Windsor may not be the royalty their moniker claims them to be, but with an album as good as their debut LP, “The Others”, we don’t care. We spoke to Scott and Cory about working with Melvins and Faith No More producer Jonathan Burnside, the sound of the band, and making love to their girlfriends in their grandmothers’ beds.

You recorded your debut album, “The Others”, with Jonathan Burnside, whose previous credits include Faith No More and The Melvins. What was he like to work with?

Scott: We had a great time with Jonathan. We’d start the day at 11am and finish up anywhere between ten and two that night. Jonathan had a great balance of getting the best out of us musically and capturing the best sounds he could, while keeping everyone relaxed and focused…well, most of the time!

To what extent did his influence affect the finished work?

Scott: Jonathan has an awesome collection of vintage microphones, keyboards and amps, and he knows how to use them all. On most occasions he’d know exactly what result he wanted before he began, so there’s definitely a JB influence in the tones of the instruments and vocals How has the album been received so far?

Scott: Triple J have been massive supporters of Dukes, playing “The Others” single pretty much every day since they received an advanced copy in June, while Myspace.com have featured the album during a listening party for a week, and also featuring the film clip on their homepage.

You’ve called the album “The Others”. What did you mean by this? Do you consider yourselves “the others”?

Scott: Simply, it’s the name of the first single from the album.

The band came together in 2004; what did you each do beforehand?

Scott: Jack, Cory and myself were working together in a previous band, while Oscar and Joe were studying music together at Monash Uni in Melbourne.

What kind of process or routine do you have when writing music? What comes first?

Scott: There are no rules when it comes to writing for Dukes. Sometimes Jack may have a rhythmic itch he needs to get out, and the rest of the band translate what he’s offering, while other times it may be a guitar riff from Oscar which triggers a drum beat from Cory. Some songs are written in the rehearsal room. Others are written in various home studios around Melbourne. Usually the music track is written first and the vocals come later.

What are your plans for NYE? Cory: We’re playing The Espy Gershwin Room in St Kilda with The Grates (Those girls can play!) and Wolf and Cub. After that, I’m heading back to my sister’s place in Healesville for some Scrabble and Uno. What do you hope 2007 will have in store for the band?

Cory: A new album written by me, a world tour with a separate dressing room for me, a new car and drumkit for me, and greater respect for me from the rest of the band.

Dukes Of Windsor play with The Inches at Hobart’s Republic Bar on Thursday the 7th of December, and Launceston’s James Hotel on Friday the 8th.

e6 d i Gu r 0

Boring! What are some of the influences you draw upon, and how do you think they are evident in the music of the Dukes?

Cory: Influences are many. Each Duke brings his/ her own influences to the band. It is somewhat a melding pot of a range of musical ideas. We do our best not to sound like anyone else.

As with a hell of a lot of musicians and bands these days, you hail from Melbourne. It seems that there’s something about the city that is evocative of music. To what extent do you think this is true?

Cory: It’s definitely a place for great music. I have noticed a lot of great bands or members of bands that hail from Melbourne aren’t actually from Melbourne though. A lot of musicians move here from other states and even countries because Melbourne is reputed for having such a dandy live scene. It’s a meeting place as well as a breeding ground. It’s like making love to your girlfriend on your grandmother’s bed.

What’s the coolest and shittiest thing about being in the Dukes Of Windsor?

Cory: The coolest thing is the joy. The shittiest thing is the pain.

Sun Thurs Fri Sat Sun

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Sun Fri Sat Sun Wen Thurs Sat

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Sarah McLeod (Superjesus) supp. Bridget Pross $15 9pm Dukes of Windsor supp, the Inches $8 cover 9pm Bomba Reggae Band $15/12conc 10pm Carus + The True Believers, Rob Sawyer band, Loren $18 10pm Rory + Riot Act, Modus, Nellie, Holly Kirby, Jimmy Stealie Band , Niki Bomba Plus Art Exhibition & Visual Delights 2pm - 6pm Bomba Reggae Band $15/12conc 9pm Josh Owen Band $10cover 10pm The New Black supp. The Evening Dolls $7/$5 10pm Hamell on Trial (USA) $7/5 conc 8.30pm Late Night Acess supp. Hannah $5 door 9pm CW Stoneking $10cover 9pm The Melodics supp. Unleash the Nugget $12/10 conc 10pm Ugly Duckling supp. Heads of State and Unleash the Nugget $54cover 10pm Sugartrain $10cover . New Years Eve 10pm

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Under The Spell Of

WENDY RULE

BY SUNNY BOMBING

Her sound grounded in mythology and magic, Melbourne’s Wendy Rule is certainly one of the more interesting artists in the Australian scene.

She spoke to us in the lead up to the launch of her 5th album, “The Wolf Sky”, at Hobart’s Peacock Theatre.

You’ve released your fifth album, “The Wolf Sky”; what is the meaning behind the title?

“The Wolf Sky”, to me, is the dark and brooding pre-storm sky that holds so much power and signals that something is about to happen – like a wolf about to leap. I hadn’t thought of the term until I began writing the title song, under a stormy sky on the hill near my house. It felt ominous and full of Magic.

“

I arrived in this grieving city, and everything just went wrong…

”

I understand that your fourth album, “The Lotus Eaters”, was written in New York just after September 11. What was it about the mood there that inspired that album?

My initial inspiration for “The Lotus Eaters” was to write an album based on the ancient Greek epic poem, “The Odyssey”. I’d been interested in this work for years, and it had inspired a lot of my earlier songs. This time, though, I really wanted to dive in and feel the full complexity of both the hero Odysseus, and the many women/goddesses he meets on the journey. I began writing the album early in 2001. I kind of naively embarked on this endeavour, forgetting, of course, that I’d be going through all the emotional dramas that the main characters in “The Odyssey” were. I visited America for the first time in May that year, and fell madly in love with a Russian photographer based in Boston.

Once I returned home, we nurtured our longing with months of letters and phone calls. We arranged to meet in New York in late September, and just before I was about to leave, the world caved in. I arrived in this grieving city, and everything just went wrong. I’d pinned all my hopes on this crazy relationship and it fell apart as soon as I arrived. I think it was the first time that I felt so incredibly broken-hearted, and somehow that brought me closer to the people of New York. It was then that I wrote the bulk of the album – in a state of loss and grief and surrender.

It was a strangely beautiful time.

There seems to be an element of mysticism and magic to your music. To what extent do you think this is true?

Yeah, definitely. My music is a kind of vehicle, I suppose, for expressing and exploring my spirituality, which is Witchcraft. I’m very into magic and nature, and I love using mythology to explore the human emotional journey. That comes through pretty strongly in my music.

You’ve toured extensively overseas. What are some of the differences you’ve noticed between overseas and local audiences?

On the surface there are lots of differences. English audiences are more reserved, and Americans more vocal in their applause than Australians. But really, the core response is very similar. In every country that I’ve performed, I’ve had people come up to me after the show and tell me that they were deeply moved. I remember my first performance in England, and I really thought, as I was singing, that the audience did not like the show at all. I thought it was a complete disaster. But afterwards they all came up and congratulated me, and I received lots of lovely letters and poems to say thank you in the mail from them. Maybe because what I’m doing is not at all mainstream, those who feel a connection to it are genuinely supportive, no matter where they come from.

Your first album, “Zero”, was released about ten years ago; in what ways do you think your music has evolved in the time since?

Strangely enough, it’s kind of come full-circle in lots of ways. For “The Wolf Sky”, I chose the same producer (Adam Calaitzis) that I did for “Zero”. I wanted that big, epic, orchestral sound that he’s so good at. It was interesting working with him again after ten years. We’d both mellowed quite a bit and were able to really focus on the music. I now play guitar, which I didn’t ten years ago. That’s had a big effect on both my songwriting and my live performance. In terms of the content of the music, that has changed quite a lot. My music is always very personal and reflects what is going on in my life at the time. When I was writing “Zero” I was going through a very traumatic emotional time.

Lots of highs and lows. The last ten years have been a huge healing journey for me – delving deeply into shadows and dealing with various difficult aspects of my past. I’m in a much healthier place now, and I think my music reflects this. That themes that I’m exploring haven’t really changed (life, death, nature,

PAGE 10

love, etc), but the way that I’ve approached them have. I feel I’ve found a way to explore those darker realms without getting trapped in them.

What are some of the influences you draw upon most these days? Have they changed much throughout the course of your career so far?

It’s always the same: my heart and its ways, the world around me, the natural world, the cycles of nature, the moon, my spiritual journey, the underworld. The more that I dive into these themes, they more they offer me.

You’ve provided music for several television productions. What plans do you have to continue that work in the future?

I’ll just focus on creating more music, and hope that it continues to find a vehicle. I’m interested in the theatre and am currently writing a play that will be performed in next year’s Melbourne Fringe. It’s a collaboration with a percussionist called Elissa Goodrich, and will be a blend of poetry, chant, and improvised music. It’s based on an ancient myth that explores the theme of change and loss in women’s lives. Eventually I’d love to create music for film. So many ideas and so little time!

Wendy plays Hobart’s Peacock Theatre on the 9th of December, and Swansea’s Bark Mill tavern on the 10th.

In Review, The

AMPLIFIED FESTIVAL

BY IAN MURTAGH

This year I tried to enjoy as much as I could about the Amplified festival, so I grabbed a flyer and picked an event for each day and pretty much blew my pay over four days. Along the way I found a few highlights to point out. The opening awards ceremony on Thursday night was funky, meeting people and drinking free beer. Jordan Miller won a bucket load of loot to do lots of things with, and Republic got most supportive venue.

ENOLA FALL I couldn’t stick around for most of it because I had to nick off and play over at the Lark Distillery for the best of the Australian Songwriters Association gig. About twelve acts played, including one of Lana Chilcott’s best performances and Daimen Stephens commanding yet another crowd. I was a bit bummed to miss Holly Kirby. The best comment I heard from anybody all night was that they were blown away by the sheer amount of talent every single performer had. Lakoda’s set was savage and really kicked arse. Kris Coleman did an inspiring set that started a band, and fun was had ‘til the wee hours of the morning.

Loud Music made a bit of a splash this year by holding heaps of well attended gigs all over the

place; one of them being Friday night at the Mayfair.

I hadn’t really been to a world music night before, so I didn’t know what to expect. The highlight was definitely the Taiko Drum team, who took up the stage and about a meter-and-a-half in front of it, and were so intense you needed to go sit down after they were finished. I ended up talking to one of the members of the troop afterwards and found out anyone can join. Going home with visions of hitting drums really, really loud was kinda satisfying.

Saturday night I went to Global Battle of the Bands at the Republic and watched one side of the Hobart music scene … well, um, battle it out while a bunch of judges and the crowd (oh so “Idol”) decided who was best. The event was pretty much boycotted by the indie scene, and some of the more established bands in Hobart didn’t go near it. So you couldn’t accurately say it was a who’s-who of Hobart’s best bands because, well, it wasn’t. That said, the bands that did play were damn good. I picked the top three without any trouble at all. Lakoda mistakenly came fourth, and got a bottle of wine, and then it was revealed they came third so they had their bottle of wine stolen. Unleash the Nugget definitely deserved respect on the night and I’m rapt that they’re playing at Falls this year; they came in with second place.

Hannah creamed the competition with a blistering set that earned them the top prize. The crowd fell in love.

HANNAH

So it’s Sunday; when I wake up, I’m still wearing the clothes I wore Friday, and I’m playing at midday at what was the highlight of the entire festival. A shower and a quick shirt change, and I play to about twenty people, but I was just happy to be there.

The event is called Amplifried, and it goes from 12pm to 12am (more like 2am) at the Republic. It was brilliant bands all day long, well into tea-time and well into the silly hours. The band that kicked the most butt was Enola Fall, playing with Adam on Drums and Psam on Bass again. Linc from Fell To Erin joined Joe on guitar, and they played a set worth waiting a year to hear. Dane Hunnerup had the best line by coming out and saying “Oh my god! Enola Fall!” after they played.

After this gig, I’m stuffed and glad the festival is over for another year. I was really happy when work let me go home early the next day.

ENOLA FALL

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The Rock Star Lingerie Of

LATE NITE ACCESS

BY TOM WILSON

A three-piece rock outfit with a self-titled EP and passports stamped with countries across the world, Late Nite Access are heading our way. We spoke to bassist and bona fide rock chick Kim about international touring, stolen video cameras and lingerie.

You recently tasted national exposure courtesy of Caroline Tran on Triple J. What did you do when it happened?

All three of us missed it! I received a text from Forrester Savell (co-producer of the EP) saying we were on JJJ, and I spent the next ten minutes looking for a radio that worked so I could listen. Suffice to say, I missed it. But plenty of people heard it across the country, because we were receiving emails and text messages for the next week about it.

You’ve toured in the States and Europe; what were the most memorable moments of this trip?

There was so much that happened on that trip! We made some great gear purchases in LA; new guitars, clothes etc. We gave Andre 3000 a copy of our promo CD. Playing to crazy uni crowds in Canada. Drinking beer in train stations in Berlin. Everything in New York.

Not being shot in Detroit. The best part was that we left for this tour with eleven gigs booked and we managed to hook up four more shows (San Diego, New York, London, and Dundee) while we were over there; for the Dundee gig, we just walked in and said, “Hey! Have you got any spare spots tonight?”…

I guess you just need to ask sometimes.

On a tour that long, something always gets lost or stolen. What losses did you suffer?

Yeah, our video camera got stolen in Berlin. We were at a gig and someone swiped it. Luckily we had just changed the tape so we didn’t lose the whole trip but we missed the last couple of weeks though. We also lost a lot of money… Well, when I say “lost” I guess you could call it “purchasing worldly goods”. But since we’re an independent band, we didn’t make a profit on this trip.

And what did you gain?

We left on this tour to gain contacts and experience. We talked to anyone and everyone, wherever we went, and got a good understanding of what was needed to book a tour of this kind in the future; who was needed, venues to play, meeting people to stay with (gotta keep costs down), where to eat – all of these things are crucial to managing ourselves on the next tour we do in April next year. And by playing fifteen shows in thirty days, we certainly got our setup to scratch. The only way to get playing experience is to play lots of shows, you know?

And that’s what we love doing.

What are some of the hardest things to deal with when on the road?

Lack of sleep. Lugging gear across the world. Jetlag.

Money. The usual stuff.

You’ve currently got a self-titled EP out; how did you record it?

We booked into The Base studios in South Melbourne with our good friend Forrester Savell (Karnivool, Full Scale, The Spazzy’s) who engineered and produced the EP with us, and spent a week tracking and mixing the record. Our aim was to get a great sounding studio production with the energy and feel of our live shows.

We set out to do the hard work in pre-production and just get in there and smash it out.

What plans do you have to follow it up?

Since we’ve come back from OS, we have been writing and demo-ing new material, and we plan to release a new recording by March next year if all goes to plan. We have an east coast tour lined up for February and then we’ll hit the studio again.

If you were asked to sum up Late Nite Access in words, for a prospective record label, how would you describe yourselves?

For the labels: Late Nite Access has been designed to reach the masses. We will make it happen, even one person at a time. It’s simply a matter of when. The independent band is stronger than ever; convince us that you can do it better than we can…and that you’re not simply a bad bank loan.

What makes you different from the multitude of acts, Australian and otherwise, that you’re competing against, for our hearts, minds and cash?

I think you’ve got to be entertained, and all the great bands do it at their live shows – The Rolling Stones, Pearl Jam, The Chili’s, The Beastie Boys, every one of them. If you’ve never seen us play live, do yourself a favour. If it’s one thing we do well, it’s put on a show.

Some say Kim (our drummer) is Jon Bonham’s true heir – though Keith Moon crossed with Animal from The Muppets is pretty close too. Pete’s guitar stylings always seem to channel more than one rock legend, dead or otherwise, as he creates his frenzied riffs. And according to one rock journalist in Scotland, I was “An identikit young Roger Waters…pounding that bass and almost singing in harmony with himself” (for full gig review log onto deadearnest.bitinernet.co.uk) You’re playing four shows down here soon; what impressions do you have of Tasmania?

PAGE 12

We’ve toured Tassie three times in the past year, and each time the crowds get bigger and crazier, and the weather seems to gets better. I grew up on the North West Coast and I could have sworn that the weather was crap more often than not - but I am continually proven wrong. Tassie is always at the top of our to-do list.

What will you each of you be doing for New Years?

Well, we’re still looking to get a gig. Don’t like our chances though!

While a band’s merchandise can get plain ridiculous sometimes, we’ve noticed you’ve only pushing shirts and singlets. If you could put your logo on any items – clothing or otherwise – what would some of them be?

Our last run of merch included caps and visors which are still available, but I reckon we should get into some stubbie holders for summer – maybe a Late Nite Access lingerie line. Need I say more?

Late Nite Access play Hobart’s Republic Bar on December 20th, Curly’s Bar on the 21st, and Launceston’s James Hotel on the 23rd.

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The Bedroom Philosopher’s

Fully Sick, Bro! It’s

Struth Be Told PAUL FENECH

BY DAVE WILLIAMS

Kiddie Memories I remember when I was about five I used to amuse myself by scampering around to the local Telecom phone box, picking up the receiver, pressing some random numbers and having pretend conversations with Mickey Mouse, Donald Duck and Goofy. The particulars of these discussions is appropriately vague and mysterious. I suppose “we” discussed the sociological and political issues of the day. Perhaps I used them as a sympathetic ear for the existential complexities of suburban Tasmanian kiddie life.

Should I buy a new Matchbox car? Did Fatcat jump or was he pushed? Why do my toys smell funny when I set them on fire? Would the princess from “The Never Ending Story” ever like to share a minimum chips with me? How good is condensed milk?

One day, for the first time, the random statistics of my fictional dialing got the better of me and I was suddenly faced with jarring curtness of the operator.

Instead of my own cordial-voiced playfulness, there was a cold, plain adult asking, “What number please?” To my only-child, one-man play it was the equivalent of Mr. T popping up in the middle of Alice In Wonderland and doing a spiel about testicular cancer. I hung up, ran home, and hid under the bed.

Around the same age, I was down at the Burnie Kmart Plaza with my Mum, to witness some of the stars of the local production of “Snow White and The Seven Dwarves”. I was gazing at the colourful fabrics and elegant faces when one of the dwarves walked past me and accidentally stepped on my foot with his hard, black heel. “Sorry” said the small, bearded man earnestly. I peered back at him, eye-toeye. It hurt my foot a little, but I was more affected by the jolt of this fantasy world clumsily encroaching onto my reality. Had I made it happen somehow? I asked Mum to take me home.

That year was also my debut as a “Nipper” for the Burnie Surf Life Saving Club. Plunging into the freezing ocean, armed with nothing more than Speedos and a sense of junior optimism, was commonplace. Under-8’s weren’t allowed to use the hard surfboards, and instead were trained on “foamie boards”. Foamies were literally the foam core of a surfboard, and in rough surf, it was like trying to negotiate a motorised block of ice through Chickenfeed. Being extremely short-sighted, my “prescription goggles” involved my glasses strapped to my head with underpants elastic. For my first Burnie carnival foamie race, I got into trouble early, being swept well off-course by strong winds – left to finish the race in last place, stranded, freezing, near-blind and crying. In the crowd were Mum, Nan and Pop, cheering me on. The thought of their boy flailing on that godforsaken foam is still one of the most miserable things I can imagine.

At the same age, I had one of the best dreams I’ve ever had in my life. The clock radio had come on and Enya’s “Orinoco Flow” was playing. My subconscious mind created a personal film clip for the song. Three perfect women in white flowing dresses were interpretive dancing in unison. They moved as if underwater, in outer space. I awoke that Saturday morning with the sun pouring through the window, certain that the world was trying to tell me something.

The Bedroom Philosopher will be performing at the Falls Festival, Marion Bay. Check him out at www. bedroomphilosopher.com and www.myspace.com/ thebedroomphilosopher

Experimental electro music legend Laurie Anderson once wrote that “language is a virus”. This couldn’t be proved more succinctly than by the effects of “Fat Pizza” on Australian culture. The show infected mainstream Australia, i.e. Skippy’s, with the language of wog-boys. Famous for impersonating a Jewish woman in his first awarded film production, Paul Fenech, the brains behind and star of “Fat Pizza”, brought us terms like “fully sick” and “stooge”. But this is getting far too serious, for I was lucky enough to laugh out loud – and get a little silly too – with the man himself prior to the release of his new DVD, “Fully Pranked”, featuring the full “Fat Pizza” crew.

So is the new DVD for the chicks or the fellas?

Well, mate, it’s for both. This is like, general horny consumption, general comedy consumption and general burnout consumption, mate. It’s P.B. – it’s “Parental Burnouts Recommended”, you know?

It should make you heaps of cash, huh?

To be honest, I just hope everyone has a laugh. I’m sick of all the hokey stuff that’s out there, that’s supposed to be funny. Cash?

We’ve got cash, mate. We’ve got chicks. We just want to keep people laughing, mate.

I’m sick of this stooge-y entertainment on television – “Dancing on Ice”, with the stooge, backyard renovation shows. Mate, I want to burn it all down.

I thought you might be getting some new rims, or some trackies?

I have invested. I got a new car recently, yes.

I’ve tried out the Ferrari, mate; I’ve upgraded.

But I will be putting a nitrous in it, and totally re-working it in the ethnic style. Doesn’t matter which car you get – you’ve got to re-do the upholstery, and you must do the wheels, and add new mags. I’m just going to put neons and shit in it.

So which prank on the DVD made you piss your pants when you did it, mate?

Man…there’s too many of them. They’re all funny. Whenever Habib has a go at them.

Like the tow truck, with Toula; that was funny, man. I was trying not to laugh. And when he’s trying to courier Toula to the Gold Coast, he calls her a “big piece of blubber”. That made me laugh. But man – the ghosts. I mean, the hokey psychics. We prove that psychics are fake on this CD. We proved it, mate. John Edwards, he’s a hoax.

He’s making another tour, I hear.

I know. I’m going to prank him, and probably do a burnout out the front of his hotel to keep him up in the morning, you know? It’s 2 A.M., there’s a burnout outside – he’s going to get no sleep, ‘cause he’s a hoaxer, mate.

Did you ever do the prank where you ring an old lady, and you tell her that she’s won a prize on the radio, but she has to go to the station in the middle of the night?

For me, I was doing those kinds of pranks when I was ten years old. I did ‘em early on; that was like my apprenticeship to early80s pranks. We’ve gone into the black belt of pranking here. When you get through to Schappelle Corby’s jailmate, that’s when you know you’re at a sick level of pranking. When you can get the jailer, who can give you the number for Schappelle Corby, you’ve got to be on fire for that. You’ve got to be hectic. You’ve got to be sicker than global warming.

I bet you did a good apprenticeship as a kid

Upcoming Gigs 8th December

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22th December

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5th January

Pisschrist

381 PAGE 14

Elizabeth

Street,

North

+ The Scandal + Bad Luck Charms

+ Ruins

Hobart

Ph:

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pulling pranks.

Heaps! Heaps! I pranked everybody mate; schoolteachers, local businesses, grandmothers, relatives, and strangers. I think I must have gone through my local directory and pranked everybody!

Absolutely everybody who would answer…except for all of those who couldn’t talk or couldn’t speak English.

I bet you pulled heaps of pranks on your dad Mario and your brother, Jeff?

They copped it, mate. Jeff always used to cop it.

That’s why he’s so aggressive now, because of all the pranking. Not many people know this fact, but I used to prank him every day. Every day, I used to give him

“

…You’ve got to be hectic,

You’ve got to be sicker than global warming

”

wake-up calls at night. He’s forgiven me know, because he knows that the aggression he’s got that’s led him through to world-champion boxing status came through from my pranking. So he thanks me. At the time, he was spewing, though.

Now, is Claudia there? I was wondering if you could put her on now.

Nah, mate. We don’t hook her up with stooges like you. You’ve got to be gold-class, man. I can tell that you’re up there – you’re bronze. But when you hit gold status…your fly-by points and your chick points… We’ve gone on a new scale, mate, because of picking up chicks. We used to be down the bottom in lead status; that’s probably where you used to be before you got into the media. When you’re in the media, you’re bronze, and you’ve got to work your way up to gold status. If you get heaps of chicks like Hugh Hefner in the Playboy Mansion, that’s platinum.

Yeah, right man! I reckon you’re still a virgin, bro!

I get heaps of chicks mate. I’m prepared to put my bunches on the board next to yours, mate, and we’ll see which is bigger. You could build a new Twin Tours out of my notches, mate ! I reckon you don’t even have a little hut in a village in Kazakhstan or wherever that bloody Borat’s from.

F*cking awesome, Paul. Thanks man.

That’s it? That’s the interview? Come on man – you sound like you’ve had six cones! Is there no more?

You need another pickup line for some chicks?

What’s the best pickup line you’ve used lately?

Well, lately, I picked up one of those chicks called a “MILF”, and you know what that stands for. I said to her, “Hey baby, I’m like a Rubix Cube – the more you play with me, the harder I get.”

And because she was over thirty five, she got it!

“Fully Prank’d” is available now.

TRAVEL BUG

The Life & Times Of A Tassie Boy

JASE’S WORLD TOUR

BY JASON RICHARDS

23/11/06

1. I bought a horse-hair hammock off an old Thai man in the street with one tooth for 100 baht – approximately $2.

2. I saw a strange little man walking around with the coolest damned hat I ever saw. I challenged him to a game of rock, paper, scissors for his hat. I won.

Currently wearing it.

3. Squeezed five people into the back of a tuk-tuk to be driven at crazy speed through crazy traffic, to a crazy bar.

4. Purchased a bucket at a bar filled with whiskey, Red Bull and Coke, to be shared between myself and two hot English girls.

Fairly quiet day today on the excitement front, but none of these things could be done in Launceston.

Waking up in Bangkok tomorrow, to catch a train to Cambodia…that can’t be done in Launceston either.

3/12/06

Been traveling through Cambodia for a couple of days, with no internet, then arrived at my destination (Sihonoukville – beach resort in Cambodia) and got smashed with food poisoning/gastro. Didn’t leave my room for two days. Throwing up – f*cking horrible.

birthday cake came from behind, the hair removal cream was used on my chest and stomach, my head was shaved to a mohican with the razor, and the strawberry-flavoured Disney lip gloss was worn out later to nightclubs.

Rambo Jase was taken at a shooting range just outside of Phom Phen. You can go to this place and shoot everything from a Ruger pistol to at B40 RPG launcher. I shot of 25 rounds from an AK47 (fuckin’ cool) and 100 rounds on an M60 (even fuckin’ cooler). The AK47 cost $30USD for 25 rounds and the M60 $100USD. Worth every fucking cent. For an extra $10 you can shoot at a chicken, or for a total of $400USD you can blow up a cow with the B40 rocket launcher. Crazy shit.

I took over a falafel pita stall on Khao San road in Bangkok for a laugh. ;-) This trip started as a challenge to get my arse from Warsaw through to Singapore without catching a plane. So far, so good. In Cambodia now; a chaotic place. Headed back to Thailand for the famous Full Moon Party on Kho Pang Yang. 15,000 revelers hit the beaches on this small island for 3 nights of serious debauchery.

Stay tuned for more from Jase next month.

The photo of me and the monkey was taken on Monkey Island just off the coast of an island called Hainan off the south coast of China. Approximately 1.2 seconds after this photo was taken, I felt a warm stream down my back…the little fucker pissed on me. I’d say he’d had a few beers too, ‘cause there was a whole lotta piss right there.

The photo of me with cake on my face was taken in Bangkok on my birthday. I arrived in Bangkok that morning by myself and not knowing anybody. Was feeling a bit low ‘cause I’d been taking mushrooms for three days in Laos and what comes up must come down. Made a few friends and they all ended up buying me some some loopy presents. The

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PAGE 15

GIG Guide 06/12/06 - 03/01/07 DECEMBER WEDNESDAY 6TH 1 HOBART Republic Bar & Café Peter Hicks 9pm Syrup LATE NIGHT BOOTY CALL – Resident DJ’s Mez, Chilli & Dave Webber 10pm Trout The Jeremiahs, The Que, Moe Grizzly, Girl Mountain 1 LAUNCESTON Saloon Uni Night Ethel The Frog (Hbt) + Local Acts THURSDAY 7TH 1 BURNIE Stage Door the Café Jazz with Viktor Zappner Trio Featuring Yoly Torres from Burnie on vocals 8.00pm 1 HOBART Republic Bar & Café Dukes of Windsor supp, The Inches 9pm Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with resident DJs Mez and Model T + Guests Trout Pissweak Kids 1 LAUNCESTON James Hotel Uni Night 3Sum Dj Nikko Royal Oak Josh Shephard and Daniel Townsend in the P/B 9pm

PAGE 16

FRIDAY 8TH 1 BURNIE Stage Door the Café Me ‘n U (Anthea Carins on grand piano, Del Polden on guitar and Krissy Rostan on clarinet) 7.00pm 1 HOBART Halo Pendulum feat. MC Verse (WA/UK) Republic Bar & Café Bomba Reggae Band 10pm Syrup Resident DJ’ Mez ‘Laying down the Chunks “O” Funk’ 7pm Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan Upstairs 11pm: LaCasa “Sexy Vocal House” with residents Matt B & Timo, DJG Trout Art of War 1 LAUNCESTON James Hotel John Stitch Reality The Dukes of Windsor The Inches Dj Mac D Dj Nikko Royal Oak Ciaran Vandenburg in the P/B 9pm Saloon Karaoke In The Loft bar SATURDAY 9TH 1 BURNIE Stage Door the Café Gaye Clarke & the Big Band Sound 7.00pm 1 DEVONPORT King’s Bar High Voltage – AC/ DC Tribute

SUNDAY 10TH

+ Local Acts

1 HOBART

THURSDAY 14TH

Lewisham Tavern THE ROOTS ROADSHOW Carus & The True Believers Rob Sawyer Band Loren

1 BURNIE

1 HOBART Halo Klaus “Heavyweight” Hill (Syd) Peacock Theatre Wendy Rule 8pm Republic Bar & Café Carus + The True believers, Rob Sawyer band, Loren 10pm Syrup Downstairs 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Billy Bob & Naughts Upstairs 11pm: Dirty Fking Dancing – presents Ministry of Sound ‘The Annual 2007’ featuring John Course, and Mark Dynamix, with local support Gille, and Adam Turner.

Trout The She-Rats Undertone Wendy Rule In-Store Performance 3pm 1 LAUNCESTON James Hotel Glenn Moorhouse Reality Bomba + Special Guests Dj Mac D Dj Nikko Royal Oak Leo and Mick in the P/B 9pm Saloon METAL NIGHT ZERO DEGREES FREEDOM TABERAH CONFESSIONS OF DARKNESS CORPSE CARVING MEPHISTOPHELES 9:30pm door

Trout Midnight Caller 1 LAUNCESTON

Republic Bar & Café Rory + Riot Act, Modus, Nellie, Holly Kirby, Jimmys Stealie Band, Nike Bomba Plus Art Expedition & Visual Delights.

2pm-6pm Bomba Reggae Band 9pm 1 SWANSEA Bark Mill Tavern Wendy Rule MONDAY 11TH

Stage Door the Café Jazz with Viktor Zappner Trio Featuring James Maddock from Hobart on tenor sax and vocals 8.00pm 1 HOBART Curly’s Bar The Red Eyes Supp. Radiofire Republic Bar & Café Wilderness benefit night 9pm Syrup MESH with resident DJ’s Mez , Model T & guests

1 LAUNCESTON James Hotel HO Launceston’s Hospitality Night

James Hotel Glenn Moorhouse Reality The New Black + Modus Dj MacD Dj Nikko Royal Oak Dave Adams and Friends in the P/B 9pm

1 LAUNCESTON

SATURDAY 16TH 1 BURNIE Stage Door the Café Chris Lynch 7.00pm

Falmouth Community Centre Falmouth Festival 1 HOBART

Irish Murphy’s Patrick Berechree 8.30 – 9.10 The Sign 9.30 – 10.20 Nathan Weldon & The Two Timers 10.40 – 11.30

Royal Oak Carl Fidler in the P/B 9pm

Republic Bar & Café The New Black Supp The Evening Dolls 10pm

FRIDAY 15TH

Republic Bar & Café Simon & Atalana 9pm

Stage Door the Café Tango Argentino.

7.00pm

WEDNESDAY 13TH

1 HOBART

1 HOBART

Republic Bar & Café Josh Owen Band 10pm

Syrup Downstairs 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly and Billy Bob. Upstairs 11pm: DIRTY F’KING DANCING – house, electro & breaks with resident DJ’s Gillie & Adam Turner +Kir, Modal

1 HOBART

Republic Bar & Café Dave Calandra 9pm Syrup LATE NIGHT BOOTY CALL with DJ’s Mez, Chilli & Dave Webber.

10pm till late Trout James Brook 1 LAUNCESTON Saloon Uni Night Ethel The Frog (Hbt)

SUNDAY 17TH 1 HOBART Republic Bar & Café Hamell On Trial (USA) 8.30pm

1 HOBART Republic Bar & Café Manic Monday 3 BANDS 8.30pm 1 LAUNCESTON James Hotel HO Launceston’s Hospitality Night TUESDAY 19TH 1 HOBART

James Hotel Uni Night Funkin Unbelievable Dj Nikko

TUESDAY 12TH

Saloon DJ S&M

MONDAY 18TH Saloon Karaoke In The Loft bar

1 FALMOUTH Trout Essence of The Cool

Royal Oak Ben Castles in the P/B 9pm

1 BURNIE

Syrup Downstairs 7pm: KO – Resident DJ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs 11pm: ”La Casa” Sexy Vocal House with Matt B & Gillie

Halo Freq Nasty (UK)

Trout My Disco, The Scandal, The Bad Luck Charms

Irish Murphy’s Amy Kendall 8.30 – 9.10 Micheal Clennett 9.30 – 10.20 Hannah 10.40 – 11.30 Republic Bar & Café Blue Flies 9pm WEDNESDAY 20TH 1 HOBART Republic Bar & Café Late Night Access sup. Hannah 9pm Syrup LATE NIGHT BOOTY CALL with DJ’s Mez, Chilli &Dave Webber.

10pm till late Trout Tasmusic Showcase

1 LAUNCESTON 1 LAUNCESTON James Hotel AC/DC Tribute feat.

“High Voltage” Dj MacD Dj Nikko

Saloon Uni Night Ethel The Frog (Hbt) + Local Acts

SUNDAY 24TH

THURSDAY 21ST 1 LAUNCESTON

1 HOBART Curly’s Bar Chicks Of Rock!

Anarkasiem Lakoda Late Nite Access Republic Bar & Café CW Stoneking 9pm Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with DJ’s Mez, Model T and Guests Trout TBC

FRIDAY 22ND 1 BURNIE

Royal Oak Leo & Mick in the PB

Trout Disconnect Records Christmas Eve party

Syrup MESH – Hobart’s oldest club night, breaks/drum+bass with DJ’s Mez & Modal T

Saloon Karaoke In The Loft bar

1 LAUNCESTON

1 LAUNCESTON

Royal Oak Xmas Eve Modus & Melb DJ Benny

James Hotel Supafly Inc. Live!

UniNight 3Sum Dj Nikko

Syrup 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly & Naughts Upstairs 11pm: DIRTY F’KING DANCING House Electro and Breaks with residents Adam Turner, Gillie and Kir & Modal

FRIDAY 29TH

1 LAUNCESTON

1 BURNIE

James Hotel Glenn Moorhouse Reality Dj MacD Dj Nikko

SATURDAY 23RD 1 BURNIE

TUESDAY 26TH Stage Door the Café Song Sounds – Launceston vocal and instrumental ensemble 7.30pm

Curly’s Bar Honey – Grand Opening Feat. Flygirl Tee & Nino Brown Halo Dopamine (Syd) Republic Bar & Café The Melodics supp, Unleash The Nugget 10pm

1 HOBART Republic Bar & Café Nellie & The Fat Band 10pm

Syrup 10.00pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly & Naughts Upstairs 11pm: DIRTY F’KING DANCING House Elctro and Breaks with residents Adam Turner, Gillie and DSKO, Corney

Irish Murphy’s Crystal Campbell 8.30 – 9.10 Samuel Bester 9.30 – 10.20 Jordan Millar Band 10.40 – 11.30

Trout Psycroptic, Ruins

Trout Bad Luck Charms

Republic Bar & Café DUB:PLATE Bands and DJs 1pm – 1am Joe Pirere 9pm Trout The Roobs Boxing Day Show

1 HOBART Republic Bar & Café Bridget Pross 9pm Syrup LATE NIGHT BOOTY CALL with RESIDENT DJ’s Mez , Dave Webber.

Royal Oak Open Mike Night

1 LAUNCESTON James Hotel Ben Castles Reality Late Night Access + Special guests Dj MacD Dj Nikko Royal Oak S&M in the PB Saloon DJ S&M

Stage Door the Café Trevor Weaver; singer-guitarist from Hobart 7.00pm

Royal Oak The Titz in the PB

1 HOBART

1 LAUNCESTON Syrup Downstairs 9pm: KO with Resident DJ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs 11pm: La Casa presents Tim Healey (UK) with support from Timo, Gillie, and Corney.

Republic Bar & Café Hey Mook 10pm

1 HOBART

WEDNESDAY 27TH Stage Door the Café Montage (Kendal McLaren on vocals, Jerome Hillier on guitar & vocals) 7.00pm

1 HOBART

Republic Bar & Café The Melodics + Unleash The Nugget (Afternoon gig) Cake Walking Babies 8.30pm

1 LAUNCESTON

Royal Oak Rueben Ellenberger in PB

Republic Bar & Café Son Del Sur (Cuban Salsa) 9pm

James Hotel Glenn Moorhouse Reality The Melodics + Unleash the Nugget Dj MacD Dj Nikko

1 HOBART

James Hotel UniNight Sgt Green Dj Nikko

SATURDAY 30TH

1 HOBART

1 BURNIE Stage Door the Café Viktor Zappner & friends 8.00pm

1 HOBART

Curly’s Bar Supafly Inc. Live!

SUNDAY 31ST Republic Bar & Café Ugly Duckling supp.

Heads Of State & Unleash The Nugget 10pm Syrup Downstairs 9pm: KO with Resident DJ MEZ ‘Laying down the Chunks “O” Funk’ Downstairs 11 pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs “Pickle” Hobarts home of Hard Dance Music with residents DSKO, Corney, PKC

THURSDAY 28TH 1 BURNIE Stage Door the Café Viktor Zappner Trio Featuring Alistair Dobson from Hobart on saxophone 8.00pm

1 HOBART Curly’s Bar INFUSION NYE Party From The Heavens Republic Bar & Café Sugartrain 10pm Trout The Roobs JANUARY MONDAY 1ST 1 LAUNCESTON James Hotel HO

1 LAUNCESTON WEDNESDAY 3RD Batman Fawkner Inn

Saloon Uni Night Ethel The Frog (Hbt) + Local Acts

Saloon DJ S&M

James Hotel Leigh Ratcliffe Reality Dj MacD Dj Nikko

1 LAUNCESTON Saloon Uni Night Ethel The Frog (Hbt) + Local Acts

Venue Guide Burnie

Sta ge Door The Cafe 254 Mount St Upper Bur nie 64322600

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

Hobart

Curly’s Bar 112 Mur ray St Hobar t 7000 6234 5112 www.curlysbar.com.au Halo 37a Elizabeth St Mall Hobar t 6234 6669 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 Telegraph Hotel 19 Morrison St Hobart 6234 6254 Trout 381 Elizabeth St North Hobart 03 6236 9777

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

O’Keefes 124 George St Launceston 6331 4015 Royal Oak 14 Brisbane St Launceston 6331 5346 Saloon 191 Charles Street Launceston www.saloon.com.au hotel@saloon.com.au 6331 7355

Royal Oak David Adams Saloon Karaoke In The Loft bar

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

The Alpha Breed Of Death Metal

PSYCROPTIC

BY DAVE WILLIAMS

Arguably Tasmania’s most well-known metal export, Hobart’s Psycroptic have been crushing skulls both here and overseas since 1999. In recent times, they flew the flag for Tassie metal alongside US heavyweights Cannibal Corpse on their mainland tour (for the second time, no less). What’s more, they’re about to raise hell with the Catholic church’s favourite band, Deicide. The crushing Dave Hayley spoke to me about international tours, musical advancements, and the “Symbols Of Failure”.

You recently finished a national tour with Cannibal Corpse. Lucky bastards! How were you received next to such an esteemed act?

This was our best ever tour of Australia handsdown, and touring with Cannibal again was great.

We toured Europe with them earlier this year, so it was great catching up and hanging out again. The reaction we received at all the shows was amazing, and we made a lot of new fans too…which is always a good thing. The guys in Cannibal are always supercool to us and very down-to-earth, so we had a great time hanging out.

As musicians, what did you take away from watching Cannibal Corpse perform?

Well, we do what we do, and they do what they do. But they are all great musicians and awesome performers…Alex (Webster, Cannibal bass player) is especially an inspiration, due to his level of musical skill and his commitment to music. His enthusiasm for music – especially metal – is something I’ve never seen before. He loves to help out bands that are less known than Cannibal, which is a very admirable thing. We had already seen Cannibal play quite a lot, but it was still really cool watching them get up and crush every night.

PAGE 18

I’ve heard many Tasmanian artists complain about how our location hampers opportunities for them to succeed. Given the remarkable amount of touring you guys do, what would you say to this? And what do you think you’re doing that they aren’t?

I’d say yes and no to this. When touring Australia, coming from Tasmania does hamper touring a bit – mainly due to the financial challenges it presents.

However, when talking about international tours, Tasmanian bands are on a level playing field with every other Australian band due to the isolated nature of the country…however, a lot of people don’t see it this way. Coming from Tasmania does offer a unique selling point, as it is seen as an “unusual’ and unique place, so by promoting this fact bands can turn the negative into a positive.

“

…Humanity being the u l t i m a t e sy mb o l of f a i l u re i n c re a t i o n .

Pre t t y p o si t i ve st u ff

”

Your third album, “Symbols Of Failure”, was released earlier this year; how was it received, compared to your previous two albums?

I’d say it was received the best out of our releases thus far, by both the media and by the metal community. It received great reviews and we received a lot of positive feedback about the album. Of course you can’t please the “they lost it after their first demo” people; you can’t be all things to all people.

But we’re happy with how it’s going.

If we can get deep for a second, what, to you, are symbols of failure?

The title is taken from lyrics in the opening song “The Alpha Breed” – it refers to humanity being the

ultimate symbol of failure in creation. Pretty positive stuff (ha-ha-ha).

behind-the-scenes stuff involved with music and being in a band – a necessary evil really.

What differences did you notice recording with your new vocalist, compared to your earlier work with Chalky?

It was a much more relaxed recording process compared to previous albums due to the fact that we did most of it in Joe’s [Psycroptic guitarist] home studio. It took all the pressure off when recording, as there is no time meter ticking with money being spent. Having a new face in the band with Jason on board was great too, as he brought a new enthusiasm and new ideas into the band.

What advancements or evolutions have you seen in your music? And which do you believe is more important in metal; consistency, or experimentation?

I think, as we’ve progressed as a band, we have included more influences outside the metal genre to come into the music. We have also taken more “risks” (both musically, and with touring, etc) as we have progressed. I think the most important thing within any musical genre is just to do whatever makes you happy, and not do something because you feel you have to – whether that is experimenting, taking risks, or just doing something that feels right to do. Music is about the individual, so do whatever makes you happy.

You were actually the first extreme metal band I ever saw, way back with Blood Duster at The Batman Fawkner, and one of the things I noticed is, despite how they might look, metalheads are some of the most friendly and non-threatening punters, particularly compared to others you might bump into on a night out. To what extent do you think this is accurate? Why do you think this is?

I think this statement is fairly accurate, and I think to a large degree “metalheads” get a reputation for being a bunch of aggressive morons – one that isn’t deserved in my opinion. Metal is a subculture, and as such people look and dress a certain way; therefore a lot of people are wary of its members due to them being “different” to the norm. Like any other groups or subcultures, there always are a small percentage that live up to negative stereotypes (for whatever reason), but this from my experience is only a very small number, and usually they aren’t genuinely into the music. I would also say the aggressive nature of the music does contribute to the placid nature of many metalheads, as they are given an outlet to get rid of negative emotions.

How do you think you’ve developed as musicians in the time Psycroptic has been together?

I think we have all progressed a lot as musicians due to the technical nature of the music, and the amount of rehearsal and live shows we undertake. We also have developed a greater understanding of all the

Last we heard, you were doing some professional music videos – what stage are they at now? What can we expect from them?

Yeah, we have actually done two clips – one was a “staged” clip we did in Perth earlier in the year and the other was a live clip that was shot in France. The live clip is available on the internet at the moment and I believe some TV stations have been playing it as well. I think we will use the other clip as a bonus on a future release, so we’ll just sit on it for a while.

What does 2007 have in store for Psycroptic?

Well, we start 2007 with another European tour – we’re doing twenty-six shows supporting Deicide.

We have a few festivals booked in as well – including US and New Zealand shows. We’re trying to organise a full tour of the US as well, but this has been a very illusive market for us thus far. We also hope to record our next album later in 2007. It looks as though it will be a very busy year for us…which is a good thing!

Psycroptic unleash screaming metal hell in Hobart’s Trout on the 22nd of December.

Behind Crimson Eyes + Supports JAMES HOTEL 24/11/06

By Ryan Cooke

Deb Conway

STAGE DOOR CAFE

By Dave Williams

Elite Force

HALO – 17/11/06

By Felix Blackler

Muph and Plutonic REPUBLIC BAR – 7/10/06

By Ryan Farrington

Melbourne’s Behind Crimson Eyes last visited Tasmanian in mid-March for the first ever MS Fest and blew away anyone who witnessed their breakthrough performance.

Seven months later, two lineup changes and a debut album, and they are back with a vengeance. First band of the night were Hobart’s Ladoka. The music they played at this gig sounded like a boring ripoff of Killing Heidi, and would have been huge if it was still 1999... Sorry guys, but I just don’t get it. The masters of “chug chug” from Devonport, Mindset were up next and blew everyone away. The vibe in the room changed when Mindset took the stage; people seemed to get into the music more, with a small pit breaking out. The highlight of the set, by far, was the new track “Create to Destroy”.

Then, on came BCE. From the thumping drum intro of “Sex Lies and Homicide”, the crowd knew it was on, and Behind Crimson Eyes sure as hell didn’t disappoint. A set mostly showcasing tracks from their brand new album “A Revelation for Despair”, which was released earlier in the week, also contained older tracks for fans from before this most recent release. Highlights of the set were tracks like “The Black Veil”, “Empty Promises”, and the set closer, “The Art Of War”. Josh and his troops won over the crowd, and no one seemed to leave disappointed. One of the best shows of 2006

It’s the Stage Door Cafe in Burnie. Deb Conway is on stage with her backing guitarist, Willy. “The lady in white must stop talking…” she insists, smiling. Everyone, including the culprit, looks up.

“Yeah, you, big mouth.”

Lots of laughs, and clearly in jest, but nevertheless, the room fell quiet. Deb began telling us how she’d been to a lot of weddings recently. Most recently, the wedding of Clare Bowditch, who, instead of vows, had written a song for her betrothed. It led to Deb wondering what it would have been like if she’d been married (with three kids, and an architect), and, if she’d been married, what song she would write for her betrothed. And then she played “Love In The Middle Ages” – a sincere, gentle song laced with moments of passion.

During “Roses”, an ambulance tore past, sirens wailing. And, as Deb sang, I was transported to Sydney, or Melbourne. Or was it London? Wherever it was, I liked it.

Talking with her in the break, I felt like a teenage fan again, and tried – unsuccessfully, I think – not to sound like a sycophant. Deb was very giving and very open; telling personal stories, such as one about her daughter’s sleepwalking habits.

Her voice was clear and strong, yet emotional.

Hers were songs I’ve never heard before, but kept identifying with; her lyrics clearly enunciated. Hers was a witty, uplifting set, and I had a grin on my face all the way through it.

Skinless + 3 Victims + MSI + Separatist Something with Numbers TROUT – 14/11/06

By Tom Wilson

JAMES HOTEL 25/11/06

By Ryan Cooke

Friday night was always expected to be a huge night, with this big name from the breaks scene causing tongues to wag from the release of his latest album, “Modern: Primitive”.

This was Elite Force’s second trip to Hobart.

Previously demonstrating his abilities with a kickarse live set last year, fans eagerly waited to hear some solid tracks from this, his second album.

“Modern: Primitive” has not been out for long, with hard copies hard to come across. However, those lucky enough to get their paws on one, were looking forward to a live dose of some powerful tracks from the album, including “Used and Abused”, “My Generation” and the solid “Return to Mindfunk”.

As expected, Elite Force came out firing, swinging in a great mix of solid breaks, with his own techhouse feel. He dropped some absolute killers that were heavy, bass-fuelled break lines, with crisp synths feeding over the top which sent me into a completely mesmorised state. Well, at least I think that’s what it was.

Elite Force surely is at the top end of the scale, holding a new album with substance and displaying a classy live performance. If I wore a hat, I would definitely take it off to this man.

Spencer Parker SYRUP – 25/11/06

By Felix Blackler

By the time the support act was about to start, the venue was half-full, so it was obvious that it was going to be a big one.

Local boys, Heads of State started the evening off, slamming through their intense set in their usual fine fashion, which had the front row chanting the hooks and pumped for the main act.

As soon as Muph and Plutonic came out, the crowd went nuts. The boys slammed through with more energy than the last time they played there, with a bangin’ set that certainly got the room bouncing.

Slamming through a bunch of tracks off their new album “Silence the Sirens”, they only did a couple off the previous album “Hunger Pains”, but the crowd still seemed to know the lyrics, which was surprising.

Halfway through one of their last tracks, a fight broke out in the crowd, and the boys stopped the set, angered at the fact that they’d, I quote: “Never seen a crowd brawl all the time we’ve been touring”.

But it was settled promptly and the show went on.

Although they didn’t finish the set with it, the crowd still seemed to go off the most to the funk-filled “Heaps Good”.

The entertainment was good; the company was great. So yet another fantastic night at the Republic Bar.

The Vasco Era + Support James Hotel – 19/11/06

By Ryan Cooke

First up were metalcore act Separatist. They played some crushing riffs, but I think their singer needs to push his performance to a more engaging level.

Then came a lesson in grind from those purveyors of brutality, 3 Victims. A mix of shifting tempos and jackhammering blast beats, I recommend them for children of all ages. Their set was an absolute maelstrom, and they left the crowd roaring.

Follow-up M.S.I took to the stage; the vocal and allround very metal frontman Rick orchestrating crowd chaos as they hammered through a set of intense – and always brilliantly titled – numbers. And with the vibe well and truly set, it was time for the main attraction.

New York’s Skinless took to the stage with vocalist Jason rearing his head...in a gas mask. What followed was a death metal assault on the minds and bodies of their audience; a pit so brutal I believe I was actually out cold on the floor for about fifteen seconds at one point.

For the length of their set, Skinless orchestrated chaos both sonic and physical – most memorably splitting the crowd around the Trout’s L-shaped bar before sending us head-on into each other (the “Death Boomerang”, his words), and getting half the audience up on stage with them. Towards the end, vocalist Jason leaped onto the crowd, and didn’t come down until he’d sung an entire number while over our heads. Heavy as hell, and so was he.

Hobart metal chicks definitely aren’t as shy as their northern counterparts seem to be; dishing out as much cathartic punishment as the shirtless guys. Exactly why one girl was trying to pull my pants down, though, I’ll never know (I guess I’m just sexy).

Massive thanks to the Trout’s Dave Clark and Dan Kross for giving my stranded arse somewhere to crash for the night. Also huge thanks to Skinless for not only coming here to play a brutal gig, but giving me freebies afterwards. You guys fucking rule!

Had not seen or heard anything by Something with Numbers until a few days before the show – I wasn’t really that excited as I have been for other gigs.

Upon arriving at the show, I was greeted by the lovely sounds of Sydney support Fifty Sixx. This band blew me away with their tightness as a live band; I would describe their sound as Behind Crimson Eyes with hardcore influences. The set was spoiled when their guitarist dislocated his knee mid-set, but still managed to continue until an ambulance arrived to take him away.

Angela’s Dish was up next and boy, were they better than when they previously came to Tassie with After the Fall in June. Their mix of emo rock won over most of the crowd and gained some new fans, including myself.

Something with Numbers came onto the stage in a well mighty rush and the crowd went...weird.

SWN is a band hard to explain live; they have their more punk-er songs, then they come out with a pure pop song. I can’t tell you what songs were the highlight, sorry (as I don’t know their material), but my personal two highlights were, firstly, the guitarist from Fifty Sixx (who dislocated his knee), joining SWN on stage on crutches after being to the hospital, and secondly, the closing acoustic number when the SWN singer was joined on stage by all three bands, and the whole audience sang so loud. Another awesome James show, bring on more in 2007.

9/10

Spencer Parker (UK) hit Syrup on Saturday night as he chases the warmer weather out of Europe and into Australia. The night sure turned out to be a lot of fun, in more ways than one ...

Spencer Parker proved the experience of years behind the decks with some solid use of the mixer and its effects to make the most out of a variety of tracks that I would have never listened to. However, it could be that these legs have shaken to the finest DJs in the world in the past six months that I was perhaps a little more bias than the average punter, but Spencer Parker wasn’t really sending any shivers down my spine. Whether there for the DJ, the music or just to work on a huge hangover on Sunday, the crowd were, however, right into it.

A DJ is always pleased if he can get a good reaction from the crowd, and he seemed to, but I am yet to figure out the reason one guy decided he would take off all his clothes and get round the dancefloor naked, which made it incredibly scary when trying to get to the bar.

Spencer Parker in the end proved to make it a good night out for all, but like myself I think the crowd was even happier when that guy put his pants back on.

Very few shows I’ve ever been to on a Sunday night are ever successful, in terms of crowd numbers, no matter how great the band is. This show was another one of them.

Upon arriving a little later than expected, I was greeted by the weird but wonderful sounds of Melbourne band The Whiskey Go Go’s. The Whiskey’s were different to say the least, but they were really happy for a band who had the shit kicked out of them the night before in Hobart by some jocks/bogans (for no reason).

The Vasco Era was up next, and the crowd had picked up a bit by the time they went on-stage. No matter how many times you see these guys they seem to change. Sid opened with a solo performance of a classic cover, and from the outset the audience was left with no doubt as to his formidable talent. With great vocals cutting just the required amount of edge, it was a brave and victorious beginning to a really great set.

They followed it straight back up with one of the heaviest songs I’ve heard played at the James. Highlights of the set for me personally were the new single “When We All Lost It”, and the band trashing their gear…so to speak. (Well, neatly throwing it all to the ground to make sure they didn’t destroy anything). It was a great show – pity the punters didn’t support it.

PAGE 19

The Scientists of Modern Music NUMBER ONE

Get this EP, today, if you can. Go without food or shelter, if you need to, to save the cash if necessary, ‘cause it’s a diamond and destined to be a collector’s item in the very near future. It’s already in my personal vault.

Big respect to these two young Hobart lads for their production, for their overall style and for their witty lyrics, packed with social comment. And for their cover art and for the way they have created an image for themselves, which, at the heart, messes with our concept of identity. I am yet to see an image of them in which they reveal their true identity, which intrigues me, and makes me want to know them even more. The EP opens with the aptly named “Science, Blood” – a throb and electro dirge which moves, bridged with the help of a snare, to bangin’ electro rock, highlighted with classic video game-style bleeps and squelches. I think there’s some speech, but it’s been so messed with, it’s unintelligible, but brilliant. The track changes into something you might hear as an intro to a Stone Roses track, then it’s back to the bangin’ and rockin’.

The track, “Running Through Our Blood” is going to be a hit single, played on Triple J round the clock in the near future, I bet. This is wicked, wicked stuff. I challenge anyone with this taste in music to not grin to the lyrics and bop to the beats. And it’s meaningful. Succinctly, it says something about our lives. Morrissey would even be impressed, I reckon.

The EP finishes with the title track, “Number One”, which has the most familiar sound on the CD, but the use of space and timing is masterful.

Watch out Infusion and The Presets, these little devils are biting at your heels. Stay tuned for BIG news in January!

10/10 Review By Ryan Cooke

John Course & Mark Dynamix MOS – THE 2007 ANNUAL Look out boys and girls, here’s an absolute bomb of a CD. To my ears, this is one of the best releases of the “Annual” series by Ministry Of Sound to date, with the trusty, old faithful John Course and Mark Dynamix blending a great selection of pumping tunes.

Disc one, mixed by John, consists mainly of the mainstream vocal tracks smashed on dance floors today, with popular mixes from the likes of Hook N Sling, Bob Sinclar, Chris Lake, Basement Jaxx and many more. Featuring twenty-one tracks with a classic blend of electro-house and mega vocal hooks, it’s energy stays consistently happy, though with a rougher edge than the previous “Annuals” released.

With disc two, Mark shows his selection of gigantic tunes, one after the other. With a definite flavour of mega-electro, banging beats, its high energy, late-night floor-fillers keep you engaged within the twenty-one tracks of bliss. With so many tracks that are crowd pleasers, it’s hard to pick the one of the bunch, although “The Bump” by Hook N Sling and Kid Kenobi is a killer track, and favourable in my bag.

Overall this CD kicks ass and is worth every penny!

Get off your backside and grab a copy – it’s worth it!

9 ½ Buzzing Monkeys out of 10 Review By Patrick Duke

Rub-N-Tug FABRIC 30 Have you heard of Fabric? Legendary for its CD series and parties, they have released the 30th edition featuring Rub’n’Tug. Eric D and Thomas AKA Rub’n’Tug met in LA and ever since have been pumping through the NYC underground scene. Hence their Champagne-guzzling escapades and lock-in discos. They have certainly earned their reputation to be a little rambunctious and fun.

This CD brings the party out of them with a blend of smooth synths, edgy bass-lines, catchy vocal hooks, organic punches, and less we not forget, addictive beats. It comes across on the light side of house/ electro with a touch of garage. Top track would be “Discopolis” by Lifelike and Chris Menace; a definite bodied groove to this track.

On a personal note, the production seems a little sloppy with levels, and some areas of the mix leave you bored or hanging for just that little bit too long.

Call it impatience or what you will; the mix hasn’t done anything for me but it may for you.

Overall it’s definitely different and has a bit of groove, but just not my thing.

5 poo-sponging monkeys out of 10 Review By Patrick Duke PAGE 20

GRRR

The Scandal NEVER HOLD TO SHORE

I’M SORRY I was surprised at how good this LP is. Yes, I was guilty of pre-conceived bias against Christian contemporary music as “See The Light!” cheesy crap, but this record has changed my views. These guys rock.

I loved the grinding guitars, tight drumming, original vocal style and clever arrangements, delivering a progressive hard-rock sound. Good, even courageous variety between songs and within songs themselves.

The pace and style, plus the use of space and pauses, had me nodding my head and playing air guitar to songs that I’d never heard before. Good song structure, in general.

It even brought back memories, at times, of Suicidal Tendencies and The Butthole Surfers. That was a weird feeling, and a bit hard to get to grips with, considering my previous bias, but I liked it. “I’m sorry” is impressive, on all kinds of levels. With top production values, the recording is professional.

GRRR8 first effort! (Sorry ‘bout that last little bit of cheese – couldn’t help myself!)

8/10 Review By Dave Williams

The Scandal’s first LP is a good album, and more accessible to a wider audience than I anticipated.

Sure there’s some classic punk, like the opening, “Dupe”, but there are also tracks that take you on a journey; that instead of mimicking the multitude of punk acts out there, reveal an original sound that pays homage to punk, but breaks down the walls that surround the genre.

I’d describe it as hard rock/punk, with intellect and spunk. Take track seven, “Sagacity/Apathy” that opens with strings, and then builds to a heavy, guitardriven crescendo. The confidence and the emotion conveyed in this track had me feeling it, and nodding my head, before it smashed into rapid-fire, classic punk, and a feeling of desperate anarchy.

Wicked guitar, speed-drumming, melodies and lyrics that touched my soul, plus impressive production, mark this first release.

8 out of 10 Review By Dave Williams

Lakoda LAKODA It’s the first time I’ve heard this band, who’ve recently scored some good support gigs with The Butterfly Effect and Behind Crimson Eyes. It’s a fine first effort, as far as I know.

I love the cover artwork; quirky and in contrast to their sound – a difference which I found appealing.

Track two, “This Lie” is my pick, and is what you’d be unsurprised to hear on Triple J. I enjoyed the clear, strong lead vocals, showing skills and flexibility.

In general, this self-titled EP (their first, I believe) contains well-structured, well-played and wellrecorded songs, with driving, melodic guitar riffs.

If you’re looking for comparisons, think a tougher Love Outside Andromeda or, some have said, Killing Heidi. However, any musically-skilled rock band, from Australia, with a female lead singer is going to get those comparisons.

For my ear, it would be good to have a little more contrast between songs, but overall it’s a solid release with some indie-radio-friendly tracks.

7/10 Review By Dave Williams

VARIOUS ARTISTS Nordic Lounge Weekend Say-Oh-Sin. Say it with me now: Say-Oh-Sin, because you’re going to be hearing a lot more from these guys over in the next few months.

Of course, if you’ve been on the scene at anytime in the past year or so, you have already heard a lot.

The hype coming into their debut on major label, Capitol, was ridiculous to say the least. To me, it seemed undeserved. I was not getting that “next big thing” vibe from the EPs. In fact, I was bored with them. I was not buying into the bullshit hype, and was a little wary when I got this CD because I was not expecting to like this record very much, but the boys of Saosin surprised me. The song “Sleepers”, which probably my favorite track on the album, rushes right in with a pounding intro, complimented with a jittery, fast first verse that is complimented with a soaring, catchy chorus.

The guitars work in tandem with Cove’s voice to make the song compelling and edgy. It continues on with the brilliantly paced “It’s so simple”, “Voices”, and “Finding Home”. Everything that Saosin does right is contained within the first five or six tracks of the album. They are catchy, dark, melodic, wellproduced, and well paced. The beginning of the CD does well to set a melancholy tone that doesn’t end until you hit the stop button. While listening, you doesn’t feel like you’re listening to any other band, you feel like you’re listening to Saosin.

8 reefer puffing monkeys out of 10 Review By Patrick Duke

Killswitch Engage AS DAYLIGHT DIES Killswitch Engage have been the kings of the metalcore new-wave since their beginnings in late 2002. The follow-up to the now classic 2004 release “The End of Heartache”, I think I can safely say the band has progressed fairly well.

Now don’t think otherwise – the band does keep to a formula they used in the past. But this time, they have enough variation to make this album stand out amongst the others. The band did a very fine job of diversifying their style.

The guitars have introduced a new found clarity. ”My Curse” even starts with soft, clean guitar. “Desperate Times” and ”Reject Yourself” have dramatic and slow, clean parts as well, with ”Reject Yourself” including an acoustic piece.

With “As Daylight Dies”, Killswitch Engage are ready to take things to the next step. They continue to bludgeon the listener with monstrous and aggressive riffs, but also incorporate even more melody than they have in the past.

They’ve managed to write songs that are catchy as hell, but still brutal enough for metal fans to be able to mosh to their heart’s content. Yet another great release - the best way to set the bar even higher.

8/10 Review By Ryan Cooke

Peewee Ferris / Smash N Grab WILD WEEKENDS

Tocadisco & Mark James SUMMA DAYZE Another great release courtesy of Stomp, “Summa Dayze” consists of the well-known TOCADISCO and Mark James showing their interpretation of this summer’s top dance tracks.

That’s right kids - “Wild Weekends 3” has been released for all you dance floor-jiving clubbers. This double CD featuring Peewee Ferris and the dynamic duo Smash N Grab has the latest floor fillers to keep a raver satisfied.

CD-1, mixed by TOCADISCO, has a very minimal approach, starting with a great track thanks to Booka Shade, “In White Rooms (Neo Mix)”, which seems to flow with a smooth deep synth that transcends into a great progression, putting your mind at ease.

Throughout the mix you’ll hear many glitches, pops and snaps with some interesting uses of samples to keep the mix spaciously, eclectic blended, with some pumping bass lines and beats. Track eleven, H-Man’s “911 Turbo” is a highlight track, for it can remind you of the Commodore 64 game “Outrun”, fanging in a Ferrari with two-dimensional graphics and funky 8-bit synths ripping in the background. Quite amusing.

CD one consists of Smash N Grab’s mixed compilation of mainstream house with an extreme amount of vocal hooks to keep you humming the catchy bass lines.

Pick of the bunch would have to be “This Is Miami” by Sander Kleinenberg, with its thick, dark, punchy, bassdriven beat. Other popular songs that seem to be getting bigger in the mix are “Horny As A Dandy” Mousse T. Vs The Dandy Warhols, Smash N Grabs Rerub of “Sex Shooter” Firefox and a smooth rendition of “With or Without You” Minimal Chic feat. Matt Goss.

CD-2, featuring Mark, has a very uplifting, electro, tough-as-nails mix. There’s a bunch of great tracks, such as Damon Jee & Olivier Giacomotto’s “Jamon Y Queso”, Micky Slim’s “Acid Is The Bomb”, Max Graham’s “Crank”, and many more. It ends up getting tougher and better throughout the progression, and definitely improves the more you listen to it. It’s the kind of set you’re keen to listen to at peak time.

Definitely impressed with this release, due to the drastic differences between the two styles. I recommend grabbing a copy of this – it’s worth the buy.

Meaner, Harder, Faster – Peewee Ferris strikes back with a great collection of songs pounded into nineteen tracks of true banging bliss. With a roller coaster ride of dynamics throughout the mix Peewee takes you on a 3am journey of banged out bass lines mixed with cuts of vocals and synths for those euphoria-driven moments. Big tracks to look out for “S.O.S. ( Message In A Bottle )” Filterfunk, “Nobody Move” Sidney. Definitely awesome remixes and worth the listen.

Overall this compilation is perfect for the kids doing blockies or for hitting play at a party. I definitely enjoyed it and so would you – if you’re up for the latest tunes, go grab yourself a copy.

8 bitch-slapped monkeys out of 10 Review by Patrick Duke

9 mullet wearing monkeys out of 10 Review by Patrick Duke

Lupe Fiasco Chi-Town Guevara Mixtape

Cradle Of Filth THORNOGRAPHY SYL frontman Devin Townsend once explained that metal is, at heart, a parody (or, in his words, “We’re grown men going “roar!””). Other metal acts take themselves a bit more seriously; creating music to convey a point or illicit a reaction. But there’s a point when serious becomes ridiculous, and…well…here’s “Thornography”.

A band with notoriety written all over it, Cradle Of Filth seem to be living proof that bad publicity is, sometimes, good publicity. They’re one of the only extreme metal bands signed to a major label; they’ve even had a film made about them (albeit one that was incredibly bad). So, really, any release they put out is going to make waves. “Thornography” has made an impact already; being recalled upon its initial release for the cover art to be toned down to what you see pictured. But does it make an impact musically? Well, not for me.

I don’t think I’ve ever heard thrash riffing and doublekicks sound so pedestrian; despite its bombastic orchestral accompaniments and gothic theatrics, the album flatlines from start to finish.

A release from a band and genre I’ve never liked, “Thornography” is, at time of writing, sitting in my bin, covered with scrunched-up attempts at writing a review harsh enough for it.

This sucks. 0/10

This Chicago rapper oozes charisma like the others, but his lyrics are way above the rest. I (like most of you) first heard Lupe Fiasco on Kanye West’s hit “Touch the Sky”, and personally, I was impressed instantly. I believe this guy is the solution for the abundance of unrealistic, over-endorsed rappers from the U.S., and he doesn’t seem to be letting up whatsoever.

Early this year, Lupe’s new album “Food & Liquor” was leaked onto the internet, so badly that (apparently) Jay-Z heard his driver playing the album in his ride before Jay had even heard it, and this is the guy who boosted Lupe Fiasco into stardom in the first place. But to celebrate the album, Atlantic Records have released this crazy seventeen-track mixtape to give everyone else a taste of what this intellectual rapper is all about.

Some of these tracks such as “Lupe the Gorilla” and “Penz & Needles” were released on his “Fahrenheit 9/11” mix-tapes, but they’re still an enjoyable addition to the CD. Even with the huge commercial success of Lupe’s new single “Kick, Push”, I still think it’s such a fantastic track and it has personally stunned me, no matter what anyone says. The beats are fiery and were well-picked by both Lupe and Jay-Z (who executively produced the CD).

This mix-tape is a beautiful introduction to what I can see being an enormous career for this humble 24-year-old, and I seriously urge you to check his new album “Food & Liquor”.

10/10

Review by Tom Wilson

Review By Ryan Farrington

DVD

DVD

Dave Hughes - Live

Joyeux Noel

Filmed in Adelaide’s Thebarton Theatre, this marks the first DVD effort of Sydney radio presenter and “Glass House” stalwart Dave Hughes. Those familiar with his work on the latter program will have a good idea of what to expect from him here. Having a go at everyone from McDonalds to Shane Warne to, well, Tasmania (though it could be argued that his audiences down here probably deserved it), he’s an entertaining (if slightly too laid back) performer. As is almost a custom with comedians of his ilk, those in the front row get paid out mercilessly (note to self: never check my mobile during one of his shows). But thankfully (and unlike similar comedians) he’s never mean.

I’ve always considered attacking your audience one of the worst sins an entertainer can indulge in, so it’s good to see someone go in the other direction (when noting how good looking his Adelaide crowd is, he suggests that their murder rate is so high because they “kill all the ugly ones”)

On a European battlefield, three lines have been drawn; French, Scottish and German trenches carved into the dirt. In the middle; no man’s land, and a strategically placed farmhouse each side will kill to obtain. But as the snow falls, soldiers who expected to be home by Christmas are weary and bitter. So, in a rare moment of humanity, all sides lay down their weapons on Christmas Eve and come together in a tense, temporary truce...

Miss Cheek LIP SERVICE Well, at first glance, the cover art looked pretty nifty, and the track list on the back bared names like Bias B, Pohetikut and Hunter, so I was ready for something at least slightly interesting.

What a let down. I mean, really – the flows are terrible, and the lyrics aren’t much chop either.

Most of the production was taken care of by Devize, but there’s also a few beats by Da Cypha and Cheech, though the overall quality of the beats isn’t what I expected from these guys.

Although it’s not really my cup of tea, I’m sure there’s a bunch of people who will appreciate the punch-lines and some of the bogan humour that comes with Miss Cheek’s style. There are a couple of nicely constructed beats on this LP though, such as “Interlude” and “Strength of Purpose”, although slightly spoiled by the bad mixing, pretentious lyrical content and basic flows.

On a positive tip, there’s a really tight verse

by Pohetikut that grabbed my attention. Also, Hunter’s verse was pretty decent too, which was surprising. DJ Snair drops some smooth cuts too, balancing the album out a little bit, but not quite enough to save it from its fate to be pushed into the bottom of the $1 buckets in CD stores in the near future.

3/10

By Ryan Farrington

Omni BATTERIE

I first saw this guy in an Australian competition named Battle for Supremacy he won the NSW heat), but it wasn’t until I track “Counterfeit Cheques” on JJJ that paying attention to this hidden treasure.

freestyle (in which heard his I started

The Tongue has been in the battle scene for some time now but he has just been signed to Elefant Traks (The label that brings you such names as the Herd and Hermitude), who have released his magic five-track EP on CD and vinyl.

There’s a track on this CD called “The Punch”, which has keys that remind me of the Jackson Five and a tight funky feel in general, and I love the way he tackles the instrumental flow-wise. I liked this release so much that I bought the vinyl version of it recently because I really think this guy is worth supporting.

“Don’t You Ever” sees a beautiful collaboration with Bertie Blackman, where Tongue sheds truth about a past relationship, and with the metaphor “She flew a plane into my heart” bares all emotionally (unlike most rappers who seem to hold back).

Sydney rappers are really excelling in Aus hip-hop at the moment, but I’d have to say that The Tongue is the most balanced MC I’ve seen from NSW in a long time. This guy is very much a thinker and as he’s a very political rapper, I’m excited to see what he does to the hip-hop culture when he really lets loose.

9/10

Some of you may remember the calm, almost overly relaxed Omni from a track called “Conversations with a Speak Easy”, a track released by the biggest hip-hop act in Australia at the moment, the Hilltop Hoods, on their most recent album, “The Hard Road”.

Well, Omni has decided to continue working closely with the talent of our country by releasing his solo album “Batterie”, out on Obese Records, featuring some of the best producers Australia has to offer.

Names such as Plutonic Lab, Burna (Art of War), Optamus (Downsyde), Suffa, as well as a bunch of upcoming producers graced this album, bringing together a nice blend of bouncy club beats and almost electro bangers. Although there have been a handful of underground collaborations between US and Aus over the last few years – anything from Lyrical Commission ft. Celph-Titled to The Resin Dogs ft. Abstract Rude – I’d have to say that this album is the most likely to bridge the two country’s hip-hop cultures than any other project.

I’d have to say my favourite track would be “Calm Yourself”, which sees an explosive collaboration with Layla (Downsyde, SBX) and Porsah Laine over a dramatic, seventies break. The album is definitely true to the meaning of “Batterie”: also called “galvanic battery / voltaic battery: a combination of two or more cells electrically connected to work together to produce electric energy.”

Lyrically interesting, mad beats, check it out.

7/10

The Tongue Bad Education

By Ryan Farrington

The Procussions 5 SPARROWS FOR 2 CENTS The Procussions, a three-piece hip-hop outfit from Colorado, USA, have released an explosive album jam-packed with heavy-arse basslines and intellectual lyrics, bound to have you hooked within the first thirty seconds. Infectious, original guitar melodies, smooth organs, heavy drums… Damn, man – I’m a fan already by the end of the first song.

It’s so refreshing to hear these funky beats that hold the kind of flavour comparable to De La, matched nicely with punchy verses and the intensity of crews like Swollen Members; this has to be one of my favourite albums of the year.

There’re collaborations with Talib Kweli, Renee Altson, and a bunch more fresh artists that fill in the gaps nicely. “Miss January” is a lush, summertime jam featuring the consistent talent of Talib Kweli, which has the MCs reminiscing on past loves over a buttery instrumental. There’s also some nice, deep tunes like “Little People” and “Jiminy Cricket” where the MCs explore their emotional side, which is a nice change from most of the boasty MCs we hear too much of these days.

I’d say the best track all-round on the album would be “Shabach”, which mashes witty lyrics and mad flows with a banging instrumental that really shows how talented the MCs Stro, Mr J. Medeiros and Rez are in their field.

I rate this CD highly, and if you’re into real, original hip-hop beats and lyrics with a lot of thought, I recommend you go out and grab yourself a copy.

9/10

By Ryan Farrington

Review by Ryan Farrington

Pharrell In My Mind The king of the international pop charts is here with his debut RnB solo album “In My Mind”, and considering Pharrell usually spends more of his time behind his keyboard and/or mixing desk, hearing a different side of him (the lyrical side) was interesting.

Probably the most interesting part of the DVD is a generously long behind the scenes doco, providing an insight into what happens in the wings during a stand-up gig (including Dave getting some “words of encouragement” from Lano & Woodley). Also included is a visit to his hometown of Warrnabool, where he introduces his family, takes the piss out of a local cheese factory, manages to get his camera-shy (and particularly hot) girlfriend on camera, and even returns to the abattoir he worked at before he went into comedy, helping round sheep into pens – vegetarians will love it.

I can’t really recommend this to anyone who isn’t already a big fan of Hughes (he’s certainly an acquired taste). But for that audience, they’ll find plenty to sink their teeth into here.

7/10 Review by Tom Wilson

Jay-Z kicks a verse on “Young Girl” and Kanye West on “Number One”, to give you an idea of this label and Pharrell’s connections. Other collaborations on the album are Snoop Dogg, Lauren, Gwen Stefani and Pusha T which should lock in a bucket-load of naive customers…but to be fair the man does know how to construct a beat.

5/10 Review by Ryan Farrington

D’Opus & Roshambo The Question It’s not often that you see a hip-hop act from the ACT, and that’s possibly why this release has a similar feel to fellow ACT artists Koolism. I didn’t really feel this release lyrically, but some of the beats are gold and the spirit of the EP is definitely uplifting, vibe-wise.

The standout track for me was the collaboration with Hau from Koolism called “Ain’t Nothing But”, mainly because of the funky guitar riff, but the lyrics were also half-decent on this track. It’s a shame when there’s such an imbalance between lyrical content and production quality on a release, and that seems to be the case here; but maybe I’m just missing something. I must say that the whole EP sounded very professional as far as sound quality goes – it had a popular artist collaborating on it and I’m sure that some people will really enjoy it, but personally I just didn’t feel it and the whole project sounded a little rushed. I’m pretty keen to hear more material from D’Opus though, if this is any measure of what he’s capable of, both in production and DJ ability.

6/10 Review By Ryan Farrington

In parts, however, the film seems too restrained; an unwillingness to take the viewer closer to some elements of the situation. Trench warfare was, for the most part, hell on earth; that much of the film is spent on the moments of calm seems to be robbing this horrific yet momentous event of the attention it deserves.

However, its humanity is “Joyeux Noel”’s key attribute, and it manages to convey it without being boring. Which I think is pretty damn good.

7/10 Review by Tom Wilson

I do have a few big problems with this album, mainly based on the marketing of it, but I still think they are relevant to the review. Firstly, each track seems to be an attempt to appeal to a different target audience, which I personally think is kind of wrong – but I suppose some people really don’t care and/or realise, which is fine.

Secondly, tracks like “Keep it Playa” (featuring Slim Thug) sound so much like a big ball of new-school vocal slangs, bitten from a heap of big artists in the US hip-hop scene that I struggle to hear any sort of originality or appeal in the flows.

But the production on the album is definitely quality as expected, and I do agree that his drums are unmatched by anyone in the industry. Tracks I don’t mind (possibly because they’re directed at the hiphop market) would be “Raspy S**t” and “Show You How to Hustle” which have some nice smooth riffs and laid-back lyrics.

It was one of the bloodiest conflicts in human history; when it ended, it wasn’t just the millions of bodies that lay dead on the ground. The end of The Great War was the end of the notion that war was a glorious, noble affair. This film wears its Cannes win on its very first frames. And true, there are many, many great elements. The landscape of a freshly picked battleground – soon to be a swamp of bodies and craters – is finely captured.

The element of music – in the form of two tenors who visit the trenches – is vividly captured and, in many ways, quite surreal. This was a situation where a Scottish bagpipe player would finish a song to hear cheers from the nearby enemy, only to be mowed down by their machine guns the next morning. The difference between duty and personal motivations is explored extensively throughout the film; the first meeting between the opposing forces is a vividly nervous moment, full of brooding mistrust and awkward silences.

Homebake – The First Ten Having become the Australian music institution that it is, the Homebake festival has long deserved a DVD effort. Now, Channel [V] have finally delivered, a decade after it all began.

As a title, “Homebake - The First Ten Chapters” is a little mislabled; there are no performances from the first two years, opening instead with You Am I performing “Good Mornin’” at the 1998 event.

Unlike other festival DVDs - such as the excellent “Coachella” earlier this year - “Homebake...” is not structured like a documentary film. The songs aren’t connected by interviews or any other cutaways. While the bare-bones approach can work well - as it did with “Coachella” - here it just feels too minimalist. So much changes from year to year that something is needed to bridge the gap, and on “Homebake...” that something is noticeably absent.

Accompanying the live performances is a documentary narrated by [V] stalwart James Matheison, which chronicles the festival’s history from its beginnings in ‘96. This, for me, is the highlight of the DVD as a whole, featuring a truly smirk-worthy interview with three high school kids who’re on telly because of their band called Silverchair. And the footage of the crowd that day is pure gold – rain pouring from the sky, as a circle-pit of very dirty punters fling mud onto the stage canopy. Still, it’s the only accompaniment for the live performances; while quality is always better than quantity, there’s both need and room for much more.

I just can’t see this really having much long-term appeal. I know it’s a predictable conclusion for a review, but I can only really recommend this to two groups of people; Australian music die-hards and Homebake regulars.

6/10 Review by Tom Wilson

Preserving Efforts Vol.1 The first of its type, Preserving Efforts Vol.1 consists of a handful of hip hop film clips from all around the globe, bundled up into this impressive independent production.

Put together by Aussie hip hop legend Draino (The Rapcella), the DVD has film clips from five separate countries and includes in depth information on each clip, from the overall cost of the clip to the film/production company that the clip was made by.

Artists featured are US artists: Atmosphere (Rhymesayers), Murs, Guru (Gangstarr), Living Legends, Aus artists: Bliss n Eso, Mnemonic Ascent, Muphin, Tzu, Urthboy, Koolism, Netherland artists: Pete Philly & Perquisite, English artists Def Tex and Canadian rapper Wordburglar which gives you a good perspective of where certain styles of hip hop are headed right now.

As irritating as the track is, I’ve become sort of addicted to the unusual Wordburglar anthem, that has a comic book style clip, equipped with an overly excited, punch line style lyrical soundtrack.

I still enjoy the ‘Then ‘til Now’ film clip by Bliss n Eso, it has to be one of the highest quality clips we’ve seen in Aus hip hop in the last six months as well as being a well produced track overall.

The back of the case mentions that the main reason for the production of this DVD was/is to give the artists a bit of longevity, for these underground (smaller fish) artists to have there clips placed on a medium that allows the owner to watch these quality clips more often than just the once or twice they get played on Rage.

7.5/10 Review by Ryan Farrington

PAGE 21

Studying The

ART OF WAR

BY DAVE WILLIAMS

Ahead of the Hobart stop of their national tour, SAUCE got in touch with menace of Aussie hip-hop collective The Art Of War for a discussion about the battleground of live performance.

So how’s your day been?

Yeah, not too bad. I had to leave work because I’ve got a sore back. I don’t know how I’ll be jumping around on stage feeling like this.

With a name like “Art Of War”, how sick are you of talking about war?

Well it’s a common question that comes up.

It’s just named after the book of the same name, which is a good book. I think we tend to think along similar lines in some cases, which possibly comes across in our music.

Do you think that being in the music industry is similar to waging war?

Oh, I suppose it can be. But I suppose we tend to take a very inward view. We’re pretty much a self-contained unit. We know what we’re doing, but we’re not too outwardly-focused.

Performing is a pretty considered thing, though. You have to think about how the audience is going to react to this, which might be a bit like “how’s the other side going to react to this?” It becomes something that you’ve really got to plan, isn’t it?

I think that’s a lot of that concept of the book, “The Art Of War”, in that it’s about the thought behind the war, and all that sort of thing. And I think a lot of the concepts can be applied to anything in life, and I think that music is one of them, definitely. And that was part of the first album, the first chapter; depending

on your translation of the book, the first chapter is about strategic assessments. And the intro of the album was called “Strategic Assessments”.

And in a way, that was a collection of things we’ve done over the years; building up a name for ourselves… I guess that in a way there was a bit of a theme there, and it sort of correlated to that first chapter of the book.

How long do you reckon you’re going to keep going with the titles from Sun Tzu’s doctrine?

Throwing Down Some Live Hip-Hop With

THE MELODICS

BY TOM WILSON

Some might say that you can have too much of a good thing, but no one seems to be complaining about the recent explosion of live hip-hop. Roughly a year after playing their first gig in that incubator of musical talents – Melbourne – they’re packing up copies of their freshly pressed EP and training their crosshairs on Tassie.

Drummer James Tudball lined us up in his sights…

Live hip-hop is more popular than it’s ever been these days, particularly in Australia. Who do you see as some of the pioneering acts of this genre?

Firstly, all of us in Melodics are relatively young.

We’re all in our low-twenties, so it’s only been five or six years that we’ve been able to go out to pubs and clubs and check out the live music scene. I mention this because, during its pioneering days, live hip-hop was predominantly underground and, by large, only accessible at live gigs. To some degree, we weren’t able to check out Australian hip-hop first-hand in its infant days. Also, it’s only been in recent times that live hip-hop has began to get some high rotation on commercial radio stations…it’s fair to say this musical genre is a relatively new phenomenon in Australia.

reggae. Our line-up is keys, vocals, double bass, drums, sax and trombone. We throw those sounds and all of our creative musical ideas into a pot and come up with something which is incredibly energetic and diverse. But I guess people will have to come down to the shows themselves to really embrace our music!

“

When our keys player…opens his mouth, he often doesn’t look before he leaps.

”

You’re playing with Unleash The Nugget on your Launceston shows. What have you heard of them so far?

I came down to Tassie for a gig earlier in the year with another hip-hop band, and Unleash The Nugget teamed up with us. I was incredibly impressed as soon as I heard them! I completely dug their vibe on stage and their musicianship, which is second to none. They’re also just great dudes. I can’t wait to play alongside them again…and to party with them afterwards.

Another member, Oceans Baroque, apparently has a problem with “offending people”. What have been some of his most memorably offensive lines?

When our keys player/vocalist, Hue Blanes, AKA Oceans Baroque, opens his mouth, he often doesn’t look before he leaps. Sometimes we don’t even think he believes or understands what he himself has just uttered! He baffles us with what at times appears like a lack of intellect. However, deep down, he’s one of Melodics’ most incredibly talented, funny, and clever members. But to answer your question…well, hmm…there are a lot of memorable offenses. Here’s an example…I was just browsing through his Myspace page, and in one of his blogs he asked himself what his preferred hair colour on girls was. He answered, “I don’t mind, but for some bloody reason I always end up with blondes, I don’t know.” I’m sure females may take offence to this and hope that Hue could one day look past their hair colour.

What baffles me, though, is that the last three girls he’s been with have all been brunettes.

What material will you be dishing out at your Tasmanian shows?

A mixture of hip-hop, soul, drum n bass, funk and

Melodics play Launceston’s James Hotel on Friday the 22nd of December, and Hobart’s Republic Bar on Saturday the 23rd.

PAGE 22

“

We rap about pretty personal things…

”

Ah, I don’t know. I mean, this time around it wasn’t deliberate either. We weren’t certain until not too long ago that we were going with that title. But I like it. As I said, there’re a lot of parallels between the theories of “The Art Of War” and life itself. It tends to work, and if it continues working, I’m sure I’ll use it, if it

makes sense and it’s good.

How do you reckon that Art of War differs from other Aussie hip-hop groups, in terms of your lyrics?

In terms of the lyrics, we’re potentially a little more self-focused in what we rap about than a lot of Aussie hip-hop…

We rap about pretty personal things in some cases; potentially, that sets us apart.

The Art Of War hits Trout in Hobart on Friday the 8th of December.

WHAT A GREAT NIGHT THE THIRD SINGLE FROM THE PLATINUM ALBUM THE HARD ROAD

ARD J AW INEE NOM

OUT DECEMBER 2ND IN ALL GOOD RECORD STORES!

FEATURING REMIXES BY: SIMPLEX (TERRAFIRMA) AND F&D FRESH FROM COMPLETING A SOLD OUT NATIONAL TOUR HILLTOP HOODS (WINNERS OF ‘BEST HIP HOP GROUP’ AT THIS YEARS URBAN MUSIC AWARDS) RELEASE THEIR THIRD SINGLE FROM ‘THE HARD ROAD’ LP.

WWW.HILLTOPHOODS.COM | WWW.OBESERECORDS.COM

Striking A Chord On

4 STRINGS

BY TOM WILSON

He’s just hit US dance crowds over the head with their latest LP “Mainline”, and now Netherlands resident Jan de Vos – AKA 4 Strings – is heading back down to our lovely island. “Well, interview him,” you say? Great idea!

You’ve just released a new album, “Mainline”; how would you describe it, and how has it been received so far?

Yes, our new album “Mainline” has been released in the USA this month and has been received very well.

The album is different to the first two because it has less of a poppy sound, and is more dance/trance minded. We wanted to produce a different sound.

That is our 4 Strings music reputation; we like to evolve in our music productions.

What are some of your best memories from playing in clubs?

The best memories are when the whole crowd in the club appreciates, and goes wild, listening to our releases during the sets.

It is always great to have support from fellow producers/DJs in the music scene, and that they enjoy playing our releases for their audience. But the most important thing is to get a response from our audience, and what we feel will work on

“

The name “4 Strings” came from the sound in the synthesiser we used…

”

the dance floor.

You’re playing two shows in Tasmania in December; what do you remember of your last visit?

From the last visit to Tasmania, there was a great vibe in the venue and it was very, very packed with people. Everyone had a nice time, enjoying and dancing to the 4 Strings DJ set.

We understand you’ve had a very big year as far as touring goes. What have been the highlights… and lowlights?

It has been a massive year for 4 Strings musically and touring-wise. The highlights are playing at the following events; Trance Energy (Netherlands), Zurich Street Parade (Switzerland) and Bang!

Miami Music Festival (USA). And touring in new places; Tasmania (Australia) [Yes, we know where that is – Tom], Port Lincoln, Bahrain, Qatar, Canada, China, Malaysia, Switzerland, Finland, Norway, Sweden, Trinidad & Tobago, Guatemala, Cyprus, San Salvador, Ecuador and UK.

In recent times your tracks have got a lot of support from other big names in the industry.

What does getting name-checked mean to you, both personally and as a DJ?

What are some tricks you’ve got to deal with all the traveling?

The best trick is motivation. And to rest as much as you can.

Straight To The Vein For Hobart’s New Years Eve It’s

Dance Compilation Assembly 101 With

INFUSION

JOHN COURSE

BY DAVE WILLIAMS

Who would have thought three crazy-eyed kids, who used to get together after ninth grade English class over a decade ago in Wollongong, would go on to form, arguably, Australia’s most famous international dance music act. Now, with two albums and a third on the way, a multitude of singles and a 2006 international touring schedule that reads like Santa’s Christmas Eve itinerary. All this success and the boys have chosen Tassie as their preferred NYE destination…again! Fearing a severe blow to the head may have caused the agreement to send this major act to us for NYE, we followed up with a call to Jamie Stevens himself, to ensure the lads were OK. This will be your fifth, or even sixth visit back to Tassie as Infusion. Is it the bright lights or the beautiful women that keep you coming back?

Women… [Long pause] Oh, and we also love the crowds and the intimate atmosphere of doing a gig in Tassie. Every time we have played there, it seems to be a guaranteed great vibe. We really jumped at the opportunity too, as it’s so close to Melbourne, and frankly, we love NYE down there. Sydney and Melbourne NYE’s have a big potential to be dud parties due to the massive New Year’s Day events, but Tassie has always gone off.

After the success of “Phrases and Numbers” and “Six Feet Above Yesterday”, it’s been a while since we’ve had new stuff from Infusion. When’s the new album due, and will we be treated to some new tracks on NYE again like last time?

We have heaps of new stuff ready to go. We have a new album that is three-quarters finished, and we are really excited about it. Obviously, that’s the artist cliché when talking about a new album, but this is

You’re probably sick of talking about it, but where did the “4 Strings” moniker come from?

And why four strings?

The name “4 Strings” came from the sound in the synthesiser we used; the [one we used the] most was the string. We came up with the number 4 after brainstorming for a name because ‘’String’’ on its own did not sound good for an artist name.

An example is “2 Fast 2 Furious”.

What do you think makes a 4 Strings show different to other electronic artists?

A 4 Strings show is different to other artists because I am not just a DJ who can stand and mix records, but an entertainer. I like to play refreshing and unique styles of music and I am always prepared with unpredictable and quality music that will make our existing fans go wild and bring more to the scene. An artist should not limit themselves to one style of music.

What are your plans for 2007?

Plans for 2007 are to produce more releases, have the album released worldwide and start on the live tours.

4 Strings plays Launceston’s James Hotel on the 6th of January & Curly’s Saturday 13th January.

BY DAVE WILLIAMS

truly exiting for all of us. This album was written in a very short space of time, with us only starting at the beginning of this year. Unlike “Six Feet…” where we often wrote individually and got together to work on it, we were able to sit in a room as a trio and all write this one together.

Infusion have been together for years now, where other major Aussie acts such as Nubreed have separated. What has kept Infusion together for so long? And does the occasional side project help to keep the peace?

We really haven’t been doing side projects for a couple of years now. I did the film score recently, and Frank did some solo stuff on Marine Parade.

But ever since we started writing “Six Feet…” we just haven’t had time.

“

We have always taken the attitude that if it’s not fun, it’s not worth doing.

”

I think it helps that we are constantly working fairly hard. I mean, the early rewards were not great, but we all saw enough potential in the group to give us the drive to move forward and stick it out together. We have always taken the attitude that if it’s not fun, it’s not worth doing.

Will you be learning any new dance movies this time, like a side-to-side head nod, or just stick with the classic woodpecker?

I’ll be sticking with what I know. If it ain’t broke, don’t fix it.

Infusion will be appearing at Curly’s Bar in Hobart this NYE. For more details, check out www.infusion.net.au or www.curlysbar.com.au

A leading DJ and figure in Australian dance music, John Course has been at the head of his game since first winning a mixing competition in Victoria eighteen years ago. Heavily involved in production through his role as co-owner of record label Vicious, he recently mixed the 2007 “Annual” compilation for Ministry Of Sound with Mark Dynamix. He talked SAUCE through the production process.

What is the most exciting aspect for you, of producing a new compilation CD? Personally it’s getting the mix right. I am a DJ at heart and I like the mix to be spot on. The product that is on a CD is very important, in fact, the most important, but the difference with a mixed one is quite obviously the mixing.

“

I DJ every weekend and play all over the county… …What is spare time?

”

To what extent do you take an approach with the MOS “Annual” that is different to how you approach the production of other compilation CDs? Most mix CDs have some level of requirement, based on who is putting them out. Often a Vicious CD has an “it’s all Australian product” requirement, or the “Annual” has somewhat of an “anthems for the summer” vibe. So it’s no different really; discuss the tracks we want for the CD, and then hopefully the crew at Ministry get as many of them approved as possible and we mix.

With such a diverse range of dance music in the market, how did you choose the tracks for the MOS “Annual”?

The “Annual” reflects the biggest tunes of the coming summer, and what we think will be longstanding great club records from the 06/07 summer.

So that’s what we look for.

Do you have a favourite track on the “Annual”? If so, what makes it your favourite?

“My Love”, by Toby Neal. It’s Australian, and it is perfect for summer with its old-school disco vibe. I love it.

Besides banging the beats on weekends, what are your other interests away from music, and do they have any influence on your musical tastes or career?

PAGE 24

What NYE resolutions did you make last year, and how did they hold up? Any planned resolutions for this year?

The resolutions made last year for 4 Strings were; produce more successful tracks, produce a new album with different sounds, obtain more bookings in diverse countries and run our own management and bookings.

I eat, sleep and breathe music. Vicious is our own label where I am a director, and also handle A&R with Andy Van. I have a radio show on Nova and do mixes for them with Grant Smillie. I DJ every weekend and play all over the county, and I work on music with mrTimothy as the Electro Funk Lovers... What is spare time?

What got you into being a DJ? Did you have a musical background or just thrive on the passion of the nightlife?

Breakdancing and hip-hop culture. I saw a DJ in the movie “Beat Street”, and wanted to do what he did.

What are your plans for New Year’s Eve? This year, myself and Grant Smillie are doing “Overdrive Live”, with the radio show on Nova Melbourne going live from Room 680 where we are playing. And we are also doing a back-to-back “Versus” set at the STokehouse on St Kilda Beach in Melbourne for the first time in three years – so it will be awesome.

John plays Syrup in Hobart with Mark Dynamix on Saturday the 9th of December, as part of the “MOS 2007 Annual Tour”.

A DJ With A Machine Gun! It’s

TIM HEALEY

BY DAVE WILLIAMS

A producer, rock guitarist and electronic artist, with a Tyler Durden-style outlook on the DJ trade and a knack for stirring up controversy with some truly unique publicity photos, it seems like only Tim Healey would appear in SAUCE as a military dictator. He spoke to us about his previous Tasmanian visit, the flaws of the DJ culture, and running around London with a machine gun.

You’ve been described as a “DJ who hates DJ culture”. What are some of the aspects of DJ culture that drive you up the wall?

What doesn’t drive me up the wall about DJ culture? Is it the inflated egos that are associated with playing other people’s records? Is it the boring clothes? Is it the fact that loads of bald men in their late thirties love progressive house?

Is it the DJ’s inability to switch genres while playing? I’ll leave you to choose.

“

So we went out in London dressed as Met Officers, with two machine guns…

”

There would have to be some redeeming features of the DJ culture; what are they for you?

Really rocking a party, no matter who for or how big; expressing yourself fully within the confines of two decks and a mixer by playing the most cutting edge sounds around; getting to test your new studio work on an unsuspecting crowd; the glories of endless globe-trotting and clocking the world year-after-year through the rose-tinted shades that are the DJ lifestyle.

But, aspiring DJs, take note: sometimes it’s just sex, sex, sex; endless orgies with beautiful groupies. After a while it becomes dull. That’s why I took up philately.

We’ve heard, straight from the dominatrix herself, that the lead singer of a popular Australian band enjoys a good spanking. Now, given those controversial “police themed” press photos you did a while back [featuring them at the mercy of a very strict woman], how much do you think you might have in common?

Have you seen the dictator ones? I think we excelled ourselves. The police pics were a blast.

You know, the people that lent us the costumes – which are 100% bona fide London Metropolitan copper outfits (complete with radios, cuffs and telescopic truncheons), also lent us the guns.

Then, when it got to 5pm, and we knew they wanted the kit back, we called and said, “Err, we haven’t finished the shoot.

Can we get them back to you tomorrow?” To my utter astonishment, they said that would be fine.

So we went out in London as Met Officers, with two machine guns…

You’re returning to Syrup in Hobart. What memories did you take away from you last visit here?

The club was wicked – what an institution! It was a definite highlight of that Australian tour.

I was looked after royally. I had fabulous oysters for dinner at some top local restaurant and then played at the perfect upstairs of Syrup.

Unfortunately, I was only in Tasmania for less than twenty-four hours, as I will be this visit. And yes, that pisses me off. I’d love to stay and check the place out. Maybe next time… (Another negative about being a DJ – you always have to leave within hours of landing).

What’s the plan this time? How will it be different to your last visit?

You be the judge. It’s electro-house, beats. Breaks and booties all the way, baby. Kick-ass, dirtybitch-party sex-music. Come on down.

You heard the man, people. Tim Healey takes to the decks at Syrup on Friday the 22 nd of December.

PAGE 25

The Criminal Hairstyle Of

FREQ NASTY

BY DAVE WILLIAMS

Given that, from looks alone, FreQ Nasty is undoubtedly one of the coolest people alive, it’s comforting to know that there’s more to this NZ-born remixer, DJ and VJ than a mean set of dreadlocks. SAUCE picked his brain on remixing, Micheal Moore, and almost getting arrested...

You’ve remixed everyone from avant-garde composers to rappers like Mystikal and KRS-One. What kind of thought process do you have when approaching a track for remixing?

I try and create something that I would be proud of playing, and that is pretty much the whole of it. If that means I have to stretch the vocal to the point where it is almost unrecognisable, or twist up the original elements of the track, or even leave most of them out altogether, then so be it . I look for what I find attractive or compelling in the tune and I try and reinterpret that original vibe; leaving the essence of what I like about it in place, but translated through my style.

decks or at a gig somehow?

I was once mistaken for a foreigner being looked for by the police in Malaysia while I was DJing there at an outdoor party. The drugs police saw the flyer and came down to the gig in full force, attempting to arrest me backstage before I went on. It was only when I showed them my passport that they let me get on the decks. The only similarity I had to the man in question was...you guessed it – the hair.

Criminal, I tell you.

What about in the bedroom?

I’m not sure I know what you mean…..

What can the crowd expect at your upcoming gig in Hobart?

Some crazy, next-level shizz showcasing the sound I’m making for my next album. It’s a mixture of breaks, dubstep and hip-hop, with the usual dub and reggae thrown in! Nu vibes for ‘07.

What are your plans for 2007?

Drop some fresh vibes on record, preceded by a mix album to open up ears to the sounds, and bring the Video Nasty Experience back into focus for the live shows.

FreQ Nasty plays Hobart’s Halo on the 16th December.

“

The drugs police saw the flyer and came down to the gig in full force, attempting to arrest me backstage...

I understand that you incorporated VJing into some of your sets this year. What kind of visuals did this involve?

I went out on tour with the Video Nasty Experience, described best in my bio as “an eye-melting DVDJ/VJ fusion of graphics, typography and FreQ’s “Dreaded” cartoon likeness. This multi-screen attack on the senses was perpetrated by a hit squad of animation and motion graphic assassins – including the brother’s Mogg from Peter Jackson’s company Weta Digital, Jamie Hewlitt’s Zombie Flesh Eaters (“Tank Girl” & Gorillaz) and Cindy Lee, Oz ex-pat graphics wunderchild.

What are some of the positives and negatives of incorporating visuals into a DJ set?

The pro’s were being able to get back to some of my roots in the visual arts, as I shot a lot of the live action and directed the show, taking a year off making music to do so. Being able to convey a message in what is primarily an instrumental genre was great, and going on tour with so many super-talented people in the VJ and band department was dope too. The cons are taking a year off making music, and the setup time at the gigs compared to DJing ( first in the venue , last out). But I love it and I’m ramping up to do the same for the next album, but on another level.

You described it as “the visual equivalent of Michael Moore and Public Enemy getting pissed with the cast of “Monsters Inc” at an anti-globalisation riot”. What did you mean by this? Why these influences?

I loved the idea of what Public Enemy did, taking ideas outside the generally accepted vocabulary of their genre, and delivering it with such power and impact. In trying to get some more political ideas across without sounding preachy, we wanted to be as entertaining as possible, while still not compromising the message, and without necessarily resorting to vocals. Michael Moore’s films seemed to have a great grasp of the “entertain first, inform second” ethos.

You hail from New Zealand; how do you think the musical climate over there has shaped the DJ you are now?

Not at all, really, as I have been away so long. But no doubt the lack of musical options that I had when I was growing up there contributed to me wanting to break out and do something different. Now NZ has an amazing music scene, populated by some of my favourite bands who are getting global recognition, and it makes me proud.

TEL O H S E JAM DEC 8 2 S R THU AR B S ’ Y L CUR C E D 9 2 FRIDAY

If you came from somewhere else, how might things have been different?

If I came from a goat-herding community in Romania, I probably wouldn’t be DJing as much as I am now.

That was a stupid question, wasn’t it? What plans do you have for NYE? Where will you be playing?

NYE will be at the Chinese laundry in Sydney. NY day will be an early set in Ballina, a late afternoon set in Brisbane and 33 1/3 in Melbourne to wrap things up. A nice, mellow way to bring in the ‘07 What’s the least feasible New Year’s resolution you could make?

To leave Australia for London as soon as possible after my NYE gig and spend the remainder of the UK winter there waiting for the two-week summer to swing by.

We’ve noticed that you’ve got quite an impressive set of dreadlocks. Have they ever caused chaos behind the

PAGE 26

STON AUNCE L T S K RT R T HOBA 122 YO S L Y E A T R O R H 12 MU JAMES S BAR 1 ’ Y L R U C

TOURING ARTISTS

PENDULUM

FLYGIRL TEE

NINO BROWN

KLAUS HILL

Pendulum: formed mid 2002 by three musicians from Western Australia with similar visions and musical backgrounds. Their mission was to pull together their production resources, ideas and influences from various styles of music to create a new sound that they felt was missing from dance music.

DJ Flygirl Tee was the 1st female RnB/hip-hop Club DJ to successfully rank into the Australian Urban Club Scene. Flygirl Tee is now Australia’s most in demand female RnB/Hiphop Club DJ, dominating the Southern Hemisphere. She now hosts her own top rating urban radio show “The Flygirl Tee Show” every Monday night, which is used as a main advertising tool for clubs and special events, pulling thousands of listeners. Her show is notorious for holding interviews with stars such as Montell Jordan, Mario Winans, Clinton Sparks, Ricki-Lee, Savage and more… Expect nothing less than the craziest track selection of RnB, hip-hop, crunk, reggae, dancehall, and an awesome crowd response from this Miss DJ. Tee has supported artists such as Snoop Dogg, JayZ, Memphis Bleek, Naughty by Nature, Busta Rhymes and Montell Jordan, to name a few. “DJ Tee is the best female DJ in the industry. She’s got skills. Actually she’s better than most guys are. Tee adds her own flavour. She’s also one of the best scratchers I’ve ever seen.” – DJ Peter Gunz, Of the Hitmakers Crew, One of Australia’s top hip-hop DJs

Nino Brown is widely regarded, and respected as a true master of the turntable.

Flygirl Tee plays the grand opening of “Honey” with Nino Brown at Curly’s Bar, Hobart, on Saturday, December 23rd.

Nino Brown plays the grand opening of “Honey” with Flygirl Tee at Curly’s Bar, Hobart, on Saturday, December 23rd.

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 bonafide 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 stirfryinh 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. 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. 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…

Intelligent dance floor music: that could tear a dance floor apart at the seams yet still have a deep longlasting impact on enthusiasts. 2005 saw Pendulum release their debut artist LP “Hold Your Colour” on Breakbeat Kaos, a project that the UK’s mainstream magazines are already calling “the one to watch” (Mixmag 2004) Prior to this their next release on BreakBeat Kaos, “BBK004”, a remix of the Digital Nation classic “Submarines”; was tipped as the anthem of the 2004 Winter Music Conference in Miami. In the brief two years that the Pendulum collaboration has been formed; the group have turned the drum&bass world on its head, whilst opening the eyes and ears of thousands to their Australian beats.

Pendulum play Lonnies Niteclub on the 7th of December, and Hobart’s Halo on the 8th.

DOPAMINE

Over the past fifteen years he has entertained the listening masses across four continents, but with special detail at home in Australia. Brown holds weekly residencies at the biggest clubs Australia has to offer and is the founding member of the internationally respected DJ crew, The Chief Rockers. As Australia’s top Hip-Hop and R&B DJ, Brown has the ability to rock a crowd with his track selection and amaze them with his skill at the same time.

A Proudly sponsored by Alize and with a legion of urban companies wanting him to endorse their products, Nino Brown is one of the hardest working DJ’s in the country and is respected for his professionalism, knowledge and skill behind the decks not only by his peers but industry alike.

Klaus “Heavyweight” Hill plays Hobart’s Halo on the 9th of December.

BY DAVE WILLIAMS

A Breakspoll Award-winner, former chef and globetrotting breaks DJ, Matt “Dopamine” Goddard is the kind of DJ who can make you dance your arse off, then cook you breakfast in the morning. Maybe. We don’t know. We just made that part up. What we aren’t making up, however, is that he’s heading down here very, very soon. To the nightclub! El quicko!

With over a decade of experience in production and DJing, what s the highlight of your career in breaks to date?

Well, my career only really began last year with the release of “Hold You” on TCR. Since then there’s been so many highlights it’s hard to pick just one. Some of those would have to be winning best single at Breakspoll, playing at Breakspoll, playing in China with MC Chickaboo and all the amazing gigs in the UK and Europe.

How would you describe the style of music you produce and play, and how has it evolved over time?

I’ve always had a tech-y edge to my sound. I dabble in some electro-esque type of stuff too, as has been heard in my earlier releases. I do often play a bit of electro 4/4 stuff in my sets, but they must be tunes that fit with what I’m playing. I won’t just play that stuff ‘cos it’s trendy.

For those bedroom DJs and producers trying to get known, what s the best piece of information you can pass on?

If it sounds right to you, chances are it is (provided you’re not tone deaf). Don’t get bogged down on what you think you should own or what other people are using; just use what feels comfortable to you and learn it inside out.

As for DJing, you need to work really hard these days to make it as a DJ, and you need to be more than just a DJ to make it at a worldwide level. You need to be producing, promoting or something else that immerses you in the scene.

What has it meant to you – personally, and in terms of your career – winning a Breakspoll Award?

Personally it was an emotional experience. To be accepted into the community and respected at such an early stage of my career was overwhelming. Career-wise, it was an incredible boost. I get loads of work, a lot of which I have to knock back.

Best pick-up line used on you, whilst DJing?

I can never hear anyone when they come into the booth and start asking me questions or whatever. Either that, or I pretend I can’t hear them.

What do you like to do, away from making and playing music?

Cooking. I was a head chef before leaving to do this full time.

Who’s the most famous person you’ve met, and how did the meeting go?

I met Tina Turner when she came into a restaurant I was working in as an apprentice. She had a tomato and cheese sandwich. I also used to cook for Hugo Weaving on a regular basis. In the music world, becoming good friends with people like Rennie Pilgrem and MC Chickaboo has simply blown me away.

What’s the funniest/strangest thing you’ve ever seen, while DJing?

In China they light the whole bar up with spirits.

It’s mental. They also deployed 4 glow-sticks each to approximately a thousand punters in less than a minute.

They are so efficient over there but they really know how to party!

Dopamine plays Hobart’s Halo on December 23rd. Please note that lighting the bar on fire probably won’t be appreciated.

PAGE 27

GANGS OF LONDON PSP

BY CHRIS RATTRAY

Cor lummie, guv’nor! Wot we’ve got ‘ere roight? Wot we’ve got ‘ere is the PSP equivalent of your basic Guy Ritchie movie. Awwwright geezer?

Enough speaking like a twat, let’s get on with review.

As the title would suggest, the crew behind the PS2’s “Getaway” series brings us a handheld foray into London’s criminal underground. You’ll choose from five sets of gangs represented by such archetypes as your Asian Triads, Russian Mafia, and the like. As the head of your chosen gang, you’ll embark on many spectacularly dull and repetitive missions in a bid to become the ultimate criminal ruler of the city.

What’s that you say? Surely a game based around murder and subterfuge should be fun? Au contraire, I say to you – this nasty piece of software actually left me feeling really uneasy. Games like the muchmaligned (by the moral majority, anyway) “Grand Theft Auto” series are morally redeemable as they present cartoonish acts of violence in a world where

KILLZONE: LIBERATION PSP

BY CHRIS RATTRAY

your moral choices are your own. More often than not you’ll really enjoy taking to pedestrians with a double-ended dildo dressed in a gimp suit…but you don’t HAVE to.

“Gangs of London” expects you to enjoy the acts of murder and subterfuge needed to crawl to the top of the shit-heap, and that is something I found really distasteful. There’s little humour to be found playing as some baggy-panted Eminem wannabe creeping through a warehouse slitting the throats of overweight security guards. It isn’t helped when the overall presentation is lacklustre at best; downright crap at worst. Having made the Guy Ritchie comparison earlier on, this is less like “Snatch”, and more like “Swept Away”. Avoid it at all costs and spend your hard-earned cash on realworld hookers and blow (just jokin folks).

1 wigga out of 5.

The Helghast are at it again – “at it” being a generous euphemism for “acting like imperialistic intergalactic Gestapo and wreaking havoc and terror on an otherwise peace-loving universe.”

To stem the tide of the Helghast’s star-faring bastardry, you’ll play as the human fighter, Templar, on the offensive – with your standard-issue big guns, bad attitude, and general kick-assery. Such is the premise for a million games before it, and probably a million games after this one, but what the hell – get to the killing!

which actually works a treat on the PSP. Production values are extremely high and you’ll be captured from the first few frames of the opening animation. However, don’t expect the plot of the single-player experience to match up to this promise. It’s not a big deal anyway, as games of this nature rarely need a Shakespearian plot to unravel as you play the game. What matters is the combat; how much fun it is, and how often you have to reload. Thankfully, Guerrilla has crafted a mini-epic in “Killzone: Liberation”, which balances its arcade-style gameplay with some rudimentary resource management. The result is a slick shooter that should “liberate” plenty of hours of your life until the debut of Guerrilla’s next-gen PS3 installment.

The PS2’s “Killzone” was mooted as that system’s “Halo”, but failed to capture the first-person market in any meaningful way. But this franchise refuses to die, and for the PSP, the developers, Guerrilla, have eschewed the original’s FPS heritage in favour of a more retro top-down isometric view. What this effectively does is turn it into more of an arcade 4 screaming Helghast out of 5. experience than an immersive combat simulator,

NEWS

SK8 WRAP

BY JIMMY MCMACKEN

HOBART FRINGE WANTS YOUR JUNK

PICS BY KIERAN MCKENZIE

Hello amigos!

The Hobart Fringe Festival, is looking forward to presenting you’se all with a wild and exciting 2007 Festival. They need dosh to make this happen, and will be having a verandah shop on Saturday December 16th at 64 Barrack street.

This is like a garage sale, though it is a shop, on a verandah.

Klaa Klements has just returned from a stint in Melbourne where he picked up a couple of new sponsors in Aeon footwear and Type S wheels, to add to his board sponsor Premium Skateboards.

Will Snowball has also returned after a season on the snow and is now back in Hobart skating it up.

Tommy Cuthbertson has moved to Japan indefinitely to be with his girlfriend.

Chris “Dix” Smith continues to destroy everything in his path and just scored himself a full interview in the last issue of “Slam”.

Hobart stalwart Duncan Ewington has a photography exhibition at Jimmy’s Skate & Street on the 8th of this month. It’s called “Park Life” and is a photographic exploration into the life and times at the Hobart Skatepark.

Last month saw the Halloween bowl bash at the west Hobart bowl. This party/skate jam was organised by one of Hobart’s young skaters, Kieran McKenzie.

This was a great night with a BBQ and a best trick

PAGE 28

comp. It seems to be almost the norm now that the best trick was taken out by Anthony “Strawbs” Broadberry.

Keep an eye out for the new Toy Machine DVD “Suffer The Joy” which will be hitting stores this month.

And last but not least a big shout out to surf (and part-time skate) photographer Stuart Gibson who won the nationwide Nescafe Big Break competition.

The more it’s used the better it’ll get.

For further information contact; Pat Synge on 6295 0887 or admin@buyselltrade.com.au www.buyselltrade.com.au

ACOUSTIC ORIGINALS 1ST BIRTHDAY

THEY WANT YOUR JUNK to sell and raise some funds which will allow us to put on a challenging, exciting and entertaining festival for you all to play at.

Well, we are fast approaching the first birthday of AO, which is a great achievement in itself.

All credit to all of the fantastic acts who have entertained and to the supporters and to Irish Murphy’s for their continued support of the night.

If you have things…any things – old cats, records, books, clothes, fondue kits, backscratchers and the like that you don’t need and that they can sell for the Fringe, let them know and they can either collect them from your place or organise a time for you to drop them off in Barrack street.

Thanks also to the sponsors, and media support, and to those of you who have managed to make my life easier and helped me out with organising this event, or just by simply doing your bit right!

Remember, we are weighted down mentally by all possessions. That is not profound, I am trying to convince you to part with the things you don’t need.

First off, I feel the need for a bit of a whinge and a “thanks for nothing” to the council of Devonport, who, without consulting (or telling) any skateboarders, got rid of what was the secondoldest skate facility in Tas, and one-of-a-kind. There is a continuing trend in Tas of councils getting rid of facilities in a “under cover of darkness” approach, with New Norfolk, Rosny and Hobart City Council all having done the same thing in the last couple of years. R.I.P. the Devonport bowl, AKA The Bluff.

away and just what someone else is looking for.

This is the first verandah shop of a few – if you don’t have time to cull over the next few weeks, we’ll be shouting out for your bad Christmas presents in the new year.

WWW.BUYSELLTRADE.COM WINS ENVIRONMENT AWARD

The website www.buyselltrade.com.au has been awarded this years Hobart City Council “Dr Edward Hall Environment Award” in the small business category.

Providing free online classified advertising, the website facilitates recycling and reuse within the Tasmanian community.

The website allows users to advertise just about anything, with photographs, completely free of charge. The ads remain on the site for up to ninety days and can be edited or deleted by logging in using the password chosen when first registering. Users choose how to be contacted. They can remain completely anonymous but can show their phone number and/or email address if they want to. Offensive ads are automatically rejected and each morning the site is cleaned of irrelevant “spam ads”.

Unlike the big international commercial auction sites like eBay, this site operates specifically for use by the Tasmanian community to encourage local trade and the reuse and recycling of everyday items. The “stuff ” gathering dust in the garage, shed or attic – too good to throw

The great news is that we will be moving AO to Thursdays next year starting from January 4th. With this change through the summer season we will also change the starting time to 9pm and finish time to 1am. This will require slightly longer sets from all acts; 1st act 50 minutes, 2nd act 1hr – 70 minutes, 3rd act 1hr 20 minutes – 1 1/2 hours. The good news is that payment will also increase so there is some compensation for the longer times.

I would ask that you all let me know via e-mail ASAP as to whether you have a problem with these set lengths, so I can be sure that you have enough material to fill the time slots … (remember, NO COVERS ALLOWED), and as to your availability on the Thursday nights.

Samuel Bester sambo@sambo.com.au

IS IT AS EASY AS THAT? MUSHROOM RECORDS RECORDING CONTRACT The Amplified Traveling Showcase gave Julien Poulson of TasMusic the opportunity to put together a recording project with Charlie Owen and Tracy Redhead.

Recording has been really successful, and most importantly, it’s a made-in-Tasmania project.

Mushroom initially heard demos, and signed up the group to record a full-length album. It all took place in an old church; the “Chapel Of Ease”, from which the album has taken its name. The achingly beautiful music captured on the “Chapel of Ease” album was recorded in less than four days.

Stay tuned for the release of the album in the near future.

More Possibilities From A

A Well-Choreographed Interview With

NEW CONTEMPORARY MUSIC DEGREE

MALCOLM MCMILLAN DAVE HUGHES

Bachelor Of Contemporary Music is a new course being offered at the University Of Tasmania’s School of Visual and Performing Arts in Inveresk, Launceston.

Graduates of similar courses offered on the mainland include: Craig Abercrombie: Does sound production for The Wiggles Jasper Streit: freelance composer, performer and sound designer in the computer gaming Industry Scott Horscroft: Runs the renowned Sydney studio Big Jesus Burger http://www.bjbstudios.com/ John Green: Film music and sound design with Supersonic, a leading film, theatre and advertising music collective; has now started his own business.

Clair Deak: Film sound designer with international credits Amanda Brown: Film composer: composes soundtracks for various productions, ABC, SBS, etc.

David Cranswick: Director Dlux Media Arts, http://www.dlux.org.au/ Andrew Najdek: Renowned Australian metal and thrash metal guitarist. Touring and recording with Switchblade, Infernal Method, Friar Rush, Shadowside If you have any questions about the BCA (Contemporary Music) degree, please feel free to call Vincent McGrath on 6324 4400 or email Vincent.McGrath@utas.edu.au

BY TOM WILSON

Ahead of the unveiling of a new dance production which questions the very limitations of physical and mental disabilities, SAUCE spoke to its choreographer, Malcolm McMillan.

at Inveresk, which is very exciting, plus this production is giving new Tasmanian contemporary choreographers an opportunity to produce works and have a voice on topics that are sensitive and not generally talked about.

If there was one key impression you’d like the

audience to take away from “Able Body / Sound Mind”, what would it be?

Have a good look at yourself and at the world around you – not everything is as it seems.

The Amalgamation Arts Festival begins on Sunday, December 3rd, and runs until 17th.

You’ve choreographed a dance production entitled “Able Body / Sound Mind” for the Amalgamation Arts Festival. What are some of the themes and notions explored in this work?

I’ve created two works as part of the triple bill “Able Body/Sound Mind”. I created “Paper Prison” in 2004 based on depression, which I perceive to be a form of disability for some people. The second work is a new piece titled “Find ME, Return My Soul(dier)”.

This is based on factors in life which suppress or disable us from being free, for example being in a job we don’t like, oppressive religious regimes, peer pressure, cost of living – whatever you find holds you back from being yourself or being “free”.

“

Have a good look at yourself and at the world around you – not everything is as it seems.

”

A work by Jay Watson completes the trilogy.

Jay is choreographing with two young athletes in wheelchairs, and his work questions, who is [really] able-bodied?

So together we cover the mind, body and soul, all with varying ranges of abilities, both physical and mental.

What do you think sets “Able Body / Sound Mind” apart from other locally produced dance pieces?

We are performing in the Queen Victoria Museum and Art Gallery, actually in the Art Gallery

@arahklejc ?na]pera Ejpahhecaj_a

+

+

At the School of Visual and Performing Arts, Launceston we are increasingly aware that there is a growing demand for creative skills that combine performance based skills with areas of audio technology, visual technolgoy, communication, presentation and creative problem solving. We have therefore structured our Bachelor of Contemporary Art (Contemporary Music) course to provide our graduates with these necessary industry skills. For more information please visit www.acadarts.utas.edu.au or phone 6324 4423 AT&M27381

U N I V E R S I T Y O F TAS M AN I A O_dkkh kb Reoq]h ]j` Lanbkniejc =npo( H]qj_aopkj

PAGE 29

GAVIN - 23

JOANNA - 25

HERMAN - 25

KATE - 21 Fave Band: Jack Johnson

Fave Band: Ben Harper

Fave Band: The Foo Fighters

Fave Band: Joe Cocker

Who/what should Madonna adopt next?

Chihauha

Who/what should Madonna adopt next?

An ape

Who/what should Madonna adopt next?

A dog.

Who/what should Madonna adopt next?

A brain

If you were a cut of meat, what would you be and why?

Sausage, coz they’re good

If you were a cut of meat, what would you be and why?

Pork. Everyone needs pork.

If you were a cut of meat, what would you be and why?

Chicken breast, coz it’s tasty and skinless

If you were a cut of meat, what would you be and why?

Fillet steak, doesn’t get much better

Pulp mill, yes or no?

No

Plup mill, yes or no?

No

Pulp mill, yes or no?

Yes

Pulp mill, yes or no?

No

SOCIAL PICS The Stage Door Cafe 24/11 (Burnie)

Bronwyn Purvis (Boat Harbour), Fiona Baker (Burnie) Christi Flight (Burnie)

Christy Waite (Wynyard) Dawn Yates (Boat Harbour) Jason Baker (Burnie)

Telen Rodwell (Burnie) Paul Corfiatis (Ulverstone) Cathy Weaver (Burnie)

Harry Franks (Burnie) Amanda Franks (Burnie)

PAGE 30

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