Page 1

On the street Every Second Wednesday

Issue #37 07/03/07 - 20/03/07


uinness G , n e k ine Huge He KD promo and W










BANDS ARE BACK! Funkin Unbelievable Sergeant Green 3Sum Plus Dj Randall and PD


The Dead Abigails The Embers Airborne Josh Pyke (Hurry tickets selling fast)


Cigarette smoke is a toxic, poisonous mix of substances. And smoking delivers it straight into your body.

Authorised by The Australian Government, Capital Hill, Canberra


A Long Time Between Drinks BY DAVE WILLIAMS

After first forming in Brisbane a little over three years ago, folk/blues collective The Gin Club got straight down to business; releasing two full-length albums over the next two years. Then – while riding high over the fabric of the Australian

music scene, they fell under the radar and disappeared. Or so I thought. I spoke to Ben Salter about their forthcoming album and why they never really went away. The Gin Club sort of – excuse the cliché – bolted out of the starting gates, so to speak, with your

“Next Crop” recognition on Triple J, and the debut album in 2004, and then your follow-up in 2005. But since then, you guys have gone missing a bit. What happened? I’m not sure I agree with you, totally. I mean, we’ve been touring non-stop down to Melbourne, and the “Drugflowers” got extensive airplay on Triple J. We’ve just been touring. I’m not sure if you mean we’ve fallen off the radar, or [off] the press, or what you mean. But we’ve certainly been very busy touring; we’ve been over to Western Australia, and Canada last year. Basically we did every state last year, except for the Northern Territory. We’ve just been busy writing and touring and that kind of stuff. We did get some recognition, but it’s kind of ironic … Well, I don’t know if it was irony, but it was just interesting, because when we started the band, it was just an afterthought, you know? So it was interesting that we did get that recognition.

You never know when you’ve overstayed your welcome

I was talking more about your albums, and your production, mainly. Yeah … I guess we did do two straight-on-the-trot. The next one we’re doing won’t be out ‘till next year, because we thought we rushed the second one a bit, even though we’re very proud of it. You’re always kind of critical of your own stuff. I guess we’re trying to hold off a bit for the next one … It’s always that hard thing to play. When are people going to get sick of you? Or want more? You never know when you’ve overstayed your welcome, or the opposite. But what we’re trying to do this time is not look at it from a marketing point-of-view, and make sure we’ve got an album that we’re really happy with. How would you say that it compares – differences and similarities – between the previous two albums, and how the new album’s coming along? Well, we haven’t actually started recording yet, but

we’ve definitely started writing songs. And the songs at the moment … It’s a new band. You probably know the nature of the band; we’ve got people coming and going all the time. It’s kind of a collective. So at the moment we’ve got kind of a different lineup, from the past two. [Yawns] Excuse me, sorry! It’s ten o’clock in the morning – a bit early for musicians! It’s more of an ensemble thing. I’ve been fairly heavily inspired by things like My Morning Jacket and stuff like that. Less of the “people playing their songs, and other people playing bits around it”, and more “the whole band playing the whole way through the songs, and then trying to get a bit of an ebb and flow of the dynamics”. Stuff like that. To sum it up, you could say that it’s a bit heavier; the arrangements are a bit heavier. But that’s just the songs we’ve written so far. We’ve only written, like, five or six new songs. OK. So you’re planning on having that out … you were originally looking at 2007, but now you’re looking at 2008, huh? Well, we’re going to try … We could have it out by the end of this year, but I think what we’re going to do is … We’ve got a whole bunch of demos and unreleased stuff and live stuff, and we thought we’d try and release an album of that before the end of the year. And then get the new ones out next year … So yeah; there will be an album out, but it’ll be a kind of “stock gap” before we do the new one. But I’m actually pretty excited about the rarities and the live tracks and demos and stuff, because there’s a lot of good stuff there. Brisbane was named as a “musical hotspot” recently, over places such as Sydney and Melbourne. I was wondering to what extent you agree with that? I love Brisbane, so I agree with it in spirit. The music scene here is pretty phenomenal, and you can’t argue with the results of bands like Regurgitator and Powderfinger and The Grates. From all different genres, all different styles. And I know people from all those bands; that just goes to show … The scene is very, very tight; everyone knows one another; everyone generally supportive. I think in Brisbane there’s less pressure. In Melbourne and Sydney there’s a lot of competition. You’re in Tasmania, so you probably find the same thing. To listen to the entire interview go to www.sauce.


Publisher / Editor David Williams

Loss Of An Icon

Graphic Design Simon Hancock

Editorial Tom Wilson

Contributors: Adam Ferguson, Emma Dilemma, Nicky Wilson, Chris Rattray, Ryan Cooke, Ryan Farrington, Ian Murtagh, Felix Blackler, Zadoc, Patrick Duke. Jason Richards. Deadlines Sauce #38, 21st Mar - 3rd April Adver tising Booking: 14/03/07 Adver tising Ar twork: 16/03/07 Gig Guide: 16/03/07 Editorial: 15/03/07

Address: Po Box 5094, Launceston, Tas, 7250 Phone: 03 6331 0701 Advertising: Editorial: Opinions expressed in Sauce are not necessarily those of the editor, publisher or staff.


Australia is mourning the loss of a revered musical hero – Billy Thorpe.


Rock Salt


Hard Boiled


Bangers & Mash

Just shy of his 61st birthday, Billy succumbed to a massive heart attack at 2.30am EST February 28th in Sydney, Australia. A fit and energetic musician, who was still performing as recently as the week before when he did a solo acoustic show at Westenport Hotel on Phillip Island in Victoria, Billy was involved in many new projects.




Rock Salt


Gig Guide


CD / DVD Reviews


Gig Reviews


Games / Burn-out / Pic / Graf


Gig Reviews


In Focus


Travel Bug / Ar ts




Toon / Street Fashion


His last recorded project is a semi-acoustic work of both old and new classic Thorpe compositions, recorded at The Basement in Sydney in December. He had also been working on a ground-breaking multimedia project titled “Tangier”, which is in the final stages of mixing. A decision about its release will be forthcoming. Most importantly, Billy had been working tirelessly in his new position on the board of Support Act

Limited – a charity that assists musicians and their families with financial support in time of need. Support Act Limited is incorporated in both New South Wales and Victoria. Last year’s tribute concert to Lobby Loyde, Billy’s old Aztec guitarist mate, was a cornerstone in marking the level of support within the music industry fraternity. Today many members of that family have joined in an outpouring of love and support to Billy’s wife Lynne and daughters Lauren and Rusty. Billy’s long time friend and manager, Michael Chugg, said “His reputation always preceded him as loudly as his amps turned up to 11. He gave 110% in everything he did. His performance, his love of his family, his support of his fellow musicians was both passionate and selfless – he was the first one to put up his hand when anybody else was in trouble. It was the initiatives he took as a young musician, moving forward with his career, that laid the pathway for Australian rock acts such as Cold Chisel, AC/DC and

The Oils. A great Australian has passed away today and no-one will ever stand up again like my good friend, Billy Thorpe”. Fellow musician and Support Act Limited Board member, Brian Cadd, commented, “Billy was always the most positive, most definitely loudest and greatest vibe in any room he was in! Whenever I spent time with him, I would go away much more determined to write, record or perform better. Billy was an inspiration to us all”. Molly Meldrum remembers Billy Thorpe as the first Australian independent artist he saw live at Surf City in Sydney: “It was around 1965 and a bunch of us had come up to the “big smoke” from Melbourne. Seeing Billy perform live that night, long before I was working in the industry, was a life-altering experience, and one I’ve never forgotten. If Johnny O’Keefe was the Godfather of Australian rock, then Billy Thorpe was surely its chairman of the board.”


Tighter, Louder, Heavier ... Chaos! BY RYAN COOKE

In the last 12 months This Future… Chaos has come out of no where and cemented their name with some of the great Tasmanian metalcore acts, not to mention delivering explosive sets on the stages of genre luminaries Parkway Drive and I Killed The Prom Queen. And, at last check, they had the 3rd highest selling album at Wills Music in Launceston which is nothing to be sneezed at, considering the competition. I spoke with Joel Chaos (Guitarist) about winning a spot to play in MS Fest and their debut album.

much time and effort we did invest when listening to the album.

Hey Joel, what’s been happening lately in the world of Chaos? Hey man! Heaps actually – just writing new tunes, gearing up for our national tour and tightening the hell out of our live set.

Your album is one of the best quality and best looking releases the state has seen in a while. Do you think that gives you an edge over some other bands? I think recording quality is very important nowadays, but it all comes down to how well you push your band out there! I do think having a professional release is a bit of an edge when trying to secure support slots and just get shows in general.

You recently just dropped your debut self-titled album – how do you think fans have reacted to it? Yes we did. I am actually really surprised how well people have reacted to this record! We put a lot of our time into it, and I think you can hear just how

And are you happy with the response the material is receiving live?

Fans can look forward to a tighter, heavier set

Very much so! Our stage show is getting progressively tighter and more intense.

You recently won the chance to play MS Fest. What do you reckon it will feel like playing to over three

thousand people? Nervous? Anything long time fans should look forward to? It will be great to finally play a show of this size. We aren’t nervous, just really excited! Fans can look forward to a tighter, heavier set with a few new bits mixed in, and a lot of jumping of course. You’ve supported some of Australia’s biggest and most successful metalcore acts like Parkway Drive and I Killed the Prom Queen. What was it like playing with bands that have influenced you? Playing with those bands was awesome! I think that any support slot for a big band is great for publicity! And [they have] been a great boost for us! All of your songs are different and contain different elements of different genres of metal. Which band do you think has influenced your way of writing? And what are you listening to these days? I think we all just get bored really easily, so we like to mix it up a lot to keep ourselves interested. We all listen to different stuff! My list is way to long to write! What will 2007 hold for This Future…Chaos? A national tour, possibly a new CD, and hopefully a record deal.



Weaponise The Alphabet! On Saturday the 24th of March, The Trout will be witness to one of the most intense bands this country has to offer – ABC Weapons! ABC Weapons do a furious blend of crust punk and apocalyptic thrash metal; music that would ring in your ears during your nervous breakdown or while been taken to the gallows.


A shadow of gloom and tension will fall upon The Trout from one of the most powerful deliveries of crust punk metal to ever come out of Australia. It will leave your ears bleeding, your mind shattered and your body trembling … absolutely trembling … for more …

Shells Samuel Bester Timbre

ABC Weapons feature current and ex-members of Recalcitrate, Drunkard, Schifosi and PISSCHRIST.


Every Thursday, From 9pm

8 15 22 29





MARCH Crystal Campbell A Good Question Sir Veto

Entry is $12/10 – 9pm kick off

MA R C H Amy Kendall Micheal Clennett Stratified

MARCH Cait Vertigan Eva Hannah



Playing alongside and in the mayhem are: TRANSFICTION (Formerly Grind Surge): epic grinding metal. THY PLAGUES: two-piece black metal. Debut gig! TRAITOR: two-piece D-beat punkers.

Anyone who loved PISSCHRIST or PACK wouldn’t want to miss this show. An underage show will also be on in the afternoon starting at 4pm and will cost $5. Anyone who appears intoxicated will be refused entry. At anytime of the show, if somebody appears intoxicated, they will be refused entry with no refund! This is strictly for underagers! The line up for underage show will be: TRANSFICTION TRAITOR + More to be announced Come into the fire with us. For more info on ABC Weapons go to www.


Labeling The Enigma BY TOM WILSON

When you’ve wanted to speak to someone for nine years, having only fifteen minutes to do so seems almost painful. But then, what do you actually ask them? When a band is as rightfully revered and respected as the Deftones – the Sacramento-based five-piece who released “Around The Fur” in 1998 and single-handedly reinvented contemporary American metal (not to mention spawning a spree of imitators) – what the hell do you talk to them about? With them in Australia on the back of their fifth album “Saturday Night Wrist”, I took a deep breath and tried to stop my hands shaking as I spoke with the drummer of my favourite band of all time, Mr. Abe Cunningham … Over the years … in interviews and the like … one subject that keeps coming up is drugs. It would seem that drugs have always had some influence or effect in Deftones music, going back to the title of

“White Pony” [The slang term for cocaine]. To what extent would you agree with that, and why? We’re really … There’s definitely been some drug problems in the band. And honestly, the title of “White Pony” is a perfect [analogy] … That’s really when cocaine started to get into the picture, you know? [But] really; no, it’s not as much as you think. There was definitely, in the past few years – shit, probably since that whole “White Pony” record – there was a lot of cocaine, man. Not amongst everyone in the band, but with a few individuals. Such as life, I think. But we’re not really a “drug band” by any chance. I’ve definitely done my share of things as a teen, and as a person checking out life and experimenting. But at this point; we’ve been together eighteen years now. And we’ve all come around. Like I said; these are things in life. But it’s kind of funny … Well, I don’t know if it’s funny; maybe it’s bad that we’ve been associated [with drugs]. But it’s not really true, quite honestly. That has mostly come and passed. We all definitely enjoy having a good time, and going out and having some drinks. There’s a lot of weed smoked, but those other things are all hopefully behind [us], which is a really good thing, you know? Now, the sound of the Deftones has always remained somewhat unclassifiable; blending so many different genres. I don’t know if it was deserved or not, but

you guys got the brand of helping to start the nu metal genre, since “Around The Fur” to about 20022003. To what extent is that true? Were the Deftones ever truly a nu metal band? [I think] No. But it’s human nature of course to want to categorise things. That was just a phrase that was coined at the time; there were a lot of bands which I think were nu metal bands. Of course, we’re definitely a metal-based band. We always have been; it’s always been the core of our sound. But we’re music lovers; there’s so much more beyond just that. But [we’re] definitely a metal-based band. But that whole term, and that whole time, I was very uncomfortable with. I never… [Laughs] “No!” How about that? [Laughs] Obviously, like I said, it’s easy to categorise things, and [nu metal] was a lot of what was going on at the time. I always doing something different the whole time. We were around before all those bands that were nu metal; we were around before those bands, and we’re still around doing all those things now. I like to think that we surpassed that. Not that it was a bad thing at all; I was just never comfortable with that term. That’s just me; I think that goes for everybody in the band too. And “White Pony” was really our stance on that whole scene at the time; we made that record so consciously. And if you look at it, my vision of that record is like it is; a lovely

GIG GUIDE 7th - 20th March Saturday 17th March

The Gin Club 10pm / $10 Pre / $12 Door

Sunday 18th March

Eddie Baytos

and his band (USA) 9pm / $15

white horse running free in a beautiful uncluttered pasture. Just running wild and running free. That was our stance … and hopefully that separated us from that too. Like I said; it’s just a term. And I believe it’s dead now, which is beautiful too. Let it be dead! We’re just doing our thing, trying to make music. Really, it’s as simple as that. If I ask you what your favourite Deftones album is, you’ll probably tell me “Saturday Night Wrist” [their latest album]. But, if you weren’t to say that, what would be the album that stands out to you as your favourite? Well yeah; definitely I would say “Saturday Night Wrist”, simply because it’s new, and it’s nice to have new songs, obviously; some of our songs we’ve been playing for quite a while now. Of course, it’s fresh and exciting and new. But quite honestly? I think “Around The Fur” was such a great period of time. I think “Around The Fur” and “White Pony” are my two favourite records to date. The time was just wonderful. ONLINE: Abe speaks on the “dark days” of the selftitled album, and shares his thoughts on “Saturday Night Wrist”. To listen to the entire interview go to www.sauce.

Republic Bar & Cafe

299 Elizabeth St North Hobart Ph. 6234 6954





























H u g h M c G i n l a y 9pm K o b y a ( A f r i c a n R e g g a e b a n d ) $5/3conc. 9pm T h e B o n e D a d d i e s ( R o c k a b i l l y ) $5 cover 10pm T h e D e v i l R o c k F o u r + The Reactions & Eva $5 cover 10pm A c o u s t i c B o o g o o l o o 9pm Q u i z N i g h t 8.15pm T r a i n W r e c k 9pm A j a k s A f r i c a n B a n d $3 cover 9pm G e o f f A c h i s o n $3 cover 9pm C h a i n $12 pre-sale $15 Door 10pm T h e G i n C l u b $10 pre-sale $12 door 10pm E d d i e B a y t o s a n d h i s b a n d (U.S.A) $15 cover 9pm M a n i c M o n d a y 3 b a n d s 9pm J o e P i e r e + G r e y F r i t h (Saxophone) 9pm PAGE 7


Kenobi + Shureshock 4 Eva! BY DAVE WILLIAMS

He may have a little trouble turning you on with that remote control, but give him a set of decks and he’ll have no problem at all. His name is Jesse, but you can call him Kid Kenobi, and he’s heading to Tassie to play MS Fest 2007, and then Hobart’s Syrup. In the past he’s been labeled as Australia’s “Golden Boy” of the breaks scene, but, as he explained, attaching a DJ to a genre tag wasn’t always easy. Do you find that you’re playing more one style of music? Do you find yourself shifting in one direction at the moment? To be honest, it’s all over the place, really. I guess, a couple of years ago, I was pretty much [known for] breaks, mixed down with a few other bits and things. These days, there’s just so much music coming through at the moment … I think it’s almost impossible to say, “This is the style that I play in” … Everything’s just cross-pollinating and changing at the moment. You have the ability to play whatever, and I think people can get into what you’re doing when you do that as well. You know what I mean? I guess, these days, I’m just mixing it up really – playing a lot of different styles. That’s a new thing for you, having built your career on mainly playing breaks. Not really, actually. I mean, to be honest; when I first started DJing in 1996, there weren’t actually … there wasn’t even a genre called “breaks” back then. When we were DJing, we were playing trip-hop, house, big beat, and then drum & bass, all in the one set; all throughout the night. I started getting a name – again, breaks wasn’t really a thing. I was playing deep house nights, techno nights, drum & bass nights. Sometimes I’d be doing all the different gigs in the one week. So I was actually playing a lot of different styles back then. Then breaks came along, and that became popular, and I thought … for a long time, that was sort of encapsulating everything I loved in all these different styles into one style. Now it’s sort of gone back the other way; going back to where I was ten years ago; doing this whole mix up of different styles again. It is, I guess, something new that I’m doing. You’ve got a couple of gigs down here in Tassie in the next couple of weeks; firstly in Syrup, and then at MS Fest. In your mind, how do you approach those two things differently – one in a dance tent, and one in a club? Is there much of a difference in how you approach them? Yeah … Just by its very nature, a club is usually a longer set. It’s often a smaller room, and I think

you can go on a bit more of a tangent when you’re playing those kinds of sets. But when you’re playing a festival gig, it’s a shorter set. People are there to get … It’s more about impact at those kinds of gigs, because it’s usually a stage, and there’re live acts on. It’s much more of a show … so you’re not going on tangents – you’re playing more straight up I guess, really. You’re playing at MS Fest, and MC Shureshock’s going to be with you. You guys have been together for how long now? Jeez. On and off, we’ve been working together since about 2002, but, I guess, the last two or three years, we’ve been working a lot.

After three months, there are a lot of habits that start to annoy you

The way I said that kind of sounded like you two were a couple – “how long have you been together?” [Laughs] Yeah! “We’ve been together, like, two or three years now!” [Laughs] Are you thinking about kids? Oh, yeah, yeah. But we’ll have to put it off, unfortunately. There must be some sort of habit that you’ve grown to deal with, but perhaps, at the beginning, you though, “How annoying!” Is there anything about Mr Shureshock that you thought was a bit weird, that now you just take? Weird? Oh God – that list could go forever! But no – nothing annoying. But I definitely think there are habits that you can get used to working with other people. I think [it’s] a part of a working relationship. I think it took me and him a year or two, just to get into each other’s patterns of behavior. Whatever it was – me sort of being a bit disorganised and losing stuff all the time. Whatever it was … I think it took us a couple of years to get our heads around that; to give each other our spaces. Particularly when we’re doing long tours; there are points when sharing a lounge room, and sleeping on the floor in a lounge room for a couple of months, then try to do a mix CD together … After three months, there are a lot of habits that start to annoy you about other people! To listen to the entire interview go to www.sauce.


I’m The DJ – What’s Your Name? BY TOM WILSON

For SAUCE readers and punters in the north of the state, PD – AKA Patty Duke – seems to be everywhere. It’s a good thing too, because he happens to be very good at what he does. We got in touch for a yarn. What original material do you have out at the moment? There are plenty of unreleased tracks I have finished and play out on weekends, consisting of breaks, house and electro. They’re mainly originals, yet I have been getting heavily into remixing lately. A couple years ago a D-n-B track named “Tsssaaa” was released with the “Connecting Beats” CD part of the Terminal 9, which was sponsored by Nokia. What’s the most annoying thing about being a DJ? Getting asked for the same song to be played when you played it just three songs before. The ultimate worst is when the turntables get bumped, or the floor isn’t solid, and causes your needles to jump, causing the song to skip, jump, or, at worst, scratch the record when people are dancing around. Oh, and the lack of sleep can be annoying. What projects have you been working on at the moment? Currently I’m in the middle of finishing a remix of “Take Me Back to your House” by Basement Jaxx. And also there are around thirty unfinished songs I still have on the go. It’s frustrating when you come up with too many ideas. There’s another track “U Bahn” (pd Remix), which is very close to completion. The plan is to finish it while I’m in Hawaii. How big a role does DJing play in your life at the moment? PAGE 8

It’s definitely taking big chunks of my weekends away from relaxing, but I do it because I love it! It’s a very big part of my life. I enjoy because it’s fun! You DJ regularly at Lonnies. How good an opportunity is this for you to push your own material? Whilst playing at Lonnies and Reality, with every set I play, I try to cram in a few tracks of mine to give a signature sound and offer something a little different. I’m always excited to share new tracks I’ve been working on; there’s nothing better than watching a bunch of people bouncing around to your own original tracks or remixes.

… Many DJs out there use it to their advantage to pick up girls.

Looking back over your DJ career as it is now, what are some of the defining memories? Many highlights would be the amount of supports I’ve been lucky enough to be a part of. Playing after big names like TV ROCK, Mark Dynamix, Kid Kenobi, Peewee Ferris, Dirty South and more really gives you a buzz. One unforgettable memory would be getting flown over to Melbourne for becoming a finalist in the Connecting Beats comp – huge exposure from the all types of media including radio, MTV, TV and more! It was great, pear-shaped fun. Falls Festival is definitely a huge memory that will never leave my mind. That was a great gig to play at – watching the sun rise whilst playing was awesome!

Finish this sentence: “When in a nightclub, don’t ever …” “…Eat pizza after your French fries, otherwise you’re gonna have a bad time.” “… Pull your bits out in the middle of the dance floor.” “…Ask the DJ for “Khe Sahn”.” What’s one thing you never play a gig without? Tunes, headphones, confidence, good spirit, and lots of beer. We said “one thing”! What genre of music are you absolutely sick of, and why? Genres of music are funny. You go through stages of liking a particular style, whether it be hardcore electro for half a year, to mellow minimal – it’s hard to nut on a particular genre. I remember when I started DJing, I was fully into really hard drum & bass; then I changed to breaks, and now play electro. That’s over the space of a couple of years. If I had to say I’m sick of a particular genre, it would be country music. Never liked it, never will. It’s too “achy-breaky”. Which DJ do you most want to sleep with? None of your fucking business! [Laughs] You’re no fun! To what extent is it true that DJing is a great way to pick up chicks? Depends how heavy they are to pick up. If they weigh a lot, I’m sure I’d be too piss-weak to pick them up. I could suffer an injury – maybe a fatal one. I’m sure many DJs out there use it to their advantage to pick up girls. I can’t say I’ve ever tried to use the “I’m the DJ – what’s your name?” line.

Krafty Cleans Up At The Breakspoll Awards

The Breakspoll Awards are considered the annual back-slapping bash for the breaks community. And here are the backs that were slapped... Best Album: Krafty Kuts – “Freakshow” Outstanding Contribution: Krafty Kuts Best DJ: Krafty Kuts Best Magazine: Mofo Best Remix: Noisa – “Gutterpump” (Rogue Element vs Tom Real Remix) Best Club/Event: Spectrum Best Compilation: Stanton Warriors – “Fabric Live” Best Producer: Rogue Element Breakthru DJ: Hexadecimal Breakthru Label: Sound Of Spectrum Best Radio Show: Annie Nighingale Best Retailer: Know How Best Website: Best Label: Mantra Breaks Breakthru Producer: Groove Diggerz Best Radio Station: Breaks FM Best Single: Far Too Loud – “Get High/Midnight”


Dance Catches Up With Rock

Rock bands have them, and now, so do DJs! is the unique new concept site created by Sydney-based design agency R@w. Noticing a massive void, R@w set to fill the gap, all the while creating a new outlet for DJs who have cemented their importance and popularity within the Australian music scene. For years, our rock counterparts have been strutting their stuff in the latest band shirts, whilst the coolest DJs and producers went without representation. Finally the ledger has been evened, introducing the new must-have fashion item perfect for any music fan out there looking for a stylish new tee. has kicked off their venture by selecting five DJs to feature in their launch range of limited edition t-shirts. With special emphasis placed on each design being unique and inline with the artist’s music style, there is no longer a need to pound the pavement looking for that special something to wear out next Saturday night. Sydney’s Sveta is part of the first group of cuttingedge artists to be featured on a t-shirt, with her twisted electro grooves putting clubbers in a tailspin during a recent series of gigs in New York – her

sexy tee designed by Techa Noble, whose work has been exhibited at the Museum of Contemporary Arts. Brisbane rising star TyDi’s impressive recent form also deserves a tee, with the nineteen-year-old soaring up the ranks of inthemix’s recent Top 50 poll, coming in at no.12. Always a firm favourite amongst clubbers, breaks star Dopamine is honoured with a glow-in-the-dark print, having impressively taken out an award at the 2006 Breakspoll awards for his single “Hold You” and a further nomination for best producer at this year’s awards. Representing the harder style of dance are local hero Hellraiser and Dutchman Pila, who will be featured on a tee celebrating the release of their new track “Legion” on StraightOn Special Recordings. Having just received a nomination for best breakthrough label at this year’s Breakspoll awards, UK imprint Diverted Traffic will be featured on a tee to coincide with the release of their “Adrenaline Ltd” track from Mr No Hands vs. Bassbin Twins. Limited to a print run of one hundred, these topquality tees are made from 100% cotton and sold exclusively through the website. With wicked new designs available every month created by Australia’s most talented fashion designers, you’ll never be stuck for something to wear again! To check out what all of the fuss is about, head to



Singer songwriter Hugh McGinlay has been playing music live for the better part of a decade. Known for his quirky lyrics and high vibe live shows, McGinlay has carved a reputation as one of the most interesting singers frequenting the stages of Australia. This has enabled him to share stages with some of Australia’s finest musicians, including Chris Wilson, Rebecca Barnard, Shane O’Mara, Sime Nugent and Liz Stringer. McGinlay’s sound is as diverse as it is appealing, while one track tastes of Elvis-esque rock and roll, the next reminiscent of Jeff Buckley, the next Leadbelly and so on. Playing over forty shows a year he has developed his own style that threads all his influences and interests into one powerful presence on any stage. This diversity of influences has attracted a wide audience, which explains why national and international radio have warmly received music from McGinlay’s debut album “Second Guess”.



It’s close … It’s very close … On the 11th of this month, MS Fest 2007 kicks off at Launceston’s Inveresk Showgrounds.

Internationally acclaimed Australian guitarist/singer/songwriter Geoff Achison will pay a short visit to Tasmania March 15th – 17th before re-locating to the USA.

Featuring: Silverchair, Pete Murray, Spiderbait, The Beautiful Girls, Smithmonger, Kid Kenobi featuring MC Shureshock, Butterfingers, Karnivool, True Live, Bobby Flynn, Mammal, Ajax, Goodwill, Klaus Heavyweight Hill, Mind Electric, The Stafford Brothers, Trial Kennedy, Modus, Cruel Like That, The Scientists of Modern Music, This Future… Chaos and and guest MC Jabba. Islandstate MS FEST tickets are on sale now from Australia Post outlets, Mojo Music Launceston, Wills CDs, Launceston, Chilli DJ and Urban Supplies, Launceston, University of Tasmania Launceston and Hobart Campuses and Collectors Corner, Burnie. Limited tickets are also be available online at www. Tickets are $79 + bf and limited to 10,000 Limits of 5 per customer will be enforced and only tickets from an official ticket outlet will be honored. Please go to for all details.

“We’ve reached a point where I’ve been having to turn down more work than I can possibly do and this has understandably displeased my US manager,” he told us recently. From rural Victoria, Geoff learned to play guitar via a fascination with American blues music. “I guess I wanted so much to be a ‘real’ bluesman and sound just like my musical heroes,” Geoff explained. In 1995 he won the coveted Albert King Award for his guitar skills. Geoff is now gearing up to re-locate to Atlanta, Georgia where he has an enthusiastic fan base. The upcoming Tasmanian gigs are among his last Australian shows before departing for America in late March. Audiences in Hobart and Wynyard will be able to see Geoff playing his popular solo acoustic set. No backing tapes or gadgets – simply a world-class musician armed with acoustic guitar and playing a variety of original songs, blues and classic tunes in his own remarkable style. “I’m not the guitarist I ultimately would like to be, and nor have I written my masterpiece yet, but I am trying to sound more like myself everyday. Success in that regard is that hopefully I might play or say something that might be of some usefulness to someone.” At the Forth Valley Blues Festival Geoff will perform with his band, the Souldiggers, featuring legendary keyboardist Mal Logan, top bassist Roger McLachlan and drummer Dean Matters. For more, go to


rating t leb








March 17th (Aus




Forth Football

lues Ground Eddie s Leg end o s) t y a B 12.30pm-1.30am Vietnam Vets Liquid Nails (USA) “Darcy O’Connor GATES OPEN Geoff Atch ison & Shield” the 10AM MOTORBIKE Pete C Soul Diggers orne SHOW & SHINE the De lius & villes COMPETITION Darren Jack Band CAMPING Blues talent AVAILABLE search winners sie B



• NO DOGS • NO BYO • NO GLASS • TICKETS $30 Children under 16 Free (accompanied by a parent) HOT FOOD, BAR FACILITIES, STALLS, FREE CAMPING AVAILABLE for more info:

Breakfast available Sunday morning PRINTED BY ULVERSTONE PRESS


PERMIT NO: 55185

Tickets Available: • Smithton: Lizzyʼs This ʻNʼ That • Wynyard: Buccaneers • Burnie: Collectors Corner • Forth: Bridge Hotel, • Ulverstone: Beach Beat • Devonport: Red Hot CDs • Deloraine: Seppenfelts • Launceston: Foggy Mountain Music, Wills & Co. • Kingston: Tracks Music Hobart: Tracks Music • Wilmot: Wilmot Country Store • Penguin: Penguin Food Bar • Huonville: Grandmaʼs Crafts • Latrobe: Newsagency • Rosebery: Newsagency • St. Helens: Steves Snip Shop


The organisers behind The Southern Roots Festival are pleased to have attracted such a monumental line-up for the inaugural event. WHAT: Southern Roots 2007 WHEN: Saturday April 7th WHO: Pixies (US), Wolfmother, Gomez (UK), Xavier Rudd, The Magic Numbers (UK), The Vines, Iian Archer (ex-Snow Patrol) (UK), The Lemonheads (US), Toni Collette and the Finish, Midnight Juggernauts, Ben Kweller (US), Tex & Tim, Angus & Julia Stone, Dili Allstars, Pnau, and more to be announced. WHERE: Royal Hobart Showgrounds, Glenorchy TICKETS: Tickets are on sale now for $96 (plus booking fee).


Starting The Finish BY IAN DUNN

Her band may be called “The Finish”, but for Toni Collette, things are just getting started. Ahead of her show at the Southern Roots Festival, she spoke to Ian Dunn about the band, the album, and turning the concept of the LP into an art form. You have been involved in music for a long time, when did you start singing? I don’t remember a time when music was ever absent in my life. All my fondest memories have soundtracks. I have always sung, but didn’t realise I was any good till my early teens when people reacted to the sound I made with excitement. What was your first favourite song? “Devil Gate Drive”, by Suzi Quatro The album “Beautiful Awkward Pictures” is a collection of your music from the past ten years. Is the album a reflection of your personal journey over that time? Well, it’s a wee bit longer than ten years actually. I wrote the oldest song on the record, “Tent Waltz”, when I was twenty-two. So, that’s almost twelve years ago…dear lord! The songs are certainly a reflection of how I was thinking or feeling or seeing life. However, the first two singles from the album are the two most recently written, “Beautiful Awkward Pictures”, and “Look Up”. Instrumentally, the songs are all brand new. I had done a demo of four tracks a few years ago but those songs have all changed quite a bit with the record. The songs are very honest and open, how are you finding the experience of being yourself as an artist as opposed to playing a character? I try to allow an openness and honesty when I act, also. Ultimately, it all comes from the same place and that place really doesn’t have a name. I guess I try to keep my ideas at an unconscious level so they can remain alive and not a presentation of a preconceived idea, if that makes any sense. I think the only difference is that I create the genesis of the story in each song, as opposed to interpreting somebody else’s idea when I play a character. The songs on the album vary in mood, texture and theme, can you summarise your musical influences, or are there too many? I don’t know what has directly influenced me. It’s like trying to choose the favourite day of your life. There are too many. It’s too hard. But I know the kind of music I like. And that varies greatly, from Sinead O’Connor, to Nick Cave, to Arvo Part, and many, many, many more. The album is also a product of the band, the blending of personalities and musical styles. All the guys in the band brought a wealth of knowledge and experience to the recording. I had very definite ideas but you also have to be flexible so we just played with the songs and allowed them to evolve until we were happy. What singers and songwriters really inspired you to begin singing and writing? I started singing for audiences in the 80’s. I was a teenager so you can only imagine what was inspirational to me at the time…apart from the music of the day; I listened to quite a bit of 60’s music and Motown. As far as writing goes, I can admire a song but to write takes inspiration which, for me, more often comes from life rather than someone else’s work. Is it fair to say your song writing is a blend of imagery, emotion, and experience? A lot of people have said their mind starts to wander and create images for them when they are listening to the music. That’s just amazing to me. That’s the most exciting part about sharing these songs…everyone brings their own reaction to it. Maybe that’s why music can be so enveloping. It

can make us feel a sense of unity or of not being alone. It can be comforting to feel a connection with it. I just try to go for a sense of purity which, inevitably, carries some kind of emotion with it. And I guess it represents my experience. Not to say it’s about things that have happened to me. But as I’ve grown my perspective has changed and that is definitely reflected in the songs. How important was it for you to take a more organic approach to making “Beautiful Awkward Pictures”, you probably could have recorded in a major studio but this is a self-funded, independent project recorded in your backyard? Oh, it was so vital. This is a labour of love for me. I wanted it to remain unstained. I never want to have to answer to anyone regarding my own songs. Having creative control is the most satisfying and important thing in the world.

Enter the Om Hip Hop Mixtape Beatdown contest for your chance to win the following… One (1) Grand Prize 1. A one-hour set at OM records’ WMC event (3/22/07) 2. One airline ticket to and from Miami 3. One night hotel stay in Miami

How have you enjoyed the teamwork involved in playing in a band so far? I really like it. It’s great to collaborate & trust in this way. What does the Australian music scene mean to you, how important was it to you to record and tour this project in Australia first? I’m a lover of live shows. And I’m a fan of many great local bands. I think it’s vital that as Australians we are

able to connect with music and art that is our own. It represents us and who we are. There is so much “entertainment”, be it TV, or movies, or music, that pervades our lives. So much of it is foreign. It is so important that we hear our own voice, no matter what form it comes in. You can bang on about the economy all you want, but it’s how people feel that counts at the end of the day. And music thrives at this level. It’s important for me to release the record in Australia first. It’s my home.

You seem to have assembled a close knit group in The Finish including your husband Dave Galafassi on drums and percussion, how has this helped define the music and the recording process? It’s everything. The people you involve, their musicality, their energy, their thoughts…it’s all well woven into to the fabric of the music. Could you have made this record with session musicians and programmers given the idea of the project was simply feeling over formula? I could have but it would have a very different feel and wouldn’t have been as much fun. I wanted character and warmth. I can’t imagine having made it any other way. I wanted a good experience from which we would hopefully have something to show. To aim for a product itself is dangerous territory. It’s just not me. Can you describe any differences between your preparation for a vocal take and a scene? It’s similar in that I have an idea of what I want it to be like. But I also allow the moment to take me wherever it wants. Its best when I am absorbed and not thinking, just doing. Can you describe how you feel when the producer or director says it’s a take and you and everybody else knows that was the one? No, it’s those feelings that you definitely can’t articulate. Sorry, but that’s what makes it special. It’s feeling, not thought. The recording process appears to have been very deliberate in structure so everyone was relaxed and focused. How important was creating an atmosphere like that to achieve the sound you were all aiming for? Ultimately, we wanted to enjoy the process of recording. I think because we were all living together in the country with fresh air and no interruptions other than to marvel at nature itself or jump on the trampoline, it helped loosen any tightness that a by the clock, studio experience can inflict upon you. We didn’t put pressure on ourselves to get too much done. Ironically, we got a lot done. More than we had expected. It was a very quick, productive, and satisfying couple of weeks. You have described “Beautiful Awkward Pictures” as “…like that quiet person. The more you get to know it, the more you like it”. Is it fair to describe the album as a revival of the long play record as an art form where something else is offered at every listen? I can’t believe that is something that would need to be “revived”. But I can only hope that that happens for people who listen to this record. I’d love that. It seems to be the feedback we’re getting so far… that the songs grow on you and reveal themselves the more you listen to them. I wanted to make a warm, classic, long-lasting sound as opposed to a flash-in-the-pan high, which inevitably falls away just as quickly as it rose. Most things in life these days seem to have a short and disposable lifetime. I revere and long for times when there was love given

Om Hip-Hop Mixtape Beatdown Contest Om Hip Hop and Imeem have teamed up to give one deserving DJ a chance to play in Miami for the OM Records’ WMC event (3/22/07). To enter, create a thirty-minute mix using music provided by Om Hip Hop, and submit your mix for a chance to win!

and time spent on simple things.

4. Om: Hip Hop catalogue (including all CDs and vinyl) 5. 1,000 CDs of the winning mix will be distributed at the conference You must be at least 21 years old to enter. Contest ends Monday March 12th @ 12:00pm (PT). The winner will be chosen using a combination of the following criteria: quality, ratings, comments, number of plays and embeds. So remember to tell your friends to check out all the submissions and get involved! Once your mix is up, be sure to rate/tag/comment it, link to it, and embed it on other sites.

All my fondest memories have soundtracks



Celebrating 10 Years With The Blues

Continuing the usual arrangement of holding the festival on the third Saturday of March, the 10th annual Forth Valley Blues Festival will be held on Saturday 17th March with over thirteen hours of continuous great Australian Blues music.

stage. Pete and the boys were there when it started in 1998 and have been a great part of the Forth Festival ever since! The Northwest’s own fantastic blues outfit Liquid Nails will make their second Forth Festival appearance.

One point of note is that over the nine years so far this great little festival organization has been able to donate more than $94,000 dollars back into local community and charitable causes!

The Festival music lineup will be rounded off with the winners of the Damien Greenwood Memorial Forth Valley Blues Festival blues talent search competition, which this year is trio The Middletones.

The line up to date for the upcoming festival is a fantastic collection of international, mainland and Tassie talent, many of whom will be well known to Tassie Blues lovers.

All the usual attractions of free camping on the Saturday night, a great range of food, music, and other stalls, bar facilities, motorbike show and shine competition, Sunday breakfasts and much more will be available.

Australian’s greatest ever blues legends Chain with Matt Taylor and the NW’s own Phil Manning will revive great memories. What an absolute privilege for the Blues Festival goers! Direct from New Orleans, the stomping Zydeco based sounds of Eddie Baytos will add a great international flavour from where it all began. Top NSW bluesman and band, The Darren Jack Band, will make their longanticipated first Forth Festival appearance. The fantastic musicianship and soulful blues sounds of Geoff Achison & The Soul Diggers completes the mainland acts. Tassie’s own favourite sons of the Blues, Pete Cornelius & The Devilles, will again grace the Forth

The motorbike show and shine comp has been held since the inception of the Forth Blues Festival. The competition is for the Darcy O’ Connor memorial shield and is open to all comers on the day for a gold coin entry donation. It is run by the Vietnam Veterans motorcycle club. Entry is just $30 for adults. Children 16 years old and under are free entry when accompanied by an adult. No glass, No BYO, professional security on site. For more info:


7th - 20th March WEDNESDAY 7TH HOBART Curly’s Bar Ethel the Frog Halo LTJ Bukem & MC Conrad Republic Bar & Cafe Hugh Mcginley 7:30pm Syrup 10pm Till Late Late Night Booty Call With Djs Mez, Chilli & Dave Webber

LAUNCESTON Saloon Legendary Uni Night with Alphanumeric, DJ playing commercial music and Karaoke in the Loft.

THURSDAY 8TH HOBART Irish Murphy’s Shells 9pm – 9.50 Samuel Bester 10.10 – 11.10 Timbre 11.30 - 12.45 Republic Bar & Cafe Kobya (African Reggae band) 9pm Syrup 8pm Till Late Mesh - HOBARTs Oldest Club Night Breaks & Drum’n’bass With Djs Mez, Model T & Chilli Trout The Black Swan

LAUNCESTON James Hotel UniNight Funkin Unbelievable Dj Nikko Lloyds Devil Rock Four Jimmy Steele and the Thunder Royal Oak Neil Gibson w/ Jacob Boote in the bar

FRIDAY 9TH BURNIE Stage Door The Cafe Neil Gibson, folk ‘n blues 7.00pm

HOBART Cascade Visitor Centre Manhattan


Pizza & Beer


Curly’s Bar 9pm - Enola Fall (solo) 10pm - Housework 11pm – Benjafield Collective Halo JDS (TCR UK)


Republic Bar & Cafe The Bone Daddies (rockabilly) 10pm

(One pot per pizza)

Syrup Open From 5pm 7pm - Ko! - Chunks Of Funk With Resident Djs Mez & Chilli 11pm - Boogie - 70s & 80s Funk! With Djs Duncan & Nick C + Upstairs From 11pm Syrup Presents: Mason (Holland) + Adam Turner & Gillie

23 LAWRENCE ST. L’TON - 6331 3891

LAUNCESTON James Hotel Leigh Ratcliffe Reality Dj MacD Dj Nikko Royal Oak Devil Rock Four w/ Jimmy Steele and The Thunder in the boatshed Saloon Dance the Night Away Karaoke on early from 10.00pm followed by Rewind Door 9.30pm

SATURDAY 10TH BURNIE Stage Door The Cafe Melbourne folk singer Hugh McGinlay 7.30pm



Civil & Criminal Law

Professional Service At Reasonable Rates 2 Cameron St Launceston PH: 6331 2555

Curly’s Bar Commercial Dance - JimK, D2M, ABS, DJ Grotesque, Samex Republic Bar & Cafe Devil rock, Reaction, Eva. 10pm Syrup Open 9pm 10pm - Tackyland - 70s, 80s, 90s

Dance Classics! With Rolly & Billy Bob + Upstairs 11pm Till 6am Dirty F’king Dancing The Very Best Of House, Electro & Breaks With Resident Djs: Gillie, Adam Turner, Modal & DSKO Trout Home Brew

LAUNCESTON James Hotel Glenn Moorhouse Reality Dj MacD Dj Nikko Royal Oak Ben Castles in the bar Saloon Super Saturday, The Party Continues... Door 9.30pm

SUNDAY 11TH HOBART Republic Bar & Cafe Acoustic Boogooloo 9pm

LAUNCESTON Inveresk Showgrounds MS FEST 2007 Silverchair Pete Murray Spiderbait Butterfingers Karnivool And more. Gates 11am James Hotel Labour Day Eve Reality Dj MacD


TUESDAY 13TH HOBART Republic Bar & Cafe Train Wreck 9pm

WEDNESDAY 14TH BEAUMARIS Surfside Motor Inn Phil Manning


11pm – Spoonbill (Melbourne group, album launch) Republic Bar & Cafe Chain 10pm Syrup Open From 5pm Out Our New Wine & Cocktail Menu 7pm - Ko! - Chunks Of Funk With Resident Djs Mez & Chilli 11pm - Boogie - 70s & 80s Funk! With Djs Duncan & Nick C + Upstairs From 11pm La Casa : Sexy Vocal House With Djs’: Timo, Discotouch & Guests

LAUNCESTON Royal Oak Tim Downey in the bar Saloon Karaoke on early from 10.00pm Door 9.30pm

SATURDAY 17TH BURNIE Sirocco’s DJ Fink & DJ Paul Stage Door The Cafe Bill Britton 7.30pm

HOBART Curly’s Bar Commercial Dance - JimK, D2M, ABS, DJ Grotesque, Samex

Stage Door The Cafe Jazz Club ‘07 with the Viktor Zappner Trio, featuring Max Gourlay 8.00pm

HOBART Irish Murphy’s Crystal Campbell 9pm - 9.50 A Good Question 10.10 - 11.10 Sir Veto 11.30 - 12.45 Republic Bar & Cafe Geoff Atchison 9pm Syrup 8pm Till Late Mesh - HOBARTs Oldest Club Night Breaks & Drum’n’bass With Djs Mez, Model T & Chilli

LAUNCESTON James Hotel UniNight 3Sum Dj Nikko Royal Oak Josh Shepard in the bar

FRIDAY 16TH BURNIE Stage Door The Cafe Neil Gibson, folk ‘n blues 7.00pm

HOBART Curly’s Bar 9pm – The Sign 10pm - Echotu

A Fabulous Guitar Only $199

104 George St, Launceston 6334 9355 or

LAUNCESTON James Hotel Leigh Ratcliffe Reality Dj MacD Dj Nikko

Saloon Super Saturday, The Party Continues... Door 9.30pm


BEWARE! There are some dreadful instruments available over the Internet & from some local stores. Always deal with a reputable music-specialist store!

Syrup Open 9pm 10pm - Tackyland - 70s, 80s, 90s Dance Classics! With Rolly & Billy Bob + Upstairs 11pm Till 6am Ministry Of Sound: Clubbers Guide Tour, with Kid Kenobi & MC Shureshock + Gillie, Adam Turner & Mez

Republic Bar & Cafe Ajak’s African Band 9pm

Saloon Legendary Uni Night with Ethel the Frog, DJ playing commercial music and Karaoke in the Loft.


Republic Bar & Cafe The Gin Club 10pm

Princess Theatre Adam Hills 7:30pm



Halo Bass Kleph

Curly’s Bar Detour

Syrup 10pm Till Late Late Night Booty Call With Djs Mez, Chilli & Dave Webber


SUNDAY 18TH HOBART Republic Bar & Cafe Eddie Baytis and his band (U.S.A) 8.30pm Theatre Royal Adam Hills 7:30pm

MONDAY 19TH HOBART Republic Bar & Cafe Manic Monday 3 bands 8.30pm The Loft Zombie Ghost Train The No-No’s

LAUNCESTON James Hotel HO Club


BURNIE Stage Door The Cafe 254 Mount St Upper BURNIE 64322600

HOBART Cur ly’s Bar 112 Mur ray St HOBART 7000 6234 5112

Republic Bar & Cafe Joe Piere + Grey Frith (Saxaphone) 9pm

Raincheck Lounge 392-394 Elizabeth Street Nor th HOBART 6234 5975


Republic Bar 299 Elizabeth St Nor th HOBART 6234 6954

Curly’s Bar Ethel the Frog

Syrup 1st Floor 39 Salamanca Place HOBART 6224 8249

Republic Bar & Cafe Tim Downey 9pm

Trout 381 Elizabeth Street NORTH HOBART 6236 9777

Syrup 10pm Till Late Late Night Booty Call With Djs Mez, Chilli & Dave Webber

LAUNCESTON Saloon Legendary Uni Night with Alphanumeric, DJ playing commercial music and Karaoke in the Loft.

LAUNCESTON Gunner s Ar ms Bar & Bistro 23 Lawrence St LAUNCESTON 6331 3891 James Hotel Reality Nitec lub James Bar 122 York St LAUNCESTON 6334 7231 Royal Oak 14 Brisbane St LAUNCESTON 6331 5346 Saloon 191 Charles Street LAUNCESTON 6331 7355


BEEN THERE DONE THAT Whether you’ve got your finger on the pulse of Aus hip-hop or not, it would be unusual if you’ve never heard of Obese Records artist and Aus hip-hop veteran, Bias B. For almost ten years, Bias B CDs have been sitting at the front of the hip-hop pile at your local CD shop, and the title of his new album “Been There Done That” suggests that it’s time for a new era. The beats on this album keep to the impressive standard that we’ve heard on his previous releases, featuring production (and vocals) by the likes of Burna (Art of War), Ciecmate (Hospice), Bigfoot and plenty more. Bias’s flows on this album vary from clever, multi-syllable spits to your average, underground-variety rhyme schemes, but overall it seems Bias has grown into a radio-friendly artist, with more confidence than a lot of fresh, new MCs. The overall feel of the album gives you the idea that Bias is starting to settle into his place, maturing and becoming generally content with the way his life is going. Probably the most impressive track on the album would be the moving “Now You’re Gone”, which features the swaying, vocal echoes of Miss Brown, where Bias covers the subject of the death of his mum and his regrets. A good addition to your (hopefully) large collection of Aus hip-hop. 7/10 Review By Ryan Farrington


HIP HOP IS DEAD Since his 1994 release “Illmatic”, Nas has always been known for his controversial lyricism, sixthsense in choosing good beats, and teacher-like image. Keeping with those traditional traits, Nas has unleashed his fantastic new album, titled “HipHop is Dead”. I really dig the majority of this album track-wise; soulful production, witty lyrics, wailing sung choruses and an overall quality that details the amount of passion and time spent on the project. But aside from all of that, I have a big gripe with this album; when I heard the album title, I thought I’d be hearing less of Will.I.Am, less of Scott Storch, less of Snoop Dogg (who, if we’re talking about straying from traditional hip-hop, are probably further away from that vibe than most), and more of the old school artists who have managed to maintain the soul of 70s-90s hip hop. But alas – each of said artists actually feature on this release. There’s tracks such as “Carry on Tradition”, which has a line “I got an exam – let’s see if ya’ll pass it, let’s see who can quote a Daddy Kane line the fastest”, which gives you the idea that he’s trying to revive or carry on the heart of the mid-80s style of hip-hop. But really, if you’re going to complain about, and stray away from, this recent style of rhymes glorifying cars, guns, money, etc, why would you feature artists that have built a career around spitting about those topics like Jay-Z, The Game and Snoop Dogg? Overall, the album features some of the most intelligent and observant lyrics I’ve heard in a long while, but some of Nas’ self-righteous views displayed on the album’s advertising are horribly inconsistent and contradictory. If you read this rant and thought I was saying that this was a bad album, and wonder why I gave it a 9/10, you’re mistaken – I loved it; I just have a huge problem with artists that push their album with shock advertising but end up contradicting themselves, and don’t realise that they’re more similar to those ideas and types of artists that they apparently despise and complain about.

show Lov’s no-nonsense side, where he stews over ignorant know-it-all types over a smooth, old-school break produced by Custodian Records, reminiscent of a RZA beat. The deepness of Shawn Lov’s lyrical content can be only merely understood after the second or third listen of each track, and it’s awesome to hear such endless diversity and passion from an artist who has been just sitting on the edge of fame for so long. Hopefully this is his year.

what the mix up has to offer. The best thing about Fabric releases is that they are (usually) drastically different, and that is exactly what this is. Not a bad CD. Obviously techno’s not my flavour, but if you dig it, get your ears into it. 7 blip blap bleep monkeys out of 10. Review By Patrick Duke

9/10 Review By Ryan Farrington



THE ALBUM FORMERLY KNOWN AS Known as the master of Detroit Techno, Carl Craig has released another album of techno wizardry. “The Album Formerly Known As” is for all the kind of electronic heads that love experimental frequency overloads mixed with an expression, up there with similar-sounding artists like Squarepusher, Autechre and Aphex Twin. Once again, I’m not much of a techno buff, but Carl Craig has been a huge part of the techno scene since before I even heard my first techno song. Hence having an absolute bung load of releases, including Fabric 25, “The Kings Of Techno”, and the list goes on. He’s the man of the game. The highlight tracks for me are “Science Fiction”, due to its definitively sparse, open sounds, making it feel like you’re playing a game of “Space Invaders” in the 80’s. “Home Entertainment” has a very cosmopolitan, retro feel towards the way some of the spastic synthesizers are working some ultrasonic octaves to give your cochleae a good work out. Not that I thought it was a siphoned pile of camel’s poo; this kind of techno I don’t enjoy anymore. If you’re into experimental drugs and want to totally blow yourself away, then this music would pretty much do it for you. 5 bum poling monkeys out of 10 Review By Patrick Duke


Yet another busy man in the industry, Claude Vonstroke has released another popular album “Beware of the Bird” – consisting of many mixtures of techno, house, ghetto-tech with a smidge of minimal – on the Dirty Bird label. He’s currently touring Australia, playing at Bustin, Electric Circus, 3rd Class, the Empire Hotel and Beware the Cat before he flies back to Miami for some more gigs towards the end of March. So if you’re lucky enough to check out this very individual sound, you’ll be loving it. That is, of course, if you like to steer clear of the Top 40 shit that’s flooding the markets and would like electronic music of a different nature. One song I’ve heard about six thousand times on Triple J would be “The Whistler”. It’s annoying at first, but gradually does grow on you, even though he’s only tech’d up a few samples and turned nothing into something strange and unusual, using noises from his mouth. Another stand-out track would be “Cicada 17 Year Mix (Remix of Justin Martin)”; it’s a definite cracker of a tune, consisting of a nice, dirty, deep twist of basslines, synths and spacial samples throughout.

His album really didn’t inspire me much, although he his production skills are of very high standard. “The Magic Invention From T.D.P.R.C.” would be my pick of the CD, although the lyrics seem a little weird, and not of much meaning. In honesty I only listened to it once, only because it was all I could tolerate. To my ears it was audible diarrhoea smeared with a shear stench of urine particles and trough lollies found in the bottom of urinals. Harsh, but freedom of speech is a bitch. No sincere apologies to the people that like this album, because I classify it as shit house. If you want to buy this CD off me for $1, it’s yours. 0 shithouse monkeys out of 10. Review By Patrick Duke


If you’re chasing after all the summer hits of this year, look no further. It has every single song you could possibly ask for, with a whole listing of top 40 dance tracks. This CD should be sponsored by Coon Cheddar Cheese, because it literally has all the shit you hear over and over again. But wait! There’s more! You get an added bonus DVD disc perfect for those DJs who can afford those ridiculously priced DVDJ’s to mix up tracks whilst mixing the video clips. Alternatively you can slam it on at a party for all those teens smashing on with their boxies and UDL’s, at their parents’ house when they’re left with it, all full of trust, thinking they’re going to look after it!

Review By Patrick Duke

So jump in to the dairy section and grab your copy of the finest cheddar cheese available. There’s a fair few crackers on the CD for anybody to enjoy audibly, and, lest we forget, visually! 7 cheese cracker monkeys out of 10 Review By Patrick Duke



WAITING FOR A GHOST With dozens of underground releases under his belt, New Jersey rapper Shawn Lov is not one to hold his breath until an opportunity just comes along – he’ll go out and grab it for himself with his own two mitts. “Waiting for a Ghost” is the tenth release for the thirty-something-year-old rapper, and he doesn’t even seem to be breaking a sweat on this amazing new album, released on Australia’s own record label Nuff Said. The album encaptures all the rawness of the underground hip-hop culture, with thought-provoking verses that detail Lov’s life with intense realness, matched with lush production from Prowla, Methodz, Tony D and Masada among others. Shawn Lov’s impressive vocal presence and confidence reveal so much more from his lyrics, and his words latch onto your ears – sure to bring out the “Damn! Who was that?” reaction in anyone new to the sounds of this artist. His talents shine well above those of your average “tales-of-struggles” rapper. Tracks like “Get It Right” (featuring Pace Won) PAGE 14


No. 32 in the line of the “Fabric” series has been released, courtesy of your host Luke Slater. Recorded in Fabric Room 2 on a snap frozen November afternoon, Luke Slater has defined his efforts towards the techno scene, featuring many tracks from the likes of Carl Craig, Audion, Switch, Spank Rock and Juan Maclean. With a blend of techno, minimal and funky bleeps, Luke manages to navigate his way into a very eclectic individual set. Starting with a very subtle feel, which gradually works its way through clicks, pops, and minimal bass flicks, then graduates to a funkier feel towards Putsch ’79 “Doin’ It”, which is a definite quality track that thumps into Switch “A Bit Patchy”, which we’ve all heard on the radio. Afterwards, we find a harder, edgier sound incorporating vocals and thicker synths. Not being the biggest fan of techno, it’s an album that grows on you. The first listen is a bit deceiving, yet after that you tend to notice more and more

Overall, the multi-syllable flows, speaker-blowing beats and clever rhyme schemes are the highlights of the release for me, and although it’s not overly mind-blowing, it’s definitely not one to sleep on. 7/10 Review By Ryan Farrington


This album is the greatest Australian soul, funk, jazz or (true) hip-hop release of all time; and by true hip-hop, I mean hip-hop played by musicians with instruments backing an MC and soulful lead-singer with intelligently arranged accompaniments written and performed by artists, without a pimp, ho, bitch or homie in sight. “Stripes” is an album to put all those cargo-pantwearing, limp-legged, try-hard gangsters in this country to shame – and it’s about bloody time. Kid C are an eight-piece orchestra, consisting of masters of their respective instruments – including brass/horns, percussion and guitars – led by a sultry singing voice reminiscent of Stevie Wonder and Lenny Kravitz in their prime. It was produced by their almost-official ninth member, Buchman at Electric Avenue in Sydney and engineered in NYC. The album heralds a re-connection; with the soul, funk and jazz that ruled the American airwaves in the seventies and can only be described – by me – as a culmination of everything that was truly good about the Quincey Jones-led Motown sound of that era. Don’t expect a rap album! This release is filled with an array styles – as I’ve already mentioned – all beautifully tied together with original verse and consummate musicianship. Beginning and ending, in 1977 (literally) and filled with gorgeous, silky smooth, funky jazz-licked tracks like “Last Straw”, the very true “Mr. Business Man” and the perfect “Moment”, this new-age Australian masterpiece is not to be missed. It could well do for soul what Wolfmother is doing for heavy rock. 9/10

This CD has pretty much everything, “Flaunt It”, “Don’t Cha”, “My My My”, “I Like The Way”, “It’s Too Late”, “Walking Away”, “I Love It” – those few tracks sorta give you the gist of this CD. Featured are worldknown artists and producers such as Kylie Minogue, TV ROCK, Sneaky Sound System, Bodyrockers, Basement Jaxx, Bob Sinclar, Rogue Traders – and the list goes on.

You like it different? Check it out! It grows on you more and more with every listen.

Review by Ryan Farrington

Something that Tom Thum also seems to push aside on this release is his out-of-nowhere humour, which he uses well in his live beatbox sets, although, again, maybe he’s showing his serious side on this one.

Hess is More – the Danish drummer/co-producer Mikkel Hess – has been a busy man working on his latest compilation “Captain Europe”. If you like abstract electronica, this is a go for you. Hess is More is a more arty style of electronic-style music, which has been a part of productions for film, national TV, film schools and more international and Danish production companies. So, basically, he knows his shit, but it’s a very weird collection of musical creations.

8¾ electronica monkeys in spandex out of 10


is kind of your cliché political track, but is none-theless an interesting addition to the track list.

An artist who knows the importance of discipline, patience and practice is Queensland jack-of-alltrades Tommy Illfigga (AKA Tom Thum), who has managed to forge a name for himself as a gifted graf writer, beat boxer, MC, b-boy, and beatmaker in the underground Aus hip-hop scene. “The Unfiltered EP” displays Illfigga’s developing lyrical side with a relentless battle flow style, matched with punchy production provided by Sammsonite (Optimen) and, of course, Tom Thum himself. “Heavyweights” is a posse cut, featuring K West, Nick One, Pi Emc3e, Yuin Huzami and Robby Balboa, and shows us how Queensland rappers do it; peaked out battle rhymes and raw drums that supply a nice ear-bashing (typical Sammsonite percussion). Throughout the EP, Tom Thum’s vocal rhythms fade in and out, but there’s no full beat box joints which is something I’d like to hear, but I suppose he’s trying to steer clear of being simply just a beat box and trying to establish the title of a capable MC. On “Overlooking the Real Crook”, Illfigga explains his political views on the (appearance of) problems in the Middle East over a Trem-like beat, which seems to be the only real thinking track on the album and

Review by Adam Ferguson


The Horrors look as if they were born and raised on the set of Kubrick’s “A Clockwork Orange”, and at first glance could easily be labeled as “just another emo rock band.” But nothing could be further from the truth. Truth be told, these five teen-anarchists could well be the re-birth of the seventies-styled, garage-punk-rock-&roll comeback that was so rudely interrupted by the piss-weak, angst-riddled, try-hard eighties comeback that was fueled by tossers in suits making a quick buck from the heavily censored “vanilla” American entertainment industry, on the back of undertalented emo’s who look and dress cool and send rich little girls wild. [That’s officially the longest single sentence in SAUCE history – Tom] To me, The Horrors buck the trend associated with the look, and they’re setting the pop-ruled British music industry on fire. Arctic Monkeys to the left of me, Horrors to the right – everybody in the middle gets chewed! Their sound is organised yet chaotic in the same breath. It can’t be categorised as rock or punk or garage, or any one genre, as it isn’t really ruled by one or the other. Put a gun to my head, though, and I’d call it gothgarage-punk. It’s everything my parents would have hated about the true era of sex, drugs and rock n’ roll, irreverently wrapped in black silk and finished with an aristocrat’s tongue as a bow. This appetite-whetting EP is only five tracks and one awesome film clip long. However, I loved it, and can’t wait for a full-length debut album. 9/10 Review by Adam Ferguson

Holly Throsby REPUBLIC BAR & CAFÉ By Ian Murtagh

The Violent Femmes + True Live + Ash Grunwald + The Embers MOORILLA ESTATE, BERRIDALE – 11/02/07

Acoustic Originals IRISH MURPHY’S – EVERY THURSDAY By Ian Murtagh

By Tina Anderson

DJ Yoda

SYRUP – 17/2/07 By Felix Blackler

Republic isn’t doing a bad job pleasing me this year, and, just when I was thinking “it’s been a while…” the talented Miss Throsby is back to delight us once more. Holly was kind enough to bring her band along for the trip, and, being a guy with a band who still plays around the place solo – and since she played solo last time – she was an especially nice treat this time around. Like Tim Freedman, she’s a much different performer with a band behind her. There’s a different light behind her eyes. With the confidence a band brings, she was damn cheeky too, taking care of hecklers by heckling them back. Still with the same little girl smile, she charmed the pants off a full room, telling stories and singing quiet songs that are a lot louder on the inside than out. The couple of songs she played from her new record (in production) were bloody dazzlers! It was a great crowd to come and watch Holly with, because they didn’t jump around and sweat a lot, keeping the window-fog-up-factor to a minimum. Whimsical and intimate, this show was louder than her last show, but so different you couldn’t possibly say better. The song that stuck with me the most from the evening was “Shoulders and Bends”. Seeing her live is like gazing up at a bright shiny little star grooving along to its own tune in the sky. It’s fair to say I’m a fan, and mainly because she remembered me from last time and heckled me from the stage. I’ll end by saying “Yes, Holly Throsby – I think your version of that Crowdies song is lovely.” I don’t know what I was thinking!

Moorilla Estate – what a great place to relax on a Sunday afternoon and listen to great live music! Arriving late at Moorilla, The Embers had nearly finished their set, so we decided to do a lap and check out the place. There weren’t as many people as I expected – but it was only early. Ash Grunwald got my attention – without knowing about his music, I was taken aback by his solo performance consisting of his amazingly strong voice, guitar, and bass drum. He showed great crowd interaction skills – telling us the stories behind his songs, which made them even more interesting. A few favourites included “Dolphin” and “Skywriter”; he also threw in a cover of Tom Waits’ “Goin’ Out West”. True Live – I’ve seen these guys before at MS Fest 06. I didn’t really go too much on them, yet the crowd seemed to like them and had a good ol’ dance. They did a cover of a Led Zeppelin’s “Whole Lotta Love”; it sounded OK, but I soon lost interest, sitting down on our blanket and nearly falling asleep. I was just about to doze off when I was awoken by my excited friend saying, “Are you coming down to the front?” The Violent Femmes were onstage, so I kind of had to look awake as we made our way to the front. The Violent Femmes were joined by a Tasmanian Orchestra for a few of their songs, including a cover of James Brown’s “I Feel Good”. “You just can’t beat the original” is all I’ll say. Bass player Brian Ritchie – who is now based in Tassie – showed his array of musical capabilities, from playing bass guitars to a xylophone, a sea shell and a bamboo flute. Victor DeLorenzo always seems to be in a world of his own. Jumping around hitting the drums, he always seems happy or insane – one or the other, but great to watch. They played a mixture of all their great songs like “Gimme The Car”, “Mirror Mirror”, “American Music”, and, of course, everyone’s favorite – “Blister In The Sun”. Another great Sunday afternoon; just wasn’t looking forward to the long drive home afterwards. It’s such an anticlimax to sit in a car for three or four hours and do nothing after a concert!

While Irish had a real winner with their Open Mic Night competition – that saw the venue regularly letting musicians get up on stage and perform original music to a hungry audience – its replacement, AO (Acoustic Only), sadly doesn’t move me at all on a Thursday night. Like many of Loud Music’s gigs the same musicians and bands play every month, yet there’s no shortage of people who want a spot. That’s problem one. Run by Samuel Bester, better known to the greater Hobart area as Sambo, the only rules of play is that the music MUST be original (no covers!) and MUST be acoustic (no loud noise). Admittedly I’m pleased as punch that Irish have given a red hot go at jamming their thumbs in the pie, but the format is very restrictive, often making bands that sound alright bland. The mystery duo in the picture (no-one I talked to knew their name and there was no sign posted) was a nice mid-evening snack. The Sign played last tonight, but weren’t fantastic. I think they’re probably enjoying their final couple of seasons in the spotlight. The most disappointing thing about AO is that it’s not well attended at all, which is due mostly to the fact the artists spend zero time promoting themselves, leaving Sambo with a hefty uphill battle. Wake up people! If you want your gigs to be well-attended, you have to do more than tell your best friends about it. Whilst I’m not surprised Irish brought back their Open Mic Night, AO needs an injection of new blood.

Stepping into Syrup, this Scottish superboy’s arrival was much anticipated; ready to shine a whole new light on scratching hip-hop and dropping solid party tunes. Having released his debut album, “The Amazing Adventures of DJ Yoda”, those who have copped an earful would be well informed of Yoda’s talents to create sounds from the impossible; scratching samples from a zipper on his hoodie and a song produced by the sounds of him brushing his teeth. This was a show I was definitely looking forward to. At 1am, the crowd was all sweaty with excitement as Yoda barely lifted his head all night from the decks; deep in concentration as – through some clever planning on his trusty notebook with Serato software – he scratched and mixed anything that would bring a smile to the crowd. He cut from some old-school hip-hop to Sting, to have us all marching on stage. As if from nowhere, in came the theme song from “Snow White and the Seven Dwarves” with a deep bass kicker! Syrup’s crowd sang along just hoping that an army of dwarves would start serving drinks behind the bar. DJ Yoda tore the roof off for the next two hours as he showed some amazing scratching skills, bringing a fresh and jumpy sound that had the whole crowd hanging on each drop of the next track. If anyone tells me they didn’t enjoy this special night at Syrup, watch out!

Sarah Blasko

A Night On The Greenwood

Mental As Anything

Sub Audible Hum

By Ian Murtagh

By Adam Ferguson

By Adam Ferguson

By Adam Ferguson


For a band with an uncomplicated set up, they sure took their sweet time coming on. After bashing the living sense out of her CD in a review last month, it was a welcome breath of fresh air to have my words fed back to me. This show did what most shows at the Republic just don’t emulate for some reason. It sounded just like we were at Falls, felt just like I was in the middle of the mosh pit, and the complete lack of sixty-foot-tall speakers didn’t even register. I’m not sure what it is about her, but after hating her CD, I loved her live. From my nice little vantage point, the red light on the stage was glowing around Sarah’s head like a halo. I found it really interesting, and a little comforting, that she felt the need to point out the happy tunes, almost in a guilty sort of way. Her new song “Queen of Apology” sounded brilliant tonight. I was fond of her telling us that she was nervous about her Valentine’s Day show the next evening, and playing depressing break up songs to a bunch of lovey-dovey couples. There is a certain power in what she’s doing, and I’m not sure she really gets it. But she’s willing, and that’s more than enough. The rest of the audience seemed to be holding its breath, waiting for a climax that didn’t quite happen. But I really dug her tonight – a lot more than I expected to.



With the purpose of raising money for the foundation set-up after the tragic passing of one of Tas. Music’s favourite sons, Damian Greenwood; four local acts – Reuben Ellenberger, The Stoics, The Dan Townsend Experience and The Embers - donated their time in order to put on a show to honour his memory and keep up the tradition of championing live, home-grow music at Damian’s favourite venue, The Boatshed at The Royal Oak.

It was as hot as a freaky Czech porn star on this sticky Saturday night. Meanwhile I was sweating my nuts off after bolting from my perch at The Oak to catch the end of The Mentals’ gig at The Batty.

Rueben kicked the night off with an original set, showcasing his rootsy acoustic style to a building audience - which was one of the friendliest I’ve been among for ages – and set the scene for what would be a cruisey night filled with excellent live art.

The Mentals were doing their thing – and had been for over an hour apparently – so I whipped out my camera, took a couple of shots and soaked up the ready made atmosphere.

I spotted Cyran of The Stoics at the bar sourcing a remedy – that turned out to be brandy - for his sore throat after a hectic Friday night. It must have worked, as the three-piece yet again turned out a sweet set of their mixture of slow melodies and infectious pop-rock songs all punctuated by Cyrans’ excellent voice and song-writing talent. The Dan Townsend Experience were next, and I unfortunately missed a fair bit of their set, but what I saw was a cool blend of storytelling song sautéed over a catchy mix of blues, funk and soul. With the crowd peaked and gagging for The Embers, the room was about to hit fever pitch. As soon as they got on stage the dance floor was packed, and didn’t stop shaking until they finished playing. I love this band, and they were the perfect end to a sweet night of great music, dance, and conversation. The prefect homage to a great guy!

I was met by a brick shithouse of a bouncer at the door; he scoped my credentials and let me in, so I wondered into the newly renovated Batty, inhaling new-paint-smell as I went.

Mental As Anything are of the old-school “If it aint broke, don’t fix it” elk and were rocking the crowd with their trademarked, colourful, indie, happygo-lucky, bopping tunes, and had the crowd loving every minute. Front-man Greedy then told the crowd “thanks for coming, you’ve been a great audience” and I thought to myself “shit! I missed it”. Luckily for me, a lady who’d been dancing in front of stage - singing every word of the set - yelled “encore” and few other punters joined in and the more-than-obliging Mental As Anything re-entered and played two of their most popular songs “Let’s Go To Paradise” and “Rock and Roll Music”… I hadn’t heard that one since I rented “Young Einstein” in ’88, and was satisfied with that alone. Cheers for coming down to see us Taswegians guys, my auntie was gutted to miss it!

JAMES HOTEL – 03/03/2007

There were only about ten people at The James to see SAH when I arrived, a disappointment as SAH are one Australia’s great up and coming young bands and have been getting some great air-time on Triple J recently since the release of their new LP “In Time For Spring, Here Comes The Snow’. They told me they were also disappointed to not get a local support-act which would have helped the numbers. Undaunted but disappointed SAH and Laura – who delayed for a while - went about their thing, went hard and entertained us. Laura opened and played what I could describe as experimental rock progression and were – in a word – loud. They played mainly instrumentals with minimal choral-like lyrics at times and which have a looping, spatial, booming synth sound is the basis in which they build their music around. They were way too loud for the empty, small room, however, and the booming synth and drums dominated the rest of the band which included a cello which was inaudible. They’re original, but hard to listen too at such a high decibel. By the time SAH were setting up, the crowd had built a little and they played a sweet little jam before playing their first song. They played their faster, rockier stuff and sound way different live than on their album. They’ve got a rhythm guitarist who can play keys as well, and with the ability to play both in one song, gives the band an edge. Lead by a great singer they were impressive to see but the sound set-up and weak atmosphere let them down. PAGE 15





BURNOUT: DOMINATOR – PS2/PSP At the end of this month, Criterion Games will release another entry into one of the most awesome racing series available on any platform, “Burnout: Dominator”! This will be the last time a Burnout game appears on the PS2 platform before making the leap to next-gen systems, but you wouldn’t know it.

The visuals have been refined to squeeze every last drop of power from both the PS2 and PSP, with that trademark “Burnout” feeling of unparalleled speed and exhilaration present in spades.

The last game in the series, “Burnout: Revenge”, rewarded reckless drivers with more and more boost power, but this time around the game returns to its racing roots, where precision driving and hairsbreadth near-misses will give racers the ability to chain burnouts to achieve insane levels of speed! It remains to be seen whether the reemphasis on racing will replace the fun of pure unmitigated carnage, but Criterion has a great track record, so let’s just wait and see! If you’ve not yet burned out on this series, then most racing fans should be wetting themselves silly in anticipation of “Burnout: Dominator”.

ENGINE RB20DET rebuilt, forged internals, R33 turbo + waste gate, Intercooler, K+N pod filter, brass button clutch, 3-inch turbo back exhaust, drift-spec twin-tip cannon, HKS bov, Custom boost controller running 10psi.



In the last fifteen years it has been a trend for game companies to increasingly play it safe and provide recycled game concepts and cookie-cutter standards as a way of meeting the bottom-line.

Auto-Meter RPM, shift light + Boost gauge, Blitz Baby turbo timer, Autotec steering wheel.


I work at the Westpac call centre.



Custom GTR body kit, modified headlights, re-spray jet black with gold fleck.

ROLLING SMOOTH With such a deliberately inflammatory introduction, you’d think I was going to serve up a treatise on how games today all suck and that we should get back to the playground where real imagination flourishes. While that sounds like a good idea on such a nice day, how about we dispense with the histrionics and talk about “Crush” from Kuju Entertainment?


It’s always been in the family I guess.


A ‘92 Pulsar, I did it up too! [laughs] Kit, rims, the works!


Washing the car, or driving the car!

Hard Drift-spec suspension, RDA slotted rotors, GTR brakes, Simmons 19” 5 spoke wheels, front strut tower bar.

To have your car featured, send car + driver info, plus pics to



It’s kind of like a playground, but in the palm of your hand! But no, really, in “Crush” you play an insomniac who has to traverse a traditional 3D world, but in a stroke of genius gameplay mechanics, you can “crush” this world into a 2-dimensional platformer, reminiscent of the 80s and early 90s – think “Tomb Raider” meets “Mario World” and you’re getting into the right headspace.

With gameplay combining transdimensionally transcendent elements and sleep-deprivation, it looks like Kuju may have hit upon a PSP brain-bender sure to keep you up all night, just like the character in this game. Hey, at least you can say the next day, when everyone remarks on your pallid complexion and sunken eyes that you weren’t “up all night playing with your Wii.” PAGE 16

Got a great Pic? Don’t keep it to yourself! Send it to us for a chance to

Seen some graf that was good enough to share? Take a photo and email

WIN a Kingtide CD! –

it to us for a chance to WIN a Kingtide CD! –



Another summer, another Big Day Out. For the sixth year in a row, I was off to Melbourne to see some of the biggest acts in the world all in one day. After arriving late, I was hoping to have missed the filler acts, but I was wrong. Sick Puppies failed to impress, as did bigger acts like the Spazzy’s and The Butterfly Effect. My first highlight came at 1:15pm when Trivium walked out onto the Caterpillar stage and blew the roof of the tent. The highlight for their set for me and many others was their cover of Metallica’s “Master of Puppets”. As soon as Trivium left the stage I headed back to the main arena to get front row for my main act of the day. After sitting through the end of a boring Evermore set and a better-than-Falls set from Scribe, it was time for the finest thing to come out of New Jersey since the Sopranos, My Chemical Romance! From the opener “I’m not OK”, they were on fire. Gerard Way and his troops blew everyone away! All the hits were aired including “Helena”, “Dead” and the latest hit “Welcome to the Black Parade”. A few hours passed, as did a lot of bands; saw bits and pieces of Eskimo Joe, The Killers, Salmon, Peaches and Jet. Finally at 7:30 it was time for Muse. From the opening notes of “Take a Bow”, you were taken away to another place. Everything from “Plug-In Baby” to “Stockholm Syndrome” was blasted out. The light and video show was amazing, and took it to another level during their last song “Knights Of Cydonia”, when the lyrics were on the big screen for everyone to sing along. And when Matt hit the final cord, the whole front of the stage came alight with huge flames. One of the better Big Day Out’s in a long time… P.S I didn’t watch Tool, I don’t fucking like Tool! [You are a Tool – Tom]



Freaks On Parade BY TOM WILSON A night is never complete without nuns singing songs about anal sex, so thank God for The Sisters Of Sex Ed. For the sake of not offending my mother, I’m going to decline any further comment. I’m sure all of us can remember a gig that surprised us; that knocked us for six. For me, it was former college band Palm This. A combustible cocktail of rock, melody and outright chaos, their stage show vibrated with an air of unpredictability. When their guitarist ended up in his underpants, and a pre-pubescent transvestite rushed the stage, it became clear that (for once), truly anything could happen, and they became the spirit of rock n’ roll incarnate.

One of the best aspects of the past Freakshow events was their locations; their indoor setting. To enter the shows was to enter a different space, leaving the rest of the world behind. But this time, things would be different. Freakshow was to unfold in the open air; in an alleyway. The two worlds were about to meet for the first time ... When I arrived that evening, the Freakshow Street Party could be seen from blocks away; a cordonedoff cluster of tables and people that filled the street outside The Northern Club like a restaurant patio populated by carnival folk. The night opened with the most conventional performers; a trio of acrobats, pulling off some impressive designs in human architecture. When a band member takes to the stage on a stinking hot night wearing full ski gear, it can really only be Mark of The Muddy Turds. This band has slacker rock down to a fine art – one could almost call them expert amateurs. Few bands can walk off stage after possibly the worst sound problems ever heard at a gig (apparently a dodgy bass lead) and still be considered fine entertainers, but the Turds pulled it off.

A pity, then, that the act I most anticipated was a disappointment. Sam Eddy’s audio/visual performance art creation – XXZX – has wowed me more than once. Why, then, did this feel so hollow and pretentious? The metaphysical dialogue has always been enigmatic, but tonight felt forced and meaningless. It felt like, as XXZX, Sam has run out of things to say. There’s no better way to move past a disappointment than watching a man fit himself through a tennis racket and swallow swords, so relief was at hand in the form of Samora Squid. Ever the showman, he flawlessly built the tension during his performance, while never forgetting his sense of humour. If “celebrity” exists in the Tasmanian arts scene, Emma Dilemma is one of them. At once glamourous and freakishly volatile, she is a performer like no other; flanked by the lovely Virginia Hamm and Lady Midnight, coming on like cabaret on an acid bender. The woman could work a crowd in her sleep, so it was no surprise that she became the highlight of the night. Treading similar terrain was Champagne Shoes; the MGF-spawned headliners. I have a feeling I didn’t enjoy them as much as the people around me (because enjoy it they did). Perhaps their performance lost a bit of its edge coming straight after Ms Dilemma, or, more likely, they just didn’t hold the attention of a very tired – and quite merry – music reporter. Oh Well. PAGE 17



Writing The Story Of The Future Stage One (Filling Fast) – Story of the Future – One-day Introductory Seminar Writing the Story of the Future is a oneday seminar for all those interested in exploring the possibilities for writing in the digital media environment. Venue: The Old Wool Store Merino Room, 1 Macquarie St. Hobart Time: 9:00am - 4.30pm, Friday 9th March 2007 Register now: topics/hot_topics/storyofthefuture/ Stage Two (Now Open for Registration) – Story of the Future – One-Day Project Development Clinic A practical workshop open to anyone wishing to develop a project to submit to the five-day residential LAMP workshop to be held in May 2007. The Project Development Clinics are free. Numbers are limited and registration is on a first come first served basis. Please register by: 13th March (Sydney) and 16th March (Melbourne).

Melbourne: 19th March 2007 Venue: AFTRS Innovation Building, Digital Harbour, Docklands Time: 9:30am - 5:00pm Register now: topics/hot_topics/storyofthefuture/ Screen Tasmania travel assistance available. Deadline 13th March 2007. Email name, address and contact phone number to info@screen. Please also indicate your interest in applying for LAMP Story of the Future Residential May 2007. Travel support is limited so please apply early. Stage Three – Lab for Advance Media Production LAMP Story of the Future 5 Day Residential Workshop Venue: TBC Time: To be held in May, 2007. Applications will be competitive. Closing Date: TBC


Australian First, Exclusive Myspace Residency

Lisa is best known to Australians as the “folk” finalist on last season’s “Australian Idol”. She was a little out of place in the popstar competition, and is much more comfortable writing and performing her own

original material. “More often than not, people ask me about the television show”, says Lisa. ““Australian Idol” was, overall, a positive experience, and I learnt a lot about the industry. The show gave me a much appreciated place to start, but now I am happily moving on in my own direction and at my own pace.” Lisa Mitchell’s residency shall continue over a four-month period, showcasing her new, original material. Lisa’s national fan base can tune in each month to view these performances. Lisa will perform live for thirty minutes from her backyard in Albury on the first Wednesday every month, starting on March 7th at 8pm. Location: Entry is free to anyone with a broadband internet connection!


AFC/ABC Launch Interactive Online Music Documentary The Australian Film Commission (AFC) and the Australian Broadcasting Corporation (ABC) today launch The Pure Drop; a unique online music documentary at The project is the last to be launched from a slate funded under the AFC/ABC Broadband Production Initiative (BPI) and is the first interactive music documentary to be produced from the initiative. “The combination of video interviews, MP3 audio content, extensive links and teachers’ notes, guarantee that The Pure Drop will become an essential resource for music lovers and educators as well as an online destination for people with a passion for documentary,” said Carolyn MacDonald, Acting Manager, Co-Productions & Business Development, ABC New Media and Digital Services. “The Pure Drop is a wonderful example of the kind of innovation and quality that Australian practitioners can create in the digital domain,” said Acting AFC Chief Executive Chris Fitchett. “The Australian Film Commission is delighted to support the development and production of such projects and to partner with the ABC in making them widely available.” The Pure Drop is an interactive online celebration of traditional and World Music. Featuring performances and interviews with musicians from the far reaches of the globe, The Pure Drop gives you a privileged view into a dedicated community striving to keep ancient cultural forms alive. Exploring the stories behind the music of multicultural Australia, The Pure Drop site presents PAGE 18


Sydney: 15th March 2007 Venue: Bondi Icebergs, 1 Notts Avenue, Bondi Beach Time: 9:30am - 5:00pm


Sixteen-year-old singer-songwriter Lisa Mitchell will be the first of a new generation of artists to launch their career online. In the past, musicians would have to traipse across the country playing in pubs for months on end to get themselves noticed. That’s not easy when you’re underage, still attending high school, and live in Albury. Now, social networking sites, such as MySpace, have opened up a whole new way to gig – live across the country, and the world!


eleven episodes that combine short video documentaries with a wealth of interactive content to inspire music lovers, musicians, researchers and students. Available to watch on the site as Flash video or downloadable as MP4, The Pure Drop also explores the cultural context of the music. Each episode on is enhanced by a wealth of interactive content and additional materials such as by maps, transcripts, lyrics, musical notation, MP3 audio and additional video footage. The site offers over six hours of short video clips including concerts, exclusive performances and interactive interviews. Featured artists on The Pure Drop site include; Steindór Andersen with Sigur Ros, Billy Bragg, Doch, Jim Moray, Värttinä, Lúnasa, The John Butler Trio, Waterson:Carthy, Garmarna, Silvia Entcheva, Trouble In The Kitchen, Nancy Kerr, James Fagan, Stiff Gins, Yothu Yindi and many more. The Pure Drop was produced by Ether Multimedia. It was written, directed and designed by Thomas Ashelford, produced by Ingrid Spielman and executively produced by Ron Saunders. The Pure Drop was developed under the AFC and ABC’s BPI, and supported by the Telstra Broadband Fund. The BPI is an initiative aimed at encouraging and supporting highly experienced film and television practitioners to team up with experienced new media producers to produce interactive broadband programs for delivery via ABC Online and ABC Television.


If you’ve ever wondered what you get when you chop any current mobile phone in half, reduce the screen size and shovel the leftover bits and bobs into a little silver case that’s neither trendy enough to be cool nor mediocre enough to be ignored, then Astone has the answer in the form of their Xinc Ultra A/V player. This palm-sized gadget plays video files (in its native .smv format), music (supporting .mp3, .wma, and .wav files), displays photos in .jpeg format, records audio, and plays FM radio. At 1.3”, the screen is about as big as last year’s model mobile phones meaning the image quality is adequate but not exemplary. The in-built speaker plays audio clearly at low volume but quickly distorts at louder volumes, yet sound is crisp via headphones. It’s an ominous sign, however, when the pre-loaded video (an advert for Astone’s inflatable jet-ski), displays in the wrong aspect ratio for the screen – tall and thin the order of the day – which makes me wonder if they company doesn’t care enough to get that bit right why should I care for this player in a market already flooded with similar products? The in-built memory is a scant 512mb (expandable with the addition of an SD card), which is enough if you’re keen to show off your daggy hair metal videos which you’ve downloaded from Youtube. The content navigation system is terribly nonintuitive, with some buttons switching function for no apparent reason, and the on-screen menu looks as though it was designed by a five-year old whose ambition is exceeded by their skills – it looks like it knows what it wants to be, but is just a little too gaudy and cluttered to be of any use. Finally, the poor thing’s file navigation system craps out every time I try to access the internal memory, so it loses points for, frankly, being a pain in the ass to use. When you’re selling a product that does so many things, the content navigation system is key. Overall, you’re better off upgrading your mobile phone – it will do everything this unit does, and probably more. However, if you’re really desperate to waste $189 on a technological trinket you will have very successfully wasted your money if you decide on the Xinc Ultra. 1.5 hidden .avi files out of 5


375 Elizabeth St, North Hobart 6234 6318

As it is in Heaven SWEDEN 2005 M 127 minutes Drama and romance in a small Swedish community; Oscarnominated for Best Foreign Film at the 77th Academy Awards. Daniel Daréus is a successful international conductor at the top of his game, but he is miserable and exhausted by the demands of his high-profile lifestyle. Daniel abruptly interrupts his career and returns to the village of his childhood located in a remote part of northern Sweden. His past and his fame makes him the object of curiosity, fascination and suspicion. Soon he is asked to assist the small church choir, and quite to his own surprise, Daniel begins to rediscover his long-lost joy for music. He coaches the choir for an international competition. Scoop ENGLAND 2006 PG 95 minutes The “Tarot Card Killer” is at large in London, and only one man knows his identity: one Joe Strombel, journalist. Sondra (Scarlett Johansson) is an American journalism student visiting friends in London. During a stage performance by the magician Sid “Splendini” Waterman (Woody Allen), Sondra is confronted with the ghost of Joe the journalist. From beyond, he gives her the scoop of a lifetime and Sondra immediately starts chasing the big story, enlisting Sid Splendini as a very reluctant assistant. That chase leads right to handsome British aristocrat Peter Lyman (Hugh Jackman). Soon, Sondra finds that the romance of her life may well be the dangerous scoop she’s looking for. Perfume: The Story of a Murderer GERMANY 2006 MA15+ 141 minutes In eighteenth-century France lives Jean-Baptiste Grenouille – a genius, a monster, a murderer – notoriously obsessed with smell. Born with one sublime gift – a heightened sense of smell – he lives to detect any odour on earth. But he himself has no scent of his own. He apprentices himself to a prominent perfumer who teaches him the ancient art of extracting the scent from precious oils and herbs. Then one day he catches a hint of a scent that will drive him on an ever-more-terrifying quest to create the most powerful perfume in the world - made of the scent of young virgins. The Sound of One Hand Clapping (Special Screening – Thursday 8th March) AUS 1998 M 93 minutes A special 10th anniversary screening to raise funds for the Ceren family, to be hosted by Duncan Kerr, with a welcome by Richard Flanagan. Tickets $15 or $10 concession, available from the State Cinema. During the winter of 1954, in a remote Tasmanian construction camp of migrant workers, Sonja Buloh’s mother walks out of their hut, leaving her three-year-old daughter alone. Her distraught father perseveres with the dream of a new life in a new country, but he is soon crushed into an alcoholic despair. By the time Sonja turns sixteen, she is driven to leave him. Nearly twenty years later, single and pregnant, she returns to Tasmania’s highlands and her father, in an attempt to put the pieces of her life together.


Most people who receive Centrelink payments do the right thing and tell Centrelink when their circumstances change.

t r a t s w e N Man on k n i l e r t n e misleads C usta was Phil of Port Aug ll amount receiving the fu Allowance of Newstart k, but was from Centrelin casually also working ’s painting for his friend l was paid business. Phi thought cash, so he away with he could get entrelink. C not telling

from an A tip off ce alerted unknown sour Phil’s to Centrelink utine ro e casual job. Onc eted, pl m checks were co a ed debt Centrelink rais 8 against of $3,892.9 declaring Phil for not well as his income as additional imposing an

If you don’t, penalties range from having to repay the debt, to court fines or even prison.

To avoid debt and penalties, you must tell Centrelink immediately if there are any changes to you or your partner’s circumstances such as:

fo r p en al ty 10% ing ad le mis intentionally t ou his Centrelink ab sible legal earnings. Pos so result action may al actions. from Phil’s al events, *based on re locations names and ged. have been chan

• Changes to income and assets from any source • Changes to work hours, commencing or stopping work • Changes of address, or rent detail, or if you start or stop sharing with someone • Changes of partner or family details • Change of study details

13 62 80

To report changes in your circumstance, call Authorised by the Australian Government, Capital Hill, Canberra

Solo Acoustic Guitar & Voice recordings 2006 Out now on Jupiter 2 Records Ph: 03 9770 2535 -

T ou ring Ta sma n ia In Mar ch

“You’ve put a band-aid on an alligator bite. Oh, _____ you’re my gallant knight.” Record and send your own love song at

Thursday 15th

Republic Bar Hobart ph 6234 6954 - Solo 9pm

Friday 16th

Wharf Hotel Wynyard ph 6442 2344 - Solo 9pm

Saturday 17th

Forth Valley Blues Festival ph 6428 7110 Souldiggers 4pm and 10pm

Gallantry is back.


• Changes to residence or leaving Australia temporarily or permanently



Pom Loses Finger In Russia BY JASON RICHARDS

SPOTLIGHT ActNow YouthPoll 07

Cash for Comments

Between 16 – 25 and got opinions? If the answer is “hell yes!” use your mouse instead of your mouth to get heard!’s first annual YouthPoll launches this week at YouthPoll_2007.aspx, with an aim to get the most comprehensive profile of the issues young Australians aged 16 – 25 care about. We’re asking all young people to use their mouse – not their mouth – to get heard!

Can you hold your own in a feisty debate?

Launched in May 2006, the au website provides unbiased information to young people aged 16 – 25 about the issues they care about. It means they can link up with organisations and other people, as well as do something about the issue.

I met a guy on the train from Ulan Baatar to Beijing. One seriously unlucky sod. Apart from being born British, he also had an extremely unfortunate accident while on a Russian train two days out of Moscow. His name is Johnny. After dropping some kids off at the pool on a moving Russian train (not an enjoyable experience at the best of times), Johnny did what a well-brought-up British boy does, and washed his hands, including all ten fingers, very thoroughly.

So I am standing with Johnny, a week later, on a Chinese train click-clacking through the outer suburbs of Beijing. He’s just finished telling me the story of why his whole arm was wrapped up in a bandage and a sling. He’d also offered me one of the stash of pethadine supositories he had been given for the pain. Johnny, such a trooper, was also holding a beer in his good hand, and grinning.

Do you know your Wii from your AWA? Let us put the money where your mouth is! ActNow ( is commissioning talented young writers aged 16–25 to write engaging articles on current issues. If you’ve got what it takes to entertain, spark debate and leave readers wanting more, go to Action/Cash_for_comments.aspx for more details. To make a difference and get your voice heard by Australia’s newest online community, get your application in by Monday, 19th March. Please note: a keen interest in the upcoming federal election is essential

I commented that he was rather chirpy for a guy who had his finger chopped off in a toilet door by his mate. He explained that mixing pethadine and large amounts of alcohol is a good thing. [It isn’t people - ED] We both shared our own individual, quiet fascination with what was to be seen passing outside the carriage windows. Outer Beijing, China. Train travel is brilliant when you’ve never been to a city before, and have little idea what to expect. You get to see the “’burbs” first; parts that travelling by plane doesn’t show you. I think they are also the most interesting part of any city. The ‘burbs are a city’s pulse. The people who make it tick live there. You can take as many photos as you like of the major sights, but that’s not what a city is all about. It’s all about the ‘burbs, baby, and the people who live in them.

Doors on trains the world over are solid. I’m not sure exactly why this is. They just are. They are made of solid timber with metal angle edging, and made to fit in the jam like a Volkswagen’s do. They are also made to lock shut when they are closed. On a moving train one must open many doors. Doors between carriages. Cabin doors. Toilet doors. Each time one opens one of these doors, they always end up closing it immediately after they step through it. In order to close a door on a vehicle that is moving back, forward, to and fro, it is accepted practice to slam the door with force each time. You ensure it locks shut, so you don’t have to step back and pull on it again, as this makes you look less proficient at train travel.

YouthPoll will close on Friday March 30th.

Are you a current affairs junkie?

ON TOUR THROUGHOUT MARCH/APRIL - TANDEM SKYDIVE Wynyard Deloraine March 15 - 22 Hobart March 23 - April 5

1800 043 080


After the story, and a bit of fun chat, we settled back to staring quietly out the window … Then I had a moment. I’d had a few of these since beginning my travels, but had never said anything to anyone. All of a sudden my mind happened to pause right on the cog that was processing everything around me; my freedom – where I was, what I was doing, who I was with, where I’ve been, where I was going. Every little thing that’s grand about traveling, and being free and alive. A smirk of contentment on my dial, I turned and looked at Johnny and said,

s you cannot "If you cannot enjoy Adam Hill tsman Sco The # have a pulse" ####

So anyway, Johnny was leaving the toilet, and one of his mates he was traveling with happened to be waiting in line – quite desperately, in fact. The poor boy had been fighting off the poo pangs, while Johnny was quite happily whistling away on his throne. Johnny’s mate pushed past him into the small toilet, and as everyone does on trains, slammed the door convincingly behind him. Only problem was, on this occasion, one of Johnny’s ten fingers that he had just so lovingly cleaned happened to be remaining on the inner side of the toilet door. So there it fell, followed by plenty of blood. So what was left was 9.5 fingers, lots of blood, screaming, yelling and moaning (and nobody can scream, yell, and moan like a Pom). There was only basic first-aid. Poor Johnny, with only nonprescription pain killers, and alcohol, had to put up with another two days of missing finger agony until Ulan Baatar. Even then, having never been to Mongolia before, would you imagine the hospital care to be first class? I must say that at the time I was hearing this story, I thought to myself “much respect be to Johnny”, because that shit happening on a Russian train, in the middle of Butt-Fuck Nowhere Siberia, kicks the arse out of the flu and motion sickness I was whining about. It actually turned out that Mongolian doctors do know their shit and were able to sew the finger back on. PAGE 20

“Mate … I just had a moment”.


I was surprised by Johnny’s lack of surprise at my comment, and his knowing look. He just said, “Yeah, we call ‘em “Traveler’s Moments”, mate. Fuckin’ cool, isn’t it?”


These moments I’d had a few times at different points on this trip. This was the first time I’d understood what it was all about. Johnny’s nonchalance told me that this was not an emotion unique to me, but all people lucky enough to be in my position. Even Johnny with his 9.5 fingers, and shitty stay in a Mongolian hospital, had a “Traveler’s Moment” while we were staring out that window at the Beijing ‘burbs. So thanks be to Johnny and his 9.5 fingers for making every problem I’d had, and would have, while traveling seem insignificant in comparison. And thanks also be to Johnny for naming this brand new emotion for me.





ARIES Ram-Bam-Thankyou, Spaceman! Ram it home, baby. You are the RAM!

TAURUS You’re a bull in a china shop this fortnight. Get a ring in your nose but keep a spring in your toes. Keep at it like a bull at the gate. You WILL get in.

GEMINI You will squeeze two whole weeks into this fortnight.



Sell-outs Bring Hills’ Return BY TOM WILSON

He’s the one pictured jumping up and down on a grassy hillside. He’s the host of ABC’s brilliant music quiz/televised insanity “Spicks & Specks”, a stand-up comedian, and a clear advocate of belly button pride. His name is Adam Hills, and when he finishes jumping up and down, he’s going to come down and make you giggle. We spoke to him from the ABC’s Melbourne studio to talk about testing out new material, and why the cast of the recently-axed “Glass House” haven’t been seen at your local Centrelink. So whereabouts are you today? I am at the ABC in Melbourne today.

CANCER Amniotic fluid has never been so sexy. Back flips, somersaults - they’re easy once you’re up to the hilt in the juices of life.


The Platonic Solids are conspiring to shape your fortnight into a massive dildodecahedron. Surrender. It will be anything but square.

VIRGO Lose it at the first opportunity, baby. The moshpit is as good a place as any to start.

LIBRA Those pesky clots may interrupt your flow - but soon they will be but a smear.

SCORPIO Your sting is über venomous this month. They’re gonna need a saliva bath to ease the pain. Or a golden shower.

SAGITTARIUS Get a character reference from your sister! Beware tho... she could tell that sausage story if you don’t make her ‘top friend’ on your myspace.


Start a cover band of yourself. Put out an album of your neverbeen-released greatest hits. Tour with Hammerclit.

Yeah? What are you doing? Working on “Spicks & Specks”. What’s on the schedule for work for “Spicks & Specks” today? Well, we’re filming four shows next week, which is basically how we film it; we do two on a Tuesday, two on a Thursday. And we have a week of writing. So this is the writing week; we’re putting all the shows together for next week. Is there a general mood at the moment in the ABC comedy department? I don’t know about the general comedy department, but certainly in the “Spicks & Specks” department; it’s very buoyant. Part of it’s because we’re having more fun this year than we’ve ever had, I think. The pressure’s off us a little bit, because we’ve had two good years. But we’re actually having the best shows that we’ve ever had. So as far as “Spicks & Specks” goes, it’s a great mood. What was the impact of the axing of “The Glass House” amongst your colleagues, and people in the comedy department in general? Well… “The Glass House” was based in Sydney, so on a general, day-to-day basis, we didn’t see them; we didn’t really have that much to do with them. And we were on a six-month break, because we filmed it all in six months; so we were actually on a six-month break when it happened. I think everyone here knows the way that the ABC works! [Laughs] They’ve had five or six good years – I think everyone thought they had another year or two left in them. But it’s the ABC – you take the good with the bad. Part of the good of working with the ABC is, because you’re not ratings-driven, you’re left to come up with a show that you really want to come up with, without that interference. And part of the bad is, because you’re not ratings-driven, if the show’s going really well, the ABC can choose not to renew it! [Laughs] It’s amazing, isn’t it? Yeah. But having said that, I know Wil’s now got a radio show. I’ve seen Corinne doing stand-up in the last couple of weeks, and she’s just doing the best stand-up I’ve ever seen her do. And Hughesy’s flying high with radio and TV commitments as well. So it’s a shame that the show’s not on anymore, but all of them are kicking goals. Yeah. I didn’t think they were going to be in the Centrelink queue for that long …

You need the chance to crash and burn with a few jokes

No, no, no – they’re not the kind of people to sit back and do nothing with their lives! Now you’re playing what I’ve read described as “trial shows” in Melbourne, before you come to do your shows in Tassie. How do “trial shows” differ from your regular shows? Well basically, we’re charging people a gold coin donation at the door to get in … I wanted an audience that was generous, and not too judgmental. You don’t want people paying twenty dollars to come see you trying material out. Having said that … I’ve been on tour in the UK for six months, and I’ve been back here for a couple of months, so I’ve worked up what I thought was a pretty solid forty to fortyfive minutes’ worth of material. So, myself and a

RAW COMEDY 2007 AQUARIUS The ducks don’t compare to the Lion of Bohemia. Be an amphibious captain and see the world from a toilet bowl.

PISCES The Amazon and the Maestro. A winning combination in your astral house this fortnight. Sparkle!

few other people – Corinne Grant being one of them, and Danny Bhoy being another – we’re just popping down every couple of weeks, trying out material in front of a generous crowd. Like I said; six o’clock on a Sunday, so they’ve had a good weekend. It’s not their big Saturday night out; everyone’s in a good mood, [and] they’re feeling generous, because they’ve just given to charity. And you need the chance to crash and burn with a few jokes, and I don’t feel that I can do that in front of people who have paid full price. To listen to the entire interview go to www.


Enter A Place In The Raw Do you live in Melbourne, Sydney, Perth, Adelaide, the back of Bourke or the middle of the desert? Does your grandmother think you’re the riot of the family, the class clown, a professional ventriloquist, or do you just make yourself laugh? And what would you do if you won a life-sized straw chicken wearing a pair of over-sized Groucho Marx glasses? Oh, and a trip to the Edinburgh Festival? Quite simply, you have to be in it to win it! The Melbourne International Comedy Festival, with the support of Triple J is calling for entries for the 2007 RAW Comedy competition. Undiscovered comic geniuses have only a matter of weeks to sign themselves up for heats in their area, which have begun now.

RAW Comedy is Australia’s biggest and truly national open mic comedy competition. Competing in nearly 75 heats across the whole country a panel of judges will select performers most likely to become the next big thing. The lucky jokesters then progress through a series of semi and state finals, before slugging it out at the National Grand Final at the Melbourne Town Hall as part of the 2007 Melbourne International Comedy Festival in April. The RAW Comedy Grand Final winner is then flown to the Edinburgh Fringe for their chance to joke around with comedy’s big guns. In addition to announcing Australia’s best RAW Comedian at the National Final, we’ll also declare the best first-time entrant in RAW to be our RAW Recruit Winner.

2006 Winner Hannah Gadsby with her trophy

It’s time to get entries in! Log onto Raw Comedy at for registration and venue details, plus information on how to be a part of the audience for those who are not quite ready to get up on the stage.


254 Mount St Upper Burnie 7320 Limited Seating Available




Name: Dave “Eddo” Edmondson Age: 29 What do you do for $ ? Full time retail / Part time musician What’s on your pod right now? I’m low-tech so no pod, but I’m loving ‘The Howling Moon Doggies’ and of course ‘The Cramps’ What are you wearing? Any jeans that fit and some sort of western op-shop shirt. Style? Hotrod meets spaghetti western. If you were a desert, what would you be? One of those berry filled pancakes blueberry…yeah baby!!! With ice cream.

Name: Steph Age: 18 What do you do for $ ? Apprentice at Jakadjari What’s on your pod right now? Radiohead, “Ok Computer” and Jeff Buckley What are you wearing? Comfy and colourful things. I made the pinnie myself and these are my new favourite shoes. If you were a desert, what would you be? Ice cream. Everyone loves ice cream!

Name: Jess Berry Age: 21 What do you do for $ ? Hairdresser What’s on your pod right now? Tool “46 and 2” What are you wearing? I’m wearing a more retro modern street look with my twist. I love strong colours but I also have a feel for the 1920’s with a funky side. If you were a desert, what would you be? Hot choc fudge sundae with extra choc chips. (I’m a sucker for chocolate)













JAZZ CLUB '07 WITH THE VIKTOR ZAPPNER TRIO Name: Rosie Age: 21 What do you do for $ ? I make jewellery What’s on your pod right now? Coco Rosie and Chine Apple What are you wearing? My own dress (I made it) and my revolver necklace. It’s 1 ½ inches of pure gold! I dress kind of kewl / romantic / glam. If you were a desert, what would you be? Crème Broulee

Name: Anna Freeman Age: 19 What do you do for $ ? Waitress/Babysitter What’s on your pod right now? “Idea Of North” & “She Will Have Her Way” What are you wearing? My red wool paper-boy cap, an oversized woollen pocket dress and brown boots! If you were a desert, what would you be? Frozen chocolate cheesecake!

Name: Tim Buckley Age: 27 What do you do for $ ? Textile designer & waiter What’s on your pod right now? Amy Winehouse What are you wearing? Green stripy Vee Tee by Trimapee, Huffer Denim, my new blue cardi and Lomo bag from Small Rhino & dirty Dunlops! I like fun looking comfy things, but I don’t mind if they get grubby. If you were a desert, what would you be? Chocolate Paddlepop!





Alana & Callan



To be continued ... PAGE 22


L ]Z c ^i Éh V X Vg d[g ZYjX^c\Xa ^b YdZhcÉi_jhia


Wd c hi dg Z Ä V l





dd Y



e]ZgZ#Jh^c \lddYbZV chndjVgZc Éi jh^c\aZhh Zck^gdcb ZciVaan"[g^Z cYan V ai Z g c V i ^k Z h a ^` Z e aV h i ^X ! h iZ Z a d g Vajb^c^j & b #I]Z bdgZl ddYndjj hZ! i]Zbd gZigZZÉh lZeaV ' ci !hdc Zmii^bZ ndjWj n  [ j g c Óddgh ^ijg Z gZbZb dgl ^c Ydl h! WZgidX dg ]ddhZl ddY#

;dgbdgZ^c[dgbVi^dck^h^ii]Z;dgZhiVcYLddY EgdYjXihGZhZVgX]VcY9ZkZadebZci8dgedgVi^dc Vimmm$\mfhZY$eh]$Wk

E]/%(+' ' )&%( (l l l#[^ViVh#Xdb#Vj

F orest I ndustries A ssociation of T asmania

&7nX]ddh^c\lddYegdYjXihl]ZgZkZgedhh^WaZ^c]djhZXdchigjXi^dc!\gZZc]djhZ\VhZb^hh^dchZfj^kVaZciid'*idccZhd[XVgWdcY^dm^YZ eZg]djhZXdjaYWZhVkZY^c6jhigVa^V;dgZhih!LddYVcY6jhigVa^VÉh8VgWdc7VaVcXZ!;LEG98# 'I]Z'%%'GZ\^dcVa;dgZhi6\gZZbZciG;6;^kZNZVgGZk^Zl[djcYi]ViIVhbVc^VÉh[dgZhih]VY\gdlcWndkZg&%!,%%]ZXiVgZhh^cXZi]Z h^\c^c\d[i]ZV\gZZbZcii]ViÉhZfj^kVaZciidi]Zh^oZd[&&-.[ddiWVaaÒZaYhi]Zh^oZd[i]ZB8<eZgnZVg#

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



03 6331 7355 FAX: 03 6331 2414 EMAIL:

“Best Entertainment Venue” in Tasmania

Australian Hotels Association (TAS) & Restaurant and Catering Association (TAS) 2006









MON 9th APRIL (Easter Monday)





Hotshots Male Strippers


28 Days

Highroad No. 28 Hannah Lakoda Branded Left Handed This Future Chaos The Belchers The Overview The Muddy Turds Bumtuck Madhouse


TUES 24th APRIL (Anzac Day Eve)


RnB Superclub DJ Nino Brown

support Wendy Icon

Album Launch



Dance Night

Trivia Night in the Main Room - Your chance to win $5000

Karaoke on early from 10.00pm followed by Rewind! "The Coolest Bar in Town - THE LOFT" with great prices, great cocktails, great service and great entertainment. Door 9.30pm and Free entry.


Live Band every week, DJ playing the best of commercial music and Karaoke in the Loft. Doors open 9.30pm. Uni Students free entry before 11pm. $5.00 cover charge. Half price drinks before 11pm


Super Saturday - The Party Continues At "The Coolest Bar in Town - THE LOFT" with great prices, great cocktails, great service and gret entertainment. Door 9.30pm and Free entry.

Sauce - Issue 37, 7-3-07  
Sauce - Issue 37, 7-3-07  

Tasmanian music and pop-culture, featuring This Future Chaos, The Gin Club, Deftones, Kid Kenobi, PD, Toni Collette & The Finish and Adam Hi...